The Dale H. Peters Sanctuary Pipe Organ
First United Methodist Church, Denton

        In the late 1980's, when plans were being made for renovation of the church sanctuary, an Organ Committee was formed to assess the condition of the existing pipe organ, to project the future needs for the sanctuary instrument, and to make recommendations as to the re-use or replacement of the organ. Assisted by reports from two different pipe organ consultants, who inspected and made assessments of the instrument, the committee came to the conclusions that its 60-year-old Estey pipe organ was near the end of its useful life and that rebuilding it was not a viable option since the old action was not rebuildable and the pipes were of an archaic musical style. When the renovation began, therefore, the Estey organ was sold and was dismantled.

        The organ committee continued to assess the church's needs for the new instrument and looked at organs built by several builders. The new organ would need to (1) effectively lead the congregation in worship, (2) provide beautiful accompaniment for the choir and instrumentalists, and (3) play a wide diversity of organ literature. After much study and consideration, the committee decided that, in order to meet these needs for many years, the instrument should be built to emulate French Romantic tonal design and have mechanical key action.

        The capital funds campaign for the sanctuary renovation originally was intended to include the cost of the new pipe organ. Because the cost estimates for the renovation exceeded expectations, it was necessary that the organ be removed from the campaign, and a separate organ fund was established. The fund grew slowly until  1996, when a new campaign, Lift High the Cross in Sound and Sight, was initiated to provide funds for the new  pipe organ and for the television ministry. Sufficient funds were pledged to enable the church to move forward with both projects. In February 1997, after a rather lengthy selection process, the church entered into contract with George Bozeman, Jr., and Company, Organbuilders, Inc., to build the new organ.

DALE H. PETERS
The Organist and Music Director

        "The installation of a new pipe organ is a signal event in the life of a church congregation and its musicians, probably a once-in-a-lifetime occurrence. The result of dreaming, planning, and generous giving on the part of the congregation, and experience, artistry, and craftsmanship on the part of the builders, this organ brings vitality and beauty of sound to the worship services of the church. Its sounds will resonate beyond the walls of the sanctuary into the musical life of the Denton community and into the wider circle of musicians regionally and nationally.

        The largest and most complicated of all musical instruments, the pipe organ has as its purpose the revelation of the beauty of musical sounds, which are ephemeral, invisible, and intangible - in short, spiritual. From the God-given talents of builders and musicians, and the vision and generosity of the congregation, this organ and its music stand, as J. S. Bach wrote on his manuscripts - Soli Deo Gloria -solely to God's glory.

        On a personal note, it has been a distinct privilege and a unique pleasure for me to have been involved in this project. In September, 1949, as an entering college freshman, I began serving this congregation as organist, playing the old Estey organ. It was a priceless opportunity for a young organist to work in a church with a splendid musical tradition, an able and ambitious choir, and an appreciative congregation. After spending forty of the last fifty years continuing to serve this congregation, the original conditions still apply -the musical tradition, the choir(s), and the congregation still make this church a most remarkable and rewarding venue in which to follow a church music vocation. To now see (and hear) pipe dreams come true is almost unbelievable.

        The Bozeman organ speaks for itself with its own unique personality -the clarity of the ensemble, the beauty of individual stops and combinations, the depth of the basses, the brilliance of the mixtures and reeds. It will speak to future generations of worshipers and musicians, in the hymns, anthems, and organ repertoire, as it speaks to us now. For all this, I am profoundly grateful to George Bozeman and his associates and to this congregation and its leadership, past and pre- sent, who have made it possible."

BOB MIZELL
The Committee Chair

        I am overwhelmed by the physical beauty and the gorgeous sound of the Dale H. Peters Sanctuary Pipe Organ. Through these years of anticipation I have imagined how wonderful the new instrument would be, and it truly exceeds my expectations!

        Our thanks go to Dale Peters, our Organist and Music Director, in whose honor the organ is dedicated, for his forty-plus years of service to this church. Dale's proficiency and artistry as an organist and his leadership in our worship services are invaluable assets with which our church is endowed. The prospect of hearing Dale play the new pipe organ has been an impetus to move forward with this project, and we are now able to hear this wonderful combination of instrument and artist.

