DOCSLIB.ORG

Buzard Pipe Organ Builders, Opus 41 Trinity Lutheran Church, Sheboygan, Wisconsin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Buzard Pipe Organ Builders, Opus 41 Trinity Lutheran Church, Sheboygan, Wisconsin Cover feature The console Winding system showing stop action trundles above Buzard Pipe Organ Builders, a synthesis of these colors into the well- Trinity Lutheran Church’s director of we draw upon an intimate knowledge Champaign, Illinois precedented framework of classic organ- music, Brian Heinlein. We were asked of many styles and schools of voicing, as Opus 41, Trinity Lutheran Church, building, not from a rejection of the to create the quintessential “Lutheran well as aspects of tonal design, for the Sheboygan, Wisconsin lessons the Organ Reform Movement organ” for Trinity parish’s expansive and particular musical contexts at hand. Add taught. An organ for Lutheran worship impressive music program, combining to that sensitivity for one’s individual From the artistic director must be classically conceived, with a the overall effect of our own “house style and you have the making of art. Sometimes great new organs result hierarchical ordering of the divisions style” with the specific items that dif- Ours is one of few modern commercial when materials from older instruments and the choruses within those divisions. ferentiate the two. The result of the full organbuilding firms that dares to believe are recrafted and repurposed. Many (Oh . but that’s also how we go about organ, and the ability to make seamless it can create a unique place in the pro- of the best builders throughout history designing an Anglican organ as well . .) crescendos and diminuendos, is that fession and its history by developing an have reused former instruments to vary- The greatest artists throughout his- of a Buzard organ—one simply gets to individual artistic style. All of our visual ing degrees in their new work. Our Opus tory are those who have taken existing full organ a bit differently! Principals and tonal designs, the engineering and 41 began life as a Möller organ, rebuilt styles and stretched them to make their are light in nature, flutes transparent. execution, are accomplished in-house by and enlarged several times during its his- own new style. So it is with styles of Strings are typically rich and warm, and our own artists and craftsmen. True, our tory. We happily agreed to reuse the best organbuilding. It is the classic discipline in one instance explore colors created style is inspired at its core by what some of the existing materials, all the while that we follow (which extends from the by tapered pipes. Reeds, while quite specific instruments have had to say to considering this project a commission pipe scaling and voicing through the use similar to those found in our other new me. But it is the timeless concepts of clas- to build a new organ. The façade’s case- of slider and pallet windchests), which work, are slightly adjusted to the nature sic organbuilding that provide the perfect work, for example, is the original Möller allows us to craft our sound to meet a of what was wanted. framework to allow our style to thrive woodwork, redesigned and renewed, wide variety of contexts. For example, The most recent previous rebuild on its own, or be molded, shaped, and now including speaking pipes of the an organ for Lutheran worship should had been undertaken by the former finessed to satisfy other contexts. When Great and Pedal 8′ Principals. not be exclusively thin, top-heavy, and Schlicker Organ Company. A significant an organ bears the Buzard name, you We respect our clients’ musical and screechy (as are many examples of Organ amount of the pipework added during know that the Art is never “outsourced!” liturgical needs, and the good work of Reform organs); on the other hand, its this rebuilding was new. The Schlicker —John-Paul Buzard, President & those builders who preceded us. In this Principals probably shouldn’t be Diapa- organ used low wind pressures and Artistic Director case, Trinity Lutheran Church wanted us sons because its music places a greater therefore low cut-ups in the flue pipes. to build them an organ that would meet importance on transparency of tone. A Thus it was economically and artistically From the tonal director the rich musical and liturgical needs of successful organ—style, denomination, responsible to reuse them, altering the The project for Trinity Lutheran traditional Lutheran worship, honor the and musical use notwithstanding—needs scales as appropriate, and cutting the Church in Sheboygan was full of tonal gifts of past donors of the existing organ, to be able to text-paint the words being mouths higher to meet the new tonal challenges from the very beginning. We and respect the deep German heritage sung or the mood being communicated context. The original Pedal 16′ open were commissioned to build an organ of the congregation and the wider com- by the composition. A significant part of wood Diapason was retained, modified for the parish that would meet the munity. They loved the tonal depth of Lutheran hymnody expresses profound with new beards and proper tuning pan- needs of the Lutheran liturgy as well our organs, but wondered if we could darkness alongside the joyous light of els. The original Swell/Pedal 16′ Lieblich as perform the huge treasury of music perhaps stretch our “Anglo-American” redemption. Therefore, ought not its Gedeckt was too small of scale to do its written for the church. On top of that, style and thereby create a unique work organ also be able to portray darkness as job, so we made four new pipes, which this instrument also needed to be able of art—just for them. well as light? Shouldn’t the organ be able are mitered and bolted to the ceiling of to convincingly play more modern and My organ-playing roots go deep into to thunder and shake the floor—even the Swell expression box. romantic repertoire. The old instrument the performance of the great works of when playing softly? Our tonal director, Brian Davis, cre- had been redone several times by various Bach, and the exciting “turning of the We were blessed to receive a strong ated this magical synthesis. Even before firms and was leaning in the direction of tables” that the Organ Reform Move- endorsement of our work by Kantor tonal finishing began, we could all tell bright and thin. Some stops individually ment brought to our profession at the Rev. Richard Resch from Concordia that this was going to be a very special sounded pretty, but had nothing else in time I was just beginning organ study. Theological Seminary in Fort Wayne, organ for everyone concerned. Each of the organ with which to blend. Herein My love for romantic textures and sym- Indiana, and gratefully accepted an our organs is a custom-designed and cus- was the largest problem of the old phonic registrational colors developed as invitation to build this organ from tom-built musical instrument, because instrument. It did not meet the first and Buzard Pipe Organ Builders, Opus 41 Trinity Lutheran Church, Sheboygan, Wisconsin GREAT SWELL POSITIV PEDAL 16′ Lieblich Gedeckt (Sw) 16′ Lieblich Gedeckt (wood) 8′ Harfenpfeife 32′ Untersatz (digital) 8′ Prinzipal (polished tin in façade) 8′ Spitzflöte 8′ Metal Gedeckt 16′ Holz Prinzipal 8′ Rohrflöte 8′ Holz Gedeckt (from 16′) 4′ Prinzipal 16′ Subbass 4′ Oktav 8′ Salizional 4′ Blockflöte 16′ Lieblich Gedeckt (Sw) 4′ Flöte 8′ Schwebung (TC) Kornet II 8′ Oktavbass (polished tin in façade) 2 2 ⁄3′ Quint 4′ Prinzipal 2′ Oktav 8′ Gedeckt (ext 16′ Subbass) 2′ Oktav 4′ Kleinflöte 2′ Pfeife 8′ Lieblich Gedeckt (Sw) 2 1 Mixtur IV 2 ⁄3′ Nasat 1 ⁄3′ Larigot 4′ Choralbass (ext 8′) 16′ Englisch Horn 2′ Flachflöte Zimbel III 4′ Nachthorn 3 8′ Trompete 1 ⁄5′ Terz 8′ Dulzian Mixtur IV Tremulant Groß Mixtur IV Tremulant 32′ Kontra Posaune (digital) Zimbelstern (digital) 16′ Fagott 16′ Festliche Trompete (Gt) 16′ Posaune Chimes (25 notes, digital) 8′ Trompete 8′ Festliche Trompete (Gt) 16′ Fagott (Sw) 8′ Festliche Trompete 8′ Oboe 4′ Festliche Trompete (Gt) 8′ Trompete (ext 16′) (horizontal inside case) 4′ Klarine (from 16′) 8′ Schalmei Tremulant 8′ Festliche Trompete (Gt) * Festliche Trompete stops are not affected by 8′ Festliche Trompete (Gt) any couplers in any division, nor by couplers 40 independent speaking stops, 52 ranks between divisions. across three manuals and pedal 30 n THE DIAPASON n MARCH 2013 WWW.THEDIAPASON.COM Cover feature New trumpet resonators ready for installation Swell pipework The center of the façade foremost requirement in organs that I much a concept from the Organ Reform voice, which is that the stops must blend, Movement. Many organs in Europe that blend, blend! A copy of a set of pipes inspired the Organ Reform Movement from “Saint So and So” doesn’t automati- are like this and perform as such in their cally mean that it will be successful in own environment. That is the key! We Swell 16′ Gedeckt showing new basses, bolted to the ceiling a coherent instrument! You can scale do not copy what we see and hear in things properly so that they will blend, older organs but rather strive to recreate then use them to create unique and truly From the director of music and still capture the essence of the sound the essence of this sound in our rooms, beautiful voices for the organ, which The organ at Trinity Lutheran Church you are seeking. changing what is necessary about pipe make the instrument so versatile. Only was first installed by the Möller Organ And so we set forth on conceiving a construction in order to achieve this. one old reed was of use in the new instru- Company in 1927. Over the next 85 years tonal design that would blend well, fill The reeds in the organ are what give ment.
