ishing processwas quite newto us.Wewere asked to use the same method as the woodworkers who made the pews and other fur- niture in the church. In the end, we came to truly appreciate the natural appeal of this completely water-based finish used in Den- mark for many years. The organ facade was designed by Mogens Svenning from
Birch&Svenning architectural firm in Horsens,Denmark. The design reflects the simplicity of this modern worship space. The symmetry of the facade is emphasized by the mirror image of the silver pipes in the side towers, all being purposely broken by the organ top,which follows the ceiling line with a “twist”—literally! The organ case uses the church wall as the back of the organ. In- side the case, the Great chest is placed at the lower level, the Pedal being right behind it, and the Swell placed above it. The most important aspect of the organ—the sound—was at
the forefront of my attention throughout the entire building pro- cess. The voicing process took nearly four months, with further corrections and adjustments made in the church. The objective was to create a truly singing principal chorus—the task that al- ways carries the risk of going too soft on the overall volume. The principals are, indeed, on the restrained side; however; the final “punch” is not lost because of the mixtures and the trumpet. The instrument offers a wealth of refined colors in individual stops, and is sensitive enough to change the overall pallet by a simple addition of even a single stop to the assembly. The manuals can achieve different levels of balance between each other, thanks to effective shutters. The pedal division has been voiced to be as in- dependent as possible. Pedal couplers don’t need to be used un- til the organist reaches at least the full pleno with mixtures. Sub- bass 16' is capable of supporting even the softest registrations, but for those who are after the special aural effects, there is, of course, Contra Bourdon 32'. During our stay in Denmark, we encountered nothing but
support and excitement for this project. Perhaps we didn’t have opportunities to domore sight-seeing, butwe surely had a chance to experience the kindness of the people around us. We felt hon- ored to be there for a month, and I, personally, am truly hum- bled by the fact thatmy name will stay there, on the music stand that was made in North Carolina, now placed in the distant country of Denmark —a place with one of the greatest organs ever built. Tak for din gæstfrihed og tillid! This project would not be possible without the support of Lit-
ten Hjort and Ulrik Spang-Hanssen—thank you from the bot- tom of my heart.
TOMASZ LEWTAK
Lewtak Pipe Organ Builders Craig Regan: woodworking Jim Nolan: general organbuilding Maciej Sztuba: assembly and tonal finishing assistance Mateusz Litwin: assembly in Denmark Krzysztof Hoffmann: assembly in Denmark Tomasz Lewtak: tonal design, mechanical design, voicing, proj- ect management
Lewtak.com 26 THE AMERICAN ORGANIST
Østerhåb Kirke Horsens, Denmark
Lewtak Pipe Organ Builders Two manuals, 35 ranks, 26 stops
GREAT 16 Bourdon 8
Octave
Principal
8 Hohlflöte 8 Gamba 8 Trumpet 4
4 Gemshorn 2
Super Octave Mixture IV–V Tremolo Coupler II–I
SWELL (enclosed) 8 Geigen Principal 8 Gedact 8
Salicional
8 Bifara 8 Oboe 4
/3
4 Rohrflöte 22 2
Prestant Nasat
Flageolet harmonique
Cornet III Mixture III–IV Tremolo
PEDAL 32 Contra Bourdon 16 Subbass 16 Holzposaune 8
Octavbass
8 Bassflöte 4 Choralbass Coupler I–P Coupler II–P
Temperament: Neidhardt 1729
A=440 Hz at 19° Celsius Manual compass: 61 keys Pedal compass: 30 keys
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