Trinity Episcopal Parish
Seattle, WA

Marceau and Associates Opus IV

Kimball 1903
Balcom & Vaughan 1978
Marceau Pipe Organ Builders Opus IV, 1989, 2005-2006

 Positif (I) Great (II) Swell (III) Pedal
8' Prinzipal 16' Principal 16' Lieblich Gedeckt (ext.) 32' Untersatz (ext. Digital)
8' Gedackt 8' Principal 8' Holz Gedeckt 16' Principal (Gt)
8' Gemshorn 8' Rohrflöte 8' Salcigional 16' Subbass
8' Gemshorn Celeste (t.c.) 8' Flute Harmonique 8' Voix Celeste (t.c.) 16' Lieblich Gedeckt (Sw)
4' Spitzoktave 8' Salicional (FF)* 4' Principal 8' Octavbass
4' Spillflöte 4' Octave 4' Nachthorn 8' Gedacktbass (ext.) 
2 ⅔' Sesquialtera II 4' Koppelflöte 2 ⅔' Nasat 8' Holzgedackt (Sw)
2' Lochgedackt 2' Octave 2' Waldflöte 4' Choralbass
1 ⅓' Larigot 2 ⅔' Cornet III (t.c.)
1 ⅗' Tierce
2 ⅔' Mixture III
1' Cymbel IV 1 ⅓' Mixture III-V 2' Fourniture IV 32' Posaune (ext. Digital)
8' Krummhorn 8' Trompete 16' Fagott (ext.) 16' Bombarde
Chimes 8' Trompette 16' Fagott (Sw)
Treumlent  8' Oboe 8' Trumpet (ext.)
8' Hautbois 4' Clarion
4' Hautbois (ext.)

* prepared stop

The new organ for Trinity Parish is a continuing musical journey for this historic Seattle Church. The instrument utilizes elements from the 1903 W.W. Kimball Pipe Organ up to and including the most recent work of 1978. A new 3 manual tiered draw knob console was built in 1989; when the perflex pneumatics of the unit windchests began to fail in 1991, it was decided that they be replaced with new electro-pneumatic slider-pallet windchests as well as a new winding system for the organ which incorporates a single wedge bellows. In this project, a number of important concerns needed to be dealt with. Of significant importance was the historic restoration of the Church and how the new organ could be incorporated into that plan. Given the visual options of either the original Kimball facade design or the contemporary layout of 1978, it was decided to use the concept of the Kimball facade with modest alterations. Thus the new facade includes polished pipes with varying foot lengths and columns (which help lessen the visual impact of each archway of pipes) with appropriate finials to match existing woodwork. In addition, the challenge of designing a mechanical layout for all of the new components (windchests, reservoirs, swell box, solid state relay) in the existing chamber space put Design Engineer, Mark Dahlberg, to the creative test. Through a process of total space utilization, the number of ranks and pipes increased from 32 ranks and 1,778 pipes to 56 ranks and 3,104 pipes.

The tonal design of our Opus IV is based upon the many and varied musical needs of the Parish. Of primary importance is the organÕs role in leading congregational singing; the instrument must also contain the tonal resources to accompany the choir in a variety of musical settings as well as the capability for the rendering of a wide body of solo organ literature. Utilizing the existing pipework in the new design proved to be a highly successful venture. Through a careful examination of each stop, a new tonal signature was developed which required rescaling and thoroughly revoicing of all pipework. Of the four families of sound in the organ, the Principal is the most prominent. Each division now contains complete Principal choruses, up to and including Mixture stops. Both the Great and Positiv feature an 8' Principal; this makes it possible for the Great 8' Principal to be broad and full while the Positiv 8' Principal is smaller in scale, making it lighter and more distinct. This contrast allows for a greater variety of registrational possibilities. Flutes are varied and colorful, providing distinct contrasts between the divisions. Special mention is made of the mutations; all manual divisions have these unique color stops, each of which contrasts successfully with the other mutation stops. With the addition of broader and more powerful reeds, this group is well represented with independent voices in every division. More orchestral sounds are present with 4 ranks of strings, a unison and separate celeste rank on both the Swell and Positiv. Ultimately, the intent of this design was to provide the organist with greater expressive capability through an almost limitless variety of sounds and dynamic nuances previously unavailable with this instrument.

 

Hear Marceau Opus VII

Hear Marceau Opus VII as featured on PipeDreams in a performance by Barbara Harbach.

listen-icon-smListen to excerpt #1.
listen-icon-smListen to excerpt #2.

 

 

 

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