TAO Articles

Key to Pipe at the Speed of Light
Grace Episcopal Church
Hartford, Connecticut
Schoenstein & Co. and Peterson Electro-Musical Products Inc.

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For generations, Grace Episcopal Church has held a well-deserved reputation for its traditional Anglo-Catholic liturgy and its fine music program headed by Kyle Swann, who is also lecturer in opera at Yale University. The church is quite small, seating only 112—a village church in the heart of a big city. It has a very pleasant, resonant acoustic; amid the grandeur of the ceremony, the setting seems spacious. However, space for the organ is another matter! Sixteen stops, 18 ranks was the absolute limit without encroaching upon already-tight space for choir stalls and pews.

The Anglo-Catholic service places great demands upon the organ. Three qualities are absolutely necessary. First, variety of well-differentiated tone colors. Second, wide dynamic range from ppp to ff. Third, flexibility of control. The first two of these are obvious from the stoplist. There is a complete ensemble of tone colors quite distinctly different from one another just as are the wind instruments of the orchestra. Dynamic range is aided by having Great and Swell separately enclosed and the Tuba Minor with strings in a third expression box located within the Swell. The third key element, control of these resources, is usually just a footnote or completely neglected on the stoplist. All the complex mechanisms that make the modern console aids possible seem mysterious. In this article, we will reveal some of what goes on behind the scenes in the nerve center of an electric pneumatic organ—the electrical control system.

What is the organ’s electrical control system? It consists of two main elements. First, the relay and switching system, which could be compared to a telephone central switchboard taking signals from keys, stops, and couplers and distributing them to the actions that operate the pipes and expression motors in the organ. The second is the combination action that makes it possible to pre-set combinations, to have reversibles and other console playing aids. There are many varieties of systems involving electromagnets and/or pneumatic motors that move contacts much like those in the wall switch turning on and off your lights. On a three-manual organ with 215 keys, 77 stopknobs, and 44 pistons, you can imagine the number of contacts required and the bulk of machinery to operate them.

The advent of solid state has revolutionized this whole process. What is solid state? Very simply it means that all of these electrical transactions are done with no moving parts except the initial contact at each key, stop, and piston. This results in a vast miniaturization of the systems. It also eliminates the need for air power and replacement of contacts and leather.

Here is what the electrical control system does for our Hartford instrument. Of primary importance is unification, sometimes called duplexing, or extension. This allows a stop to be played at different pitches on one manual, to be borrowed from one manual to another or extended into the Pedal. If done with care, this can easily double the effectiveness of an instrument. This installation illustrates one of the most valuable uses of unification—creation of a third manual so helpful especially in service playing. Solo stops from both manuals, accompaniment stops from both manuals and a small “Positiv” ensemble from the Swell are immediately available.

The console has an extensive combination action with a generous number of pistons and 100 assignable and lockable memory levels. The stops affected by a piston can be programmed via a feature called “compassing” whereby, for example, divisionals can become generals. There is a piston sequencer to allow moving through the sequence of general pistons by simply touching the Advance piston. It has a record/playback system and numerous other features including the ability to memorize combination settings and store them on a memory stick.

Most of these control features would not be possible at Grace Church without the most recent revolution in solid-state technology, the integrated control system; in this case, a Peterson model ICS-4000. There wouldn’t be enough space to house the necessary electropneumatic equipment and a good many of the features including multiple memories, piston sequencer, and record/playback would not be practical even with unlimited space.

The evolution of modern control systems started in the late 1960s, when early versions of solid-state switching systems appeared on the market and began to be incorporated into the instruments of some forward-thinking and adventurous pipe organ builders. Those early “diode matrix” switching systems offered, for the first time, a more cost-effective and far more compact way to connect an organ’s key and stop control contacts to its note actions using no moving parts, no perishable materials, and far fewer electrical contacts to periodically clean and maintain. Soon, separate solid-state electronic combination actions such as Peterson’s original “DuoSet” single-memory model were developed utilizing digital integrated circuit memory. Interestingly, many of the very first pioneering pipe organ installations are still in service today and diode matrix switching systems continue to be built for some new organs and rebuild projects. But over the years, steady advances in available technology have been utilized by control system suppliers to offer far greater capacities, a long list of creative features, ever-smaller size, and much lower relative cost.

One of the critical strategies has been to “integrate” organ control subsystems—relay and switching, combination action, transposer, manual transfer, reversibles, vast amounts of piston memory, programmable crescendo and tutti, piston sequencer, MIDI interface, and record/playback—into a single all-encompassing microprocessor-controlled system . . . thus the term “integrated control system.”

While some of these features of integrated control systems may be deemed unnecessary and even inappropriate for particular pipe organs and may be left out, the principle behind the efficient implementation of such a system is generally the same. Microprocessors and microcontrollers can be thought of as tiny but very powerful computers that accept inputs, process those inputs based on software instructions, and then drive outputs to accomplish the required tasks.

A pipe organ control system’s inputs consist of electrical voltages that appear at system inputs when keys, stop and coupler controls, pistons, expression shoes, and other miscellaneous console controls are operated. Through an extremely fast, constant, and repetitive scanning process, all of an organ’s inputs are sampled quickly enough that any change, such as the press or release of a key, will be processed so quickly that no delay is discernable to even the most proficient organist playing as rapidly as possible.

