COVER FEATURE

FIRST BAPTIST CHURCH

HICKORY, NORTH CAROLINA
"
CASAVANTFRERES

O rgan dedications are truly special
events for everyone involved. From
the very first dedication events, we
witnessed the congregation's joy in the com-
pletion of the instrument. For many years,
First Baptist Church has been not only the lo-
cation for performances by the Western Pied-
mont Symphony, a fine regional orchestra
presently celebrating its 40th season, but
also a performance venue for the Hickory
,Choral Society. That two of the dedication
events should involve these organizations
using the instrument in concerts open to the
public is a demonstration of the generosity of
the congregation and its belief that music,
and this instrument in particular, is an im-
portant part of the outreach of First Baptist
Church.
One of the main challengesfacing an or-
ganbuilder when designing an instrument
for an existing church is to place the instru-
ment in the most favorable position in the
building. Fortunately, in recent years organ
committees have gained an ~nderstanding of
the importance of good placement and
acoustics, and the determination of the mem-
bers of First Baptist Church to have a signif-
icant instrument and to "do things right" al-
lowed the process to move forward in a
positive way. The church's previous pipe or-
gan was housed entirely in chambers on both
sides of the chancel. There were no tone
openings into the nave. Further investigation
revealed that what appeared as tone open-
ings on the level closest to the choir were, in
reality, grilles over solid walls. What nor-
mally would have been prime organ space
was fitted with cubicles used for changing
clothes for baptism. Therefore, the existing
organ was positioned high in the building
and rather estranged from the choir. The
church was built at a time when architects
occasionally incorporated what is called a
tone chute, which in this church consists of
a curved plastered ceiling beginning at the
back wall of the organ chambers, continuing
into the attic and terminating in large grilles
in the chancel ceiling. Normally, these tone
chutes look better on paper than work in re-
ality. However, in this instance the "chutes"
were not narrow passages but were areas
equal to the size of the chamber ceilings.
We were able to hear the effect with the ex-
isting instrument and determined that these

MARCH 2005 Copyright 2005 by theAmerican Guild of Organists

41
Reprintedbypermissionof TheAmericanOrganistMagazine
 particular examples were indeed effective;
therefore, we decided to retain them.
In order to place this grand instrument in
the building, we worked with architect
Robert Clark to relocate the changing cubi-
cles to another location in order to afford the
best placement for the organ. We recom-
mended opening the chamber walls facing
the nave to their maximum. Mr. Clark de-
signed Palladian-style tone openings that
provide unimpeded tonal egressfor the Recit
and Choeur. Both these divisions have sepa-
rate controls for the expression shades facing
the congregation, so that they can be closed
when accompanying the choir in order to al-
low the choristers to have full benefit of the
expressive effect while allowing the organist
to hear the proper balance between the in-
strument and the singers.
Dennis Fleisher served as the acoustician
for the project. His recommendations in-
cluded an important reshaping of the chan-
cel sidewalls, which influenced the design of
the organ casework. As is typical of most
buildings, the sidewalls of the chancel are
parallel to each other and project 9a degrees
from the rear wall. Dr. Fleisher's recommen-
dation was to have these walls set at an an-
gle in order to project the sound of the choir
forward. He stipulated the preferred angle,
and our designer, Benoit Gendron, designed
the casesusing pipes of the Grand-Orgue Vi-
olonbasse 16' to meet this criteria. The re-
sulting visual effect is one that draws the eye
toward the baptistery in the center of the rear
chancel wall. Placing the cases at an angle
keeps them from appearing heavy and dom-
inating the chancel while providing a clear
view of the faces of the casework from almost
any position in the church.
The music staff and consultant wanted a
console that would place the stops in ter-
races at the sides of the manuals in the style
of French symphonic instruments. The Casa-
vant brothers had built terraced consoles for
their early instruments, which are models of
efficiency and convenience for the player.
