The new 30-rank organ in St. Stephen’s Lutheran Church in Monona, Wisconsin is a collaboration between Rosales Organ Builders and Parsons Pipe Organ Builders. Organist Dennis Douglas describes the organ as a “truly outstanding” instrument and “an incredible gift to the congregation and the community as a whole.” The new organ replaces a 1970s electronic instrument, and represents the culmination of a ten-year pipe organ program started by a substantial legacy from two of the church’s founding members. Douglas hopes that it will be used not just by the congregation but also by the whole Madison area. A recital series is proposed.

Although not the first collaboration between Rosales and Parsons, the choice of a suspended action and a single wedge bellows for wind supply meant the learning of new skills. Richard Parsons commented that the qualities brought to the sound by the use of wedge bellows, with optional wind stabilizers, have convinced him to use them again on a future project. The Pedal design also presented challenges, as it consists of three 44-note ranks (Bourdon, Principal and Trombone) each speaking at two pitches. The Prestant is an independent 61-note rank shared between Great and Pedal. Parsons designed a new tubular chest for the pedal where two primaries share a valve stem, which facilitates the pedal extensions while permitting good service access.

​

Voicing has been accomplished with Duane Prill of Parsons and Manuel Rosales working together; they worked together on some of the voicing on three other Rosales projects including the Walt Disney Concert Hall organ in Los Angeles. Dennis Douglas commented on their remarkable partnership as they created the organ’s final sound: “It’s almost as if they are able to read each other’s minds.”

The comparatively broad Voix Celeste sits in scale between the Swell Geigen Principal (which is slotted and narrow scale, almost a Viola) and the narrower Great Gamba, and is designed to be played with either. The Swell Mixture III starts off at a lower pitch than the Great Mixture IV, but breaks higher in the compass. This means that in the bass it works well coupled to the Pedal, and in the treble adds something to the full ensemble.

​

The distinctive asymmetrical casework was designed by Rosales associate Chuck Clancy, who also created working drawings for its construction. Based on a concept by Didier Grassin, it is made of white oak oiled and polished in its natural tones.

Thanks to Dennis Douglas, Ric Parsons and Duane Prill for taking time out of their busy schedules to speak about this exciting new instrument.