Load more

Recommended publications
  • The Fabulous 'Beer Can' Organ
    Now the organist could practice his BOMBARDENostalgia selections for the morrow and the organ committee members need never know that a lowly beer can was making THE FABULOUS it possible. The incident got Art Stopes to think­ ing about beer cans and organs. Per­ 'BEER CAN' ORGAN haps these beer cans had special quali­ ties which merited further investigation. Story by Stu Green Photo Copying by Bill Lamb He wondered how the plated ferrous metal from which they are stamped Art Stopes has led a colorful life, But if one were to ask Art about the would compare with pipe metal tonally. by any man's standards, and especially adventure which stands out in bold Tone from beer cans? You've gotta be those of organ enthusiasts. His entire relief as the most memorable, he'll an­ out of your skull, Art Stopes! life, since the age of 15 has been domi­ swer without hesitation, "my beer can The idea not only persisted but de­ nated by pipe organs - and he's still organ!" veloped. Soon Art knew that he was going strong. The year was 1942 and Art was in­ going to build some sort of a wind­ Art got his "baptism of fire" when stalling an organ in a Philadelphia church. It had to be ready for a dedi­ blown instrument, and the music would he was apprenticed to the Aeolian come from beer cans! Organ Co., in Garwood, New Jersey, cation concert the next day and time Being a craftsman, Art Stopes first just after his 15th birthday.
    [Show full text]
  • 2017 Pipe Organ Report
    ORGAN REPORT 2604 N. Swan Blvd., Wauwatosa, WI 53226 JUNE 1, 2017 “Beauty evangelizes, and a new organ will strengthen the Christ King mission to proclaim Christ and make disciples in the world.” Table of Contents A Letter From the Organ Committee.................Pg. 2 The Organ Committee Process..........................Pg. 3 Addendum 1 of 2: Riedel Organ Condition Report..................Pg. 4-15 Addendum 2 of 2: Type of Organs.............................................Pg.16-20 From theTHE Committee... PIPE ORGAN AT CHRIST KING PARISH The Organ Committee at Christ King Parish was formed in 2015 at the request of the Pastoral Council and the Worship Committee to evaluate the condition of our current organ, plus its present and future role in our community. This report will provide details on the failing condition of our organ, the cost for refurbishment vs the cost of replacing the instrument and the vetting of organ building companies. In 2007, the United States Conference of Catholic Bishops (USCCB) issued a document entitled, “Sing to the Lord: Music in Divine Worship”. Drawing from several centuries of organ use in the Catholic Church the Bishops stated the following about organs: 87. Among all other instruments which are suitable for divine worship, the organ is “accorded pride of place” because of its capacity to sustain the singing of a large gathered assembly, due to both its size and its ability to give “resonance to the fullness of human sentiments, from joy to sadness, from praise to lamentation.” Likewise,” the manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God” 88.
    [Show full text]
  • From Basement to Barcheston Paul Hale
    something old, something new FROM BASEMENT TO BARCHESTON Paul Hale This is the story of the organ now to be found in the delightful Warwickshire church at Barcheston. It begins in 1973, when Longstaff & Jones (Telford-based organ-builders and maintainers) advertised in the organ press that they would like to build a new, small pipe organ. Geoffrey Holroyde had yearned for some time for a small house organ for regular practice, so Longstaff & Jones were soon engaged to build for him a compact instrument, using direct-electric action. The successful design consisted of four ranks of pipes (and a quiet electronic pedal Bourdon) providing two manuals and pedals, with no couplers thereby avoiding too much extension with its attendant ‘missing notes’. Tickell case design for Barcheston The carefully chosen vintage ranks of pipes were: A Wooden stopped Gedackt 8ft extended to 4ft 68 pipes B Open metal (stopped from TC down) 8ft 56 pipes C Smaller scale open metal 4ft extended to 2ft 68 pipes D Oboe (for the Pedal Organ) 8ft 30 pipes Specification: Lower manual B8ft A8ft C4ft A4ft C2ft Upper manual C8ft (bottom octave from B) A8ft C4ft A4ft Barcheston Church looking East Pedal 16ft D8ft B8ft A8ft B4ft A4ft C2ft 48 • March 2020 something old, something new The opening recital in Geoffrey’s house was given by the youthful Edward Higginbottom, who before Cambridge had played for Geoffrey’s flourishing choir at St Mary’s Collegiate Church, Warwick. In 1979, Geoffrey and his, by then, large family moved to a spacious Victorian four-storey house.
