Cover Feature

Quimby Pipe Organs, 

Warrensburg, Missouri

Two organs in North Carolina

In 2017, Quimby Pipe Organs (QPO) completed the installation of two small-to-medium sized instruments in North Carolina. Both projects incorporated pipework or mechanics from the churches’ preceding instruments, as the work would not have been feasible in either case given all-new construction. However, both projects resulted in organs that function mechanically as if they are all new, and both have entirely new tonal identities that align with modern QPO practice. Accordingly, both have been given QPO opus numbers, and each is, in its own way, an exploration of what should constitute a modern-day American multum in parvo organ, where comparatively few ranks of pipes yield surprising results: instruments that are flexible, musical, and artistically satisfying. Each organ plays with the authority of a much larger instrument than its size would suggest.

 

Opus 73

All Saints Episcopal Church

Southern Shores, North Carolina

We were invited to visit All Saints Episcopal Church by Organist and Director of Music Steve Blackstock because we had previously worked with him to relocate an 1878 Marshall Brothers organ, which was electrified and rebuilt by Ernest M. Skinner in 1912 and is now situated in a new case on QPO electro-pneumatic slider windchests at Holy Redeemer-by-the-Sea in Kitty Hawk, North Carolina.

Blackstock asked us to assess All Saints’ 1948 M. P. Möller organ, Opus 7721. Originally five unified ranks, the organ had grown to nine, enclosed in a freestanding case in the rear corner of the room. There were some pleasant sounds in the instrument—particularly the stopped wood flute—but the disposition of these voices at various pitches over two manuals and pedal was not entirely successful; there was a lack of flexible, contrasting ensembles.

Several options were investigated, including either the relocation of a mid-nineteenth-century Hook tracker or a mid-twentieth-century Austin. But the ideas that resonated most with Steve were those which Michael Quimby and I developed for the expansion and radical rebuilding of the existing Möller.  

The approach was straightforward: the existing enclosed mechanical chassis would become the Swell, and a new unenclosed Great division would be added on a new Quimby-Blackinton electro-pneumatic slider chest. The best of the existing pipework would be retained, and after careful restoration, rescaling, and revoicing, would find a place in the new tonal concept, though not always at the same pitches or divisions as before. One independent Pedal rank was added—a Pedal Octave that plays at 8′ and 4′.

Although the existing Möller unit windchests were retained in the new Swell, having been releathered recently, efforts were made to provide more of a “straight” ensemble in the Swell, with unification judiciously used for added color and flexibility, rather than to create ensemble.

Not one new pipe was constructed for the project. Rather, ranks were carefully selected from our extensive inventory of nineteenth- and twentieth-century American pipework for integration into the ensemble. The end result is not a patchwork of individual voices, as one might expect, but rather, a cohesive, flexible ensemble. This is not only due to the quality of the vintage pipework, but also to the unique facility of Michael Quimby to identify which ranks will work to achieve the intended result, and also to the ability of Head Voicer Eric Johnson and staff voicers Samantha Koch and Christopher Soer to carry out the work. Also essential is our fully functional pipe shop, where cleaning, restoration, modification, and repair can happen as required alongside construction of new pipes.

Several church members participated in passing pipes into the organ. One couple, key donors to the project, also assisted, and knowing that there were no new pipes in the organ, inquired as to the provenance of the pipes. In response, I told her that the pipe she had in her hand came from an organ formerly at a church in St. Louis, Missouri. She was stunned. She had attended there as a young lady, and it was, in fact, where she had met her husband, who was also helping to pass pipes. We quickly figured out that we were installing pipes that had played at the time that she would have heard the organ—a happy coincidence that added dramatically to the significance of the instrument for these two.

New casework was designed by QPO and constructed by members of the church to expand and complement the existing enclosure. The new casework is intentionally somewhat transparent, and the pipes of the Great division are visible at different times during the day when overhead light passes down from skylights overhead. The façade pipes are vintage zinc basses, here painted with pearlescent white bodies and rose gold mouths, which complement the open, light-filled character of the church. The existing console was rebuilt and placed on a moveable platform dolly.  

