The firm of Firma Glatter-Götz Orgelbau, which had made a name for itself by its adventurous and modern case design in a number of projects, mostly in the USA, was requested to prepare a proposal for a case design as a basis for an investigation of the possibilities offered by the acoustically advantageous but cramped space chosen. The choice of the firm for the project itself was not necessarily given. Their Architect Graham Tristram of Edinburgh presented a proposition which helped to convince all interested parties that the choice of position was indeed acceptable.
After the financing had been secured, four organ builders were invited to tender for the project. Certain parameters were clearly defined: the position of the organ, its size, that it should have a swell and a double case. The choice of specification was left open. Of the four, one did not submit a bid, and only Glatter-Götz kept to the details of the tender call. Accordingly, they were awarded the contract, together with Rosales Organ Services (Los Angeles), using Graham Tristram's design. Barry Jordan, Manuel Rosales and Kevin Erly Gilchrist designed the specification.
Construction began in the Glatter-Götz workshop in Pfullendorf/Aach-Linz (Kreis Sigmaringen) early in 2011 and the installation in August. Metal flue pipes were made by Franco Sinistra. The organ was dedicated on 8th Oktober 2011.
Manuel Rosales, working with Stefan Stürzer, carried out the voicing, which he perfected in two further visits in December and in February 2012.
This organ captivates by its enormous tonal versatility in spite of its modest size. It allows for a delicately articulated performance because of the responsive action and magical voicing, yet the organ is powerful without being rough in its plenum.
The second manual is conceived as a double swell. Its 8' Geigenprincipal, in the facade of the chapel case, is not enclosed and serves to accompany congregations in the chapel, which holds about 60 people, whereas the rest of the swell functions as extra colour which can be adjusted at will. The pedal stands between the Hauptwerk (Remter case) and the swell; the large pipes of the 16' Subbass lie on top of the organ so as not to impede the tonal egress of the swell.
The action of the organ is completely mechanical.
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