        We must thank the members of the Organ Selection Committee, who spent many hours in making decisions about the new pipe organ. From the original decision to dispose of the aging Estey organ, to the judgment that the tonal design should emulate French Romantic tonal design and the key action should be mechanical, and then to the selection of the builder, the group gathered a wealth of information and held numerous discussions in coming to the conclusions that seemed to be the best for our church. The members of the committee were John Scott, Sherri Herrera, Chester Ingraham, William May, Dale Peters and Ted Trippe. Additionally, we thank the Organ Promotional and Finance Committee- consisting of Bob Castleberry, Priscilla Smith,

        Carl Thompson, David McGuire, and Troy LaGrone - which was involved in securing gifts and memorials for the organ fund. We appreciate the assistance of our consultants, Dr. Clark Kelly, Mr. Marvin Judy, and Dr. John Campbell, who provided expertise and advice for the committee as it made decisions. We are grateful also to the senior pastors who served our church during this period- Bill Crouch, Justin Tull and Gary Mueller. All were actively involved in the fund-raising processes. Thanks go, too, to Jim Terry , our Church Administrator, for his assistance in a myriad of ways, from facilitator to advisor, and to Gwynn Jump for her assistance in publicity and pro- gram design. And we give special thanks to Fred Williams, who, as Chair of the Board of Trustees, personally undertook to see that the interests of the church were protected as the final specifications were formulated, the contract was written and signed, and the organ was built.

        Words cannot express my gratitude to George Bozeman,]r., and his wonderful staff for their painstaking artistry in designing and building this organ. George literally put his heart and soul into this instrument, and we are the lucky recipients of his labor of love.

        Thanks to all who gave support, both monetary and moral. We have been blessed with a fine pipe organ. May it glorify God in service to this church for many years to come!

GEORGE BOZEMAN, JR
The Builder

        George Bozeman,Jr., is a native of Texas and began his musical studies with the late Gladys Humphreys in Tulia. His organ studies began with the late Margaret Heiny of Amarillo, and he majored in organ at the University of North Texas with the late Dr. Helen Hewitt. He was a classmate of Jean Peters Turkiewicz, Dale Peters' sister, who was organist at that time for First Methodist of Denton. Mr. Bozeman was church organist for First Presbyterian during the same time.

        He apprenticed as an organbuilder with Otto Hofmann of Austin, Texas, after which he worked with the late Joseph E. Blanton in Albany, Texas, and later with Rodney Yarbrough and Robert L. Sipe in Dallas. He received a Fulbright grant in 1967 to study organs in Austria where he was a student of the late Anton Heiller and Isolde Ahlgrimm. During this time and on subsequent trips, Bozeman researched organs in most of the countries of Europe. On returning to America, he worked for the Noack Organ Company in Massachusetts before founding his own firm in 1971. Bozeman has maintained an active performance career along with his organ building, presenting recitals and concerts all across the United States and in Mexico, the Caribbean, and Canada. He has held offices in the American Guild of Organists, the Organ Historical Society, and the American Institute of Organbuilders. He is director of music at the Pembroke Congregational Church in New Hampshire.

        I first knew First United Methodist Church in the late 50's attending the University of North Texas. Classmate Jean Peters Turkiewicz, younger sister of present organist and choirmaster, Dale Peters, was organist then and gave me a chance to try out the 1927, three-manual Estey organ. I was organist down the street at the old First Presbyterian Church. It is not far from the whole truth that the concept of First Methodist's new organ began then. Both Jean and I were students of Dr. Helen Hewitt (Dale, already graduated, was studying on a Fulbright Grant in Denmark), and we were all plunged into an intensive study of what organs had been like from the earliest times and how they influenced the composers who wrote music for them.