Therefore, we proposed building the new
console using the construction principles of
the terraced consoles that were built by Casa-
vant up until the early 1920s. The main char-
acteristics of this style console include ter-
r!ices short in height and width plus the use
of drawknobs with oblique faces that posi-
tion the stop names at an angle that can be
easily read by the organist regardless of
where the stop is located. We had refur-
bished several older large consoles, so we
studied the information taken from these in-
struments and built a number of models in
order to evaluate the visual appearance and
service-related issues. The result is a player-
friendly console that, considering the fact
that it contains 135 drawknobs, is more com-
pact and shorter by approximately four
inches than a corresponding English-style
drawknob console. We also took great care in
discreetly integrating the controls, such as
the combination system, while making sure
that they are easily accessible.
This project was especially stimulated by
the fact that, at the same time we were
celebrating our 125th anniversary, we were
building an organ that can be compared
both in size and tonal approach to three his-
torically significant organs the Casavant
brothers installed in Montreal; Basilique
Notre-Dame (1891), Eglise Tres-Saint-Nom-
de-Jesus(1914), and Eglise Saint-Jean-Baptiste
(1915).
The tonal concept of the organ is based on
fully developed Grand-Orgue, Recit, and
Choeur divisions, plus the c°..l°rful Solo
and a Pedale designed to provide a broad
range of bass tones completed by appropri-
42
ate upperwork. In order to provide the
broadest dynamic range possible, from a
whisper to a full sound of heroic propor-
tions, four of the five manual divisions are
under expression. The formidable and vir-
tually seamless crescendo that can be made
from the most ethereal sound to tutti is sim-
ply breathtaking.
The Antiphonal division is made entirely
of pipe work from the previous instrument.
The size of the division and the improve-
ments made to the existing organ chamber
and tone opening give these stops a signifi-
cantly more favorable position than they had
previously, therefore allowing their reincar-
nation as the Antiphonal Organ to be effec-
tive for congregational accompaniment and
as a foil to the main organ.
Acoustically, First Baptist Church can be
compared to a musically friendly concert
hall, with inherent qualities that enhance
tonal clarity and good sound egress into the
room, enabling the organ to blend well with-
out ever being overwhelming. The cubic vol-
ume of this large sanctuary called for signif-
icant presence in the bass and mid-range
registers, the stops of which represent about
two-thirds of the tonal resources of the organ.
The organ is installed in two chambers on
either side of the chancel. The Grand-Orgue
and Recit divisions are installed on two lev-
els in the left chamber. The Pedale division
is installed on the right just behind the case-
work, with the Choeur immediately behind
on the lowest level and the Solo above. The
layout of the stops of all divisions was
planned to confer tonal unity to the instru-
ment by placing the plena on the lower level,
with the flutes and reeds together on the up-
per level.
The divisional plena are designed to play
a specific role in the tonal architecture of the
instrument. The Grand-Orgue plenum,
which is truly majestic in character, is based
on a medium-scale 16' principal (Violon-
basse 16') and crowned by a shimmering
Cymbale m. The Recit plenum is based on a
Diapason 8' and includes two mixtures
pitched at 2' pitch. The Plein Jeu V is de-
signed to work with the full resources of
flues and reeds to crown the division, mak-
ing it especially useful in full Swell effects,
while the Fourniture m contains fewer ranks
and is voiced to work with smaller ensem-
bles of stops. Our experience in building or-
gans with large Swell divisions has shown
that having one large mixture in the division
functions well in the full ensemble but does
not work as well with smaller combinations
of stops, for example, for use in choral ac-
companiment. Therefore, we have adopted
this dual mixture combination, finding it
more effective than providing either one
large mixture or an alternative of employing
one low and one high-pitched mixture. The
Choeur division has a transparent, lighter
plenum based on the principal scale, Sali-
cional8', and is crowned with a Cymbale IV
to echo either the Great or Swell plena. The
Pedale features a solid but nevertheless clear
16' plenum.
