emerge as the right choice. but who would COVER FEATURE have thought that our" Anglo" organ would end up being built by French Canadians? But build it they did! When I first heard our new FIRSTUNITED METHODIST CHURCH organ in the Casavant workshop in June of 2003. it not only met my expectations but DALLAS, TEXAS surpassed them in so many ways. I spent the .. first 30 minutes of my visit playing on noth- ing but the First Open Diapason from the CASAVANTFRERES Great division-such a beautiful stop and a rich foundational sound for which we at First United Methodist Church had been longing. The character and personality of this in- strument have continued to amaze me throughout the installation and pro- cess. The sound of this organ is very warm and rich while maintaining an exquisite clar- ity and brilliance. It is truly a work of art. Whether leading congregational hymns. ac- companying choral anthems. or playing solo of the great masters from Bach to Dupre, Opus 3828 is truly an origi- nal and will bring great glory to almighty God who has blessed us so richly. TIM EFFLER Organist and Associate Director of Music

From the Consultant From the Senior Minister our "miracle organ," because it is something The completion and dedication of Casa- Now that the dedication of our new pipe many thought we would never see or hear. vant Opus 3828 was a dream come true for organ has taken place, we would do well to With the blessing of the trustees, we pre- all of us involved in the selection,concep- reflect on the significance of this milestone sented our proposal to purchase a new pipe tion, design,building, and installation of this .in our church's history. The assembly of this organ at an All-Church Conference on March fine instrument. From the consultant-main- new instrument is something akin to a per- 11, 2001, and with an overwhelmingly posi- tenance provider's point of view, the suc- son getting a heart transplant. After all, the tive vote, the membership agreed to take the cessesof this installation are not only to be organ provides the heartbeat of our worship leap of faith and make this dream come true. found in the beautiful tonal structure of the experience. We are now feeling renewed vi- Since then, the most inspiring part of this voices, from the mixtures to the 32' Pedal tality pumped into the gathered Body of process has been watching the "grass roots" stops,or in the expertly crafted facadecase- Christ as a result of the power of this instru- effort grow. No individual, family, or foun- work, which masterfully matchesthe origi- ment. Under the skilled hands of our organ- dation made this miracle happen. It hap- nal plaster screenand the surrounding En- ist, Tim Effler, the organ prelude consecrates pened one person at a time making one do- glish Gothic woodwork, but also in the time and space and beckons us all from the nation at a time. That's the First Church way, spaciousand accessiblephysical layout and distractions and busyness of our lives to fo- and when the majestic sounds of our new or- installation of the windchests, pipes, and cus on the task of faith. The sounds driven gan fill the sanctuliry, the beauty and vitality support equipment, such as reservoirsand from the myriad ranks of pipes call us to wor- we hear will be a reflection of us, the Body of blowers, which were isolated, as much as ship God. The strains of high notes waft Christ at First United Methodist Church in possible,behind the chambersto eliminate down from the sanctuary ceiling like manna downt{)wn Dallas, who cared enough to wind and blower noisesthought to be a nec- from heaven. The driving bass notes shake us make the dream come true. Thanks be to God essaryevil in somepipe organinstallations. out of our apathy and preoccupation with for our miracle organ! The entire facade,comprised of Pedal and self like a great earthquake. The hymns that DANA EFFLER manual principals, is completely accessible we sing together are more powerful in their Director of Music and Arts from inside the organ for tuning and other proclamation of God's word. Clarity. Power. From the Organist adjustments that might be required from Beauty. The new organ gives us these things time to time. The designalso includes fold- and we are feeding off this new energy. With What a thrill it is finally to write aboutthis marvelous instrument and this incredible ing tuning-maintenanceplatforms on either Casavant Opus 3828 now securely en- side of the lowest central display of princi- sconced in our historic sanctuary, First journey