PipeChat Digest #2150 - Sunday, June 10, 2001
 
Description of an organ project: X-posted LONG
  by <LLWheels@aol.com>
RE: You Are Invited (cross posted)
  by "Jonathan Roussos" <jroussos@san.rr.com>
 

(back) Subject: Description of an organ project: X-posted LONG From: <LLWheels@aol.com> Date: Sun, 10 Jun 2001 01:00:54 EDT     --part1_25.16887718.28545906_boundary Content-Type: text/plain; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   I describe here the organ project which the church I serve has contracted = to=3D =3D20 undertake. I welcome your comments; on the stoplist, on the project, or = on=3D20 anything related -- to the list, or to me privately. I hope you find it = of=3D20 interest.   Kenwood United Methodist Church Milwaukee, Wisconsin   Stoplist. 2002   AUSTIN ORGAN COMPANY, HARTFORD CT. OPUS 1628 -- 1928 AUSTIN ORGANS INCORPORATED, HARTFORD CT. OPUS 1628A --1948, 1968   MICHAEL J. O=3DE2=3D80=3D99DEA - ORGANBUILDER Flue Voicing and Tonal Revision, 1995   JOHN-PAUL BUZARD, ORGANBUILDERS 2001 Complete mechanical and tonal re-build including a used (re-built) 4-manual console with thick-cut ivory keys (Originally Reuter)     Legend: *New Stop and New Pipework **New Pipework restoring original Stop ***New Stop using existing Pipework & From 1968 alteration && From 1995 alteration     The A.O. Smith Memorial Organ   GREAT (Unenclosed) 73 notes - 7" wp   1) 32=3DE2=3D80=3D99 Bourdon (from Ped. t.c.)*** 2) 16=3DE2=3D80=3D99 Major Diapason 3) 8=3DE2=3D80=3D99 1st Open Diapason=3D20 4) 8=3DE2=3D80=3D99 2nd Open Diapason (ext. 16)***=3D20 5) 8=3DE2=3D80=3D99 Clarabella (CH) 6) 8=3DE2=3D80=3D99 Chimney Flute && 7) 8=3DE2=3D80=3D99 Gemshorn 8) 4=3DE2=3D80=3D99 Principal 9) 4=3DE2=3D80=3D99 Flute d=3DE2=3D80=3D99Amour=3D20 10) 2=3DE2=3D80=3D99 Octave & 11) 2=3DE2=3D80=3D99 Flute (ext. 4=3DE2=3D80=3D99)*** 12) IV Mixture & 13) 8=3DE2=3D80=3D99 Tuba Mirabilis 14) Tremolo (Fan) 15) English Bells (Schulmerich - existing)=3D20 GT-GT 16 and 4 (16 cuts out 32 and 16 stops) Unison Off SW-GT 16/8/4 CH-GT 16/8/4 SO-GT 8/4 SWELL - 73 notes - 7" wp   16) 16=3DE2=3D80=3D99 Lieblich Gedeckt=3D20 17) 8=3DE2=3D80=3D99 Stopped Diapason 18) 8=3DE2=3D80=3D99 Viola Pomposa* 19) 8=3DE2=3D80=3D99 Viola Celeste* 20) 4=3DE2=3D80=3D99 Principal=3D20 21) 4=3DE2=3D80=3D99 Harmonic Flute ** =3D20 22) 2-2/3=3DE2=3D80=3D99 Nazard && 23) 2=3DE2=3D80=3D99 Piccolo 24) 1-3/5=3DE2=3D80=3D99 Tierce && 25) V Plein Jeu & 26) 16=3DE2=3D80=3D99 Bassoon (From Oboe) 27) 8=3DE2=3D80=3D99 Cornopean 28) 8=3DE2=3D80=3D99 Oboe 29) 8=3DE2=3D80=3D99 Vox Humana (Vox-in-a-box) 30) 4=3DE2=3D80=3D99 Clarion ( from Oboe) 31) Tremolo (Fan) 32) Flemish Bells (Schulmerich - existing) SW-SW 16/4 Unison Off SO-SW 8/4     CHOIR (Enclosed) 73 notes - 7" wp   33) 16=3DE2=3D80=3D99 Dulciana 34) 8=3DE2=3D80=3D99 Violin Diapason ** 35) 8=3DE2=3D80=3D99 Clarabella 36) 8=3DE2=3D80=3D99Unda Maris 37) 8=3DE2=3D80=3D99 Dulciana (From 16=3DE2=3D80=3D99) 38) 4=3DE2=3D80=3D99 Principal 39) 4=3DE2=3D80=3D99 Flute (GT) 40) 4=3DE2=3D80=3D99 Clarabella (From 8=3DE2=3D80=3D99)*** 41) 2=3DE2=3D80=3D99 Harmonic Piccolo 42) 1-1/3=3DE2=3D80=3D99 Quint & 43) II Scharff & 44) 8=3DE2=3D80=3D99 Clarinet 45) 8=3DE2=3D80=3D99 Tuba