50 THE AMERICAN ORGANIST

IN THE HEART of Georgetown Universityin Washington, D.C., stands DahlgrenChapel of the Sacred Heart, built in 1893

and the gift of Sarah Dahlgren, whose husbandwas Admiral John Dahlgren. The Jesuit reli-gious community that founded the universitytakes great pride in this chapel, which is thespiritual gathering place for Roman Catholicliturgies on the campus. In 2011, a renovationwas launched to reinforce the chapel’s structuralfoundation and to preserve and enhance bothits interior and exterior. The blessing of the ren-ovated chapel took place in April 2014.I was pleased to serve as consultant in this pro-

ject, assisting the university in reviewing pro-posals from several organbuilders for a new in-strument for the chapel and helping todetermine the characteristics of the organ thatwould best suit its needs. I also helped the com-munity understand the language of the organand engaged them in planning for and welcom-ing its arrival. Schoenstein & Co. was chosen to build the

instrument, and Dahlgren Chapel is now hometo the new Lewnowski Family Organ with 19ranks, three manuals, and double expression onsome stops of the Swell division. The inauguralrecital program that I will play on November 7,2014, is designed to feature all the colors of thisversatile instrument. The organ meets the needsof liturgy and concert, and is scaled to producea balanced tone that fills the room. An instru-ment such as this, located at the center of theuniversity campus, attracts the attention of stu-dents, faculty, alumni, visitors, and the localcommunity. Their fascination with the visualand aural aspects of the organ leads to appreci-ation of this prominent artistic element of the chapel. It is the fusion of pastoral and academic disciplines that provides excel-lent ground for the appreciation of the instrument in this setting.Once the organ installation was complete, I took the opportu-

nity to converse with the chapel music director, a university stu-dent, the vice president for mission and ministry, and the organ-builder. Here are some of their thoughts.

LYNN TRAPP

JAMESWICKMAN 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 chapelchoir, under your direction. How might the organ serve as aninstrument of formation for students participating in music atthe university?

COVER FEATURE

DAHLGREN CHAPEL, GEORGETOWN UNIVERSITY WASHINGTON, D.C.

SCHOENSTEIN & CO.SAN FRANCISCO, CALIFORNIA

Delivery day during snowstorm

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JW: In general, the organ is an instrument for the celebration ofthe liturgy. Because of the high quality of the instrument and thecommitment by the University to fund and install such an in-strument, the students are shown by example that the liturgy hasa central role in the life of such a large and important organiza-tion as Georgetown University.Also, the new organ serves a purpose for students who are in-

terested in providing music in the liturgy. I have already seen arise in interest in playing the organ; we have two student organ-ists, and others have expressed interest—and we have just barelybegun to use the instrument! These are not students who are get-ting degrees in sacred music or organ, but students from all partsof the university who are interested in expressing their faiththrough music. An instrument like this attracts them in a newand 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 liturgicalmusic program. It is used for Sunday night Masses that studentsattend—to lead liturgical music and accompany the UniversityChapel Choir—and at special services throughout the year. Inaddition, this instrument will expand the resources and oppor-tunities of the university’s choral program. Performances insidethe chapel are limited to sacred music, so some of Georgetown’schoirs are now turning to sacred literature so they can use the or-gan as part of their repertoire.

LT: How is the organ serving as ensemble instrument withchoir, piano, guitar, obbligato instruments?

JW: This is an area ofgreat growth and potentialthat we are just beginningto explore. I think the in-strument has strong possi-bilities for many combina-tions of instruments withall of our liturgical choirs.The combination of gui-tar and organ, or using thepedals only with the pianoand other ensemble in-struments, or playing ob-bligato parts when one ofthe instruments is notavailable . . . there are manypossibilities.

LT: What specific opportunities does the organ offer for orchestration in the liturgy?

JW: Both manuals are under expression, and four stops of theSwell are in an additional swell box. It is extremely flexible for aninstrument of its size. The Cymbelstern and the digital Harp andChimes also enhance the instrument. I anticipate a rise in thequality of our performance repertoire in general, in sacred musicconcerts, choir anthems, prayers services, and recitals. This in-strument offers an expansion into new repertoire that is excitingfor me and for the students. It will inspire them to reach highermusically and prayerfully!