There is remarkable variety in flute colors
in this instrument, including an amazing
number of harmonic flutes and three quite
different cornets. The Grand-Orgue Cornet V
is mounted in an elevated position to speak
clearly and boldly from its commanding po-
sition. By adding the Grande Tierce 3~' and
Violonbasse 16', one achieves the 16' Cornet
or "Grand Cornet," which contrasts with the
Choeur cornet decompose made of smaller
scale flutes of a more delicate tone. Interest-
ingly, other flute mutations, i.e., Larigot lX',
Septi~me lU', and Piccolo 1', are available to
provide additional colorful effects in this di-
vision. The Recit Cornet is quite unique, be-
ing made of harmonic flutes to provide a full,
rich sound in this large enclosed division.
Actually, harmonic cornets have become a
kind of "signature" in large Casavant organs
of the last decade. The Recit Cornet is voiced
on moderate wind pressure and contrasts
with the harmonic flute chorus in the Solo,
which is crowned by the Clochettes II and
voiced on higher wind pressure to provide
an impressively dramatic sound.
Strings are found in all enclosed manual
divisions of the organ. The Recit is based on
a medium-scale Gambe 16'. The medium-
scale Viole de Gambe 8' and Voix celeste 8'
are reminiscent of French symphonic undu-
lating string stops. A Violon 4' has been in-
cluded in addition to the usual 4' principal
and flute stops to provide this division with
a delicate but clear 4' stop that is useful for
accompanying children's voices, for exam-
ple. For contrast, the Flute douce 8' and Flute
celeste 8', which are made of tapered flutes
in the Skinner style, provide a very ethereal
sound. The Choeur division features a deli-
cate Dulciane 8' and Unda Maris 8', while the
Solo Diapason 8' and Diapason celeste 8' are
broad in scale, slotted, and voiced on higher
wind pressure in the symphonic/orchestral
tradition to give a bold, warm sound.
The instrument contains no less than 20
independent reed stops. Of particular note
are the seven full-length 16' stops, all of
which are quite different in tone and prove
to be extremely useful in all kinds of regis-
trations. Reed choruses can be found in all
divisions. The Grand-argue reed chorus,
which is bright but bold in tone, is designed
in the symphonic tradition to crown the full
organ. By contrast, the Recit reed chorus has
a darker character. The reed resources of this
division playa significant role in building
the typical symphonic full Swell sound,
from the "caged rage" effect when the ex-
pression shades are closed to complement-
ing the Grand-argue when the shades are
fully opened. The Choeur reed chorus is
more classic in design to echo either the
Grand-argue or Recit chorus. The Solo Tuba
is voiced on high wind pressure, making it
useful as a commanding solo voice in the
main organ, while its robust, smooth sound
contrasts with the brilliant Trompette-en-
chamade located at the other end of the sanc-
tuary. The Pedale reed chorus, which is
based on a large-scale Contre Bombarde 32',
confers an impressive undergirding to the
entire organ. The instrument also features a
wide variety of delicate and contrasting solo
reed colors: two oboes, a French Hautbois 8'
and an orchestral Hautbois d'Orchestre, a
playful Cromorne and Chalumeau, a woody
Clarinette, a melancholic English Horn, a
plaintive French Horn, and a gentle Voix
humaine.
The formal dedication of this instrument
began with a concert by Todd Wilson and the
Western Piedmont Symphony conducted by
John Gordon Ross performing the Third
Symphony of Saint-Saens and the Concerto
for Organ, Strings, and Timpani of Poulenc.
The following afternoon, Todd Wilson
played a stunning solo recital that beauti-
fully demonstrated the many colors and pos-
sibilities of the instrument in works by Bach,
Stanley, C.S. Lang, Lemare, Durufle, Dupre,
and Reubke. Before playing the Variations
on America by Charles Ives, he led the audi-
ence in an incredibly uplifting, roof-raising
singing of "My country, 'tis of thee" that gave
them a chance to participate in the perfor-
mance while demonstrating the effective-
ness of the instrument in stimulating and
leading congregational song.