Mirabilus (GT)=3D20 46) Tremolo (Fan) CH-CH 16/4 Unison Off GT-CH 16/8/4 SW-CH 16-8-4 SO-CH 8/4   SOLO - 73 notes - 7" wp   46) 8=3DE2=3D80=3D99 Stentor Diapason *** (Original GT 1st Open - Large = Scale, lea=3D thered=3D20 Lips) 47) 8=3DE2=3D80=3D99 Harmonic Flute ** 48) 8=3DE2=3D80=3D99 Viole Etheria 49) 8=3DE2=3D80=3D99 Viole Etheria Celeste (tc) 50) 4=3DE2=3D80=3D99 Harmonic Flute (ext) ** 51) Solo Trumpet ** 52) 8=3DE2=3D80=3D99 Cor Anglais 53) 8=3DE2=3D80=3D99 French Horn (Originally on CH, relocated) 54) Tremolo (Standard-type) 55) Chimes (Tubular - about 25 tubes) SO-SO4 / Unison Off     PEDAL 32 notes (Unenclosed except borrows)   56) 32=3DE2=3D80=3D99 Bourdon (1-12 digital, balance from 16) * 57) 32=3DE2=3D80=3D99 Lieblich Gedeckt (1-12 digital, balance from 16) * 58) 16=3DE2=3D80=3D99 Open Diapason (Wood) 59) 16=3DE2=3D80=3D99 Viole (GT) 60) 16=3DE2=3D80=3D99 Bourdon 61) 16=3DE2=3D80=3D99 Lieblich Gedeckt (SW) 62) 16=3DE2=3D80=3D99 Dulciana (CH) 63) 8=3DE2=3D80=3D99 Diapason & 64) 8=3DE2=3D80=3D99 Open Wood (From 16)*** 65) 8=3DE2=3D80=3D99Bourdon (From 16) 66) 8=3DE2=3D80=3D99 Clarabella (CH)*** 67) 4=3DE2=3D80=3D99 Choral Bass (From 8=3DE2=3D80=3D99) & 68) IV Mixture & 69) 32=3DE2=3D80=3D99 Trombone (1-12 digital, balance from 16) 70) 16=3DE2=3D80=3D99 Trombone (GT Tuba) 71) 16=3DE2=3D80=3D99 Bassoon (SW) 72) 16=3DE2=3D80=3D99 Solo Diapason (ext Stentor) 73) 16=3DE2=3D80=3D99 Solo Bourdon (Ext Flute) GT-PED 8/4 SW-PED 8/4 CH-PED 8/4 SO-Ped 8/4   New multi-level combination action. Crecendo Shoe SW Shoe CH Shoe SO on SW Shoe/SO on CH Shoe Switch All Swells to Swell   The 32=3DE2=3D80=3D99 digital extensions replace a 32=3DE2=3D80=3D99 = Diapason Resultant=3D20=3D and 32=3DE2=3D80=3D99 Reed=3D20 Harmonics which were not very effective.   The SOLO division was originally called ECHO and was not installed until = 194=3D 8=3D20 with a slight revision to the 1928 planned stoplist. It is in the rear of = th=3D e=3D20 nave in the tower, but speaks with a very good presence and little or = no=3D20 discernable time-lag. Tuning may be an challenge from time to time (it = is=3D20 already) but it is usable most of the year, and is no more of a problem = than=3D =3D20 the CH which is on a different level from the rest of the organ. The = SO=3D20 Stentor Diapason was called for in the 1928 stoplist, but was installed = in=3D20 1948 as a normal scale Diapason - these 1948 pipes are now the GT 1st = Open=3D20 and the original 1st Open will be rebuilt as the Stentor Diapason. The = 1928=3D20 Stoplist called for an 8=3DE2=3D80=3D99 Gross Flute on the SO but was = installed in=3D 1948 as=3D20 a Chimney Flute. The Chimney Flute now resides on the GT and a = Harmonic=3D20 Flute replaces the Gross Flute. The French Horn originally resided on the = CH=3D ,=3D20 but was move to the SO due to space limitations =3DE2=3D80=3D93 I felt a = greater n=3D eed for=3D20 the 8=3DE2=3D80=3D99 Violin Diapason (which existed in the 1928 stoplist) = but didn=3D =3DE2=3D80=3D99t want=3D20 to give up the French Horn, so it was moved, and the wp on the SO = increased=3D20 from 5" to 7" so that it could function there. The Echo played on the = GT=3D20 ONLY!!   