        The first objective in building a new organ for First Methodist in Denton, as in almost any American church, was to provide a vehicle for the inspiration and support of fine congregational singing. To do this, the organ must have a warm singing tone, with enough breadth in the ensemble to inspire, enough brilliance to lead, and enough profundity to support the singers. Because hymns range from quiet meditations to fervent outpourings of praise, a great variety of ensembles is invaluable.

        Secondly, the organ must be a partner with the choirs and instrumental ensembles which so richly enhance this church's worship. This requires a wide selection of timbres, textures, and dynamic levels of sound, and the organ must be located so that it not only projects well to the listeners but is also in close acoustic proximity with the other musical forces.

        Thirdly, the organ must be able to play with rich musical authority its great solo literature ranging over a half-millenium, from all parts of the world. This finds its place in Preludes, Offertories, and Postludes for worship, and in recitals and concerts for the community at large. This has a special meaning here because of First Methodist's long involvement with two great universities in Denton, which have one of the largest collection of organ students in the country .Their exposure to fine organ performance here will be invaluable as they take up the church music positions of the future, another of many examples of First Methodist's outreach beyond the boundaries of its parish.

        Because this organ is for an English-speaking church, all of the nomenclature of the stops and divisions are in English, although there are many other national influences in its sound and layout. One of the key influences is the 19th century, romantic-era organs of Aristide Cavaillé-Coll in France. Building on the foundation of the marvelous French Classic organs of the previous two centuries, he used the modern technology of the day, as well as his amazingly creative imagination, to create an instrument capable of all of the drama and nuance typical of the romantic period. His instruments were the inspiration of composers from Cesar Franck on down to Olivier Messaien. But blended in with this influence are those from the 17th and 18th century organs of Italy, Austria, Germany, Holland, and Denmark, organs played by Frescobaldi, Mozart, Bach, Sweelinck, and Buxtehude. Since most of my career has been carried out from a shop in New England, rich in the wonderful organs of 19th century America, I owe a special debt to these, especially those of the Hook brothers of Boston. They in turn are closely related to the 19th century, Mendelssohn-inspired English organs, and thus have had a very strong influence in determining the direction of American organbuilding down to the present time. Needless to say there are some influences from the present century, particularly in the field of mechanical devices for managing the combinations of sounds and extending the expressive capabilities of the instrument. And lastly, recent developments in electronic music making have provided an interesting, perhaps provocative, addition to this organ.

        The Swell Organ is so named because its pipes are behind shutters which can be opened to swell the sound. It has a warm Viola and a smooth Traverse Flute at unison level, a Principal and a Harmonic Flute at 4', even a Harmonic Piccolo at 2', and the Nazard and Tierce provide raw materials for a variety of colorful solo combinations. The Celeste is a set of pipes tuned slightly sharp so that, combined with the Viola, a heavenly undulating sound is produced. The Swell chorus is topped by another Mixture, somewhat brighter and lighter than the Great, for contrast and to add brilliance to the full combination of Swell and Great coupled together. The Swell has a rich collection of reed stops, a perky Bassoon 16', a brilliant Harmonic Trumpet 8', a piquant Oboe 8', and the uniquely guttural color of a Vox Humana 8'.

        The Choir Organ also has shutters to control its dynamics. It essays to be a typical American Choir division with lovely, soft effects, a bright and clear Germanic Positiv or French Classic Positif, and a French Romantic Positif Expressif. Its unison stops consist of a mild Violin Diapason, a charmingly ethereal Gemshorn, and a smooth Gedeckt. The 4' Principal again binds the chorus together; the 4' Spindle Flute is another colorful flute timbre. Nazard, Fifteenth, Tierce, and Fife provide various combinations of color and sparkle. The Cremona is a reed sound somewhere between the burr of an ancient Krummhorn and a Clarinet's woodiness.