The efficiency of an integrated control system’s size, cost, and performance is accomplished largely because, once inputs have been scanned, the resulting data can be manipulated by the microprocessor and microcontrollers with remarkable speed and precision, and surprisingly few parts, given careful software design. Whether used to run a small pipe organ like the instrument at Grace Episcopal Church in Hartford, or an enormous recital instrument with two consoles and every imaginable convenience for organists, integrated control systems have truly revolutionized the way electric-action organs are controlled today.

The Grace Episcopal Church organ was completed on June 26, 2017, and was featured in a dedicatory recital by Thomas Murray on October 29, 2017. The priest-in-charge is the Rev. Rowena J. Kemp and the director of operations in charge of preparing the installation site was parishioner Tom Phillips. This was a project we enjoyed thoroughly, especially due to the strong cooperation, encouragement, and enthusiasm of the entire parish.

Jack Bethards, President
Schoenstein & Co.

Scott Peterson, President
Peterson Electro-Musical Products Inc.

Cover feature photography: Louis Patterson

The New Organ at Pilgrim Lutheran Church
Carmel, Indiana
Buzard Pipe Organ Builders

by John-Paul Buzard

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Pilgrim Lutheran Church’s former building was located on land that the State of Indiana purchased to create a new entrance ramp for I-465; their parking lot was purchased by another institution. The congregation was therefore able to relocate and erect a new building without the need for fund-raising, although the process occupied more than ten years. Early in their planning process, Pilgrim’s organ committee selected Buzard Pipe Organ Builders for their hoped-for new organ in what was then their hoped-for new building. Imagine my delight and surprise when many years following our initial conversations Pilgrim’s cantor, Sarah Gran-Williams, called to tell me that they were “ready for the organ!”

The instrument at Pilgrim Lutheran Church is the 45th new pipe organ built by Buzard Pipe Organ Builders of Champaign, Illinois. It comprises 31 independent speaking stops and 37 ranks of pipes, distributed across two manuals and pedal. The instrument is housed in a freestanding case made of poplar and red oak measuring 24′ wide, 12′ deep, and 35′ tall. It was designed to marry with the new church building’s Prairie-style architecture. The pipe shades relate to geometric shapes in a large window at the front of the church and in all the architectural woodworking in the building. The splendid acoustical environment of four seconds of reverberation was achieved through close collaboration between the Buzard Company and architect Jack Munson of Indianapolis, Indiana.

The Great and Pedal divisions are located in the top level of the case. The Swell is located in the center above the impost. The lower level contains the winding and mechanical systems. The blower and static reservoir are installed in a closet located away from the sanctuary. The upper facade is comprised of polished tin pipes from the Great 8′ Open Diapason; the copper Festival Trumpets bisect the case in its center; the lower facade and two towers are the Pedal 16′ Open Diapason from low E upscale and the 8′ Pedal Principal. We housed half of the Great in an expression box to provide additional expressive quality and tonal flexibility to this two-manual organ.

Buzard organs are custom designed, scaled, and voiced for each individual congregation’s musical tradition and acoustical environment. This means they differ one from another in execution, but the Buzard style is an unmistakable musical thread that runs through every instrument. Our organs are works of functional art, designed and crafted to each and every client’s identity, and are identifiable by their tonal and artistic style.

This instrument honors its Lutheran patrimony by a slightly brighter outlook in the Principal choruses, the German Romantic Clarinet and Oboe, and the slightly lighter 16′ Pedal registers. But it is a Buzard organ in the enveloping warmth and majesty of full organ, and its delicacy and sensitivity of tone in softer registrations. It has been called “a cathedral organ” in a parish church.

Buzard organs utilize electrically operated slider and pallet windchests to eliminate leather in the playing mechanism, and to provide an action that encourages sophisticated tonal results. In our organs even the unit stops (pipes that play in multiple locations or at multiple pitches) and Pedal stops are played on actions just like the slider chests—but without the slider stop actions. They provide an expansion chamber for the wind in a key channel as the pallet is opened, giving the unit stops the same speech and repetition characteristics as the main slider chests. We are pioneers in the development of sensitive and responsive electric key actions; one can feel the difference.

Our pipes are made of thick high-tin-content metal (as well as wood and copper) rather than zinc in both flues and reeds, and we support them in felt-lined traces and European racking systems that prevent the pipes from collapsing and further firm the tone.

We regulate our wind supply using single-rise reservoirs, schwimmer regulators, and concussion bellows to deliver a copious steady wind supply with a fine degree of flexibility. Our tremulant actions send an adjustable timed pulse to electric solenoids under the schwimmers that both push and pull on the schwimmer plate to provide a perfect sine wave much like the human voice singing with vibrato. These actions are absolutely silent in their operation and extremely effective in both flue and reed stops.

We build all of our organs in sound reflective and protective cases, even when they are installed in chambers. We do this to provide excellent projection of sound into the room (especially when chambers are located off the axis of the room) and to protect the organ from severe temperature fluctuations and potential building failure (such as leaking roofs).

The expression shutters are made of 2″-thick poplar, laminated to prevent warpage during seasonal changes, with heavily felted sound traps. Our expression boxes’ walls and ceilings are made of 1″ MDF (the equivalent of 2″ of solid hardwood) with 1½”-thick poplar stiles and rails, to produce an extremely effective Swell expression. The shutters are moved by adjustable electric servomotors.