The original console is a serpentine roll-top which stands on the = chancel=3D20 floor to the extreme right of the platform, facing the choir-loft, in = full=3D20 view of the congregation but nearly invisible to the choir. (We do a lot = of=3D20=3D a=3D20 capella stuff so that I can get up and conduct where the choir can see me) = I=3D t=3D20 is a typical Austin 3-manual console with stop-tabs over the SW in 2 = rows.=3D20 The general Pistons 1-8 are also placed above the SW, which is not all = that=3D20 inconvenient because the action is so unreliable that I seldom use = them=3D20 anyway. Unfortunately, the Ivory keyboards were replaced with plastic = severa=3D l=3D20 years ago. The new (used) 4-manual console will be in a pit, front = and=3D20 center of the choir loft, invisible to the congregation (anybody want = to=3D20 donate a lift?) but, hopefully, in full view of the choir. Relocation of = the=3D =3D20 console will also permit us to make the chancel and choir loft=3D20 handicapped-accessible, using the space occupied by the old console for = ramp=3D s=3D20 (there=3DE2=3D80=3D99s a lot of extra space there).   The entire instrument (except the aforementioned SO) stands across the = front=3D =3D20 and center of the room above and behind the choir loft with PED SW and GT = ,=3D20 left to right on the first level and CH above the SW. There is an = open=3D20 grillwork which was originally adorned with a velvet(!) curtain. The = curtain=3D =3D20 was replaced with acoustically transparent cloth some years ago, and = the=3D20 organ speaks quite boldly into the room. No pipes are visible (drat!)   This is a complex and multi-stranded instrument which has the potential to = b=3D e=3D20 a hodge-podge, or, as we used to say, a Billy-Barnes-Bastard. It was a = rathe=3D r=3D20 confusing tonal mess when I came 8 years ago, with little thought given = to=3D20 overall design, and little effort spent on bringing together the = various=3D20 additions and changes. In defense of my predecessor, a contract was = signed=3D20 with Schlicker some 10 years ago for a complete re-build, but, before = the=3D20 work was commenced, Schlicker went belly-up, and the new owners of=3D20 Schlicker (a Milwaukee firm) declined to honor the contract. (Thank = heaven;=3D20 it was an ill-advised plan to turn the organ into a=3D20 quasi-baroque-classic-frenchish thingy.) I give full credit to the = late=3D20 Michael O=3DE2=3D80=3D99Dea for creating a comprehensive tonal plan for = the instru=3D ment and=3D20 working his incredible voicing magic to pull the instrument together into a=3D20 cohesive ensemble in 1995. The major ideas in this revised stoplist = were=3D20 spawned at that time, but funds were not available to bring it to = fruition.=3D20 Flue-voicing was accomplished and a few things were moved about, but=3D20 mechanical rebuilding, stop-changes, new console and reed rebuilding = were=3D20 only a dream. In fact, the organ sounded so good (by comparison) when = he=3D20 finished that portion of work, that many in the congregation thought ALL = the=3D =3D20 work was done, and it took some work to convince them that more was = needed.=3D20 This became easier as the action began to fail - as he predicted it = would.