Good Shepherd Catholic Church, Beverly Hills, CA at 505 N. Bedford Drive, Beverly Hills, CA 90210 US - New Church Organ

THE ORGAN AT GOOD SHEPHERD:

MOVING INTO THE 21ST CENTURY

SOME BACKGROUND INFORMATION

Less than five years ago, our former Music Director was able to culminate the efforts of previous directors to develop a choir at Good Shepherd that is a stable and vital ministry - a ministry to lead as well as to help us grow in our worship life. The next step he envisioned was acquiring a new organ because of the many problems with the current instrument. Though concern about the organ has been an issue with previous organists and music directors, a group of parishioners had never been enlisted to study the problems. Nearly two years ago, our current Music Director, Mr. Terry Hicks, asked that a committee be formed from a broad cross section of parishioners to study the status of the organ. Initially, some members of this Organ Research Committee asked “What’s wrong with the organ? It sounds fine to me.” Without being able to make a side-by-side comparison, or knowing the history of our organ’s condition, such comments were understandable. However, with the help of Terry Hicks, plus other consultants, as well as parishioners, the problems of the current organ were revealed.

POOR DESIGN AND UNRELIABILITY OF THE ORGAN

The pipe organ at Good Shepherd originally dates from 1965, and from the very beginning there were issues with the installation. The placement of the pipes deep into a chamber, and the sound of the pipes worked against leading congregational singing. In the late 1980’s or early 1990’s, an attempt was made to address the deficiencies of the organ; several additional pipes were added and some mechanical rebuilding was performed. Sadly, the project did not produce good results, neither musically nor mechanically. For several years, there have been frequent mechanical and electrical failures of many types. At times, various pipes continue to “speak” when the organist has stopped playing notes. There have also been times when the reverse happens and pipes do not speak when a key is played. These problems are due to poor wiring at the keyboards or in the pipe chamber, as well as unreliable mechanisms within the “windchests” which the pipes actually sit on. Getting inside the chests to make repairs is not an easy task, because other parts of the organ are placed where they create obstacles to gain access to the chests. To remedy these problems, the chests would need to be replaced with those of more reliable design, plus arranged more logically within the pipe chamber. Also, the console which holds the keyboards and related controls needs replacing. Then pipes need overhauling (if possible) and some replaced. Doing these things could cost almost as much as a new organ, yet not address another very crucial problem of the instrument.

LOCATION OF THE PIPES AND MUSICAL NEEDS

Reference was previously made to the “pipe chamber.” The pipes of our organ aren’t visible because they are buried deep within the east tower of the building. The sound comes out through an opening that faces only the choir – no sound speaks directly into the body of the church building. As a result, some pipes have been made to sound abnormally loud in order to lead the congregation. For those seated in the pews, the organ may sound fine. For those in the choir, however, the result is overpowering and often causes choir members to sing louder than necessary. Not a good thing! At the same time, there are many groups of pipes whose volume level was not increased. These pipes are far too soft in relation to the pipes that were changed to “speak” louder. Accordingly, the quieter pipes are practically useless in leading the assembly with subtle, yet supportive, sounds. This disparity of volume level also makes it extremely difficult to accompany the choir or cantors. Often a choice has to be made between sounds that are too strong or those that are too weak. As far back as 1993, a local organ builder wrote a brief report stating that the pipes should be taken out of the tower chamber and placed in the body of the choir loft. If so situated, the pipes could speak unhindered into the body of the worship space. To do this would also require new “windchests” that fit into the choir loft, and a new console (keyboards and related controls.) Again, the pipes must be overhauled (if possible) and some replaced. This approach could also cost as

much as a new organ built from scratch.

RECOMMENDATION FROM THE COMMITTEE

After hearing these explanations from qualified consultants who are builders or organists, as well as from our current music director, the Research Committee reached a unanimous decision that trying to rebuild the present organ to correct all of these problems was not a wise choice. It seemed more enlightened to have a new organ built–one that is both musically and mechanically of such a quality that it is capable of leading and inspiring our worship for more than just a few decades. This decision was made with due consideration of relevant financial, structural, musical and liturgical factors. Members of the committee then went to see and hear organs at other locations in order to learn more about what a new organ could be like, and to seek out other expert opinions. Many resources have been expended on our buildings that will leave a physical legacy for future generations. Now we have an opportunity to consider our liturgical and musical life, and what that legacy will be. Here is some basic information that may answer likely preliminary questions.

HOW DO WE FIND AN ORGAN BUILDER?

A pipe organ is custom built by hand for each parish and its needs. Eleven builders were contacted with a proposed organ design in order to determine an estimated cost. Estimates ranged from $500,000 to $900,000. (There are builders who would have had even higher prices.) By interviewing builders and by Terry Hicks visiting builders’ shops, the list was then narrowed down to three who were high in quality yet reasonable in cost. The builder chosen by the Committee is the Noack Organ Company, located in Georgetown, Massachusetts.

HOW MUCH WILL IT COST?

Builders' proposals are presented with a figure that is binding for 90 days, after which inflation may need to be taken into account. The base price by the Noack Organ Company is $677,500 (not including a California $46,000 “use tax”) with a delivery date of October 2008. There is an additional cost estimated at $91,000 to revamp the choir loft. The choir loft changes would include removing the wooden “screens” on both sides of the loft, as well as restructuring the floor risers.

HOW WILL WE PAY FOR THE ORGAN?

Besides outright donations and pledges from parishioners and others who have had ties to the parish, we will be seeking grants from various foundations, plus utilizing funds from the endowment intended for capital improvements. For the first time in many years, we as parishioners will need to take on the responsibility for a capital improvement for the good of the present and the future of our Parish. It may seem like a large undertaking, but it is amazing what can happen when people work together and believe in God’s grace.

The Organ Research Committee

Neil Scotti, Chair

Patrecia Formeca

Margaret Kame

Sharon Monroe

Bill Shaw

Monica Smith

Marianne Tatasciore

Thomas Thomson

Terry Hicks, Music Director

ABOUT THE NEW ORGAN 

GREAT: (58 notes)

1.             Bourdon 16'                                               

2.             Diapason 8'                                               

3.             Chimney Flute 8'                                                       

4.             Spire Flute 8' (1-12 from #3)                                                                        

5.             Octave 4'                                  

6.             Harmonic Flute 4'                                                       

7.             Twelfth 2  2/3'                                                                           

8.             Fifteenth 2'                                                                

9.             Seventeenth 1  3/5'                                                    

10.            Mixture IV  1 1/3'                                       

11.            Trumpet 8'                                                                

SWELL: (58 notes, enclosed)

12.            Viola 8'                                    

13.            Stopt Flute 8'                                             

14.            Celeste 8'  (from A)                                                    

15.            Principal 4'                                                                

16.            Recorder 4'                                                                               

17.            Gemshorn 2'                                                                             

18.            Larigot 1 1/3'                                                                             

19.            Cornet III  (from f°)                                                      

20.            Mixture  III  2'                                                            

21.            Oboe 8'                      

22.            Cremona 8'                                                                               

PEDAL: (30 notes)

23.            Stopt Bass 16'                                                                                           

24.            Bourdon 16' (from #1)

25.            Open Bass 8'                                                                            

26.            Gedackt 8'                                

27.            Octave 4'                                                  

28.            Trombone 16'                                                            

29.            Trumpet 8'  (from #11)

Detached console

Mechanical key action

Electric stop action.