Buzard consoles are intuitive in their layout and solidly built to last for generations. Their proprietary ergonomics of manual-to-pedal alignment allow for many playing hours without fatigue. The logical layout of drawknobs and couplers, toe studs and expression pedals, encourages both technical accuracy and musical playing. Keyboards are plated in thick bone and ebony; the cabinets are made of 1½”-thick hardwoods.

Sarah Gran-Williams, cantor of Pilgrim Lutheran Church, said it best: “Buzard organs sing, and they help us sing!”

John-Paul Buzard is founder, president, and artistic director of Buzard Pipe Organ Builders. He is a certified master organbuilder with the American Institute of Organbuilders, a member of the Associated Pipe Organ Builders of America, and a member of the Worshipful Company of Musicians of the City of London.

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The Episcopal Church of SS. Andrew and Matthew
Wilmington, Delaware
Quimby Pipe Organs Inc. • Warrensburg, Missouri
by T. Daniel Hancock
Cover photo credit: Danny Schweers

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The Episcopal Church of Saints Andrew and Matthew (SsAM) is a vibrant faith community located on the southwestern edge of downtown Wilmington, Delaware, where the center city district gives way to the historic Quaker Hill neighborhood. Founded in 1996, SsAM is the result of a carefully considered and executed combination of two Episcopal parishes: St. Andrew’s Church, founded 1829, and St. Matthew’s Church, founded 1846. St. Andrew’s was primarily a white congregation, while St. Matthew’s was predominately black; both parishes were rich in formational historical ties to Wilmington and the Diocese of Delaware.

In the new venture, constituents of both parishes emphatically avoided the use of the word “merger” and all of the negative connotations and imagery that can accompany it. Rather, the vision for the parish was one of a multifaceted but united identity; one that fully recognized the unique heritage of each parish while also uniting the new community in “Christian fellowship, racial diversity, and advocacy for justice.” The results are evident to any visitor: an eclectic, honest parish with real compassion and heart; actively engaged in the community.

Almost from the beginning, the idea of a new pipe organ—one that would be a symbol of the new parish—was considered, and groundwork laid for this reality. Although the new parish inhabits the former St. Andrew’s facility, ranks of pipes were removed from the St. Matthew organ, a 1955 Möller, with the idea that perhaps pipes from both church organs could someday be utilized in the creation of a new instrument.

The St. Andrew organ, a 1945 Möller, had five 16′ stops in the Pedal, ingeniously engineered for concise placement within a comparatively small organ chamber. The Möller retained several ranks from the previous organ, a 1906 C.S. Haskell, which in turn most likely possessed mid-to-late 19th-century pipework from a previous organ. In 1957, a seven-rank Gallery division was added.

In 2012, the Episcopal Cathedral of St. John in Wilmington was closed, and many of the cathedral parishioners made their way to SsAM, further contributing to the diversity of the parish fabric. Accordingly, plans were made to include pipes from the cathedral organ, a 1920 Möller, in the new organ.

Thus, the music program at the church is wide-ranging, and the choir, under the leadership of organist and choirmaster David Christopher, can turn on a dime from Palestrina to spirituals, or from Howells to gospel music in a convincing fashion.

The new organ, our Opus 72, is just as flexible, and serves as an up-front, tangible symbol of the successful creation of one new entity from many disparate parts. It is a 46-rank instrument with three completely enclosed manual divisions in the chancel, and an unenclosed Antiphonal division in the location of the former Möller gallery division.

A new chamber was constructed to house the Choir division, opposite the existing organ chamber, where it is fronted on two sides (altar and nave) with new nonspeaking pipe facades that are mirror duplicates of the 1906 C.S. Haskell facade fronting the Great and Swell. Although the early 20th-century facade is dominating, with pipes of considerable overlength, its appearance is tempered by the presence of a beautifully carved stone arcade with three low-sprung arches in front of the altar and choir loft, visually and acoustically bisecting the nave from the organ chambers and choir.While visually arresting, this stone arcade creates an acoustical obstacle course behind which is a relatively high plaster ceiling. For the choir, it serves a kind of mixing chamber that aids in creating ensemble and blend; for the organ, it works as a tone trap, especially for the Great division, which is located high in the chamber, over the Swell and Pedal.

We developed a solution that meets this challenge both with generous scaling and characteristic, harmonically rich voicing, both of which give the instrument a sense of presence and colorful vitality which are almost overwhelming in the choir loft, but ultimately supportive and present in the nave for congregational song. Because all the chancel divisions are completely enclosed and separately expressive, this also allows for effective choral accompaniment.

The existing pipework was generously scaled and of excellent construction, especially the 16′ stops, all of which were included for reuse in the new organ, and which remain enclosed together with the manual divisions; many of the unit Pedal windchests from the 1945 Möller were restored for reuse because of the ingenious, compact layout. New electropneumatic slider windchests in the Quimby-Blackinton style were constructed for the manual divisions, with new electropneumatic windchests for reeds and extended stops. Our slider windchests allow remarkable efficiency for placement of pipework, and this has further enabled the rank count in the Great and Swell to exceed what it previously was.

The tonal characteristics of Opus 72 are idiomatic of QPO work in recent decades: heroically scaled diapason choruses, inspired by the work of 19th-century British organbuilder T.C. Lewis, voiced so that each stop is harmonically rich and colorful, which also enables individual voices to blend and meld together in ensemble. These are matched or exceeded by chorus reeds that are at once brilliant and foundational. If the reeds dominate the full ensemble, it’s not because the flues are weak; rather, the voicing and timbre of reeds constructed and voiced by QPO enables them both to stand on their own in chorus, and to effectively lock together with the flues in an exciting and powerful manner.