=3D20 Unfortunately, Michael=3DE2=3D80=3D99s untimely death from AIDS prevents = his seein=3D g the=3D20 completion of these plans.   After consulting 5 organbuilders, we decided to entrust this tricky = endeavor=3D =3D20 to John-Paul Buzard, Organbuilders of Champaign, IL. Four of the = builders=3D20 presented us with very good, useful, and sometimes ingenious ideas, = (one=3D20 organbuilder had good ideas, but just sort-of disappeared and never = presente=3D d=3D20 a proposal) but the Buzard firms plans coincided most closely with our = visio=3D n=3D20 for the instrument, and, examination of their existing instruments = confirmed=3D =3D20 that they had both skill and talent equal to the challenging task of = weaving=3D =3D20 together this multi-stranded instrument into a beautiful and useful whole. =3D20 Some of you, I=3DE2=3D80=3D99m sure, are curious what all this costs (I = know I wou=3D ld be).=3D20 Since construction costs for alteration of the chancel are not firmed-up = yet=3D ,=3D20 I cannot give an exact figure, but the entire project will cost less = than=3D20 $400k with about 1/8 of that being construction, and the rest the = organ.=3D20 Nearly half of this is already pledged over the next three years, and = the=3D20 congregation will take out a loan for the rest. (When is the last time = you=3D20 heard of a congregation taking out a loan for an organ?) In several = studies=3D20 in the last few years, the congregation repeatedly singled-out music as = one=3D20 of it=3DE2=3D80=3D99s special talents and gifts to the community. This is = seen as=3D20=3D an=3D20 investment in the future of our ministry which will be shaped by this=3D20 decision for many years to come. The congregation sees the task of = saving=3D20 this organ from mechanical obsolescence as a gift to the coming = generations=3D20 and good stewardship of what has been given to us by previous = generations.=3D20 (It is such a joy to work with these people!)     Larry L. Wheelock (LLWheels@AOL.com) Organist Conductor Composer Kenwood United Methodist Church Milwaukee, WI       --part1_25.16887718.28545906_boundary Content-Type: text/html; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Univers" LANG=3D3D"0">I describe here the organ project which the = church I=3D serve has contracted to=3D20 <BR>undertake. I welcome your comments; on the stoplist, on the project, = or=3D20=3D on=3D20 <BR>anything related -- to the list, or to me privately. I hope you find = it=3D20=3D of=3D20 <BR>interest. <BR> <BR>Kenwood United Methodist Church <BR>Milwaukee, Wisconsin <BR> <BR>Stoplist. 2002 <BR> <BR>AUSTIN ORGAN COMPANY, HARTFORD CT. <BR>OPUS 1628 -- 1928 <BR>AUSTIN ORGANS INCORPORATED, HARTFORD CT. <BR>OPUS 1628A --1948, 1968 <BR> <BR>MICHAEL J. O=3DE2=3D80=3D99DEA - ORGANBUILDER <BR> Flue Voicing and Tonal Revision, 1995 <BR> <BR>JOHN-PAUL BUZARD, ORGANBUILDERS <BR> 2001 <BR>Complete mechanical and tonal re-build including a <BR>used (re-built) 4-manual console <BR>with thick-cut ivory keys (Originally Reuter) <BR> <BR> <BR>Legend: <BR> *New Stop and New Pipework <BR>**New Pipework restoring original Stop <BR>***New Stop using existing Pipework <BR>&amp; From 1968 alteration <BR>&amp;&amp; From 1995 alteration <BR> <BR> <BR>The A.O. Smith Memorial Organ <BR> <BR>GREAT (Unenclosed) 73 notes - 7" wp <BR> <BR>1) 32=3DE2=3D80=3D99 Bourdon (from Ped. t.c.)