Better Pipe Organ Database

John Brombaugh & Associates Opus 16 (1974)

Grace Episcopal Church
101 W. 12th
Ellensburg, WA

Images

1995-04-09 - Organ case at front (Photograph by James R. Stettner/Database Manager)

1995-04-09 - Organ case, closer view (Photograph by James R. Stettner/Database Manager)

1995-04-09 - Organ case from right (Photograph by James R. Stettner/Database Manager)

1995-04-09 - Case pedestal with keydesk (Photograph by James R. Stettner/Database Manager)

1995-04-09 - Stops (Photograph by James R. Stettner/Database Manager)

1995-04-09 - Supplemental controls (Photograph by James R. Stettner/Database Manager)

Consoles

Main

Console position: Keydesk Attached
2 manuals
11 stops
11 registers
3 divisions
Key action Type: Mechanical (Details Unknown)
Stop action Type: Mechanical
Stop layout Type: Drawknobs in Vertical Rows on Flat Jambs
Pedal Type: Flat Straight
Expression Type: No Enclosed Divisions
Combination action: None

Notes

2004-10-30 - Suspended key action. 3 Great stops play only treble & 1 only bass when half drawn. Werkmeister temperament. -Database Manager

2006-01-01 - Updated through on-line information from James R. Stettner. -- The organ is free-standing and encased at the front and to the left. The keydesk is attached and projecting. The case is of fumed white oak, and the molding are trimmed in black, blue, red, and 23 karat gilt. The pedalboard if of burl maple and rosewood. Pipe shades are carved of sugar pine. Stopknobs and manual molding are of ebony. Stop rods are of maple. Black walnut is used for the reed blocks, and the sliders are of mahognay. A bit of black bog oak from Northern Germany is used in the music rack. The 5-sectional façade is arranged: 6-26-5-26-6. The two central flats of 26 pipes are divided into upper (11 pipes) and lower (15 pipes) sections. Five of the façade pipes are embossed. The organ was played at the 1974 National AGO Convention in Cleveland by Gustav Leonhardt before being moved to its permanent home in Washington State. -Database Manager

2014-02-06 - Received via e-mail from John Brombaugh, February 6, 2014. <br>The organ in the Klosterkirke in Sorø, Denmark as a primary source for my inspiration. To be stated briefly, the architectural layout for the façade of Op. 16 is: from the impost down, Op. 16 is based on Oosthuizen and from the Impost up, Op. 16 is based on Sorø. The places where the Krewerd organ may have been influential would more have been been in some of the pipe scaling and voicing concepts since I knew that organ very well, even better in detail than I knew Oosthuizen - and virtually nothing on the sounds at Sorø which are 20th century neo-Baroque from Marcussen influenced Op. 16. <br>Beyond the case, scaling and voicing influences given above, the Oosthuizen and Krewerd organs were most influential in the action layouts, especially Oosthuizen which is almost identical in Op. 16. Krewerd, though similar, happens to have its keyboards located on the rear side of the organ - very atypical in the old Netherlandish organs - but Krewerd has an attached pedalboard but no independent Pedal stops at all (as Op. 16 had), only a pedal coupler. Oosthuizen has not pedal at all, only the old Netherlandish 38 note F, G, A - g'', a'' manual keyboard. <br>One final part: at Heer Leonhardt's request, Op. 16 was temporarily tuned in perfect 1/4 SC (syntonic comma, i.e., the type that gives perfect IIIrds) Meantone while it was set up for the 1974 AGO national convention in Cleveland. When Op. 16 was installed immediately after that convention to its owner's location in Ellensburg, WA, it was tuned into a variation very close to Werckmeister III that I dreamed up; but when I did major revoicing in the late 1980s so the organ was not quite so loud for the Grace church parishioners, it was changed into Kellner's Bach temperament. -Database Manager

Stoplist

Stoplist copied from the console April 9, 1995 Source: Source not recorded Date not recorded

Ellensburg, Washington
Grace Episcopal Church

JOHN BROMBAUGH & CO., Opus 16, 1974 - "Original Specifications"

MANUAL I (56 notes) COUPLERS
16 Bourdon 44 Great - Pedal [notched]
8 Præstant (FF) 81
8 Holpÿp (discant) 32
(bass) 24
4 Octave (discant) 32
(bass) 24
3 Quinte (discant) 32
(bass) 24
2 Octave 56
1-3/5 Tierce (discant) 32
(bass) 24
II-IV Mixture [22-26] 188
Tremulant
ACTION: Mech. Key & Stop

MANUAL II (56 notes) VOICES: 11
[8] Regal Ventil 56
STOPS: 11 (4 divided)

PEDAL RANKS: 14
16 Subbass 30
8 Trumpet 30 PIPES: 709

NOTES
The organ is free-standing and encased with an attached, projecting keydesk.
The case is of fumed white oak, and the moldings are trimmed
in colors of black, blue, red, and 23 karat gilt. The manuals are of bone and grenadill.
The pedalboard is of burl maple and rosewood. The pipe shades are carved from sugar pine.
The stopknobs and manual moldings are of ebony. The stop rods are of maple. Other woods
include black walnut for the reed blocks, and mahogany for the sliders. A thin strip of
black bog oak from northern Germany is used in the music rack.

The upper case has folding doors which cover the pipes. The 5-sectional façade is arranged:
6-26-5-26-6. The two central flats of 26 pipes are divided into upper and lower portions.
The upper flats contain 11 pipes each, and the lower flats contain 15 pipes each. Five of
the façade pipes are embossed.

The Manual I 8' Præstant borrows its first five notes from the tenor octave of the Pedal
16' Subbass. It begins in the façade at bass FF (note 6). From c 37 to the top it is II-
ranks. The entire façade is from the Præstant. The 8' Holpÿp, 3' Quinte, and 1-3/5' Tierce
are all divided. When the stop is half-drawn, the stop shank is labeled `discant'. When
fully drawn, the stop shank is labeled `discant & bass'. The 4' Octave is also a divided
stop, but it acts in a manner opposite the other three divided stops. When the stop is
half-drawn, the stop shank is labeled `bass'. When fully drawn, the stop shank is labeled
`bass & discant'. The Manual I 16' Bourdon borrows its bottom octave from the Pedal 16'
Subbass. The first nine pipes of the Pedal 16' Subbass are outside the case. Pipes 1-14
are on their back on the floor beneath the hinged, wedge-shaped bellows. Pipes 5-9 stand
on a tubed chest on the floor directly behind the case.

The organ was played by Gustav Leonhardt at the 1974 National AGO Convention in Cleveland,
OH before being installed in its home in Washington State.

Sources: The American Organist, July 1975, Vol. 9, No. 7, pg. 21, "New Organs"; JRS;
extant organ.

[Received from James R. Stettner 2012-05-10.]