The Swell reed chorus includes an 8′ Trumpet and 4′ Clarion along French Romantic lines, with adaptations made in construction and voicing for success in American acoustics: here, brilliance and fire are combined with a foundational quality well suited to a less reverberant acoustic. By contrast, the Great Trumpet is inspired by English Romantic work, but is in no way iron-clad or tromba-esque.

The flue and reed chorus-work is contrasted by a variety of strings, flutes, and lyrical reeds that provide characteristic color voices for use in a wider range of solo and ensemble possibilities. There is considerable diversity in unison flues and reeds that are colorful, individually articulate, effective for smaller finely graded ensembles, and yet capable of creating a flood of foundation tone.

The Antiphonal is unenclosed in the gallery tower alcove; it frames a rose window at the rear of the church. It lends additional foundational presence in the nave for congregational singing, and colorful voices provide opportunities for antiphonal effects. This division contains the 8′ Harmonic Trumpet, a powerful reed with a commanding solo voice that can be heard over the full organ ensemble and exhibits a mix of fire and restraint; its forceful presence is not in the least offensive or startling, as so many loud solo reeds are.

The new three-manual and pedal console is constructed of paneled oak, finished to match church wainscoting, with a dark-finished walnut interior. The design of the console, with rocking stop tablets on angled jambs, is modeled on a particularly compact and elegant three-manual console built by the Aeolian Organ Company in 1930 for Memorial Presbyterian Church in St. Louis, Missouri. This was selected because it allowed for maximum flexibility for placement at several locations on the chancel platform, and it is so attractive, we hope that it will serve as a prototype for future QPO instruments, alongside our standard drawknob console design.

Just as the completed instrument is a symbol for the interwoven yet cohesive fabric of the SsAM parish community, so was the campaign to fund the work. The organ campaign was linked to one raising capital for the renovation of the parish kitchen. In the end, 400 donors from the parish and the larger community made individual donations of $5 to over $200,000. Credit for this is due in large part to the unflappable persistence and leadership of Patricia Saunders, campaign chair. The result, in an age when organ projects are more often than not largely funded by one or a few individuals, is an instrument that is already well beloved by parish and community, and bestowed with a widely shared sense of pride and ownership.

The organ was dedicated on February 19, 2017, with an inaugural recital played by Ken Cowan on February 25.

T. Daniel Hancock, AIA, is president of Quimby Pipe Organs Inc.

 

St. Mary’s Catholic Church
Auburn, New York
1890 Carl Barckhoff Pipe Organ
Restored by Parsons Pipe Organ Builders
by David McCleary

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The 1890 Carl Barckhoff organ at St. Mary’s Catholic Church, Auburn, New York, is thought to be the builder’s largest extant organ, and unlike most of the organs of its period, survives in relatively unaltered and undamaged condition. These two factors, combined with Barckhoff’s exceptional tonal design and the fact that the organ continues today as the primary instrument of the parish, made it imperative that it receive the restorative attention necessary to continue its mission.

When we approach any restoration project, we weigh the value of restoring the instrument as a historic artifact. Restored in this manner, we would first divest the Barckhoff of any modifications and then preserve or reintroduce the organ’s originally-specified components, all using historic methods and materials. In contrast, we also consider the value of a restoration that would be respectful of the historic nature of the organ, yet would incorporate a limited amount of modern materials in crucial areas to improve its longevity and function. This second approach would not jeopardize the organ’s Organ Historical Society Citation (No. 397), nor the unique historic character and function. In consultation with the pastor and director of music and considering the organ’s rigorous schedule at St. Mary’s, we arrived at a consensus that it should be restored according to the second approach.

Organbuilders at Parsons devoted some 7,000 hours to the restoration. The work included restoring deteriorated pipework and repairing severely cracked wooden parts, strengthening key and stop-action components to ensure reliable operation through seasonal changes, replacing missing components, replacing crumbling and rotted leather, stabilizing and strengthening structures such as windchests, pipe racking, and internal passage boards, and finally, refinishing the chassis.

With the exception of the electric blower, the Barckhoff organ operates entirely without electricity, using thousands of mechanical parts. During the restoration, each of these sensitive wood, metal, and leather parts was painstakingly adjusted, cleaned, and rebuilt so that each note plays quickly and evenly. Pallet springs were regulated and wooden tracker guides were precisely modified and relocated for optimal performance. Dilapidated and tired felt tracker square bushings were replaced with a modern, friction-free material, and felt bushings were removed from specific action points to make the key action more responsive. In each instance, as much original material was retained as possible. All parts were cleaned, adjusted, repaired, and renewed during the restoration.

In addition to the straightforward restoration of existing components, we were challenged to address a known shortcoming of the organ: the lack of accompanimental bass stops to balance with the otherwise bold sound of the organ. The Swell 16′ Bourdon was incomplete, lacking its all-important bottom octave, and the Pedal division did not include any reed stops. To gain insight into the appropriate construction and positioning of these pipes, we visited this instrument’s sister organ in Lancaster, Pennsylvania. Following this visit, we provided new pipes to complete the Swell 16′ Bourdon, matching Barckhoff’s scaling, materials, and construction techniques.