    [Show full text]
  • Question: Is It Ok to Play a Pipe Organ During COVID? There's Debate in Our Church Whether, Since This Is a Wind Instrument, It Will Blow Covid Particles Around
    American Guild of Organists Committee on Career Development and Support - COVID-19 and Organists: Q & A https://www.agohq.org/covid-19-and-organists-q-a/ Question: Is it ok to play a pipe organ during COVID? There's debate in our church whether, since this is a wind instrument, it will blow Covid particles around. Research shows that minute Covid droplets attach themselves to dust particles and disperse in the air for 2-4 hours. The organ is in an enclosed chamber 10ft above the floor of the balcony, and 25 feet above the congregation in a very large building. The blower is located in a tower well above the balcony. Thanks. Responses: 1) from Jeffrey Dexter, President of the American Institute of Organbuilders... I would tend to agree ... that the organ would not be any more of an agent of virus spread than say, for example, a building HVAC system – likely even less. Although I cannot offer any factual evidence that would corroborate that claim, common sense seems to indicate such. My greater concern would be for any assembly/choral singing within a space (as tempting as it is to burst forth into song upon hearing an organ play). I am copying a number of my AIO colleagues – a cross section of persons – if only to provide further reinforcement to that which I have suggested – or perhaps, to take a wholly different opinion. This is the first such question about the pipe organ being a potential 'distribution agent' for the COVID-19 virus. We've been fielding questions about the sanitization of manual keyboards – especially in parishes where multiple organists use the same instrument.
    [Show full text]
  • Organ Registration: the Organist’S Palette—An Orchestra at Your Fingertips by Dr
    Organ Registration: The Organist’s Palette—An Orchestra at Your Fingertips By Dr. Bradley Hunter Welch I. Basic Review of Organ Tone (see www.organstops.org for reference) A. Two types of tone—flue & reed 1. Flue a. Principals (“Principal, Diapason, Montre, Octave, Super Octave, Fifteenth”) & Mixtures b. Flutes (any name containing “flute” or “flöte” or “flauto” as well as “Bourdon, Gedeckt, Nachthorn, Quintaton”) c. Strings (“Viole de Gambe, Viole Celeste, Voix Celeste, Violone, Gamba”) 2. Reed (“Trompette, Hautbois [Oboe], Clarion, Fagotto [Basson], Bombarde, Posaune [Trombone], English Horn, Krummhorn, Clarinet”, etc.) a. Conical reeds i. “Chorus” reeds—Trompette, Bombarde, Clarion, Hautbois ii. Orchestral, “imitative” reeds—English Horn, French Horn b. Cylindrical reeds (very prominent even-numbered overtones) i. Baroque, “color” reeds— Cromorne, Dulzian, some ex. of Schalmei (can also be conical) ii. Orchestral, “imitative” reeds—Clarinet (or Cor di Bassetto or Basset Horn) Listen to pipes in the bottom range and try to hear harmonic development. Begin by hearing the prominent 2nd overtone of the Cromorne 8' (overtone at 2 2/3' pitch); then hear 4th overtone (at 1 3/5'). B. Pitch name on stop indicates “speaking” length of the pipe played by low C on that rank II. Scaling A. Differences in scale among families of organ tone 1. Flutes are broadest scale (similar to “oo” or “oh” vowel) 2. Principals are in the middle—narrower than flutes (similar to “ah” vowel) 3. Strings are narrowest scale (similar to “ee” vowel) B. Differences in scale according to era of organ construction 1. In general, organs built in early 20th century (1920s-1940s): principals and flutes are broad in scale (darker, fuller sound), and strings tend to be very thin, keen.