*** <BR>2) 16=3DE2=3D80=3D99 Major Diapason <BR>3) 8=3DE2=3D80=3D99 1st Open Diapason=3D20 <BR>4) 8=3DE2=3D80=3D99 2nd Open Diapason (ext. 16)***=3D20 <BR>5) 8=3DE2=3D80=3D99 Clarabella (CH) <BR>6) 8=3DE2=3D80=3D99 Chimney Flute &amp;&amp; <BR>7) 8=3DE2=3D80=3D99 Gemshorn <BR>8) 4=3DE2=3D80=3D99 Principal <BR>9) 4=3DE2=3D80=3D99 Flute d=3DE2=3D80=3D99Amour=3D20 <BR>10) 2=3DE2=3D80=3D99 Octave &amp; <BR>11) 2=3DE2=3D80=3D99 Flute (ext. 4=3DE2=3D80=3D99)*** <BR>12) IV Mixture &amp; <BR>13) 8=3DE2=3D80=3D99 Tuba Mirabilis <BR>14) Tremolo (Fan) <BR>15) English Bells (Schulmerich - existing)=3D20 <BR>GT-GT 16 and 4 (16 cuts out 32 and 16 stops) Unison Off <BR>SW-GT 16/8/4 <BR>CH-GT 16/8/4 <BR>SO-GT 8/4 <BR>SWELL - 73 notes - 7" wp <BR> <BR>16) 16=3DE2=3D80=3D99 Lieblich Gedeckt=3D20 <BR>17) 8=3DE2=3D80=3D99 Stopped Diapason <BR>18) 8=3DE2=3D80=3D99 Viola Pomposa* <BR>19) 8=3DE2=3D80=3D99 Viola Celeste* <BR>20) 4=3DE2=3D80=3D99 Principal=3D20 <BR>21) 4=3DE2=3D80=3D99 Harmonic Flute ** =3D20 <BR>22) 2-2/3=3DE2=3D80=3D99 Nazard &amp;&amp; <BR>23) 2=3DE2=3D80=3D99 Piccolo <BR>24) 1-3/5=3DE2=3D80=3D99 Tierce &amp;&amp; <BR>25) V Plein Jeu &amp; <BR>26) 16=3DE2=3D80=3D99 Bassoon (From Oboe) <BR>27) 8=3DE2=3D80=3D99 Cornopean <BR>28) 8=3DE2=3D80=3D99 Oboe <BR>29) 8=3DE2=3D80=3D99 Vox Humana (Vox-in-a-box) <BR>30) 4=3DE2=3D80=3D99 Clarion &nbsp;( from Oboe) <BR>31) Tremolo (Fan) <BR>32) Flemish Bells (Schulmerich - existing) <BR>SW-SW 16/4 Unison Off <BR>SO-SW 8/4 <BR> <BR> <BR>CHOIR (Enclosed) 73 notes - 7" wp <BR> <BR>33) 16=3DE2=3D80=3D99 Dulciana <BR>34) 8=3DE2=3D80=3D99 Violin Diapason ** <BR>35) 8=3DE2=3D80=3D99 Clarabella <BR>36) 8=3DE2=3D80=3D99Unda Maris <BR>37) 8=3DE2=3D80=3D99 Dulciana (From 16=3DE2=3D80=3D99) <BR>38) 4=3DE2=3D80=3D99 Principal <BR>39) 4=3DE2=3D80=3D99 Flute (GT) <BR>40) 4=3DE2=3D80=3D99 Clarabella (From 8=3DE2=3D80=3D99)*** <BR>41) 2=3DE2=3D80=3D99 Harmonic Piccolo <BR>42) 1-1/3=3DE2=3D80=3D99 Quint &amp; <BR>43) II Scharff &amp; <BR>44) 8=3DE2=3D80=3D99 Clarinet <BR>45) 8=3DE2=3D80=3D99 Tuba Mirabilus (GT)=3D20 <BR>46) Tremolo (Fan) <BR>CH-CH 16/4 Unison Off <BR>GT-CH 16/8/4 <BR>SW-CH 16-8-4 <BR>SO-CH 8/4 <BR> <BR>SOLO - 73 notes - 7" wp <BR> <BR>46) 8=3DE2=3D80=3D99 Stentor Diapason *** (Original GT 1st Open - = Large Scale,=3D leathered=3D20 <BR>Lips) <BR>47) 8=3DE2=3D80=3D99 Harmonic Flute ** <BR>48) 8=3DE2=3D80=3D99 Viole Etheria <BR>49) 8=3DE2=3D80=3D99 Viole Etheria Celeste (tc) <BR>50) 4=3DE2=3D80=3D99 Harmonic Flute (ext) ** <BR>51) Solo Trumpet ** <BR>52) 8=3DE2=3D80=3D99 Cor Anglais <BR>53) 8=3DE2=3D80=3D99 French Horn (Originally on CH, relocated) <BR>54) Tremolo (Standard-type) <BR>55) Chimes (Tubular - about 25 tubes) <BR>SO-SO4 / &nbsp;Unison Off <BR> <BR> <BR>PEDAL &nbsp;32 notes (Unenclosed except borrows) <BR> <BR>56) 32=3DE2=3D80=3D99 Bourdon (1-12 digital, balance from 16) * <BR>57) 32=3DE2=3D80=3D99 Lieblich Gedeckt (1-12 digital, balance from 16) = * <BR>58) 16=3DE2=3D80=3D99 Open Diapason (Wood) <BR>59) 16=3DE2=3D80=3D99 Viole &nbsp;(GT) <BR>60) 