Adding the 16′ Trombone to the Pedal division presented a bigger challenge. To start, we located and restored a rank of vintage 16′ Trombone pipes with wooden resonators. Through careful planning, the Trombone was added to existing Pedal chests by building a new toeboard that accommodates both the existing 8′ Violoncello and the new 16′ Trombone. The toeboard is situated at the front of the windchest, with both stops sharing a single stop mechanism. Pulling the stop drawknob halfway engages the Violoncello alone, while a full draw adds both the Trombone and the Violoncello. In this way, we were able to add the 16′ Pedal Trombone tastefully and respectfully, without any significant visible alterations to the original console or drawknobs, and with minimum alteration to the windchests and internal stop actions.

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An electric blower generates wind, which first passes into a preliminary pressure regulator known as a static reservoir, which quiets and stabilizes the wind supply. Both blower and static reservoir are located outside the organ case in a remote, climate-controlled room. From the static reservoir, wind passes through wooden wind ducts to the newly constructed double-rise reservoir described below, where pressured air is stored and stabilized for the manual divisions, and to a separate reservoir for the Pedal division.

Some history is needed to understand the changes to the winding system. In the early 1950s, when the Barckhoff’s original double-rise reservoir failed, the technicians had elected to replace the large and bulky reservoir with several smaller single-rise reservoirs, because it would have been impossible to restore the large double-rise reservoir without dismantling the entire organ. At the same time the original reservoir was broken apart and removed, some of the original wooden wind ducts were also removed and replaced with metal ducts. Because the winding system is the “lungs” of the organ and affects tone, Parsons felt that it was critically important for the winding system to reflect the original builder’s intent. New wooden wind ducts and a new double-rise wind reservoir were crafted to serve the Swell and Great windchests after the style of Barckhoff’s other extant organs. A separate reservoir for the Pedal windchests was retained for wind stability. To prevent the dilemma that had occurred with the original double-rise reservoir, Parsons specifically engineered the new double-rise reservoir to offer access for repair and restoration in place.

Over the years, previous repairs had resulted in an unresponsive and unreliable stop action. In addition, the original Barckhoff tremulant was present but unable to function correctly, due to the introduction of an oversized flexible wind duct and springs on the reservoir added in the 1950s. In our restoration, we replaced the flexible duct to the tremulant with an appropriately sized zinc duct, and with the return of a weighted double-rise reservoir, the restored tremulant functions as Barckhoff intended, and provides the desired undulating effect that had not been heard in years. Pneumatic stop actions were carefully restored to the original Barckhoff specifications. The pre-set, all-mechanical combination pistons and mechanism were restored, and the original piston settings were put into place. In sum, the original Barckhoff stop action, wind system, and various mechanical parts were restored, not simply as separate parts, but as a functional, integral whole, keeping an eye to Barckhoff’s original intent, nonetheless insuring complete reliability and function.

During the course of their existence, the windchests suffered from low humidity and the effects of modern heating systems, and the original supports had proven to be inadequate in preventing warping and stress, particularly in the Pedal division. Wood had cracked beyond the point of repair causing pipes to speak when not called upon. Wind leaks had affected pipe speech and volume, and caused significant audible wind noise. To remedy these issues, critical windchest surfaces were removed, and replaced with level, high-quality void-free birch laminates designed to ensure longevity. A proper floor frame and supports were added to improve the structural integrity of the windchests, which, though robust, had been inadequate to support the weight of the organ’s pipes. Lastly, an internal humidification system was installed to keep the various wooden and leather parts stable during winter months.

Although every component plays a key role in determining the quality of the sound, nothing is as important as the pipes, with their unique construction, careful voicing, and tonal finishing. In the many years since 1890, the Barckhoff’s 1,546 all-original pipes had become deteriorated and worn. Tonal Director Duane Prill worked methodically to restore, repair, regulate, and voice each pipe, while remaining respectful of the Barckhoff voicing style. Jonathan Ambrosino assisted with the on-site tonal finishing process.

Parsons was able to restore most of the organ’s pipework, but even before the restoration process had begun, we knew from the organ’s history that, in addition to the usual deterioration of time, the speaking facade pipes had been damaged severely on one occasion, and poorly repaired over several other occasions, to the extent that few of the pipes were speaking. No repairs could reverse the damage and deterioration, so high-quality replica pipes were therefore necessary. Jacques Stinkens Pipe-makers copied the original pipes’ specifications, tone, and appearance in their workshop in the Netherlands. After the replica pipes arrived in the United States, Marylou Davis, an art conservator specializing in the conservation of painted and gilded surfaces, created an original design with an eye to the architecture and colors of St. Mary’s Church. Together with Ms. Davis, Ellen Parsons and Bridget Byrne painted and stenciled the new facade pipes over a period of three weeks in Woodstock, Connecticut. Detail of the stencil pattern can be seen in photos that accompany this article.

AGO MEMBERS: Read the complete October issue of TAO online

While our goal for this organ was preservation, not modernization, we incorporated a few select adaptations to make the organ more serviceable and reliable. Passage boards and ladders were improved to ensure safe access for tuning and repairs. To address the heavy key action and the resulting playing difficulties (indeed, a common reason so many 19th-century mechanical-action organs were “modernized” with electric action), we used modern, friction-free materials, which also will improve longevity. All of these adaptations protect the organ’s historic value and ensure its unique Barckhoff sound will be enjoyed for years to come.

We would like to thank Fr. Frank Lioi, pastor of St. Mary’s Church, and Joel Morehouse, director of music during the planning and fundraising for the restoration, for their tireless efforts, and for their full support in addressing the issues that required the attention of the church. Restoration of the 1890 Barckhoff would not have been possible without their patience, understanding, and support.

