TAO_Nov 2014_Cover feature_Rev

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C O V E R F E AT U R E
DAHLGREN CHAPEL, GEORGETOWN UNIVERSITY
WASHINGTON, D.C.
SCHOENSTEIN & CO.
SAN FRANCISCO, CALIFORNIA
I
N THE HEART of Georgetown University
in Washington, D.C., stands Dahlgren
Chapel of the Sacred Heart, built in 1893
and the gift of Sarah Dahlgren, whose husband
was Admiral John Dahlgren. The Jesuit religious community that founded the university
takes great pride in this chapel, which is the
spiritual gathering place for Roman Catholic
liturgies on the campus. In 2011, a renovation
was launched to reinforce the chapel’s structural
foundation and to preserve and enhance both
its interior and exterior. The blessing of the renovated chapel took place in April 2014.
I was pleased to serve as consultant in this project, assisting the university in reviewing proposals from several organbuilders for a new instrument for the chapel and helping to
determine the characteristics of the organ that
would best suit its needs. I also helped the community understand the language of the organ
and engaged them in planning for and welcoming its arrival.
Schoenstein & Co. was chosen to build the
instrument, and Dahlgren Chapel is now home
to the new Lewnowski Family Organ with 19
ranks, three manuals, and double expression on
some stops of the Swell division. The inaugural
recital program that I will play on November 7,
2014, is designed to feature all the colors of this
versatile instrument. The organ meets the needs
of liturgy and concert, and is scaled to produce
a balanced tone that fills the room. An instrument such as this, located at the center of the
university campus, attracts the attention of students, faculty, alumni, visitors, and the local
community. Their fascination with the visual
and aural aspects of the organ leads to appreciation of this prominent artistic element of the chapel. It is the
fusion of pastoral and academic disciplines that provides excellent ground for the appreciation of the instrument in this setting.
Once the organ installation was complete, I took the opportunity to converse with the chapel music director, a university student, the vice president for mission and ministry, and the organbuilder. Here are some of their thoughts.
LYNN TRAPP
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Delivery day during snowstorm
JAMES WICKMAN is director of music, liturgy, and Catholic life,
in the Office of Campus Ministry.
LT: Georgetown University does not offer a music degree,
though there is an active choir program, including the chapel
choir, under your direction. How might the organ serve as an
instrument of formation for students participating in music at
the university?
THE AMERICAN ORGANIST
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JW: In general, the organ is an instrument for the celebration of
the liturgy. Because of the high quality of the instrument and the
commitment by the University to fund and install such an instrument, the students are shown by example that the liturgy has
a central role in the life of such a large and important organization as Georgetown University.
Also, the new organ serves a purpose for students who are interested in providing music in the liturgy. I have already seen a
rise in interest in playing the organ; we have two student organists, and others have expressed interest—and we have just barely
begun to use the instrument! These are not students who are getting degrees in sacred music or organ, but students from all parts
of the university who are interested in expressing their faith
through music. An instrument like this attracts them in a new
and exciting way, and will open that door even wider.
LT: Describe the types of music the organ serves in the chapel.
JW: The new Schoenstein organ is the anchor of our liturgical
music program. It is used for Sunday night Masses that students
attend—to lead liturgical music and accompany the University
Chapel Choir—and at special services throughout the year. In
addition, this instrument will expand the resources and opportunities of the university’s choral program. Performances inside
the chapel are limited to sacred music, so some of Georgetown’s
choirs are now turning to sacred literature so they can use the organ as part of their repertoire.
LT: How is the organ serving as ensemble instrument with
choir, piano, guitar, obbligato instruments?
Swell Stopped Diapason and Oboe
JW: This is an area of
great growth and potential
that we are just beginning
to explore. I think the instrument has strong possibilities for many combinations of instruments with
all of our liturgical choirs.
The combination of guitar and organ, or using the
pedals only with the piano
and other ensemble instruments, or playing obbligato parts when one of
the instruments is not
available . . . there are many
possibilities.
STEPHEN GLIATTO is a student in the chapel choir.
LT: What does this organ bring to the music making of the
chapel?
SG: The location of the instrument behind the sanctuary altar,
where the choir and instrumentalists gather, heightens the leadership of music ministry. The pipework surrounds the choir area
and provides for clean and rich accompaniment.
LT: Have you observed interest by other students in this
instrument?
SG: Students here seem very interested in the organ. The renovation period was followed very closely by the faith community at
Dahlgren Chapel, and the installation of the new organ was greeted with enthusiasm. Most telling are the positive reactions from
alumni who have not visited Georgetown for some time. They describe the chapel and organ as stunning, breathtaking, and amazing, and see it as a wonderful new asset to the faith community.
