Austin Organs, Inc. Opus 2761 (1996)

1996 - Console (Photograph by Unknown, submitted by Scott Lamlein/Scott Lamlein)

1996 - Console (Photograph by Rev. Joseph Pace, submitted by Scott Lamlein/Scott Lamlein)

2017 - Nave, console, from high altar (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Pedal chamber, Contrebass mounted to ceiling (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Positif pipework, clochettes (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Positif windchest valves (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Positif key action (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Recit pipework (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Recit with Voix Humaine (Vox in a box) (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Pedal with Bombarde (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Grand-Orgue pipework (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Pedal Contrebass showing old grafted to new (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Antiphonal with chamade (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - Transept case, east side (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - East twin cases (designed by Charles Nazarian) (Photograph by Scott Lamlein/Scott Lamlein)

9/2015 - West case (Photograph by Scott Lamlein/Scott Lamlein)

1996-11-11 - Console and Organ Case (Photograph courtesy of Austin Organs, Inc./Database Manager)

2022-04-08 - Church interior (Church Facebook via Jeff Scofield/Jeff Scofield)

2020-03-29 - Church interior to rear (Church Facebook via Jeff Scofield/Jeff Scofield)

2017-09-03 - Church exterior (Church Facebook via Jeff Scofield/Jeff Scofield)

Consoles

Main

Notes

2005-01-07 - Information identifying this instrument from the Austin Organs, Inc. web site, accessed December 29, 2004: http://www.austinorgans.com/organ-research.htm. -Database Manager

2014-06-29 - Retained 24 ranks from 1950 Austin Op. 2123 that was severely damaged by fire. -Database Manager

2022-11-05 - This organ is used almost daily and is a wonderful instrument! -Ted Babbitt

2023-05-20 - The original ca. 1910 casework from Austin Opus 231 was retained, but with modifications - one of which was the pipe shades at the top were new. Unknown if any ca. 1910 pipework survives in the present instrument. -Jim Stettner

2023-05-20 - From St. John's organ history. Written in 1996, and revised 2010 by Ralph Valentine. Editing and additional information by William Uricchio, December, 2010; and by Scott Lamlein, 2015. In spite of the considerable water and fire damage [to Austin Opus 2123 in the October 1992 fire], a decision was made to try and use as much of the former instrument as possible in designing and constructing its replacement, Austin Opus 2761. As a result, approximately 38% of the pipework in the new instrument was recycled from the 1950 Austin and three of the original windchests were also reused. Thanks to a generous gift by the family of Mr. and Mrs. Henry G. Robinson, Jr., a number of tonal improvements became possible. As constructed, the instrument contained a total of 51 stops, 64 ranks, and 3,721 pipes. In drawing up the plans, shown above, for the new organ, every effort was made to address the weaknesses and shortcomings of its predecessor. The first step was to remove a massive stone arch in the main chamber which formerly had blocked the tonal egress of approximately 60% of the Great, Choir, and Pedal pipes and replace it by a simple, thin I-beam which could support the new Grand Orgue windchest and make a significant improvement in the sound of the instrument. The Choir Organ, which formerly was situated behind and below the Great Organ, was relocated to the right side of the chancel in a new chamber constructed beside the Swell Organ where its contribution to the total ensemble was dramatically increased. Tuning and maintenance of the entire organ has been facilitated by having all the pipes of each separate division at the same approximate level above the chancel floor. Many tonal additions were made to the Pedal Organ, which was sadly inadequate in the 1950 design, having contained only 56 pipes of its own (out of a total of nearly 3,000). Placed in the chancel area, the new three-manual drawknob console for Opus 2761 has allowed the organist to judge the balance between the sound of the organ, choirs, and congregation much more accurately than the previous sacristy installation. The console was equipped with solid state combination action with 25 memory levels and is fully MIDI compatible which allows for maximum flexibility in utilizing the many sound possibilities of the instrument. Subsequently, the console computer has been upgraded twice, most recently in 2020, to add piston sequencer functionality and increase the memory levels to 250 – all to accommodate the constant use of the instrument by regular and visiting organists. The main case on the east side of the chancel was reconstructed and refurbished woodwork. Two new cases on the west side of the chancel handsomely reflect the restored original. All the cases, including one in the east transept, now contain speaking pipes of polished zinc from the 8’ Montre, Violon, and Flûte Harmonique of the Grand Orgue as well as the 8’ Octave Basse of the Pédale. Additional attractive panelling was constructed for the chests of the Antiphonal Organ which remained basically similar to its original 1978 design except that it was subsequently winded from the main blower. Finally, the main blower motor, which had been recycled from an earlier instrument, was replaced in 2008 with a quieter and more efficient model. After the present main instrument was completed, the music program expanded considerably with the addition of many new members to the Adult and Youth Choirs. On most Sundays, the narrow chancel at St. John’s could not accommodate all the singers and one of the choirs would often be relegated to the east transept for the duration of the service. Members of the Youth Choir (now Choir School) would sing their anthems from the steps of the chancel in order to optimize their sound projection. Unfortunately, the organist, seated up in the chancel, would not be able to see the Youth Choir director and judge the balance of the organ accompaniment accurately. A decision was made to purchase a small, two manual Rodgers organ console for the east transept, which could be used to control the stops of the main organ as well as the opening and closing of the expression shades of the Positif and Recit. The Rodgers console, installed in 2001, also made it possible to perform large-scale works that involve instruments as well as singers. The 1996 inaugural season garnered much publicity, including a cover feature in The American Organist magazine. That year saw full-house concerts by international luminaries of the organ world and local favorites: John Scott (then of St. Paul’s Cathedral, London), Wilma Jensen (Nashville, TN), Ben Schaffer (West Hartford), Marilyn Keiser (Indiana University), Thomas Murray (Yale University), Ralph Valentine (then Organist and Choirmaster at St. John’s), and John Rose (Trinity College, Hartford). It has been featured in two conventions of the American Guild of Organists, several “Pipescreams!” Halloween recitals, and in the 1996 “World’s Largest Organ Recital” – an event to raise awareness of the organ world-wide. Countless recitals have been presented by the resident musicians of St. John’s: Ralph Valentine (1976-2010), Peter Stoltzfus Berton (2010-2014), and Scott Lamlein (2014-present). -Scott Lamlein

2023-05-20 - Tonal Design: David A.J. Broome and Ralph B. Valentine Layout: Frederick L. Mitchell Installation: Jon van Houten Tonal Finishing: Daniel Kingman, assisted by David Johnston and Christopher Broome Case Design: Charles Nazarian Case Construction: Matthew Burke of Kingsland Co., Norfolk, CT Acoustical Consultant: Larry King Organ Consultant: Ralph B. Valentine -Scott Lamlein

Stoplist

Stoplist copied from <i>The American Organist</i> November 1996 Source: Source not recorded Date not recorded

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