Tracker Organ

Compressed air is provided by a small electric blower to a bellows which regulates the pressure of the wind. The regulated wind is conducted to a windchest for each keyboard. Each key is mechanically connected to a valve in the appropriate windchest. When a key is depressed the air is allowed to pass into a channel under the pipes for that note, but the pipes cannot sound unless the appropriate stops are drawn. All of this is completely mechanical and the only need for electricity is to power the blower. With a mechanical key action, the player has a much more intimate control over the speech of the pipes which allows much greater nuance in the music. Mechanical action is also much more durable so that the organ can be expected to last for generations.


Some parts of the organ were recycled from older instruments. The windchests, bellows and building frame are from an organ probably build by George W. Reed of West Boylston, Massachusetts around 1890 for the Tatnuck Congregational Church in Worcester, MA. It was moved sometime in this century to the Armenian Church of the Martyrs in Worcester. Arrangements for the present relocation were handled by the Organ Clearing House of Harrisville, New Hampshire. The 16’ Pedal Bourdon and its windchest were made by the Kilgen Organ Company of Saint Louis, Missouri in the 19th century, and a number of other pipes are from various old instruments. All of the old pipes were completely reconditioned and revoiced for optimum effect in the organ. The case and console were designed and build in the Bozeman-Gibson shop in Lowell, MA. White oak with a natural finish is the predominant wood, and the pipe screens are of birch. The key platings are ebony and boxwood capped with genuine ivory, and the pedal keys are rock maple for the naturals and walnut capped with ebony for the sharps. The stopknobs are turned from Rosewood. The front pipes and all other new pipes were made especially for this organ in Brattleboro, Vermont.


Brenda Collins, David Gibson and Keith Henderson did most of the shop work on the organ. John Morlock and George Bozeman, Jr, installed and voiced it on location. Contract negotiations were handled by Martin Walsh and E.A. Kelley. The tonal design was in consultation with Garland Butts, Organist and Choir Director of St. Paul’s Lutheran Church, E.A. Kelley and Bozeman-Gibson.


THE STOPLIST:

GREAT ORGAN

8’ Principal 61 new pipes

8’ Chimney Flute 61 old pipes

4’ Octave 61 old pipes

2’ Fifteenth 61 new pipes

III Mixture 1 1/3’ 183 new pipes

8’ Trumpet 61 old pipes

SWELL ORGAN

8’ Gemshorn 40 old pipes

8’ Bourdon 61 old pipes

4’ Flute 61 old pipes

2’ Principal 61 old and new pipes

1 1/3’ Quint 61 old and new pipes

8’ Oboe 61 old pipes

PEDAL ORGAN

16’ Bourdon 30 old pipes

Total Pipes 872

COUPLERS

Swell to Great, Swell to Pedal, Great to Pedal