COVER FEATURE

ORCHESTRA HALL, CHICAGO, ILLINOIS"

CASAVANTFRERES

FEW USTENERS will ever forget the experi-ence of hearing a performance of theSymphony No.3 in C Minor by Saint-

Saens for the first time. Having secured aplace in the organ-orchestra repertoire, thispiece, affectionately known as the "OrganSymphony," is but one of numerous orches-tral works that include the organ as an im-portant member of the ensemble and a majorcontributor to the tonal palette of the work.

Late in the 19th century and early in the20th, composers such as Ottorino Respighi,Richard Strauss, and Gustav Mahler oftenmade use of the large pipe organs that gracedvirtually every major concert hall in theWestern world. The sonic output of these or-gans matched the grandeur of the fully real-ized Romantic orchestra. Composers fre-quently used stops of 16' and 32' pitch to adda solid foundation in passages of varying dy-namic level and the full organ ensemble tobuild exciting climaxes in their large-scaleworks. The 1904 Lyon & Healy organ in-stalled in Orchestra Hall would have beenexpected to fill such a role with the ChicagoSymphony Orchestra.

As the Romantic era was experiencing per-formances of some of its grandest composi-tions. the artistic pendulum, which is alwaysin motion, began to swing away from suchsubjective expression toward more classicalinterests. As a result, this grand literaturewas performed less frequently and concert

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hall organs gradually fell silent. Even thoseworks with significant organ parts, the Saint-Saens notwithstanding, when programmedat all were performed with the keyboard partomitted or replaced by an orchestration thatassigned the organ part to various depart-ments of the orchestra.

During the height of the organ reform, fewnew organs were installed in concert hallsand some halls that had pipe organs removedthem. Avery Fisher Hall at Lincoln Center inNew York being one of the most prominentexamples. Various professional journals ofthat time often contained articles and letterslamenting the fact that a new hall was beingbuilt without an organ or that electronic sub-stitutes were used for performances. Then,too, the concept of tonal design during theOrgelbewegungwas decidedly different fromthat of those instruments of what might becalled the golden age of the Romantic concerthall organ.

Fortunately, the recent architectural andacoustic renovation of Orchestra Hall inChicago occurred at a period when the un-derstanding of the use of the organ with or-chestra is more balanced. When the leadersof the Chicago Symphony Orchestra began toembark on the project. the subject of the or-gan entered into the discussions early in theprocess. We worked with the organist. con-sultant. architects. and acousticians to ad-dress a number of issues that had made the

Copyright 2000 by the American Guild of OrganistsReprinted by permission of The American Organist Magazine44 THE AMERICAN ORGANIST

previous instrument ineffective. The desiredtonal effect of an organ appropriate for usewith the Chicago Symphony Orchestra wasdetermined to be one that would recreate theeffect of older instruments with their depthand warmth of sound in the mid, low, andsub octave ranges.

Eventually, for various reasons, it was de-termined that the project would include asmuch of the 1981 Moller organ as could bemade effective in the renovated hall. Afterour evaluation of the instrument, some 40ranks of pipes were retained, rescaled, care-fully revoiced, and integrated into the newtonal scheme. With the exception of someoffset chests and a few reservoirs, all me-chanical parts of the instrument includingthe console, windchests, wind system, andexpression are new.

Throughout the process, the main purposeof this instrument was defined as being forthe performance of the orchestral literaturethat includes the organ as an orchestral in-strument, as well as those works with a moreprominent solo role such as the Saint-SaensSymphony No.3 and the Poulenc Concertoin G Minor. In the planning phase, the con-cept of using the organ for solo recitals wasnot a major criterion; however, now that theorgan is completed. interest in such a possi-bility has been raised.

As work on this project progressed, westudied our previous concert hall experi-ence, the first of which can be traced to 1909,when Opus 377 was installed at the BostonOpera House. Claver Casavant and WallaceGoodrich, dean of the New England Conser-vatory of Music and associate conductor ofthe Boston Opera House, collaborated on thespecification. Claver Casavant directed theon-site tonal finishing.