16=3DE2=3D80=3D99 Bourdon <BR>61) 16=3DE2=3D80=3D99 Lieblich Gedeckt (SW) <BR>62) 16=3DE2=3D80=3D99 Dulciana (CH) <BR>63) 8=3DE2=3D80=3D99 Diapason &amp; <BR>64) 8=3DE2=3D80=3D99 Open Wood (From 16)*** <BR>65) 8=3DE2=3D80=3D99Bourdon (From 16) <BR>66) 8=3DE2=3D80=3D99 Clarabella (CH)*** <BR>67) 4=3DE2=3D80=3D99 Choral Bass (From 8=3DE2=3D80=3D99) &amp; <BR>68) IV Mixture &amp; <BR>69) 32=3DE2=3D80=3D99 Trombone (1-12 digital, balance from 16) <BR>70) 16=3DE2=3D80=3D99 Trombone (GT Tuba) <BR>71) 16=3DE2=3D80=3D99 Bassoon (SW) <BR>72) 16=3DE2=3D80=3D99 Solo Diapason (ext Stentor) <BR>73) 16=3DE2=3D80=3D99 Solo Bourdon (Ext Flute) <BR>GT-PED 8/4 <BR>SW-PED 8/4 <BR>CH-PED 8/4 <BR>SO-Ped 8/4 <BR> <BR>New multi-level combination action. <BR>Crecendo Shoe <BR>SW Shoe <BR>CH Shoe <BR>SO on SW Shoe/SO on CH Shoe Switch <BR>All Swells to Swell <BR> <BR>The 32=3DE2=3D80=3D99 digital extensions replace a 32=3DE2=3D80=3D99 = Diapason Result=3D ant and 32=3DE2=3D80=3D99 Reed=3D20 <BR>Harmonics which were <BR>not very effective. <BR> <BR>The SOLO division was originally called ECHO and was not installed = until=3D 1948=3D20 <BR>with a slight revision to the 1928 planned stoplist. It is in the rear = o=3D f the=3D20 <BR>nave in the tower, but speaks with a very good presence and little or = no=3D =3D20 <BR>discernable time-lag. Tuning may be an challenge from time to time (it = i=3D s=3D20 <BR>already) but it is usable most of the year, and is no more of a problem=3D20=3D than=3D20 <BR>the CH which is on a different level from the rest of the organ. = &nbsp;T=3D he SO=3D20 <BR>Stentor Diapason was called for in the 1928 stoplist, but was = installed=3D20=3D in=3D20 <BR>1948 as a normal scale Diapason - these 1948 pipes are now the GT 1st = Op=3D en=3D20 <BR>and the original 1st Open will be rebuilt as the Stentor Diapason. The = 1=3D 928=3D20 <BR>Stoplist called for an 8=3DE2=3D80=3D99 Gross Flute on the SO but was = installe=3D d in 1948 as=3D20 <BR>a Chimney Flute. The Chimney Flute now resides on the GT &nbsp;and a = Har=3D monic=3D20 <BR>Flute replaces the Gross Flute. The French Horn originally resided on = th=3D e CH,=3D20 <BR>but was move to the SO due to space limitations =3DE2=3D80=3D93 I felt = a great=3D er need for=3D20 <BR>the 8=3DE2=3D80=3D99 Violin Diapason (which existed in the 1928 = stoplist) but=3D20=3D didn=3DE2=3D80=3D99t want=3D20 <BR>to give up the French Horn, so it was moved, and the wp on the SO = increa=3D sed=3D20 <BR>from 5" to 7" so that it could function there. The Echo played on the = GT=3D =3D20 <BR>ONLY!! <BR> <BR>The original console is a serpentine roll-top which stands on the = chance=3D l=3D20 <BR>floor to the extreme right of the platform, facing the choir-loft, in = fu=3D ll=3D20 <BR>view of the congregation but nearly invisible to the choir. (We do a = lot=3D of a=3D20 <BR>capella stuff so that I can get up and conduct where the choir can see = m=3D e) It=3D20 <BR>is a typical Austin 3-manual console with stop-tabs over the SW in 2 = row=3D s.