The existing 8′ Trumpet was extensively revoiced and extended to play at 16′ and 4′. It is at once brilliant and foundational and forms a grand underpinning for the full ensemble. A pair of early-twentieth-century strings yield characteristic, lush string tone in the Swell, and the unison rank extends down to 16′. The 16′ Contra Viola is surprisingly versatile: in addition to making an effective double to the new Great Diapason chorus, it is soft enough to serve as a whisper bass (with the Swell box closed) under the 8′ Dulciana, yet harmonically intense enough to combine with the 16′ Gedeckt and synthesize a 16′ Diapason.

The organ was completed in September 2017 and was dedicated on Sunday, October 1. On Sunday, October 15, Dorothy Papadakos accompanied the 1920 silent film, The Strange Case of Dr. Jekyll and Mr. Hyde.

 

Opus 74

Central United Methodist Church

Concord, North Carolina

Susan Renz Theodos, director of music at Central United Methodist Church in Concord, North Carolina, contacted us regarding a project for a possible new organ because of her previous experience playing our Opus 34, of three manuals and thirty-three ranks at St. Michael’s Episcopal Church, Litchfield, Connecticut (1992). Developed in tandem with then organist Thomas Brown, Opus 34 is a QPO multum in parvo instrument dating from before our work had shifted into the mature Quimby tonal style.  

In working together with Susan after her visit to a more recent project at St. John’s Episcopal Church in Roanoke, Virginia (Opus 66, 2010), we developed a proposal for an equally effective three-manual organ, slightly expanded, which would have the same versatility and nuance as Opus 34, but expressed according to a more Romantic approach: with heroically scaled chorus work and characteristic, harmonically developed individual voices that lock together into seamless, coherent ensembles.

The resulting instrument makes use of select existing pipework from the church’s former 1973 Casavant (Opus 3179), new pipework constructed by Quimby, and select vintage ranks from QPO inventory. New electro-pneumatic slider windchests were constructed for all straight manual ranks and electro-pneumatic unit ranks for all pedal and extended ranks. The winding system and interior structure of the organ are all new. In order to help make the project more cost-effective, we refurbished and rebuilt a three-manual console, constructed by another builder in 2000, for an organ that is now redundant. With new mahogany interior, console lid, and bench top, the refinished console is a splendid match for the church’s neo-Classical interior.

The use of existing Casavant pipework in combination with our own inventory was attractive to the church, not only because it was fiscally responsible, but because they understood it to be environmentally responsible when compared with new construction, and therefore, good stewardship in several senses. The transformation to the carefully selected principals, flutes, strings, and mutations is stunning; none of the reused ranks bears any resemblance to what existed before. The previous instrument was weak in the unison range, and top-heavy with piercing upperwork. Individual foundation voices were bland and blended poorly, with little support for choral accompaniment or even congregational song. The transformed ranks, having been recomposed, rescaled, and radically revoiced, now form colorful, expressive Diapason ensembles at a wide range of dynamic levels.  

Our approach to rescaling and revoicing old ranks of pipes that came from the church’s previous organ is conceptually similar to the practice of Aristide Cavaillé-Coll in nineteenth-century France. His organs at Notre Dame de Paris and Saint-Sulpice incorporate significant percentages of eighteenth-century Clicquot pipework, but those old ranks of pipes were successfully transformed to contribute to a new tonal aesthetic by Cavaillé-Coll.  

New and vintage reeds were provided, custom voiced in-house; these range from the throaty Cromorne in the Solo-Choir, to the lyrical Oboe and fiery Trumpet in the Swell, to the brilliant Harmonic Trumpet in the Solo-Choir, and finally, the dominating, spectacular Tuba in the Great. The Harmonic Trumpet, available at 16′, 8′, and 4′ on manuals and pedal, can serve in the Great as chorus reeds with the box closed, as a soft or loud 16′ reed in the Pedal, and with the box open as an exciting climax to full organ at all three pitches. The Tuba is intended strictly for solo use and is voiced on 12 inches wind pressure so that individual notes can be heard over full organ.

Also of note are the variety of 8′ and 4′ flutes, several of which are vintage, and which contrast and combine with each other effectively. The Swell strings are revoiced Casavant pipework and contrast a more broadly voiced Viola Pomposa and Celeste in the Solo-Choir.  Together with the Swell Spitzflute and Celeste, a wide range of undulants is provided, which can be combined in surprising ways.