    [Show full text]
  • ORGAN SEARCH COMMITTEE REPORT First Presbyterian Church, Boone NC
    ORGAN SEARCH COMMITTEE REPORT First Presbyterian Church, Boone NC June 19, 2018 TABLE OF CONTENTS 2018 WHY AN ORGAN NOW? ...................................... 2 SUMMARY .................................................................. 3 Mandate…. .................................................................................. 3 Starting Point………………………………………………………………………………………….3 Options…………………………………………………………………………………………………….4 The Way Forward…………………………………………………………………………………….5 Organ Options: Pros and Cons……………………………………………………………….6 FULL REPORT……………………………………………………….7 Introduction………………………………………………………………………………………….…7 Scope and Guidelines……………………………………………………………………………..7 Background……………………………………………………………………………………………..9 Current Condition of the Gawthrop Organ ..………………………………………….9 Pipe Organ Considerations and Recommendations ..……………………….…11 Digital Organs……………………………………………………………………………………….12 Digital Organ Considerations and Recommendations ..………………………13 Digital Organ Analysis………………………………………………………………………..…14 Search Committee’s Recommended Organ ……..…………………………………15 2018 WHY AN ORGAN NOW? At First Presbyterian we utilize many tools to help us recognize God in our midst, sacred vessels, vestments, paraments, flowers, etc. Additionally, musical instruments inspire our song and aid us in reflection. We have a beautiful piano, guitars, violins, keyboards, and yes drums, all of which bring a variety of music to life. Of all the instruments heard in a worship service, the organ is the largest and most versatile. Because of its aural and visual presence
    [Show full text]
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]
  • A 3D Visualization of Pipe Organ Music
    Rochester Institute of Technology RIT Scholar Works Theses 10-3-2011 A Vision of sound: A 3D visualization of pipe organ music Donna Schichler Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Schichler, Donna, "A Vision of sound: A 3D visualization of pipe organ music" (2011). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. A Vision of Sound A 3D Visualization of Pipe Organ Music Donna Schichler Rochester Institute of Technology Computer Graphics Design A thesis submitted to the Faculty of the College of Imaging Arts and Sciences in candidacy for the degree of Master of Fine Arts December 17, 2011 1 Abstract My goal is to create a 3D animation that illustrates the movements and patterns produced in the air when Bach’s Chromatic Fugue is played on a pipe organ. By combining the visual element of swirling patterns inspired by pipe organ acoustics simulation with imagery that the music evokes in the mind, I aim to present a surrealistic soundscape that visually depicts the boundless creative energy and freedom of music and mind combined. I hope to create an animation that is aesthetically interesting and to inspire imagination in viewer. Background When we hear music, the effect of traveling vibrations on surrounding air molecules creates what we perceive as sound. In some cases, invisible patterns are formed by the disturbance in the air that these moving vibrations create when musical instruments are played.
    [Show full text]
  • DB-40 Diane Bish Signature Organ
    Renaissance DB-40 Diane Bish Signature Organ Copyright © 1999 Allen Organ Company All Rights Reserved AOC P/N: 033-0119 06/99 RENAISSANCE DB-40 i ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs--the Allen Organ Company has sought to build the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first purely electronic oscillator organ. The tone generators for this first instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops. By 1959, Allen had replaced vacuum tubes in the oscillator organs with transistors. Thousands of transistorized instruments were built, including some of the largest, most sophisticated oscillator organs. Only a radical technological breakthrough could improve upon the fine performance of Allen’s solid-state oscillator organs. Such a breakthrough came in conjunction with the U.S. Space Program in the form of highly advanced digital microcircuits. Renaissance™ organs are the product of years of refinement in digital sound and control techniques by Allen engineers. It represents the apex of computer technology applied to exacting musical tasks. The result is an instrument of remarkably advanced tone quality and performance. Congratulations on the purchase of your new Allen Renaissance™ organ! You have acquired the most advanced electronic organ ever built, one that harnesses a modern computer to create and control beautiful organ tones. Familiarize yourself with the instrument by reading through this booklet. The sections on stop description and organ registration are intended for immediate use as well as for future reference RENAISSANCE DB-40 ii Contents I.
