The Diapason

Cover feature

February 2004

From our first contact with the committee of Preston Hollow Presbyterian Church, we were excited about the possibility of working in Dallas, with its rich pipe organ culture and precedence of significant instruments. At the same time, our focus throughout the project has been the same as with all of our instruments, namely to provide a worshiping community with a versatile resource that supports the music ministry. Creating a liturgically sensitive design within the larger context of the Dallas organ community posed challenges as well as many exciting opportunities.

Throughout the process, we were grateful for the support and assistance of the Organ Selection Committee, chaired by Jim Watkins, and the church music staff, including Terry Price, director of music and Annette Albrecht, organist. In the many conversations, visits and meals we shared, the people of Preston Hollow Presbyterian Church became close friends, and we continue to value their input and camaraderie.

Tonally, the organ is structured around a carefully balanced plan of principal choruses. Each division relates to and complements the other divisions in a terraced scheme. The Great plenum is based at 16’ pitch with a divided six-rank mixture allowing for an 8’ chorus when desired. The Swell acts in relief to the Great in a traditional Positiv-Hauptwerk manner. The higher pitched Cymbale mixture is effective in plenum literature as well as in coloristic effects. In contrast, the Choir principal chorus is specifically oriented toward the needs of choral accompaniment, and the mixture clearly delineates tone without becoming oppressive or over-stated. The Pedal plenum is built along lines similar to the Great and has a complete, independent chorus of principals beginning at 16’ pitch.

Each manual division contains a third-sounding rank, increasing the flexibility in playing Cornet-based literature, particularly French grands jeux and dialogues. Both Great and Choir cornets are decomposée, while the light, diapason Sesquialtera of the Swell effectively colors flutes or principals.

Flute choruses in the instrument display a maximum of variety in color, ranging from the solid Great 8’ Bourdon and 4’ Flûte conique to the Swell’s crisp, articulate wooden flutes at 8’ and 4’ with a crowning 2’ Recorder in 70% lead. The Choir’s flute ensemble is the largest of the divisions and includes a luxurious 16’ Conical Flute. Among the largest yet softest pipes in the organ, this stop features a clarity of pitch created by the open taper that lays a solid foundation for quieter combinations. Pedal flutes include the 32’ Contre Bourdon, the wooden 16-8’ Contrebasse, an 8’ stopped wood Flûte bouchée and the 4’ Cantus Flute. The Contrebasse/Flûte is useful as the foundation of plenum literature, particularly those in the style of earlier German composers such as Buxtehude, while the 8’ range works well as the chant line in French classic organ masses. We have recently been exploring solo stops for the Pedal’s alto line, and the 4’ Cantus Flute in this instrument is our first open wood with inverted mouths and raised caps. The prominent, commanding flute timbre is designed especially for works like the fourth movement of Widor’s Fifth Symphony.

Reed stops in the organ span a similarly wide spectrum of dynamic and style. The Choir solo stops of Cremona, English Horn and Tuba contrast with the dramatic fire of the Swell reed chorus with independent trumpets at 16’, 8’ and 4’. The Pedal chorus is built on the 32’ Posaune with wooden resonators that encourage a generous amount of fundamental pitch. All reeds in the organ, with the exception of the resonators of the Posaune, are from A. R. Schopp’s Sons, who also made the strings, Great Harmonic Flute and display pipes. We are grateful to the people of A. R. Schopp’s for their excellent work in all of our projects.

The casework of the façade incorporates the main architectural ornament details in the room. Hand carved Corinthian capitals based on the Temple of the Winds design support a substantial architrave with dental molding and carved egg-and-dart detail molding. The console features panel with crotch mahogany and styles and rails with quarter-sawn ribbon mahogany. Console controls include 128 levels of memory, simple sequence memory with advance thumb pistons in each key slip and an internal MIDI interface with data filer for record and playback.

Mechanically, the organ uses Goulding & Wood’s unique design of electro-pneumatic slider and pallet windchests. This design offers a tightness of ensemble and attractive speech characteristics which typify common key channel instruments while allowing for remote, moveable key control. This marriage of recognized mechanical design and up-to-date technology produces a musical instrument of great expression and versatility. Adding to the reliable chest mechanics, the layout and engineering of the instrument allows accessibility for maintenance and tuning as well as maximizing tonal egress. Great and Swell divisions are located near the barrel-vault ceiling, allowing their voice to emanate freely through the room, and the Choir box is located near the choir stalls of the chancel for effective accompaniment.

It is our hope and expectation that our Opus 41 will serve the people of Preston Hollow Presbyterian Church well in their worship for generations to come. Similarly, we look forward to contributing to the vibrant cultural life of Dallas.

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