Hegins, PA
Frieden's Lutheran Church
Unknown builder renovation/relocation in church of
Wicks Organ Co. Opus 2013 1939 2/6
GREAT
16' Quintaten 61 notes from # 1
8' Principal 61 notes from # 2
8' Holzgedackt 61 notes from # 1
8' Salicional 61 notes from # 3
4' Octav 61 notes from # 2
4' Copula 61 notes from # 1
2' Spitz Principal 61 notes from # 2...top 12 notes repeat
8' Fagot 61 notes from # 5
4' Fagot 61 notes from # 5
Chimes 21 notes
SWELL
16' Bordum 61 notes from # 1
16' Contra Viol 49 notes from # 3...Tenor C
8' Gedackt 61 notes from # 1
8' Gemshorn 61 notes from # 2
8' Salicional 61 notes from # 3
8' Vox Celeste t.c. 49 notes from # 4...Tenor C
4' Gemshorn 61 notes from # 6
4' Flote 61 notes from # 1
4' Viol 61 notes from # 3
2 2/3' Nazard 61 notes from # 1
2' BlockFlote 61 notes from # 1
8' Fagot 61 notes from # 5
8' Oboe (8' Sal. + 2 2/3' FL) 61 notes from #'s 3 & 1
Tremulant
PEDAL
16' Subbass 32 notes from # 1
8' Pincipal Bass 32 notes from # 2
8' Gedackt 32 notes from # 1
8' Viol 32 notes from # 3
4' Coralbass 32 notes from # 2
4' Flutenbass 32 notes from # 1
8' Fagot 32 notes from # 5
Register Crecendo
Swell Expression pedal
Adjustable combination pistons via setter control box.
4 pistons SW
4 pistons GT
4 pistons PED
ANALYSIS
#1 16' Bourdon 97 pipes w/m
#2 8' Diapason 73 pipes m
#3 8' Salicional 73 pipes m
#4 8' T. C. Celeste 49 pipes m
#5 8' Fagot 61 pipes m
#6 4' Gemshorn 61 pipes m
Rank #'s 1 through 5 on 1939 Wicks Direct Electric chest.
Rank #6 on generic Electro Pneumatic unit chest.
The instrument was moved from the front chancel area to the rear gallery
in the 1970's. In this move, the original Cornopean was replaced with
the Fagot, and the Vox Humana and chest was replaced with the
4' Gemshorn and its EP chest.
The stops were renamed using Germanic spellings, but there was no revoicing
done on the original ranks. The instrument speaks boldly into the room, is
bright but not brilliant in the ensemble, and is rich in the 8' range in
the style of 1930's/1940's instruments.
There is no static reservior at the blower, resulting in a "live" wind supply
which gives the effect of having the trem turned "on" to the upper registers
when playing sixteenth note pedal passages of a Bach Fugue on full organ. This
may have been the intent at the time of the relocation of the instrument, given
the taste at the time of the relocation (early 1970's) for Baroque voicing and
the flexible winding associated with those instruments.
[Received from Jack Umholtz 2012-04-15.]