The first Casavant organ built for a majorAmerican orchestra was also installed dur-ing the Casavant brothers' tenure. In 1924,Orchestra Hall in Detroit, Michigan, becamethe home of a four-manual instrument of 64stops. Claver Casavant, who directed tonalfinishing on site, prepared the specification.Marcel Dupr~ dedicated the organ on March17,1924. In addition to the Organ Sympho-ny by Saint-Saens, played with the DetroitSymphony Orchestra, conducted by OssipGabrilowitsch, Dupr~ played solo works:Bach, Passacaglia; Widor, Scherzo (FourthSymphony); Bourdon, Carillon; Dupr~, Vari-ations sur un Noel; and Schumann, Canon,as an encore.

Two years following the inauguration ofthe organ, a Tuba Organ of 18 stops wasadded. Charles Courboin, organist at St.Patrick's Cathedral in New York, who playeda concert on December 18, 1926, to inaugu-rate this addition, prepared the specifica-tion. One of the most important benefactorsof the Detroit Orchestra Hall, William H.Murphy, president of the Pacific LumberCompany, donated the organ.

In recent years, numerous new concerthalls have been built and, in many, the pipeorgan has found a prominent place even tothe point of having an important architec-tural presence. In Orchestra Hall, the originalLyon & Healy facade had disappeared withthe 1981 installation. We researched variousarchives for photographs of the 1904 organ inorder to fashion the new facades in the styleof the first instrument.

In the last two decades, Casavant has re-ceived a number of commissions to build or-gans for concert halls. It is interesting to

continue to build support not only for thisinstrument but also for the organ in general.

CASAVANT FRERES

Simon CoutureMichael Perrault

Jacquelin RochetteStanley Scheer

From the Tonal DirectorWhen Casavant was entrusted with a com-

mission to build an organ in Chicago Or-chestra Hall, we first tried to understand whythe 1981 Moller organ (Opus 11427) had notgiven satisfaction to musicians. It appearedto us that first the specification was not suit-able for an organ to be used with a large sym-phony orchestra; in fact, it was more of an"American Classic" organ with a strong neo-Baroque influence. There was not enoughfoundation, scaling was inadequate, andthere were too many high-pitched mixtures;the Pedal was weak and the general dynam-ic range of the instrument was insufficient.Though the wind pressures were not low,they were not high enough for such a largespace. The voicing lacked character becausemost flue pipes had closed toes and largeflues; consequently, their sound was dimand colorless.

Over the years, conductors and orchestramembers often complained that the organwas never in tune. In fairness to the originalbuilder, this was understandable consider-ing that the space allocated to housing the or-gan, which divided it into three cramped lo-cations across the back of the stage, alsocontained electrical and mechanical systemsfor the hall. In addition, the pitches of someof the compound stops had a strong tenden-cy to draw with each other and did not blendwhen played with other stops.

We evaluated the pipework very carefullyto decide what could be re-employed with-out compromising the desired tonal result.

We provided the new instrument with agreater variety of foundation stops voicedmore boldly, and with mixtures designedalong symphonic lines (the Choir and Swellmixtures are progressions harmoniques inthe French symphonic tradition). The Greatwas fitted with a new Diapason Chorus anda new Harmonic Flute 8'; a bright assertiveTrumpet 8' was added to the revoiced Dou-ble Trumpet 16'. The Great and Choir werevoiced on six inches of wind pressure, theSwell on six inches except for the three cho-rus reeds, which were voiced on ten inches.A new Tuba 8', on 25 inches of wind pres-sure, was added to the Choir, extended full-length to 16', and made available in 16', 8',and 4' pitches on the Great. A new ViolaPomposa 8' and Viola Celeste 8' were in-stalled on the Choir, and the existing Sali-cional 8' and Voix Celeste 8' were reworkedto make them more string-like. A woodenContrebasse 16' of huge scale was added tothe Pedal, the flues of the division werevoiced on six inches and its reeds on teninches. Such wind pressures were necessaryin order to make the organ powerful enoughto fill this huge acoustic space of more thanone million cubic feet.