=3D20 <BR>The general Pistons 1-8 are also placed above the SW, which is not all = t=3D hat=3D20 <BR>inconvenient because the action is so unreliable that I seldom use = them=3D20 <BR>anyway. Unfortunately, the Ivory keyboards were replaced with plastic = se=3D veral=3D20 <BR>years ago. The new (used) 4-manual console will be in a pit, = &nbsp;front=3D and=3D20 <BR>center of the choir loft, invisible to the congregation (anybody want = to=3D =3D20 <BR>donate a lift?) but, hopefully, in full view of the choir. Relocation = of=3D the=3D20 <BR>console will also permit us to make the chancel and choir loft=3D20 <BR>handicapped-accessible, using the space occupied by the old console = for=3D20=3D ramps=3D20 <BR>(there=3DE2=3D80=3D99s a lot of extra space there). <BR> <BR>The entire instrument (except the aforementioned SO) stands across the = f=3D ront=3D20 <BR>and center of the room above and behind the choir loft with PED SW and = G=3D T ,=3D20 <BR>left to right on the first level and CH above the SW. There is an = open=3D20 <BR>grillwork which was originally adorned with a velvet(!) curtain. The = cur=3D tain=3D20 <BR>was replaced with acoustically transparent cloth some years ago, and = the=3D =3D20 <BR>organ speaks quite boldly into the room. No pipes are visible (drat!) <BR> <BR>This is a complex and multi-stranded instrument which has the = potential=3D20=3D to be=3D20 <BR>a hodge-podge, or, as we used to say, a Billy-Barnes-Bastard. It was a = r=3D ather=3D20 <BR>confusing tonal mess when I came 8 years ago, with little thought = given=3D20=3D to=3D20 <BR>overall design, and little effort spent on bringing together the = various=3D =3D20 <BR>additions and changes. In defense of my predecessor, a contract was = sign=3D ed=3D20 <BR>with Schlicker some 10 years ago for a complete re-build, but, before = th=3D e=3D20 <BR>work was commenced, &nbsp;Schlicker went belly-up, and &nbsp;the new = own=3D ers of=3D20 <BR>Schlicker (a Milwaukee firm) declined to honor the contract. (Thank = heav=3D en;=3D20 <BR>it was an ill-advised plan to turn the organ into a=3D20 <BR>quasi-baroque-classic-frenchish thingy.) I give full credit to the = late=3D20 <BR>Michael O=3DE2=3D80=3D99Dea for creating a comprehensive tonal plan = for the in=3D strument and=3D20 <BR>working his incredible voicing magic to pull the instrument together = int=3D o a=3D20 <BR>cohesive ensemble in 1995. &nbsp;The major ideas in this revised = stoplis=3D t were=3D20 <BR>spawned at that time, but funds were not available to bring it to = fruiti=3D on.=3D20 <BR>Flue-voicing was accomplished and a few things were moved about, = but=3D20 <BR>mechanical rebuilding, stop-changes, new console and reed rebuilding = wer=3D e=3D20 <BR>only a dream. In fact, the organ sounded so good (by comparison) when = he=3D =3D20 <BR>finished that portion of work, that many in the congregation thought = ALL=3D the=3D20 <BR>work was done, and it took some work to convince them that more was = need=3D ed.=3D20 <BR>This became easier as the action began to fail - as he predicted it = woul=3D d.