over the past six years.Early in the processKeith Schafer,organist at St. Paul's pals just beneath the Festival Trumpet Church congregations will be blessed for (chamade).When the platforms are lowered decades to come. This is truly an instrument Episcopal Church in Augusta, Georgia, by meansof a spring-loadedcable and crank, for the ages. sharedwith me that his church's organpro- ject had taken six yearsfrom the time a com- the tuner is provided with a very comfortable DR. JOHN F. FIEDLER meansfor accessingthe wires and resonators Senior Minister mittee was formed until the completion of the instrument, and that he had neededev- for tuning and regulatingthe pipes. Thereis From the Director of Music ery minute of it! Washe everright-so many even a guardrail that unfolds into place to Located in the Arts District of downtown questions,so many details.And the result is help the tuner avoid stepping off the plat- Dallas, the Music and Arts program is a vital this fabulousinstrument that we havetoday. form while servicing the stop that is just part of First United Methodist Church offer- Throughoutthe entire processthe wonderful overheadwithin easyreach. The installation ing seven choirs, six handbell choirs, an art people of CasavantFreres have listened, ad- is accessibleon all levels, below each divi- gallery, and a theater series. Our new organ vised, encouraged, hand held, and cele- sion for windchest access,and aboveeach is a welcomed addition, bringing with it a brated with us over the creation of Opus windchest for tuning and regulation. This quality, clarity, and variety of sound that re- 3828. tuner has not seenan instrument as accessi- flects and augments the music ministry it From the start we knew we wanted a tra- ble or serviceableas this one in nearly 40 serves. A marvelous solo instrument, its ditional and eclectic" Anglo!American" or- yearsof servicingpipe organs.There will be beauty and energy provide excellent accom- gan-the kind of instrument that might have at least one instrument in the hundredswe paniment for all of our choirs. beenbuilt for this new sanctuaryby the E.M. have servicedthat we will be ableto service Looking back over the long road we trav- Skinner Company back in 1926. So, we into our "senior years"! It hasbeen a joy and eled, I am filled with a sense of awe and grat- looked at several"American" builders. I be- a privilege to be a part of such a successful itude for the hundreds of individuals who gan this processwondering how we would endeavor.Soli Deo Gloria! contributed their financial support to this ever make a decision. Our consultant, Gary GARY LOPER project. I decided that it is fitting to call this Loper, reassuredme that one builder would Loper Service

32 Copyright 2004 by theAmerican Guild of Organists THE AMERICAN ORGANIST Reprintedby permissionof TheAmerican OrJ{anistMaJ{azine From the Builder eral times in the intervening years and now, ticularly noteworthy is the presence of com- The completion of the organ at First almost 100 years later, we find renewed in- plete principal choruses on the Great, Swell, United MethodistChurch coincides with our terest in a type of sound that found favor and Choir divisions. There are 22 principal 125th anniversary.It is inevitable and per- about a century ago. stops in the instrument, including the two haps an inescapableactivity to review the During the early years of their careers, the principal stops planned for the Solo divi- past at the time of any anniversary,but when arrival of a new organ in a city was greeted sion. The Choir division is based upon the that period of time includes morethan a cen- with newspaper accounts of its construction SalicionalS', which is a principal stop ofnar- tury, there is much to contemplate.Looking that even included a printed list of stops. row scale. This division also contains a full back provides a way to seethings in a per- Leading concert organists of the day were in- range of flute mutation stops through the Lar- spectivethat the immediacyof our own time vited to play recitals, and accounts of stand- igot 1~'. In order to avoid the gap at the 2' obscures.In music we are able to seemore ing-room-only audiences for programs pitch level in the plenum that occurs when a easily the swing of the artistic pendulum played by Edwin Lemare and others were division includes a decompose, the from the Romantic to Classic,subjective to chronicled by the local press. Programs of Super Octave 2' has been included. In addi- objective,something that has occurredwith