All of those who have heard CasavantOpus 3765 agree that its sound is very im-pressive and that it performs its role verywell. We hope that it will be used often, notonly with the orchestra but also as a soloinstrument.

identify the common elements and particu-larities of these installations, each of whichis designed to work within a specific archi-tectural context and address the require-ments of an organ in a concert hall, from solorecitals to use with orchestra in concerto andsymphonic literature. The first of these in-struments, a four manual, 58-stop, 84-rankmechanical-action organ in the French style,was built in 1982 for the Victorian Arts Cen-tre in Melbourne, Australia.

In 1987, a four-manual organ of 75 stops,111 ranks was installed in Calgary, Alberta,at the Calgary Centre for the Performing Arts,in the Jack Singer Concert Hall, which is thehome of the Calgary Philharmonic Orches-tra. Simon Preston, who served as consul-tant, dedicated the instrument on May 6,1987. The organ, known as the Carthy Organ,is regularly featured in numerous recitals byworld-renowned organists and in thelunchtime organ concert series, "Organ a laCarte," which has been tremendously popu-lar and successful. The installation of the or-gan and subsequent enthusiastic acceptanceby the public became the impetus for the cre-ation of the Calgary International Organ Fes-tival held every four years since 1990.

The Calgary and Chicago halls are similarto the degree that both function primarily asvenues for orchestral performances. Both or-gans are located directly behind the orches-tra so that the performers and conductor canhear balances between the organ and orches-tra easily. Since the instruments are installedabove the orchestra high in the hall, theyare able to speak directly and freely into theauditorium.

In concert halls where there is need tohave fly space for dramatic and operatic per-formances, placing the organ behind the or-chestra can cause acoustical difficulties if noprovision is made for such an arrangement.The Casavant installations in Naples, Flori-da, and Green Bay, Wisconsin, followedsomewhat different solutions in these hallsthat were built for multipurpose use.

To build an organ capable of being a mem-ber of or soloist with a symphony orchestrarequires an approach quite different frombuilding instruments for use in the church.All of these instruments are provided withvery complete tonal synthesis, as well aspowerful solo stops. Each design is basedupon a Great division with a 16' plenum and8' plena on the other manual divisions, all ofwhich are supported by a substantial Pedalat 16' and 32' pitches. The Swell division isquite large, containing a full complement ofstops, including a flue of 16' pitch and fullreed chorus. High-pressure reeds and large-scale cornets are available for solo use and tocrown full organ in climaxes. Since theChicago organ follows more closely Anglo-American aesthetics, a Tuba voiced on 25inches of wind pressure is available at 16', 8',and 4'. In each instrument, the choice andscaling of the stops at fundamental pitch hasbeen carefully made to ensure that there willbe a full, rich ensemble to balance with thesound of a symphony orchestra in a largeauditorium.

It is truly an honor to have been chosen tobuild an instrument for one of the world'spremier orchestras. It is extremely gratifyingto hear of enthusiasm for the organ, espe-cially for using it in ways that were not an-ticipated in the initial discussions. We trustthat its exposure to the public at large will