LT: What knowledge did you have about the pipe organ
before experiencing the Schoenstein organ, and what about
this instrument have you found most notable?
SG: I knew nothing about the design or construction of a pipe
organ before this project. By far, the most noticeable feature for
me is the presence of its sound. When I was first directing the
choir from the podium, the effect of organ and choir together was
tremendous—like I was being washed away in a cohesive sea of
music, in which I could feel and harness the power of God.
THE REV. KEVIN F. O’BRIEN, SJ, is vice president for mission
and ministry.
LT: How does the addition of the Schoenstein organ contribute to the liturgical life of the campus community?
KO: The organ resounds beautifully in the worship space. The many
different types of communal services that take place in the chapel
throughout the liturgical year will benefit from the sound of the
organ, and congregational song will be fortified.
LT: What specific opportunities does the organ offer for
orchestration in the liturgy?
JW: Both manuals are under expression, and four stops of the
Swell are in an additional swell box. It is extremely flexible for an
instrument of its size. The Cymbelstern and the digital Harp and
Chimes also enhance the instrument. I anticipate a rise in the
quality of our performance repertoire in general, in sacred music
concerts, choir anthems, prayers services, and recitals. This instrument offers an expansion into new repertoire that is exciting
for me and for the students. It will inspire them to reach higher
musically and prayerfully!
NOVEMBER 2014
Pipework of the Great Diapason chorus (left) and
Pedal 16' Open Wood pipes, horizontal behind central wall
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LT: Describe the overall approach
to the renovation of the chapel, and
the organ’s role in blending with
the visual and aural aspects of the
project.
KO: We wanted to maintain the
chapel’s familiar appearance, yet refresh many of its worn features. The
chapel is a warm and welcoming sacred space, and we wanted to maintain that hospitable atmosphere. A
central feature of the chapel is the
stained-glass window behind the altar, beautifully depicting the devotion to the Sacred Heart (thus the
name of the chapel). It was important that the casework did not detract from the breathtaking visual of
the vibrant window. The organ was
constructed to both blend into the
architectural features of the chapel—
especially the vaulted roof—and also
highlight the centrality of the window. It is as if the organ has always
been there.
stops to a third manual provides options for registration
flexibility especially important
in service playing.
LT: Each organ installation
requires your expertise in
suiting the instrument for
the space and its use. What in
particular about the Dahlgren Chapel organ called
upon the special skills of
your company to meet the
goals of this project?
JB: Finding space for the
pipes and making them a welcome addition, rather than an
intrusion, was a tough problem here. Dahlgren Chapel
has been a much beloved center of the university for generations. No space whatsoever was provided for an organ,
and the focal point of the
sanctuary was a very wide and
New Holland Church Furniture staff installing the organ’s casework tall east-end window. We had
LT: What has been the response of
to find a way to place the orthe campus clergy regarding this instrument?
gan on either side of the sanctuary without crowding the window and make it look as though that had been the architect’s
KO: The organ has been well received. The former organ in the
plan all along. By double-decking the main divisions and placspace was in the rear of the nave, and Jesuits applauded the placeing the 16' Open Wood pipes horizontally under the window,
ment of the new organ at the front of the chapel. Presiders for
our engineer, Glen Brasel, was able to include everything while
liturgy have expressed appreciation for how the organ sounds in
maintaining good maintenance access. We have been complithe space.
mented that visitors new to the chapel think that the case, featuring unenclosed diapasons of the Great and Pedal, has been
JACK BETHARDS is president of Schoenstein & Co.
there for decades.
LT: What is unique about the tonal design and versatility of this
organ?
LT: Given your experience in building organs for Catholic
university chapels, what can you share with others considerJB: First, with exception of the principal chorus, we have avoiding a new instrument in their campus chapel?
ed duplication of any tonal colors, thus resulting in a boldly differentiated palette. One each of every major type of flute and reed
JB: In addition to Georgetown University, we have been fortuis included. Although a luxury on a solo repertoire organ, two
nate to build for the University of St. Thomas in Houston, Texas,
highly differentiated celeste stops seem to us a necessity in a
(1998), and Fordham University in New York City (2012). The
church organ of even modest size. We have a pair of bold strings
musical job description for a university organ is quite demandin the Swell and a pair of strongly tapered hybrid stops in the
ing. In addition to the usual Catholic liturgies, there are many
Great. A unified echo principal (Salicional) in the Swell gives the
major celebrations (ordinations, baccalaureates, etc.), a very large
division a clear tonal backbone. Unusual for an organ of this size
number of weddings, various nonstandard liturgies as part of the
are four 16' stops of varying power and color. Second, these reacademic program, and use by the music department as a recital,
sources are almost entirely under expression, with the Swell emensemble, and teaching instrument. Two vital characteristics for
ploying our double expressive system, wherein the high pressure
success are power and variety. If the organ can’t project an atTuba and strings are separately enclosed within the Swell. This almosphere of grandeur and doesn’t hold the musical interest of a
lows these stops to play several musical roles. The strings can be
lot of highly educated people, it will be a failure.
