New organs in new spaces: A discussion of acoustical considerations from the organ builder’s perspective

Abstract

Thoughtful planning for new pipe organs in different architectural environments and in a variety of acoustical conditions is a crucial part of organ design. Organs, perhaps more than any other musical instrument, rely on their surroundings for their ultimate success or failure. The organ builder must take into account many factors, some of which are not under his or her direct control, in formulating optimum organ placement, case design, facade arrangement, interior layout, tonal design, pipe scaling and construction techniques, and voicing. Meaningful dialogue with an acoustician at an early stage in a project can have tremendous ramifications for the completed room and organ. C. B. Fisk, Inc., has much recent experience with large concert and recital hall instruments. The Fisk organs installed during this decade at the Meyerson Symphony Center in Dallas, Texas, Minato Mirai Hall in Yokohama, Japan, and in particular, Edythe Bates Old Recital Hall at Rice University in Houston, Texas, provide valuable case histories for both organ builder and acoustician. Each features the work of a different acoustical consultant. In all three cases the final result reflects the degree to which the acoustics were specifically optimized for the pipe organ.