On November 14, during the weekend that
THE AMERICAN ORGANIST
we celebrated our 125th anniversary with
global performances of Dan Locklair's In
Mystery and Wonder: the Casavant Diptych,
which we commissioned for the occasion,
Joby Bell, faculty member at Appalachian
State University, played a solo recital of
works that included a performance of the
commissioned work. Prior to Dr. Bell's per-
formance, Stanley Scheer, vice president of
Casavant Freres, and Dan Locklair spoke
about the commissioning and composition
of this work for solo organ.
It is interesting that this instrument, with
its fascinating similarity to the work of our
founders, is located only a few miles from
the first Casavant installation in North Car-
olina, an instrument that Claver and Samuel
Casavant built nearly 80 years ago. That this
new instrument should be built during the
celebration of our 125th anniversary gives us
special pride in seeing it located in a place
where members of the church and commu-
nity will hear its voice as they witness the
wonderful power of music in our lives.
CASAVANT FRERES
Jean-Louis Coignet
Simon Couture
Jacquelin Rochette
Stanley Scheer
From the Pastor: A Responsive Chord
Our new Casavant organ has struck a re-
sponsive chord with our congregation and
community. In September 2004, the congre-
gation heard the organ play for the first time.
For over two years we had been without the
supporting foundation of an organ for our
congregational singing. On that first Sunday,
the "lift" provided by the organ was imme-
diate. Our congregation seemed to sing our
praises to God with deeper feeling and joy.
On Saturday evening, October 15, our new
Casavant was introduced to our community.
The Western Piedmont Symphony featured
concert organist Todd Wilson in two sym-
phonic pieces that highlighted this superb
instrument. Again, the response was imme-
diate and positive. The next morning, during
worship, we had the official dedication of
the new organ. Our church family and the
many guests gave thanks to God for this in-
strument and the opportunities it will give to
worship God through our praise and through
our living.
This organ enhances the use of our church's
sanctuary as a prime performance place for
our community. On Sunday afternoon, Octo-
ber 24, the Hickory Choral Society utilized
the organ for several of its choral pieces.
The purchase of such a large quality in-
strument has been a daunting challenge for
our church. It has been accomplished not by
one huge lead gift but by many smaller gifts
that represent the love this church has for the
music of the Christian faith.
The organ has been named for David O.
and Dorothy Byler, a couple dear to this
church. The Rev. Byler, now deceased, was
our minister of music for more than 25 years.
During those years, Dave Byler embodied the
term "faithful and loving minister" for our
church family. For our church, the support
of this new organ became identified with
Dave and Dottie Byler's passion for God, for
self-giving in the name of Christ, and for mu-
sic that connects heart and mind to the Lord.
On Sunday, December 12, our interim or-
ganist, Florence Jowers, presented a 30-
minute recital of Christmas music as the first
part of our annual Christmas concert. The
heartfelt applause at the conclusion of her
last piece expressed our church and commu-
nity's gratitude to God for the blessing and
opportunity this organ is giving us.
WILLIAMW.1EATHERS m, Pastor
MARCH 2005
From the Consultant
My involvement in the excellent results of
this Casavant organ was in two areas: 1. the
guidance and education of the organ com-
mittee toward the choice of a builder; and 2.
a weekly check with the capable voicers who
performed the finishing work that produced
the elegant tonal beauty of the instrument.
The effective organ committee worked for
many years and was invaluable to the suc-
cess of the project. The committee listened,
read, and became educated about the pur-
chase and installation of a pipe organ and
was capable of interpreting the need and the
process to the congregation.