David McCleary serves as project developer for Parsons Pipe Organ Builders. His training includes process architecture and elongated sales cycles with an emphasis on collaborative relationships. He has extensive experience in the field of pipe organs, and holds memberships in several AGO chapters.

Joel Morehouse kindly contributed material to this article.

Mount Olivet United Methodist Church
Arlington, Virginia
Holtkamp Organ Company • Cleveland, Ohio
By F. Christian Holtkamp

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When approaching the Washington, DC, area in the crush of daytime traffic, it is hard to imagine what it was like some 150 years earlier. At that time, Mount Olivet United Methodist Church stood in open farm country on Glebe Road, in the same location as it stands today. When the church was founded in 1854, Glebe Road was unpaved and only wide enough to allow for the passage of horse-drawn buggies. The first church building was used as a hospital and stable during the Civil War. In the winter of 1861, much of the building was dismantled by Union troops stationed nearby in their search for firewood. The original structure was replaced in 1870, followed by two additional buildings: one constructed in 1897 and the most recent, completed in 1948.

The pipe organ first arrived at Mount Olivet Church in 1941, when a two-manual, eight-stop Möller, originally built in 1921 for Corinthian Baptist Church in Indianapolis, was moved to Mount Olivet Church. Subsequently restored by Möller and moved to the new church in 1948, it was removed and replaced by a new three-manual, 26-stop Möller in 1985.

AGO MEMBERS: Read the complete September issue of TAO online

When Mount Olivet’s director of music ministries, Steven Shaner, first invited me to visit, we played, listened, and talked about the scales and voicing of the organ, the placement of the divisions, and their impact in the worship space. The Great and Pedal were primarily placed against the rear chancel wall, giving them good projection down the nave of the church. The Swell and Positif divisions were placed in the side chambers of the chancel and spoke across the chancel, limiting their ability to project down the nave of the church to the congregation. Pipe scales were too small for the size of the worship space. It was also clear that during installation the wind pressures were raised somewhat in order to push the pipes and make them louder. Unfortunately, this was done without any changes to pipe scaling or voicing, with the inevitable result that the pipes became harsher in tone and less stable in tuning, neither of which is desirable. In spite of the organ’s shortcomings, it was clear that it had many good and useful components. It was the wish of Dr. Shaner and the congregation that we use as much of the 1985 Möller as was possible, without compromising the quality of the finished organ.

A project such as this always begins with two basic questions. The first is “What do we have to work with?” The materials at our disposal were a console, pipes, chests, wind regulators, and a blower. From the outset we decided to eliminate the chests. They would need to be releathered in 20 years or so and they were designed for pipe scales that were smaller than those that we would need. It was decided to replace them with slider chests with electric pulldowns and electric solenoid stop actions for the manual chests, and electropneumatic unit chests for the unit stops and bass pipes. The console had been recently restored, and contained an updated combination action, so it was also retained. Additionally, we used the existing blower and many of the existing wind regulators.

The second question is “What should the final result be?” As we discussed the project we envisioned an organ of three manuals and pedal, in which all four divisions are placed in the chancel proper, and not in the side chambers of the chancel. This proved to be possible with the exception of the 16′ pipes of the Pedal and Swell. As we looked at space planning, it became clear that we could build an organ of roughly 35 stops without enlarging the size of the chancel area. With this in mind, we arrived at a specification that used the majority of the stops in the Möller organ, however, it was also clear that if we were to use the existing pipes without alteration, they would continue to be acoustically and musically inadequate. As a result we made the decision to enlarge the diameters, or “rescale,” many of the stops being reused. All but one of the existing stops were retained. Of these, four are reeds and 21 are flues. The flue pipes were all reused as is or rescaled to give the desired musical and acoustical result in the worship space. Four of the existing stops were retained: the 4′ Octave, Sesquialtera II, and both 2′ stops. The remaining 17 flue stops were rescaled as much as seven pipes. Since rescaling is not appropriate to reed pipes, all four reeds were revoiced and reused.

AGO MEMBERS: Read the complete September issue of TAO online

Last to come was the visual design. We had three parameters that guided our process. First, we could not obstruct the view of the rose window in the center of the wall at the back of the chancel. Second, we wanted the organ facade to be at somewhat of an angle to help project the sound of the choir to the congregation. Third, we wanted the organ interior to be as shallow as possible. As I sketched out preliminary designs, the same question arose: how would I detail the casework once the basic shell was established? It clearly needed to be Classical in concept, but how could I either compete with or blend in with the strong posts and capitals in the upper chancel walls and ceiling? My final solution was not to compete with it at all, but to adopt it, lock, stock, and barrel. In order to do this, we had to precisely replicate the moldings, ornaments, and capitals, otherwise it would look like an ersatz imitation of the original. This was accomplished by making rubber castings of all the critical components of the chancel detailing. These rubber molds were transferred to plaster castings. The castings were then used to make production molds to form the ornaments and capitals of the chancel. The plaster ornaments and capitals were then integrated into the wood components of the casework. The match is exact. The results are outstanding.

The project overall has been a great success. The action is quick and responsive. The sound is full and supportive without being oppressively loud. The range of timbre is much wider than the size of the organ implies. The visual design fits the church like a glove. I thank everyone at Mount Olivet Church for giving us this great opportunity. I invite you to visit and hear for yourself the seamless way in which an existing instrument can be used to create something wonderful and new.