From the Chicago Symphony OrchestraThe original pipe organ in Orchestra Hall,

created by Lyon & Healy, was installed in1904 and rebuilt by Frank J. Sauter and Sonsin 1946. By 1966, when a major renovationof Orchestra Hall began, the console had be-come completely worn out after 45 years ofcontinuous service. All thoughts of restoringthe original organ were dashed in the sum-mer of 1967 when it was discovered thatcareless workmen had not only destroyedmajor sections of organ pipes, but that waterdamage had occurred as well. At that time se-rious thought was given to the purchase of anew organ for Orchestra Hall. In a temporaryarrangement, which lasted over a decade, anelectric organ was pressed into service. InFebruary of 1977, a generous gift ($35,000)from the estate of Mrs. Harold C. Smith start-ed the Organ Fund. With a remarkable suc-cession of additional gifts from members ofMrs. Smith's family and with fruitful invest-ment performance, this fund soon grew to al-most $400,000. With support from this fund,the electric organ was finally replaced in thesummer of 1981 by a brand-new instrument,the creation of M.P. Moller Inc. Besides pro-viding for its purchase, the family of Mrs.Harold C. Smith also underwrote the veryfirst concert performance for which this or-gan was used.

In 1994, when construction began to reno-vate and expand Orchestra Hall into what isnow known as Symphony Center, the organwas removed and shipped off to the work-shops of Casavant Freres, in Quebec, whereit was overhauled, expanded, and utterlytransformed.

The organ's dramatic reinstallation wasthe focal point of construction activity inOrchestra Hall during the summer of 1998.On February 18, 1999, a rededication per-formance-featuring organist DavidSchrader-marked the successful conclu-sion of the Symphony Center project, oneyear after the official opening of SymphonyCenter. David Schrader and the new organwill be featured in the Chicago SymphonyOrchestra's subscription concerts of March10-14, 2000.

It is crucial to a major symphony orchestraand a major concert hall to have at its dis-posal an organ of world-class quality. Thereare significant pieces in the symphonicrepertoire that require an organ, and if thequality of that instrument does not match therest of the performing forces, an important el-ement is missing. The better the orchestraand the hall, the more glaring the shortcom-ing is when the organ lacks the richness andpower of a great instrument. The ChicagoSymphony is thrilled with its new instru-ment, which, while it used the previous or-gan as a foundation, has become somethingmuch greater in its transformation.

The Chicago Symphony Orchestra is for-ever grateful to Bill and Solange Brown andto Mrs. Harold C. Smith and her family, whofor years generously contributed to the OrganFund. Their dedication and effort made itpossible for the Chicago Symphony Orches-tra to acquire a superb instrument. Thisworld-class orchestra deserves-and onceagain has-a truly world-class organ.

HENRY FOGEL

President, Chicago Symphony Orchestra

JEAN-LoUIS COIGNET

Tonal Director

45FEBRUARY 2000

organ is seeing wide and popular service,with some 18 performances scheduled in the1999-2000 season. This is indeed a greattime for the organ in the concert hall.

JEFF WEILER

Organ Consultant and Organ CuratorChicago Symphony Orchestra

From the OrganistSome years back, I was asked to assist Jeff

Weiler in his capacity of consultant for theconstruction of the new organ in OrchestraHall at Symphony Center in Chicago. Wewere delighted with the selection of Casa-vant Freres, and we knew that the needs ofthe Chicago Symphony Orchestra would bemet with satisfaction. The Chicago Sympho-ny Orchestra is among the most precise andpowerful orchestras in the world, and there-fore the selection of an organ that could bothsupport the orchestra and be its articulateequal would be crucial to our efforts. I am de-lighted to say that the organ, to my ears, willprovide some splendid listening in the yearsto come.

The Chicago Symphony Orchestra is anensemble composed of highly skilled playerswho collaborate to create an orchestra of im-mense flexibility-dynamic ranges of whichthe orchestra is capable vary from a practi-cally inaudible whisper to a brilliant, re-splendent fortissimo. The reputation of thebrass section is well deserved-this I knowfrom the experience of sitting in the midst ofthem during the recording sessions for ThePlanets with James Levine! The richness ofthe string section demonstrates the superblevel of playing from the many string players,as well as the quality of so many fine old in-struments on the stage. (I have often imag-ined with awe the amount of money allottedto insurance premiums while the strings areon stage!)