The desire for a large instrument with a
wide variety in the tonal palette meant that
the limitations of space and money had to be
confronted. It became apparent from the be-
ginning that changes to the front of the sanc-
tuary would be necessary in order to maxi-
mize tonal egress, not only for the space for
the organ but also for ensemble reasons with
the choir. With the cooperation of the archi-
tect, acoustic consultant, church staff, and
the entire congregation, the space was pro-
vided. Church members came forth with
funds, and the limitations were removed.
Minister of music Jim Bailiff, organist
Doug Brady, and I drew up a preliminary
stoplist, which was refined in consultation
with the Casavant staff. Mr. Bailiff and I went
to St-Hyacinthe to examine the completed
instrument. In consultation with Jean-Louis
Coignet and Jacquelin Rochette, Casavant's
tonal directors, several alterations in the
tonal balances were effected. Soon after, the
organ was shipped to Hickory, and the in-
stallation went smoothly. Mr. Rochette and
the voicers arrived, and we all agreed on the
tonal balances that would best suit the acous-
tical environment. The voicers worked care-
fully on each pipe, and, some twelve weeks
later the instrument was completed.
The glorious sounds of this instrument
met all of my desires and expectations for
the multiple uses that this organ will pro-
vide for the church, the city of Hickory, and
the entire region of North Carolina. It was
my joy to work with the church and Casa-
vant Freres to bring to fruition such an out-
standing instrument.
H. MAX SMITH,Consultant
Professor Emeritus
Appalachian State University
From the Director of Music: The People's
Instrument
When I joined the staff of First Baptist
Church in 1996, the church was well aware
of its need for a new organ. For several years
a fine committee had been studying options
guided by the organist, Doug Brady. Three
things took the new organ from a dream to
reality:
1. The old Estey finally died. Forty years ear-
lier it was brought from a smaller building
but never had the strength or variety to ad-
equately serve the new space or the ex-
panding music program.
2. The church embraced the opportunity to
honor retired minister of music David o.
Byler.
3. The determination of the beautiful people
of First Baptist. A project of this size in the
millions of dollars usually has one or two
donors or challenge gifts. Although one
family gave two gifts of $25,000 each, all
the rest has been week-by-week gifts in
dollars and cents. One precious lady made
and sold thousands of tote bags and gave
the proceeds to the organ fund. This really
is the people's instrument!
I had learned about the unique application
of a French-Romantic organ to an evangelical
church from the late William Self. A large-
scale principal chorus in each division, col-
orful reeds that blend but do not overtake the
whole, mixtures that add height but break of-
ten enough not to part hair, and a truly
Grand-Orgue are a few of the benchmarks
that make this kind of pipe organ a handmaid
to worship as well as a concert instrument.
My thanks to our organ consultant, H. Max
Smith, who guided the placement and the fi-
nal specification of this magnificent instru-
ment. He came to oversee the space prepara-
tion, installation, and tonal finishing. We
both were pleased with Casavant's willing-
ness to alter scaling, voicing, and build the
console we wanted.
The congregation of Hickory First Baptist
has waited a long time for its new Casa-
vant. It accompanies the choir and soloists,
leads congregational singing in divine wor-
ship, plays the solo repertoire, and stands up
to the Western Piedmont Symphony, all with
equal ease. The whole town is rejoicing in
this new gift to the community.
Soli Deo Gloria, indeed!
JIM BAILIFF
From the Organ Committee Chair:
The Byler Organ
The evolution of our organ program from
inception to dedication for me is a very in-
teresting progression. Having been a member
of First Baptist Church for 40 years, I had
served numerous stints on the committee of
deacons. Early in 1995, I was assigned as
chairman of the Deacon Music Advisory
Committee (DMAC). I was pleased with this
assignment, because, after all, what does a
DMAC do? So the four of us on the commit-
tee were very comfortable with this seem-
ingly innocuous position.
Little did we know! We had been experi-
encing problems for quite some time with the
old Estey organ and had made numerous at-
tempts to make it functional. After discus-
sions with the music committee, the minis-
ter of music, and the organist, we made our
report to the deacons and were charged with
the responsibility of researching our prob-
lems in order to come back with a recom-
mendation.