F. Christian Holtkamp, president and artistic/tonal director of Holtkamp Organ Company, is the sixth generation of leadership at the company. He holds a master of music degree in organ performance and has studied voice in high school and as an undergraduate. He is a member of the AGO, Associated Pipe Organ Builders of America, American Institute of Organbuilders, and Organ Historical Society.

Photos by Jim Coates

First United Methodist Church
Dalton, Georgia
Parkey Organbuilders
Berkeley Lake, Georgia

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Dalton First United Methodist Church is located in Dalton, Georgia, an active community located in northwest Georgia about 30 miles from Chattanooga, Tennessee. Dalton remains an active producer of carpets and now hardwood and tile flooring. The industry has been very kind to the community providing an active economy.

First United Methodist has enjoyed an active music program for many decades under the leadership of several fine musicians. The church had a new pipe organ installed in 1982, and that organ served the congregation well for the time of its installation. We have been fortunate to have them as a client over the years for maintenance and service.

In 1991, the church did a major expansion of the facility to include a new chapel, fellowship hall, and atrium. In that expansion, the church added to the end of the sanctuary behind the choir loft. The new section remained unused and segmented from the main sanctuary for over 25 years. Over the years the choir continued to grow and the deficiencies of the organ became more pronounced. By the late 90s, Peter Infanger, director of music ministries at the time, had initiated several project discussion on expansion of the choir loft and expansion of the organ. In fact, the new console we installed in 2008 was prepared for additional controls and drawknobs. In 2015, the church moved forward with a major plan to update facilities and renovate the sanctuary to now utilize the additional space for the installation of the pipe organ. The choir loft nearly doubled in size and the pipe organ was now moved into a central axis location. Part of the changes also included new walnut cases and facades for the organ, which provide a more traditional style appearance appropriate to the church’s architecture.

The church incorporated a number of improvements to the chancel and sanctuary space for reverberation and tonal egress. The new choir loft is floored in ceramic tile, as are the floors under the pews. The 1950s acoustical material was removed from the sanctuary ceiling. Relocating the organ to the new sanctuary addition added additional floor space in the choir loft. All of the changes created a much more reverberant space while still rendering an excellent space for the spoken work.

Though a new console and relays were installed in 2008, the windchests were now showing their age at 35 years. To reconfigure the organ, new windchests and swell boxes would be in order. The church requested proposals for a new organ retaining pipework of the current organ. In 2015 we signed with the church for Opus 16 of our firm. Though pipework was retained, several stops were relocated, scaling was addressed, and several additions were planned. Voicing and scaling were revised to correct the issues of the cantilevered flower box design so well known in the 60s and 70s. Some mixtures were lowered in pitch and some reassigned to new locations. A new complete mixture was built for the Swell Division. All of the retained pipework was re-voiced and regulated for the changes in the room and specification placement. Attention was given to the color of the stops as well as their balance.

The organ is constructed with electro-pneumatic slider windchests, with electro-pneumatic unit action windchests for select unit stops. The main winding regulators are single rise box regulators for very gentle wind response. Swell boxes are tight and well insulated for a wonderful dynamic response range.

We retained several 8′ foundation stops of ample scale from the original organ. However, middle and upper pitch stops were rescaled for a more even and cohesive build up. The bright and brittle sound with mixtures was magnified by the original windchest layouts and flower box configuration. In the new organ configuration, the specially designed chamber provides ample space for the footprint of the organ to remain on one level for tuning stability. The walls were specially constructed for maximum reflection. Pipe ranks were arranged in a far more appropriate configuration with 8′ pitches located nearest the tone opening and upperwork moved to the rear of the chambers for better tonal blend and easing of the brilliance of upperwork. New full-length pipes corrected the bass response in the room. In addition, the new pipes also gave a way to complete the new cases and facades.

Jeff Harbin, the director of music ministries and organist, has a wonderful understanding of the worship process. As we build pipe organs, we must consider the wide range of music available and how each organ will navigate the ability to provide that music. One can study and examine the different styles of organ construction and emulate different options. The organs that we have in America have come to reflect who we are and the diversity of our society. However, one of most demanding jobs of the organ is the ability to lead congregational singing. To have the scale and resources of an organ for a skilled musician to call upon will provide one of the many intimate experiences for the person in worship. I have often shared with my organists the thought that you should play the hymns with respect and flourish, and the congregation will embrace anything else you provide. During the course of construction and tonal finishing, I had many conversations with Jeff Harbin, the current director of music ministries and organist, concerning the organ and its design. Jeff is a well-respected musician and delight to work with. He understands the importance of hymns and how to structure his playing to encourage and lead congregational singing.
Peter Infanger, former director of music ministries and organist at First United Methodist Church, provided very good insight and pushed for the organ and the additional space that the church now enjoys. John Wigal, organist and choirmaster of the Church of the Good Shepherd on Lookout Mountain, Tennessee, provided a careful guiding hand as the consultant during the transition between Peter Infanger and Jeff Harbin. All three remained clear on the role of music and the organ with its relation to worship, and I think the final instrument is an excellent example of work and cooperation. Our firm is fortunate and pleased to have been selected as the builder for this project. We extend our appreciation to each of these gentlemen and the Organ Committee for their confidence and cooperation. My dear friend and colleague, Alan Morrison, provided the dedication recital to a packed house on March 17, 2017. The recital was stunning! All are to be commended for the work and presentation of Parkey OrganBuilders Opus 16.