The organ was completed in November 2017 and was dedicated by Bradley Hunter Welch on Sunday morning, April 15, 2018, with a recital following the same afternoon.

—T. Daniel Hancock, A.I.A., President

Quimby Pipe Organs, Inc.

 

Quimby Pipe Organs, Opus 73

GREAT (unenclosed)

16′ Contra Viola (Swell)

8′ Open Diapason, 49 pipes, 1–12 common with Pedal 8′ Octave

8′ Hohl Flute, 55 pipes, 1–6 common with Swell 8′ Gedeckt

8′ Gedeckt (Swell)

8′ Viola (Swell)

8′ Dulciana, 61 pipes

4′ Octave, 61 pipes

4′ Spitzflute (Swell), 1–12 Swell 8' Gedeckt; 13–61 2′ Flageolet

2′ Fifteenth, 61 pipes

11⁄3′ Mixture III, 183 pipes

16′ Contra Trumpet (Swell)

8′ Trumpet (Swell)

8′ Oboe (Swell)

Zimbelstern

SWELL (enclosed)

16′ Gedeckt, 97 pipes

8′ Gedeckt (ext)

8′ Viola, 85 pipes

8′ Voix Celeste, TC, 49 pipes

4′ Principal, 73 pipes

4′ Stopped Flute (ext)

4′ Viola (ext)

22⁄3′ Nazard, 49 pipes, 1–12 common with Swell 8′ Gedeckt

2′ Octave (ext)

2′ Flageolet, 61 pipes

13⁄5′ Tierce, TC, 37 pipes, top octave repeats

16′ Contra Oboe, TC, 61 pipes

8′ Trumpet, 85 pipes

8′ Oboe (ext)

4′ Clarion (ext)

Tremulant

PEDAL

32′ Resultant (fr 16′ Bourdon)

16′ Bourdon (Swell) 

16′ Contra Viola (ext Swell 8′ Viola) 

8′ Octave, 44 pipes, 1–17 in façade

8′ Gedeckt (Swell) 

8′ Viola (Swell)

4′ Super Octave (ext)

16′ Trombone (Swell)

8′ Trumpet (Swell) 

8′ Oboe (Swell)

4′ Clarion (Swell) 

4′ Oboe Clarion (Swell)

 

Two manuals, 18 ranks, 1,111 pipes

Builder’s website: 

https://quimbypipeorgans.com

Church website: http://allsaintsobx.org

 

Quimby Pipe Organs, Opus 74

Austin Organs, 

Hartford, Connecticut

Opus 2344 (1961 and 2014)

St. Mark’s Episcopal Church,

New Canaan, Connecticut

In New Canaan, Connecticut, just north of a town landmark known as “God’s Acre,” an imposing edifice rises from the staid landscape. St. Mark’s Church was erected in 1961. Approaching from the south, the church beckons your creative spirit as it heralds the artistry that pervades its sacred space. The entrance of the church, facing an elegant, grassy commons to the south, is easily accessed from the street. Entering the two large, intricately carved doors one finds oneself inside an impressive sanctuary that evokes the feeling of a Gothic cathedral. Triangular vaults rise up majestically from towering concrete columns. The altar is clearly the focal point of the room, but behind the altar stands an equally impressive reredos approximately 35 feet wide, standing some 40 feet in the air, displaying 184 intricately carved figures. It was designed by sculptor Clark Fitz-Gerald, whose works can be found in Columbia University, Independence Hall in Philadelphia, Carnegie Hall, and Coventry Cathedral in England. 

Behind this acoustically transparent screen stands Austin Organs’ Opus 2344, dedicated by John Weaver in a concert on January 7, 1962. In 2014, Austin installed several new stops and completed an extensive tonal redesign of the instrument.

 

From the musician

In 2000, we started discussion about completing some major work on the organ. We thought it important to return to the company that gave birth to the instrument, so we called Austin Organs in Hartford for an evaluation and recommendations. Unfortunately the church was not ready to proceed with the project at that point, so the plan was placed on hold. When we revisited the project in 2008, I was surprised and pleased to reconnect with my former schoolmate from Westminster Choir College, Mike Fazio, who was now president and tonal director of the Austin company. 