Casavant Opus 3765 is a worthy andcapa-ble partner for the orchestra. The foundationregisters are rich and generous both in scaleand in wind pressure. The Plein Jeu is bril-liant without shrillness and the reeds aretelling and warm. While the organ is de-signed chiefly with the great orchestralrepertoire in mind, concerted music and solorepertoire can be admirably performed. Lastseason, Lou Harrison's Concerto for Organand Percussion was heard to great effect withMary Preston as soloist. This season, I shallplay the organ part for the Third Symphonyof Saint-Saens, and am confident that the in-strument will produce an optimum effect,both in the second part (Fonds 8', Voix Ce-leste, Bourdon 32') and in the finale, wherethe organ's sheer weight and brilliance willnot fail to please an audience expecting a"crash smithereens" dynamic level fromboth organ and orchestra.

The console is arranged after the Frenchtradition. The drawknobs are arranged intiers and the layout is easy to master, an im-portant feature because of the limited prac-tice time available in a very busy concertspace. It is my sincere hope that this won-derful instrument will inspire affection forthe sound of the organ in symphonic reper-toire and perhaps eventually lead to an ap-preciation of recitals in the most prominentconcert hall in Chicago.

DAVID SCHRADER

Organist. Chicago Symphony Orchestra

From the AcousticianWhen Orchestra Hall in Chicago, Illinois,

opened in 1904, the design successfully ar-ranged an audience of approximately 2,650people in an intimate setting, placing thelarge audience relatively close to the stage.This resulted in a unique link between theaudience and the stage, especially for thoseseated in the ring of boxes and the lowerrows of the first balcony. The shape of theceiling over the audience directed soundinto the upper seating area, creating an in-tense impact to the sound that reached peo-ple in the first balcony and in the gallery (thesecond balcony). However, there wereacoustic problems with the room thatprompted a number of renovations of the hallbeginning the year after the building opened.

The original design of the stage ceiling hadbeen an open mesh between plaster ribs tocreate architecturally the look of a conserva-tory structure. However, musicians werehaving trouble hearing each other on stage,so the mesh between the ribs was replacedwith canvas within the first year. There weresubsequent renovations to increase thedepth of the stage, which had always beenamong the shallowest of concert hall stages,but this was limited finally by the structuralrear wall of the building. A major renovationin the 1960s reconstructed the ceiling of thestage to reduce focusing conditions at thestage and main floor seating area. At thistime, work was also done in an attempt to in-crease the very short reverberation timewithin the room by partially opening theceiling over the audience to expose thetrussed attic area between the visual ceilingand the roof. Unfortunately, the audienceseating within the auditorium was also up-holstered for the first time during this reno-vation, and the overall effect that had beenhoped for was not realized.

In the 1980s, the Chicago Symphony de-cided to renovate the building to modifythese and other acoustic problems they werefacing. In addition to low reverberation timeand communication problems on stage, thehall was particularly lacking in bass re-sponse. The physical construction of the hallwas the factor most limiting for sustaininglow-fre~ncy energy. The structure of thebuilding ~ solid twelve-inch-thick brick-bearing walls, but the finish within the roomwas one-inch-thick plaster framed off themasonry. The thin plaster surface within theroom and the air gap between the plaster andmasonry stripped low-frequency energyfrom the room, not allowing the fundamen-tal tones of the music to remain.

The conditions of insufficient bass re-sponse and reverberation were limiting forall music performances but were particular-ly affecting the sound of the organ, an in-strument for which music was written withrich, reverberant rooms in mind. In additionto the lightweight construction of the hall,the construction around the organ was alsoinsufficient. The organ was separated intothree separate chambers at the rear wall ofthe stage. Each chamber was built oflightweight construction that added to the

From the ConsultantWhile every organ project presents its own

unique challenge, the new organ for Orches-tra Hall has been further distinguished by be-ing an integral component of one of the mostfascinating architectural renovations of re-cent time. Stepping into the auditorium, thehall appears much as it always has-theDaniel Burnham architecture seemingly in-tact. But upon closer inspection, it becomesclear that the entire facility has been thor-oughly and thoughtfully renewed andexpanded. There is more space on stage formusicians, a permanent choral terrace,excellent support facilities where none hadexisted previously, and a carefully designedorgan loft that houses the new Casavantorgan.