We immediately decided to seek profes-
sional help. We invited several professional
organbuilders and organists to make an in-
spection, and each of them came back with
the same report: our instrument was ir-
reparable. We considered many options, but
they all led to the same conclusion, which
was to replace the organ. We visited
churches in five different states to get a feel
for the type and size organ that would be ap-
propriate for our sanctuary. Once the visits
had been made, and information had been
gathered, we commenced the education of
our congregation. We had invaluable re-
sources onsite, namely Jim Bailiff, the direc-
tor of music, and Doug Brady, the organist.
They provided much education and direc-
tion to the process. We realized that this pro-
ject was a bit overwhelming for the DMAC,
so it was decided that a church organ com-
mittee should be formed. This committee,
made up of eight members and two ex-officio
members, was elected by our congregation
on April 26, 1996. Some eight years later, on
October 17, 2004, the dedication service for
our new Casavant organ was held.
We had a very knowledgeable minister of
music and organist, but we did not have a
consultant. As good fortune would have it,
Jim Bailiff knew Max Smith, who was pro-
fessor of organ at Appalachian State Univer-
sity for over 20 years. His services were
43
 invaluable in so many ways, Initially, he Fortunately, none of those feelings exist with SOLO (61 notes)
conducted town hall-type meetings to ex- us. We could not be happier with our new 8 Diapason (slotted)
plain pipe organs to the congregation and
help them understand that we had a dys-
organ. The console and the new ex osed
pipes are beautiful and blend so wel with
f 8
8
Diapason celeste (slotted, TC)
Flute double
functional instrument that needed to be re- our room that one would think they had been 4 Octave (slotted)
placed; and more importantly, he estab- there forever. Even more impressive is the 4 Flute harmonique
lished an excellent rapport with our people. 2 Piccolo harmonique
absolute quality you experience when you go 1~ Clochettes II [harmonic flutes)
Our next step was to contact organbuilders into the organ chambers. The attention paid 16 Clarinette basse (ext.)
we felt capable of producing the instrument to detail and craftsmanship far exceeded my 8 Hautbois d'orchestre
we needed. We were looking for outstanding greatest expectations. Working with the 8 Clarinette
quality and good value, We also had the re- Casavant Company has been and continues 8 Cor anglais
sponsibility of directing considerable fund- to be a wonderful experience. We are grate- Tremblant
ing, and we felt compelled to practice good ful to the many people from Casavant who 8 Cor fran~ais
stewardship. After receiving the proposals, did such a great job in bringing our dream Solo Unison Off
we unanimously agreed that the one from into reality. 16 Tuba Magna (TC, ext.)
Casavant Freres best met our criteria. We Last, we were successful because we had 8 Tuba Mirabilis
have never looked back or second-guessed 4 Tuba Clairon (ext.)
such outstanding resources: Jim Bailiff, Max
this decision, At the risk of sounding im- Chimes (existing)
Smith, Doug Brady, and the Casavant team.
modest, I feel that we over-achieved in each Obviously, the work of the DMAC evolved ANTIPHONAL (61 notes)
area. With the support of Max, Jim, and Casa- into a substantial project, requiring many 16 Bourdon (ext.)
vant Freres, the consummation of this pro- years and many hours. Was it worth it? You 8 Diapason
ject has been, and is, a great experience! Our bet! Our committee is very proud to have 8 Bourdon
congregation has been so supportive and ap- been a part of the design and development of 8 Viole de gambe
preciative that we can't say enough good a great instrument that will glorify God, and 8 Voix celeste (TC)
things about them, and how much they are lead the people of First Baptist Church of 4 Principal
appreciated py their committee. Hickory in worshipful experiences for many 4 Flute douce
There are few projects at completion that years to come. 2 Octave
one doesn't look back and say, "I wish we 1~ Fourniture IV
BENNINE,Chair 16 Trombone (ext.)
could go back and do this or change that," First Baptist Hickory Organ Committee 8 Trompette
Tremblant
Zimbelstern (10 bells)

FIRST BAPTIST CHURCH ANTIPHONAL PEDALE

16 Bourdon (Ant.)
HICKORY, NORm CAROLINA 8
16
Bourdon (Ant.)