Phil Parkey
President and Tonal Director

PARKEY ORGANBUILDERS STAFF
Michael Morris, design and layout
Philip Read, shop supervisor and installation
Kurtis Robinson, CNC operations and windchest construction
Johann Nix, master woodwork (windchests and console)
Chris Bowman, voicing and tonal finishing
Otilia Gamboa, leather operations and wiring
Kathy Yi, office manager
Keith Williamson, scheduling and service

From the Director of Music Ministries and Organist

In December 2014, I received a call to serve as director of music ministries and organist of the First United Methodist Church in Dalton, Georgia, a town known as the “Carpet Capital of the World.” Established in 1847, this northwest Georgia congregation, a flagship church in the North Georgia Conference, has long been recognized for the quality of its music ministry, which includes choirs for all ages, preschool through senior adults.
The current sanctuary was built in 1951 to meet the needs of this active and growing congregation. It is not known what organ was first utilized in the new building, although the church had installed a modest two-manual, nine-rank M.P. Moller (Opus 6559) in its previous location in 1937. It’s quite possible that this fairly new instrument was moved when the church relocated. In 1962, the congregation purchased a three-manual electronic organ that it would use over the next two decades.

In 1979, Donna Jean Bassett was recognized for 25 years of continuous service as church organist. She expressed thanks for her gift, then added “now let’s work to getting a pipe organ.” Her dream came to fruition in 1982 when a three-manual, 43-rank instrument, built by a reputable American organbuilding firm was installed. Robert MacDonald performed the dedicatory recital.

The organ was installed making full use of the limited space that was available. The left chamber housed the Pedal division, with the Swell and Choir both located on the right. The Great was divided on two “flower box” windchests mounted above the choristers’ heads on each side of the chancel cross. Many of the bass pipes had to be mitered, with the bottom octaves of both the Pedal Principal and Gemshorn constructed in the Haskell style. For this reason, the organ’s bass line was always weak and insufficient for the space. As was typical of the period, the voicing was bright and high-pitched mixture stops were plentiful.

In the early 2000s, burdened with an aging facility, a limited chancel space that offered almost no flexibility and an organ with obvious deficiencies, the church began exploring the possibility of a large-scale capital campaign. This was initiated during the 20-year tenure of Peter Infanger, director of music ministries and organist. With Peter’s guidance, the groundwork was laid for a major renovation project that would finally commence in 2015.

Mr. Infanger announced that he was leaving Dalton at the end of 2012 to accept a new position teaching at Mississippi State University. Over the next two years the church would be served by several interim organists and choirmasters. John Wigal, from the Church of the Good Shepherd in Lookout Mountain, Tennessee, was brought onboard to serve as organ consultant. Several well-respected organbuilding firms were asked to submit proposals for the relocation, enlargement, and improvement of the existing instrument.

For approximately two decades, Phil Parkey and his team from Atlanta had maintained the church’s pipe organ. He had “come to the rescue” on many occasions and built a new console for the instrument in 2008. The church building committee felt very comfortable with Parkey OrganBuilders and awarded the contract to the company in early 2015.

I personally have known Mr. Parkey since 1995 and have always had a tremendous appreciation for his quality work and attention to detail. He and his team did not fail to deliver on this project, the company’s Opus 16. To help the church be good stewards of their financial resources, Mr. Parkey and his team carefully and artistically reused much of the prior organ’s pipework. The majestic new facade, with its rich woodwork and polished tin pipes, leads the worshipers’ eyes upward to focus on the centrally located chancel cross. New slider action windchests were constructed so that the Swell and Choir could be divided on the left and right, respectively. A hauntingly beautiful French Hautbois was added to the Swell. A complete and robust flute-based Cornet also now graces this division. The beauty of these solo timbres is enhanced by the new Swell tremulant. Finally, the Swell chorus was completed with a new, lower pitched Plein Jeu IV, perfect for choral accompaniment. The previous organ’s Scharf III was relocated to a more appropriate home in the Choir division where it now functions perfectly. Also added to the Choir division was an 8′ Geigen Diapason, which lends gravity to the ensemble; this stop has also proven useful as both a solo and accompaniment voice. The 16’´ Gemshorn was expanded by twelve pipes to provide an 8’´accompaniment stop for the Great division. Four existing pipe ranks received completely new bass octaves to provide a solid foundation under the organ. A larger blower was installed so that the 50-rank instrument would be winded adequately. All of the pipework, both new and old, was properly scaled and voiced for the improved acoustics of the renovated sanctuary. The organ thrives in its new environment!

Although a purely pipe instrument, the organ possesses 300 levels of memory, a record and playback system controllable via iPad, and full MIDI compatibility. It is truly a blend of historic and modern technologies—an organ for the 21st century! One unique feature is a “Smart Resultant” in the Pedal division. It normally quints the bottom twelve notes of the 16’´ Bourdon. However, it switches to the 16′ Principal when the two drawknobs are drawn in conjunction, giving the organist “two stops for the price of one.”

Alan Morrison played a magnificent inaugural recital to a full house on the evening of St. Patrick’s Day, March 17, 2017. Since that time, the new Parkey organ has been the “talk of the town.” Nothing but positive comments have come from the congregation, who absolutely love their new organ. They realize how blessed they are to have such a magnificent instrument lead them in praising God “from whom all blessings flow.”

Jeff Harbin