First meetings considered nothing morethan a reconfiguration and reinstallation ofthe orchestra's existing pipe organ, built in1981. However, the design team and orches-tra soon became convinced of a much greateropportunity.

It was decided that the appearance of theoriginal 1904 Lyon & Healy facades bettersuited the architecture of the room and gavegreater visual definition to the organ. Thissimple concept paved the way for sweepingchanges. A new climate-controlled organ loftand blower room were designed. Outside airis super-cooled to 40° Fahrenheit, then re-heated and humidified to ensure that a con-sistent and carefully controlled environmentsurrounds not just the organ but every mem-ber of the orchestra and audience. The neworgan loft spans the full width of the hall andextends approximately 30 feet into the atticspace of the building-all part of the activeacoustic. The entire organ loft is topped by alarge concrete reflector and, although unseenby the audience, its effect is unmistakable;acoustically coupling both organ and or-chestra to the greatly expanded audiencechamber.

Concert hall organs have an extraordinaryjob. To be musically effective, they musthave strong and colorful unison pitch lines,kaleidoscopic effects, and heroic bass. Theorgan's placement must allow the performerto hear easily and control these resources.The wind pressures are high; the scaling isample. Although only of moderate size, theorgan has abundant unison and sub unisonenergy. There is a wide range of piano andmezzo registrations available for accompani-ment and orchestra underpinning, but fullorgan is a visceral event rising well above or-chestra and chorus.

Many of the organ's most interesting tonaldetails are inspired by Casavant organs of the1920s and 1930s. The instrument contains avery large Contrabass 16' (open wood), aTuba Mirabilis 8' on 25 inches of wind pres-sure, and a charming capped Clarinet muchlike those produced under Stephen Stoot'stonal directorship. Portions of the wind sys-tem would likewise seem familiar to one ac-quainted with earlier Casavant instruments.The Swell and Choir divisions are fed fromvery large reservoirs and have traditionalpneumatic tremulants. The terraceddrawknob console is compact and movable,and its low-profile design allows for excel-lent visual communication between conduc-tor and performer.

It has been a great pleasure to have playeda small role in the creation of a new concerthall organ for use by one of the world's great-est symphony orchestras. Best of all, the new

46 THE AMERICAN ORGANIST

ORCHESTRA HALLCmCAGO, ILLINOISCASAVANTFRERESST-HYACINTHE, QUEBEC. CANADA

GREAT (II)16 Diapason16 Bourdon (from Pedal Bourdon and

Great Chimney Flute)8 Open Diapason8 Cnimney Flute8 Hannonic Flute8 * Spitz Flute4 Octave4 * Open Flute2 *Fifteenth1% Fourniture IV-VI16 * Double Trumpet8 Trumpet16 Major Tuba (ext.)8 Tuba Mirabilis (Ch.)4 Tuba Clarion (ext.)

SWELL (ill) (ex~ressive)16 * Bourdon (ext.)8 * Diapason8 Major Flute8 * Salicional8 *Voix Celeste (from CC)8 * Flutes Celestes II4 * Octave4 Spindle Flute2% * Nazard2 * Piccolo1% * Tierce2 * Plein Jeuill-V16 *Posaune8 Trumpet8 Oboe4 * Clarion

Tremulant

CHOIR (expressive)16 *Gemshorn8 Viola Pomposa8 Viola Celeste (from CC)8 * Bourdon (stopped wood)8 * Gemshorn (ext.)4 * Principal4 * Spillflute2 * Flute1 % * Mixture II-IV16 * Fagott8 * Trumpet8 Clarinet

Tremulant8 Tuba Mirabilis

absorption of low-frequency energy alreadypresent in the hall. The light chamber con-struction also limited the containment ofsound that should be provided by a swell en-closure, which effectively limited the dy-namic range for the instrument.