STEPHEN GLIATTO is a student in the chapel choir.LT: What does this organ bring to the music making of thechapel?

SG: The location of the instrument behind the sanctuary altar,where the choir and instrumentalists gather, heightens the lead-ership of music ministry. The pipework surrounds the choir areaand 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 renova-tion period was followed very closely by the faith community atDahlgren Chapel, and the installation of the new organ was greet-ed with enthusiasm. Most telling are the positive reactions fromalumni who have not visited Georgetown for some time. They de-scribe the chapel and organ as stunning, breathtaking, and amaz-ing, 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 aboutthis 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 forme is the presence of its sound. When I was first directing thechoir from the podium, the effect of organ and choir together was tre mendous—like I was being washed away in a cohesive sea ofmusic, in which I could feel and harness the power of God.

THE REV. KEVIN F. O’BRIEN, SJ, is vice president for missionand ministry.LT: How does the addition of the Schoenstein organ contri -bute to the litur gical life of the campus community?

KO: The organ resounds beautifully in the worship space. The manydifferent types of communal services that take place in the chapelthroughout the liturgical year will benefit from the sound of the organ, and congregational song will be fortified.

NOVEMBER 2014 51

Pipework of the Great Diapason chorus (left) andPedal 16' Open Wood pipes, horizontal behind central wall

Swell Stopped Diapason and Oboe

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LT: Describe the overall approachto the renovation of the chapel, andthe organ’s role in blending withthe visual and aural aspects of theproject.

KO: We wanted to maintain thechapel’s familiar appearance, yet re-fresh many of its worn features. Thechapel is a warm and welcoming sa-cred space, and we wanted to main-tain that hospitable atmosphere. Acentral feature of the chapel is thestained-glass window behind the al-tar, beautifully depicting the devo-tion to the Sacred Heart (thus thename of the chapel). It was impor-tant that the casework did not de-tract from the breathtaking visual ofthe vibrant window. The organ wasconstructed to both blend into thearchitectural features of the chapel—especially the vaulted roof—and alsohighlight the centrality of the win-dow. It is as if the organ has alwaysbeen there.

LT: What has been the response ofthe campus clergy regard ing this instrument?

KO: The organ has been well received. The former organ in thespace was in the rear of the nave, and Jesuits applauded the place-ment of the new organ at the front of the chapel. Presiders forliturgy have expressed appreciation for how the organ sounds inthe space.

JACK BETHARDS is president of Schoenstein & Co.

LT: What is unique about the tonal design and versatility of thisorgan?

JB: First, with exception of the principal chorus, we have avoid-ed duplication of any tonal colors, thus resulting in a boldly dif-ferentiated palette. One each of every major type of flute and reedis included. Although a luxury on a solo repertoire organ, twohighly differentiated celeste stops seem to us a necessity in achurch organ of even modest size. We have a pair of bold stringsin the Swell and a pair of strongly tapered hybrid stops in theGreat. A unified echo principal (Salicional) in the Swell gives thedivision a clear tonal backbone. Unusual for an organ of this sizeare four 16' stops of varying power and color. Second, these re-sources are almost entirely under expression, with the Swell em-ploying our double expressive system, wherein the high pressureTuba and strings are separately enclosed within the Swell. This al-lows these stops to play several musical roles. The strings can benormal Swell strings, more ethereal in quality with both sets ofshades closed, or bold solo strings with all shades open. Likewise,the Tuba can serve as a Swell chorus stop or a more heroic solovoice. Third, duplexing a selection of solo stops and ensemble

stops to a third manual pro-vides options for registrationflexibility especially importantin service playing.

LT: Each organ installationrequires your expertise insuiting the instru ment forthe space and its use. What inparticular about the Dahl -gren Chapel organ calledupon the special skills ofyour company to meet thegoals of this project?

JB: Finding space for thepipes and making them a wel-come addition, rather than anintrusion, was a tough prob-lem here. Dahlgren Chapelhas been a much beloved cen-ter of the university for gen-erations. No space whatsoev-er was provided for an organ,and the focal point of thesanctuary was a very wide andtall east-end window. We hadto find a way to place the or-

gan on either side of the sanctuary without crowding the win-dow and make it look as though that had been the architect’splan all along. By double-decking the main divisions and plac-ing the 16' Open Wood pipes horizontally under the window,our engineer, Glen Brasel, was able to include everything whilemaintaining good maintenance access. We have been compli-mented that visi tors new to the chapel think that the case, fea-turing unenclosed diapasons of the Great and Pedal, has beenthere for decades.