that time often consisted of transcriptions of tion to the division's many color possibili- a remarkable degreeof regularity for hun- orchestral works, something that was dis- ties, its principal chorus and Comopean S' dredsof years. missed with references to poor taste 30 to 40 provide a second enclosed division that can Although none of us knew Claver and years ago only to return in recent times with be useful in choral and other accompani- Samuel Casavantpersonally, we are fortu- renewed interest. Indeed, the inaugural mental roles. nate to be able to gain an understandingof recital of this instrument included a number All of the expressive divisions of this in- their thought and work through the legacyof of transcriptions. The old French expression, strument are housed in enclosures with well- their instruments and through an extensive "The more things change, the more they re- insulated walls approximately one foot archive that includes voluminous corre- main the same," comes to mind as we look at thick, made of double layer 5/S" thick dry- spondencebetween two men who were not this period of time in review. Change is in- wall on both inside and outside surfaces. Ad- only lifelong working partners but also evitable and the arts are no exception. ditionally, in order to maximize the effec- brothers. When they began their work in The cubic volume of First United Metho- tiveness of the expression by decreasing as 1879,Johannes Brahms had yet to write his dist Church demanded that the Great divi- much as possible the transmission of sound now well-known and frequently played sion be based upon a 16' principal. Once this through common framing. the inner and choralepreludes. Impressionism was an un- was established, the principal chorus devel- outer walls are constructed independently of known term, and the scandalous riot that oped in the normal manner through the Mix- one another. Every expression shade has a erupted at the premiereof Le Sacredu Prin- ture IV-V (1~') and Sharp III (~'). very effective gasket to seal its closure tempswas more than 30 yearsin the future. Since this division's chorus included the against its neighbor in order to provide a Much has changedin musical composition Twelfth 2%', we decided also to provide a wide range of contrast from the open posi- since that time. The Rite of Spring is no Seventeenth 1%' in order to form a bold tion to fully closed. Since the choristers sit longer considered radical and we have Sesquialtera that could be used where a well below the lowest level of the organ, the passedfrom tonality through atonality to the prominent solo line would be appropriate, expression shades are mounted horizontally, rediscoveryof the triad. It is only natural that such as in the introduction of a hymn or to opening towards the choir below. an instrument as diverseas the organwould give prominence to a hymn tune when lead- The initial installation of the instrument changewith the times and, like composition, ing the congregation, something especially what wasnot acceptedin onegeneration will allowed for the inclusion of only two stops useful when the tune is unfamiliar. in the Solo division, the French Horn and sometimes become another generation's An advantage of working in some older Tuba. Other colorful reeds such as the En- causecelebre. buildings is the amount of space and height Working in Quebecinitially, the Casavant glish Horn and Clarinet are planned, as well available for the instrument. While floor as a large-scale Harmonic Flute S'. The future brothers' experiencewith instruments was space and cubic volume have always trans- affectedby both their French heritage and division will include slotted principal stops lated into building costs, this did not prevent at S' and 4' pitches to contrast with the prin- studies in France with the pre-eminent architects and churches years ago from pro- builders of the time, such asJohn Abbey and cipal stops in the other divisions, and there Aristide Cavaille-Coll.However, they were viding sufficient space for a pipe organ. The will be a principal celeste (Voce umana) to individuals with a desire to learn, so their division that especially needed such space use with the Diapason S', becoming the curiosity aboutorganbuilding in other coun- and height was the Swell with its 14 stops largest undulating stop in the instrument. By tries was explored as well. Friendships and and 20 ranks, including both fuM-length 16' contrast, the ethereal Vox Angelica II will contactswere establishedin Europe, espe- flue