Opus 106 Stop List
16'Bourdon61 Pipes
8'Open Diapason61 Pipes
8'Stopped Diapason61 Pipes
4'Octave61 Pipes
4'Chimney Flute61 Pipes
223'Twelfth61 Pipes
223'Nazard 61 Pipes
2'Fifteenth61 Pipes
2'Recorder61 Pipes
135'Tierce61 Pipes
IV-VMixture293 Pipes
8'Trumpet61 Pipes
8'Violin Diapason61 Pipes
8'Celeste49 Pipes
8'Bourdon61 Pipes
4'Principal61 Pipes
4'Flute61 Pipes
2'Octavin 61 Pipes
113'Quint61 Pipes
IIIMixture183 Pipes
16'Fagott61 Pipes
8'Trompette61 Pipes
8'Hautboy61 Pipes
Solo Manual
16'Trompette en Chamade49 notes T.C.
8'Trompette en Chamade 61 pipes
16'Double Open Diapason32 Pipes
16'Subbass32 Pipes
16'Bourdon32 Notes
1023'Contra Quint Prepared
8'Principal32 Pipes
8'Flutebass32 Notes
4'Choralbass32 Pipes
16'Trombone32 Pipes
8'Trumpet32 Pipes
  • Swell to Great
  • Swell to Solo
  • Great to Solo
  • Great to Pedal
  • Swell to Pedal
  • Solo to Pedal
1,998 pipes, 34 stops
Opus 106
St. Michael's Episcopal Church
Orlando, Florida
Andover Organ Company Opus 106Andover Organ Company Opus 106Andover Organ Company Opus 106

In May 1990, St. Michael's church decided to replace its aging electronic organ which had recently been finished off by a bolt of lightning. Since space in the gallery was insufficient, the church decided to explore an organ with choir seating at the center front of the sanctuary in conjunction with a redesign of the altar area. The problem here was a glorious contemporary stained glass window filling the top half of the front wall. There was also some concern about moving a large cross hanging over the altar.

To solve these problems, Donald H. Olson and Jay H. Zoller of Andover, in consultation with Music Director Andrew Walker, designed twin cases on either side of the altar, with manual divisions on the left and the pedal division on the right. A tunnel under the altar linked the two sides with long trackers. The church brochure explained, "The combination of the central focus of the altar, the people gathered around the altar, the splendid East window, and the elegant cases of the organ will create an East end of our church that will be truly inspirational."

The two cases feature facades of copper 16' Bourdon pipes facing the congregation, with polished tin Great and Pedal Principal pipes facing the center, in four symmetrical flats. Red oak cases are stained to match the woodwork in the church. Pipe shades are starbursts of contrasting woods: maple, cherry, walnut and ash, with a revolving zimbelstern star at the center of each. The console, including Solo, Great, and Swell manuals, is detached. When the Chamade is not being used, the solo manual acts as a coupling manual.

Key action is mechanical with some electric action for offset basses and the chamade. Combination action is solid state from SSLL, with 8 levels of memory. Stop action is activated by Harris drawknob units and Taylor stop action solenoids. The organ has 36 stops, 42 ranks, comprising a total of 1969 pipes. The instrument was installed in June 1998, under the direction of Benjamin Mague, mechanical director. A Chamade projecting under the stained glass window was added in March 1999, with an insulated heat shield for sun protection and special lighting from beneath and behind.

Music Director Andrew Walker worked with Tonal Director John Morlock and Donald Olson to create a sound suited to Anglican liturgy in a room which is rather dry acoustically. Walker particularly liked the full-bodied Andover Open Diapasons, characterized by warmth and boldness without being overbearing, and a chorus that was clear, yet warm. They designed Flutes to be articulate but not chiffy. The Swell Oboe was made according to Hook and Hastings scales. Three trumpets in varying styles include the Hook-style Great Trumpet, the bright French-style Swell Trompette, and the broad full sound of the Chamade with lots of fundamental, which dominates but doesn’t obliterate the full organ.

In November 1998, a week-long series of concerts celebrated the new organ, including a Dedicatory Recital by Gerre Hancock, master of the choirs at St. Thomas Church, New York City and a choir festival led by Dr. Hancock. Dr. Hancock wrote to Andover: "Thank you for the marvelous instrument you have given to all of us in Orlando; I feel privileged to have played." Additional concerts followed, by Murray Forbes Somerville in March 1999 and by Heinz Wunderlich and violinist Nelly Söregi-Wunderlich in November 1999.