=3D20 <BR>Unfortunately, Michael=3DE2=3D80=3D99s untimely death from AIDS = prevents his s=3D eeing the=3D20 <BR>completion of these plans. <BR> <BR>After consulting 5 organbuilders, we decided to entrust this tricky = ende=3D avor=3D20 <BR>to John-Paul Buzard, Organbuilders of Champaign, IL. &nbsp;Four of the = b=3D uilders=3D20 <BR>presented us with very good, useful, and sometimes ingenious ideas, = (one=3D =3D20 <BR>organbuilder had good ideas, but just sort-of disappeared and never = pres=3D ented=3D20 <BR>a proposal) but the Buzard firms plans coincided most closely with our = v=3D ision=3D20 <BR>for the instrument, and, examination of their existing instruments = confi=3D rmed=3D20 <BR>that they had both skill and talent equal to the challenging task of = wea=3D ving=3D20 <BR>together this multi-stranded instrument into a beautiful and useful = whol=3D e. <BR>=3D20 <BR>Some of you, I=3DE2=3D80=3D99m sure, are curious what all this costs = (I know I=3D would be).=3D20 <BR>Since construction costs for alteration of the chancel are not = firmed-up=3D yet,=3D20 <BR>I cannot give an exact figure, but the entire project will cost less = tha=3D n=3D20 <BR>$400k with about 1/8 of that being construction, and the rest the = organ.=3D =3D20 <BR>Nearly half of this is already pledged over the next three years, and = th=3D e=3D20 <BR>congregation will take out a loan for the rest. (When is the last time = y=3D ou=3D20 <BR>heard of a congregation taking out a loan for an organ?) In several = stud=3D ies=3D20 <BR>in the last few years, the congregation repeatedly singled-out music = as=3D20=3D one=3D20 <BR>of it=3DE2=3D80=3D99s special talents and gifts to the community. This = is seen=3D as an=3D20 <BR>investment in the future of our ministry which will be shaped by = this=3D20 <BR>decision for many years to come. The congregation sees the task of = savin=3D g=3D20 <BR>this organ from mechanical obsolescence as a gift to the coming = generati=3D ons=3D20 <BR>and good stewardship of what has been given to us by previous = generation=3D s.=3D20 <BR>(It is such a joy to work with these people!) <BR> <BR> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Un=3D ivers" LANG=3D3D"0">Larry L. Wheelock (LLWheels@AOL.com) <BR>Organist <BR>Conductor <BR>Composer <BR>Kenwood United Methodist Church <BR>Milwaukee, WI</FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 = FAMILY=3D3D"SANSSERI=3D F" FACE=3D3D"Bimini" LANG=3D3D"0"> <BR></FONT><FONT COLOR=3D3D"#ff0000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Bi=3D mini" LANG=3D3D"0"> <BR></FONT></HTML>   --part1_25.16887718.28545906_boundary--  
(back) Subject: RE: You Are Invited (cross posted) From: "Jonathan Roussos" <jroussos@san.rr.com> Date: Sat, 9 Jun 2001 22:14:18 -0700   You might want to check out their web site http://www.diyapason.pipechat.org/   It's a good list and stays very well on topic.   Jon   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of Mike Gettelman Sent: Saturday, June 09, 2001 5:50 PM To: PipeChat Subject: Re: You Are Invited (cross posted)     By the way, Diyapason-L is not an electronically subscribed list. You must be patient for a human person to reply. Mike   VEAGUE wrote:   > Ron- Y not send a posting to them asking for a reply to see if they're > still around? > > Rick > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org     "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:pipechat@pipechat.org Administration: mailto:admin@pipechat.org Subscribe/Unsubscribe: mailto:requests@pipechat.org