and reed stops. The division is based provide the opposite end of dynamic range cially in the United Kingdom with the Willis upon the Diapason 8' and includes two mix- of the undulating stops. family, that were renewed over subsequent tures of 2' pitch. With a fully developed di- The organ includes two large, high-pres- years through correspondence,exchange of vision, such as this one, there is need for a sure reed stops, the enclosed Solo Tuba and ideas,problem-solving, and trips originating mixture that will work appropriately with the polished copper pipes of the Festival on both sides of the Atlantic. The early con- the full resources of flues and reeds. The Trumpet in the facade. For registrational tracts,all with Catholic churchesin Quebec, Fourniture V was designed for this purpose. flexibility the Tuba is included at various producedinstruments of Frenchtonal orien- Without an alternative, such mixtures be- pitches on the divisions, while the horizon- tation. Not only wasthis a natural expression come too bold and top-heavy for smaller en- tal reed is treated as a floating division that of their heritage,but also thesesounds were sembles that are appropriate for use in ac- can be coupled to any of the manuals. very suitable in these spacious buildings companying choristers. Therefore, we have The first organ installed in the church in with their grand acoustics.As they gained a included a second mixture, also at 2' pitch. 1926 was built by the Pilcher Organ Com- recognized reputation for organbuilding, The Plein Jeu III, which is not only a smaller pany of Louisville, Kentucky. It served the especially following the completion of the mixture by the number of pipes but also is church for almost 50 years until water from 84-stop organ at Notre-Dame Basilica in softer than the five-rank mixture, works as a a leaking roof damaged it to the extent that it Montrealin 1891,they beganto receivecom- cap to smaller registrations. needed to be replaced. The second instru- missions to work in Protestantchurches in For those willing to admit to an occasional ment, built during the Organ Reform Move- English-speakingCanada, and in the United use of an organ's strings coupled at sub and ment, was typical of the time with small Statesbeginning in 1895.In these churches super octaves, the disposition of the Swell scales, short resonator reeds, and an abun- they usually found far different acoustical strings provides this possibility without use dance of upperwork. The nomenclature of settings than they were accustomed to in of the couplers. Because the Vox Coelestis 8' the Pedal "Grand Trombone" 32' always Quebec. In an early letter to his brother, compass was extended to low C, it provided brought a surprised expression and provided Claverremarked that he believed a tonal ap- a TC compass celeste for the Contra Gamba many interesting comments because of the proach leaning toward English practices 16'. By adding an octave of treble pipes, we fact that its third harmonic was far stronger would be more suitable in such dry acous- were able to extend both the parent and un- than its fundamental pitch. For reasons not tics. Thus, the brothers' generaltonal orien- dulating ranks, so that the effect could con- completely known, except to surmise that its tation moved in a different direction, based tinue throughout the keyboard compass. size and weight gave pause to its removal, upon the needfor the instrument to meetthe This arrangement of stops is also available on a very large-scale open wood 16' stop from requirementsof the individual congregation the Solo manual. the Pilcher Pedal division was retained and the acousticalsetting in which it was to The organ includes a large number of fo,un- with this instrument. While the prevailing find its home.The pendulum hasmoved sev- dational stops in all manual divisions; par- tonal concepts of the mid-1970s had little