The renovation of Orchestra Hall focusedon many major areas, including isolation ofnoise from mechanical systems and the exte-rior and the addition of needed breathingroom for the symphony, but the primarychanges centered around increasing rever-beration time in the hall, providing good bassresponse, providing a good listening envi-ronment for musicians, and improving over-all sound for patrons, particularly on themain floor.

Communication on stage and improve-ment of sound to the main floor were pro-vided by increased stage depth, a newcanopy over the stage, and the addition of or-chestra risers on the stage. The increasedstage depth allows musicians more freedomof arrangement on stage, particularly forworks requiring large percussion ensembles.The canopy provides reflections with a prop-er time delay to promote good communica-tion on stage and good support of sound tothe main floor. The canopy has helped alsoto block focused echo reflections off theproscenium arch. Orchestra risers on thestage allow musicians and the main floor lis-teners to see each musician and hear the di-rect sound of each instrument.

To increase reverberation time, the origi-nal roof was removed and a new, higher ceil-ing was installed above the acousticallytransparent visual ceiling within the hall.This increase was most significant over thestage, where the new acoustic ceiling heightwas increased by roughly 25 feet.

In conjunction with the increase in overallvolume in the hall, the ceiling over the stagewas changed from solid to acoustically trans-parent to allow an easy flow of sound energyfrom the stage into the new, expanded atticspace. This change also benefited the organby allowing the instrument to be locatedwithin the upstage area without being sepa-rated into individual chambers. The organnow speaks directly into the room, both to-ward the stage and audience and into the up-per volume, to fill the room with sound in away that was not possible in the previousconfiguration.

Bass response was improved by openingsections of the visual walls and exposing thesolid brick construction behind. New wallsexposed within the expanded attic were con-structed of solid block as well, with walls be-hind the stage and organ constructed of aminimum of 16-inch-thick masonry. Newplaster walls within the room were increasedto no less than four inches of thickness withmany walls on the main floor and front of thestage being twelve to 20 inches thick. Theceiling, where not acoustically transparent,was also increased to an average thickness oftwo inches, with some sections up to fourinches thick.

While the inner walls of the organ cham-ber are now twelve to 16 inches thick ma-sonry to provide full frequency reflection.the enclosure walls of the organ swell cham-bers were also increased in mass to properlyretain sound when the swell shutters areclosed and provide full expression for theinstrument.

DAWN SCHUETrE

Kirkegaard & Associates

PEDAL32 Diapason (digital)32 * Contra Bourdon16 Contrabass (open wood)16 Diapason (Gt.]16 * Bourdon (ext.)16 Gemshorn (Ch.)16 Echo Bourdon (Sw.)8 Open Flute (ext. Contrabass)8 Octave8 Chimney Flute (Gt.)8 Gemshorn (Ch.)8 Still Gedeckt (Sw.)4 Super Octave4 Chimney Flute (Gt.)10% Theorbe ill (derived from 16' Bourdon

and 16' Diapason)2% * Mixture IV32 Bombarde (digital)32 * Ophicleide16 Major Tuba (Ch.)16 * Ophicleide (ext.)16 Double Trumpet (Gt.)16 Posaune (Sw.]16 Fagott (Ch.)8 Tuba Mirabilis (Ch.)8 * Trumpet (ext.)4 Tuba Clarion (Ch.)4 * Clarion (ext.)

*From previous organ

DESIGN DETAILSElectropneumatic actionMovable terraced drawknob console, with

black lacquered envelope and interiorElectronic combination system-64 levels

with programmable crescendo and listsystem

Facade replicating original 1904 Lyon &Healy organ

Wind pressures:Great: 4 inchesSwell: 6 inches and 10 inches (reed chorus)Choir: 6 inches and 25 inches (Tuba

Mirabilis)Pedal: 6 inches (flues) and 10 inches (reeds)Opus 3765

Photographs by Michael Perrault

47FEBRUARY 2000