        In the Pedal the deepest rumble is the 32' Bourdon, the 12 lowest tones being produced electronically because there simply wasn't room for such immense pipes. At the 16' level the Open Diapason adds tremendous rumble-power, while the Violone is a clearer, quieter purr, and the Bourdon a purer, quieter rumble. The Principal 8' gives the Pedal a clear, cello-like body, while the 8' Chimney Flute is useful for clarifying quieter bass lines, and the 8' Flute adds a great amount of sheer power. The 4' Choralbass can sing solo melodies, but it also provides a topping for the Pedal chorus. In the Pedal reed department an electronic 32' Contra Trombone provides a profound, kettle-drum-like underpinning for the grandest effects. The 16' Trombone is a rich, dark excitement, while the Trumpet is rippingly brilliant. The Shawm 4' is also a beautiful singer of solo melodies.

        The manual key-actions, with the exception of the basses of the Violone and Bourdon, are completely mechanical (tracker) and the Principal, Chimney Flute, Choralbass, and Shawm of the Pedal are also mechanical. The exceptions have electro-pneumatic action. The couplers are all electric which eliminates the heavy touch required when all keyboards are coupled together. In order to accomplish this the mechanical action is also fitted with magnets to operate it; and, thus, an added feature is that the entire organ can be played electrically making it possible to record a performance on a floppy disk in a sequencer and then play it back.

        The console is richly provided with conveniences for controlling the stops. The combination system makes it possible to store various selections of stops which can be instantaneously recalled by pressing the buttons beneath the keyboards. There are some 44 buttons (pistons and toestuds); but the memory system has 99 levels of memory so that some 4,357 different combinations can be stored. Each level can be locked with a code so that only its possessor can change the combinations. One can also program a sequence of up to 99 different combinations which can be stepped through by pressing an 'Up' button or reversed by pressing a 'Down' button.

        In addition to these purely 'organ' resources, the instrument also contains an in-built electronic synthesizer which provides some 128 sounds, some actual samples of various instruments and ensembles, some purely synthesized sounds, and a full collection of percussions. Probably a first for a mechanical-action organ, the keyboards, including the Pedal, are 'velocity sensitive'. This means, when playing the synthesizer sounds, that striking a key faster (harder) will make the sound louder, just as on a piano. Each keyboard has two MIDI stops which can be programmed on each level of memory with a separate synthesizer sound, far more sounds than the synthesizer provides. In addition a computer can be connected to the organ so that it can become a controller for a music notation software program, or a sophisticated sequencer software which enables recording the organist's performance and then editing the performance in a great variety of ways. Also, any MIDI-compatible instrument or device can be connected, so that the organ becomes a controller for it. Conversely the organ can be played from a MIDI-keyboard; I voiced much of the organ in this fashion by placing my own synthethizer keyboard in the organ and playing the pipes from there to voice and tune them.

        A project of this magnitude involves far more people than I have space to acknowledge, but I first want to mention the faithful work of my employees -Lance Nicolls, Rick McAlpine, and David Zarges. Jeremy Cooper of Concord, New Hampshire, Phil Poffof Fort Worth, and Mark Vik of Cathlamet, Washington, spent many hours helping us, both here and in New Hampshire. We had wonderful cooperation and support from our many suppliers and pipemakers, from Los Angeles, to Erie, to Toronto, to Zeist in Holland, to Stuttgart and Weikersheim in Germany. Finally, to the people of First Methodist - all so friendly and supportive - never ending thanks. I can't name them all, but certainly I must mention Pastor Gary Mueller, Chairman Fred Williams, Church Administrator Jim Terry, Dale and Juanita Peters, and Secretary Jennie Maples. Stan Yeager was a big help in lending tools and even fabricating some parts of the organ. Organ Committee Chairman Bob Mizell dropped by almost every day just before lunch to check our progress so we never had to check our watches to break for lunch. Gene Leonard was in almost every afternoon and often lent a hand to lift trays of pipes or hold some keys for tuning. All of the church staff were unfailingly helpful and patient with our interruptions of normal routines to use the church phones, copiers, printers, and so forth, in order to have our office away from home. Finally, it seemed to me that the entire congregation was solidly behind this project. Their friendship, patience, and encouragement inspired us throughout.

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The above was first published in the newsletter,
 dated September 12, 1999
by The First United Methodist Church of Denton