MARCH 2004 ~~ appreciation for such a foundation-shaking around 75 singers paid us a visit. Seeing the CHAMADE (floating) bass. this stop fortunately survived the fate expressions on the choristers' faces when 16 Festival Trumpet (TC) (ext. of so many others that provided these organs they first saw and heard the organ gave us 8 Festival Trumpet with the substantial foundation that has great satisfaction; however, the greatest joy 4 Festival Trumpet (ext.) again regained favor and is expected in in- came when they sang an anthem with the or- struments built today. The refurbished gan, which probably was the first time in the PEDAL (32 notes) Pilcher stop continues to provide a solid history of Casavant Freres that a choral group 32 Contrabass (digital) foundation for the new instrument. the of this size sang with an instrument soon to 32 Sub Bass (digital) sound of which was described as "visceral" be installed in their church. 16 Open Flute (Pilcher stop) by at least one member of the congregation. Knowing that the realization of this in- 16 Contrabass (ext.) It is a regular occurrence at Casavant strument represents the combined aspira- 16 Double Open Diapason (Gt. Freres to have visitors schedule a trip to our tions and efforts of so many people has made 16 Contra Gamba (Sw.) workshop when their own instrument is set this an especially rewarding project. It has 16 Sub Bass up and playing in one of the montage rooms. been a privilege to be associated with the 16 Lieblich Gedeckt (Ch.) Most often it is the organist and others inti- staff and members of First United Methodist 8 Octave Bass mately involved in the project who make the Church, and we trust that the organ's voice 8 Second Open Diapason (Gt. journey. In recent years the size of the groups will continue to inspire, lead, and comfort 8 (ext. Sub Bass) has increased, and upon several occasions those who hear it for generations. 8 Stopped Diapason (Ch.) choir members have been included. As far as CASAVANT FRERES 4 Super Octave anyone can recall, however, the visit by the Jean-Louis Coignet 4 Open Flute (Gt.) choir from First United Methodist Church in Simon Couture 4 Stopped Diapason (Ch.) Dallas during the summer of 2003 marked Jacquelin Rochette 10% Theorbe ill (derived) the first time that a choral group numbering Stanley R. Scheer 2% Mixture IV 32 Ophicleide (digital)2 16 Trombone 16 Double Trumpet (Gt.) FIRST UNITED METHODIST CHURCH CHom(61 notes) 16 Lieblich Gedeckt (stopped wood) (ext.) 16 Bassoon (Sw.) DALLAs, TEXAs 16 Bass Crumhorn (Ch.) 8 Salicional CASAVANTFRERES 8 Trombone (ext.) ST-Hy ACINTHE,QUEBEC 8 Stopped Diapason (stopped wood) 8 Flauto Dolce 8 Trumpet (Gt.) 8 Flauto Celeste (TC) 8 Tuba Mirabilis (Solo) GREAT (61 notes) 8 Bassoon (Sw.) 16 Double Open Diapason (ext.) 4 Principal 4 Spindle Flute 4 Clarion (ext.) 8 First Open Diapason 4 Tuba Clarion (Solo) 8 Second Open Diapason 2% Nazard 2 Super Octave 4 Bassoon (Sw.) 8 Chimney Flute 4 Crumhorn (Ch.) 4 Octave 2 Recorder 1% Tierce Chimes (Solo) 4 Open Flute MIDI 2% Twelfth 1% Larigot 2 Fifteenth 1% Mixture IV ANALYSIS 1% Seventeenth 16 Bass Crumhorn (ext.) 1~ Mixture IV-V 8 Cornopean Great Organ ~ Sharp Mixture III 8 Crumhorn Swell Organ 16 Double Trumpet (ext.) Choir O~an 8 Trumpet Cymbelstern Solo Organ Tremulant Choir 16 Chamade O~an Great Unison Off Choir Unison Off Pedal Organ Chimes (Solo) Choir 4 16 Tuba Magna (Solo) 16 Tuba Magna (Solo) TOTAL 48 66 8 Tuba Mirabilis (Solo) 8 Tuba Mirabilis (Solo) 4 Tuba Clarion (Solo) 4 Tuba Clarion (Solo) Prepared Stops MIDI Harp (digital) Solo Organ Celeste (digital) PedalOrgan SWELL (61 notes) MIDI TOTAL 55 74 16 Contra Gamba (ext.) 16 Contra Gamba Celeste (TC) (ext. SOLOl (61 notes) DESIGNDETAILS 8 Diapason 8 Diapason (slotted) Electropneumaticaction 8 Major Flute 8 Harmonic Flute Movable English-style drawknob console 8 Viola da Gamba 8 Voce umana (slotted) with Gothic paneledenvelope 8 Vox Coelestis (CC) 8 Vox Angelica II Manual naturalsof bone;sharps of rosewood 4 Octave 4 Octave (slotted) Pedalnaturals of maple;sharps of rosewood 4 Harmonic Flute 8 Clarinet Electronic combination system. 256 levels with 4 Violina (ext.) 8 English Horn (TC) list system and programmable crescendo 4 Violina Celeste (ext.) 8 Crumhorn (Ch.) wind pressures: 2 Octavin Tremulant Great: 90 mm 2 Plein leu III 8 French Horn Swell: 100 mm 2 Fourniture V Solo 16 Choir: 90 mm 16 Bassoon Solo Unison Off Solo: 200 mm (French Horn) and 350 mm 8 Harmonic Trumpet Solo 4 (Tuba Mirabilis) 8 Oboe 16 Tuba Magna (TC) (ext.) Chamade: 150 mm 8 8 Tuba Mirabilis Pedal: 90, 125, and 150 mm 4 Harmonic Clarion 4 Tuba Clarion (ext.) Tremulant 16 Contra Gamba (Sw.) Coverand consolephotographs by Swell 16 16 Contra Gamba Celeste (Sw JamesF. Wilson Swell Unison Off 8 Viola da Gamba (Sw.) Swell 4 8 Vox Coelestis (Sw.) 1The stops of the Solo division have been 8 Tuba Mirabilis (Solo) 4 Violina (Sw.) preparerf for addition in the future with the MIDI 4 Violina Celeste (Sw.) exception of the French Horn and the Tuba. Chimes (digital) 2Space has been provided in the Pedal divi- Carillon sion for the future installation of the full- MIDI length pipes of this stop.

34 THE AMERICAN ORGANIST