LT: Given your experience in building organs for Catho licuniversity chapels, what can you share with others consider-ing a new instrument in their campus chapel?

JB: In addition to Georgetown University, we have been fortu-nate to build for the University of St. Thomas in Houston, Texas,(1998), and Fordham University in New York City (2012). Themusical job description for a university organ is quite demand-ing. In addition to the usual Catholic liturgies, there are manymajor celebrations (ordinations, baccalaureates, etc.), a very largenumber of weddings, various nonstandard liturgies as part of theacademic program, and use by the music department as a recital,ensemble, and teaching instrument. Two vital characteristics forsuccess are power and variety. If the organ can’t project an at-mosphere of grandeur and doesn’t hold the musical interest of alot of highly educated people, it will be a failure.

Lynn Trapp (Lynntrapp.com) is active as a recitalist, conductor, compos-er, and clinician. Since 1996, he has served as director of worship and mu-sic, organist/pianist at St. Olaf Catholic Church in Minneapolis, Minn.

52 THE AMERICAN ORGANIST

New Holland Church Furniture staff installing the organ’s casework

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NOVEMBER 2014 53

GREAT (expressive)16 Corno Dolce 12 pipes8 Grand Open Diapason

(unenclosed) 61 pipes8 Open Diapason 61 pipes8 Harmonic Flute

(Corno Dolce Bass) 42 pipes8 Corno Dolce 61 pipes4 Principal 61 pipes4 Corno Dolce 12 pipes11/3 Mixture III–IV 186 pipes8 Tuba Minor (Sw.) 8 Clarinet (TC) 49 pipes

Chimes (Solo)TremulantGreat Unison OffGreat 4

SWELL (expressive)16 Bourdon 12 pipes8 Salicional 61 pipes8 Stopped Diapason 61 pipes8 Gamba 61 pipes8 Vox Celeste 61 pipes4 Salicet 12 pipes4 Chimney Flute 61 pipes22/3 Nazard

(ext. Chimney Flute)2 Fifteenth 12 pipes13/5 Tierce (TC) 42 pipes16 Bass Tuba 12 pipes8 Tuba Minor 61 pipes8 Oboe 61 pipes

TremulantSwell 16Swell Unison OffSwell 4

* stops under double expression

SOLOSOLO 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.)

ENSEMBLE STOPS8 Stopped Diapason (Sw.)4 Salicet (Sw.)4 Chimney Flute (Sw.)22/3 Nazard (Sw.)2 Fifteenth (Sw.)13/5 Tierce (Sw.)

PERCUSSION STOPSHarp (digital)Celesta (digital)Cymbelstern (acoustic) Solo 16Solo Unison OffSolo 4

PEDAL (unenclosed)32 Resultant16 Open Wood 12 pipes16 Corno Dolce (Gt.)16 Bourdon (Sw.)8 Principal

(Grand Open treble) 20 pipes8 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.)

COUPLERSGreat to Pedal Great to Pedal 4Swell to Pedal Swell to Pedal 4Solo to PedalSolo to Pedal 4Swell to Great 16Swell to GreatSwell to Great 4Solo to Great 16Solo to GreatGreat to SoloSwell to SoloGreat to Swell

MECHANICALSSolid State Capture Combination Actionwith:

100 Memories35 Pistons and toe studs6 Reversibles including Full OrganProgrammable piston range for eachmemory level

Programmable Crescendo and Full Organ

Piston SequencerAdjustable bench

MIXTURE COMPOSITIONC1 D15 A#35 G#4519 12 22 15 1226 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 6 37.50%Open Flutes 2 12.50%Stopped Flutes 2 12.50%Hybrids 1 6.25%Strings 2 12.50%Chorus Reeds 1 6.25%Color Reeds 2 12.50%

16 100.00%

Photography (including cover): Louis Patterson

Dahlgren Chapel, Georgetown UniversityWashington, D.C.

Schoenstein & Co.Three manuals, 16 voices, 19 ranks

**

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