    [Show full text]
  • THEATRE ORGAN BOMBARDE, the Official Pub­ an Acre of Seats
    TheatreOrgan Bombarde JOURNAL of the AMERICAN THEATRE ORGAN ENTHUSIASTS Volume 11 Number 3 June 1969 --·"'" ~ ~Mi---~---....~ ..... ~ Wurlitzer Theatre Organ The modern Theatre Console Organ that combines the grandeur of resterday with the electronic wizardry of today. Command performance! Wurlitzer combines the classic Horseshoe Design of the immortal Mighty Wurlitzer with the exclusive Total Tone electronic circuitry of today. Knowledge and craftsmanship from the Mighty Wurlitzer Era have produced authentic console dimensions in this magnificent new theatre organ. It stands apart, in an instru­ ment of its size, from all imitative theatre organ • Dual system of tone generation • Authentic Mighty Wurlitzer Horseshoe Design designs. To achieve its big, rich and electrifying • Authentic voicing of theatrical Tibia and tohe, Wurlitzer harmonically "photographed" Kinura originating on the Mighty Wurlitzer pipe organ voices of the Mighty Wurlitzer pipe organ to • Four families of organ tone serve as a standard. The resultant voices are au­ • Two 61-note keyboards • 25 -note pedal keyboard with two 16 ' and thentic individually, and when combined they two 8 ' pedal voices augmented by Sustain blend into a rich ensemble of magnificent dimen­ • Multi -Matic Percussion ® with Ssh-Boom ®, Sustain , Repeat , Attack, Pizzicato , and sion. Then, to crown the accomplishment, we Bongo Percussion incorporated the famous Wurlitzer Multi-Matic • Silicon transistors for minimum maintenance Percussion ® section with exclusive Ssh-Boom ® • Reverb, Slide, Chimes , and Solo controls • Electronic Vibrato (4 settings) that requires no special playing techniques, • Exclusive 2 speed Spectra-Tone ® Sound Pizzi ca to Touch that was found only on larger pipe in Motion • Two -channel solid state amplifiers, 70 watts organs, Chimes and Slide Control ..
    [Show full text]
  • Pipe Organ Repertoire List
    Pipe Organ repertoire list PIPE ORGAN Contents Page Introduction ......................................................................... 3 LCM Publications ................................................................ 3 Grade 2 ............................................................................... 4 Grade 4 ............................................................................... 5 Grade 5 ............................................................................... 6 Grade 6 ............................................................................... 7 Grade 8 ............................................................................... 8 Viva Voce ............................................................................ 9 Aural Tests .......................................................................... 11 This repertoire list should be read in conjunction with the Syllabus for Graded and Leisure Play Examinations in Music Performance. Copies are available free of charge from LCM Examinations (tel: 020 8231 2364) or from local representatives. Leisure Play examinations are also available, for candidates who wish to play pieces only. Please see Section 5 of the syllabus for details. LCM Examinations Director of Examinations John Howard BA PhD Chief Examiner in Music Philip Aldred BEd FLCM LCM Examinations University of West London St Mary’s Road Ealing London W5 5RF tel: +44 (0)20 8231 2364 fax: +44 (0)20 8231 2433 email: [email protected] uwl.ac.uk/lcmexams © Copyright 2011 LCM Examinations, University
    [Show full text]
  • THE AEOLIAN SKINNER ORGAN History of the Organ
    THE AEOLIAN SKINNER ORGAN History of the Organ The first organ in Saint Paul’s present building was designed by Charles Courboin, organist of Saint Patrick’s Cathedral, and built by the E.M. Skinner Organ Company of Boston. The instrument, three manuals with 43 ranks, was situated in the space behind the reredos and in an attic chamber high above the nave, with sounds coming through openings in the wooden ceiling of the church. It was a superb example of the Romantic orchestral organ, possessing a warm sound, rich in color. It was at its best in transcriptions of music writ- ten for orchestra and organ music of the late nineteenth and early twentieth century. However, like most organs of the period, it lacked the clarity necessary for the performance of Bach, and the intensity implied in the great French school of organ composition. In the early 1950’s, Saint Paul’s Vestry began to address the deteriorating mechanical condition of the Skinner organ and its musical limitations. A contract was signed in 1953 with the Aeolian-Skinner Organ Company of Boston to re- build the instrument as part of the church’s centennial cele- bration. G. Donald Harrison, president and tonal director of the firm, worked with Thomas Dunn, organist at Saint Paul’s, in developing a completely new instrument of “American Classic” design. The “American Classic” concept, Harrison’s own creation, was eclectic. It combines the best elements of several traditions: the seventeenth-century German organ, the nineteenth-century French symphonic organ and the English cathedral or- gan for which so much Anglican church music is written.
    [Show full text]