Trombone (Ant.)
CASAVANTFRERES CHAMADE (floating)
16 Bombarde en chamade (TC, ext.)
ST-HYACINTHE, QUEBEC 8 Trompette en chamade
4 Clairon en chamade (ext.)
GRAND-aRGUE (61 notes) CHOEUR (61 notes] PEDALE (32 notes)
16 Violonbasse 16 Bourdon doux (stopped wood, ext.] 32 Contre Violon (digital)
8 Montre 8 Salicional (principal scale] 32 Contre Bourdon (digital)
8 Violon (exto) 8 Bourdon (stopped wood] 16 Contrebasse (open wood)
8 Flute a cheminee 8 Dulciane 16 Violonbasse (G.-O.)
8 Flute harmonique 8 Unda Maris (TC] 16 Soubasse
4 Prestant 4 Octave 16 Gambe (Recit)
4 Flute ouverte 4 Flftte douce 16 Bourdon doux (Choeur)
3" Grande Tierce 2~ Nazard 8 Octavebasse
2 Doublette 2 Principal 8 Violon (G.-O.)
8 Comet V 2 Flftte 8 Bourdon (ext.)
2% Grande Foumiture II-ill 1% Tierce 8 Bourdon doux (Choeur)
2 Foumiture V lIS Larigot 4 Octave
~ Cymbale ill 1* Septieme 4 Flute
16 Bombarde 1 Piccolo 10% Theorbe 1II (derived)
8 Trompette ~ Cymbale IV 2% Fourniture IV
4 Clairon 16 Dou~aine (ext.] 32 Contre Bombarde (ext.)
Tremblant 8 Trompette 16 Bombarde
Grand-Drgue Unison Off 8 Cromome 16 Petite Bombarde (G.-O.)
Chimes (Solo) 4 Chalumeau 16 Trompette (Recit)
Tremblant 16 Basson [Recit)
RECIT (61 notes) Choeur 16' 16 Dou~aine (Choeur)
16 Gambe (exto) Choeur Unison Off 16 Clarinette basse (Solo)
8 Diapason Choeur 4' 8 Trompette
8 Cor de nuit Clochettes (existing] 8 Clarinette (Solo)
8 Viole de gambe (slotted) Harp (Celesta Sub] 8 Tuba Mirabilis (Solo)
8 Voix celeste (slotted, GG) Celesta (existing, by Deagan] 4 Clairon (ext.)
8 Flute douce 4 Clarinette (Solo)
8 Flute celeste (TC) Chimes (Solo)
4 Octave
4 Violon DESIGN DETAILS
4 Flute octaviante Electropneumatic action
2% Nazard harmonique Movable French/Casavant-style terraced console
2 Octavin Manual naturals of bone; sharps of ebony
Pedal naturals of maple; sharps of ebony
1% Tierce harmonique
Solid-state combination system, 128 levels of memory
2 Foumiture ill (chorus mixture)
List system and four-level programmable crescendo
2 Plein Jeu V (full mixture)
Wind pressures:
16 Trompette (exto)
Grand-Orgue: 90 mm
16 Basson Recit: 100 mm
8 Trompette Choeur: 85 mm
8 Hautbois Solo: 150 mm; Cor fran~ais: 200 mm; Tuba
8 Voix humaine Mirabilis: 350 mm
4 Clairon Antiphonal: 70 mm
Tremblant Chamade: 120 mm
Recit 16' Pedale: 80, 115, 125, and 160 mm
Recit Unison Off
Recit 4' Photographs by Stanley R. Scheer

44 THE AMERICAN ORGANIST