normal Swell strings, more ethereal in quality with both sets of
shades closed, or bold solo strings with all shades open. Likewise,
Lynn Trapp (Lynntrapp.com) is active as a recitalist, conductor, composthe Tuba can serve as a Swell chorus stop or a more heroic solo
er, and clinician. Since 1996, he has served as director of worship and music, organist/pianist at St. Olaf Catholic Church in Minneapolis, Minn.
voice. Third, duplexing a selection of solo stops and ensemble
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THE AMERICAN ORGANIST
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Dahlgren Chapel, Georgetown University
Washington, D.C.
Schoenstein & Co.
Three manuals, 16 voices, 19 ranks
GREAT (expressive)
16 Corno Dolce
12 pipes
8
Grand Open Diapason
(unenclosed)
61 pipes
8
Open Diapason
61 pipes
8
Harmonic Flute
(Corno Dolce Bass)
42 pipes
8
Corno Dolce
61 pipes
4
Principal
61 pipes
4
Corno Dolce
12 pipes
186 pipes
11/3 Mixture III–IV
8
Tuba Minor (Sw.)
8
Clarinet (TC)
49 pipes
Chimes (Solo)
Tremulant
Great Unison Off
Great 4
SWELL (expressive)
16 Bourdon
8
Salicional
8
Stopped Diapason
8 * Gamba
8 * Vox Celeste
4
Salicet
4
Chimney Flute
22/3 Nazard
(ext. Chimney Flute)
2
Fifteenth
13/5 Tierce (TC)
16 * Bass Tuba
8 * Tuba Minor
8
Oboe
Tremulant
Swell 16
Swell Unison Off
Swell 4
12 pipes
61 pipes
61 pipes
61 pipes
61 pipes
12 pipes
61 pipes
12 pipes
42 pipes
12 pipes
61 pipes
61 pipes
* stops under double expression
SOLO
SOLO STOPS
8
Grand Open Diapason (Gt.)
8
Open Diapason (Gt.)
8
Harmonic Flute (Gt.)
8
Clarinet (Gt.)
8
Oboe (Sw.)
16 Bass Tuba (Sw.)
8
Tuba Minor (Sw.)
NOVEMBER 2014
8
4
4
22/3
2
13/5
ENSEMBLE STOPS
Stopped Diapason (Sw.)
Salicet (Sw.)
Chimney Flute (Sw.)
Nazard (Sw.)
Fifteenth (Sw.)
Tierce (Sw.)
PERCUSSION STOPS
Harp (digital)
Celesta (digital)
Cymbelstern (acoustic)
Solo 16
Solo Unison Off
Solo 4
PEDAL (unenclosed)
32 Resultant
16 Open Wood
12 pipes
16 Corno Dolce (Gt.)
16 Bourdon (Sw.)
8
Principal
20 pipes
(Grand Open treble)
8
Salicional (Sw.)
8
Stopped Diapason (Sw.)
8
Corno Dolce (Gt.)
4
Fifteenth (ext. Gt. Grand Open)
4
Flute (ext. Gt. Harmonic Flute)
16 Bass Tuba (Sw.)
8
Tuba Minor (Sw.)
4
Clarinet (Gt.)
COUPLERS
Great to Pedal
Great to Pedal 4
Swell to Pedal
Swell to Pedal 4
Solo to Pedal
Solo to Pedal 4
Swell to Great 16
Swell to Great
Swell to Great 4
Solo to Great 16
Solo to Great
Great to Solo
Swell to Solo
Great to Swell
MECHANICALS
Solid State Capture Combination Action
with:
100 Memories
35 Pistons and toe studs
6 Reversibles including Full Organ
Programmable piston range for each
memory level
Programmable Crescendo and Full
Organ
Piston Sequencer
Adjustable bench
MIXTURE COMPOSITION
G#45
C1
D15
A#35
19
12
22
15
12
26
19
15
12
22
19
15
TONAL ANALYSIS OF MANUAL
VOICES
PITCH SUMMARY
16
4
25.00%
8
8
50.00%
4
2
12.50%
Above 4
2
12.50%
16
100.00%
TONAL FAMILIES
Diapasons
Open Flutes
Stopped Flutes
Hybrids
Strings
Chorus Reeds
Color Reeds
6
2
2
1
2
1
2
16
37.50%
12.50%
12.50%
6.25%
12.50%
6.25%
12.50%
100.00%
Photography (including cover):
Louis Patterson
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