As fate would have it, the company, now reborn under the auspices of the new owners, has revisited some of the original Austin organbuilding and voicing practices—their mindset moving beyond the so-common trend of “what’s happening now” and going back to some of the venerable earlier ideals. This philosophy is happily right in line with my own personal vision for this organ. I think that this key point in our collaboration helped lead to the successful rebirth of this instrument. Further, I believe that the combination of the talents of the outstanding Austin craftspeople, some who have been with the company for many years, along with the new administration, who respect the past but also embrace the future, to be a winning combination without equal. Working on this project, I was always confident in our conversations about the direction of the instrument, and I was pleased with the outcome, because we were consistently in sync. They always listened to my vision, and it felt like we were always on the same page with the ultimate goal.

When I arrived in 1998, it was already an organ to be proud of, and I was very happy to be playing this Austin, because it essentially worked well in this space. But today, with the tonal work and expansion, it has become much more versatile. While the organ certainly could have been defined as “American Classic,” I would now say that, while that character remains, we now have the impression of an “English Town Hall” instrument. The organ can handle a broader spectrum of literature, and I find that I can accompany the service in a much more exciting way. When I use the term “exciting,” I am not just talking about louder sounds, I am talking about the inclusion of some softer voices imparting more interesting nuance than there was previously. Utilizing the new timbres available in the pedal organ, the organ has developed a new undergirding that has truly helped its effectiveness in hymn accompaniment, among other things. The inventiveness of the Austin company in finding a creative way to add real pipes (installing a full-length 16′ reed in the Swell, and a full-length 32′ reed in the Pedal, and of course, the 32′/16′ Pedal Bourdon) was amazing! The 16′ Bourdon is also an excellent addition, as it helps support the lower voices in the choir and congregation. I am so proud to be able to boast that all of our additions are real pipes, real chimes, and a real harp, without having to resort to the digital versions. I am convinced that these real voices do add significant richness and quite amazing harmonic underpinning. I am therefore able to play the organ in a much fuller way than I could previously. This has improved both my musical creativity and the choir and congregation’s singing in response. 

—Brian-Paul Thomas

Organist and Choirmaster

From the builder

The organ has excellent tonal projection from its lofty position on the central axis of the church. Its tonal disposition is somewhat reminiscent of the late work of Austin’s most famous tonal designer, James Blaine Jamison (1882–1957). He began with the Austin Company in 1933, and his impact was rather dramatic. Early in his relationship with the company, he redefined the Austin Diapason scaling system and introduced his concepts for ensemble structure and voicing, which were quickly adopted and became common practice for a generation. Richard Piper (tonal director from 1952–1978,) continued the same trend, but imparted his own stamp on the company’s work. Piper had apprenticed for nearly a decade under Henry Willis III, working on many of England’s monumental instruments, his final work being the Dome Organ at St. Paul’s Cathedral, London. Coming to Austin, he was able to impart a bit of English nuance to the Austin version of the American Classic tonal ensemble, but that nuance did not seem to be present in this instrument. My predecessor at Austin Organs, Bruce Buchanan, visited the organ in September 2000. His impression was congruous with my own, in that he proclaimed, “St. Mark’s organ is a version of American Classic with North-European leanings. This means brightness has been preferred to brilliance, and clarity to body.” It was interesting to find his notes some months after I had submitted my own assessment to the church with similar findings.

The St. Mark’s organ had been an interesting platform for Richard Piper’s tonal experimentation. The Great and Positiv were voiced on low pressure (2¾′′ wind). It would appear that the Great Organ had the strongest North-German influence: light Prinzipal scaling, heavy mixture scaling, and the foundation apparently based on the 16′ Quintaton. Overall, the division exhibited bright ensemble tone and the Positiv was much like it. The Swell was designed with somewhat stronger English influence. It, like the Choir, was voiced on 4′′ of wind presure. It was built with colorful flutes, and lush string tone; it also had a full reed chorus, yet not a proper Oboe; there was a high-pitched Plein Jeu, yet the department lacked a full principal chorus. The Choir flue chorus is made up of flutes, independent cornet mutations, and a Gemshorn and Celeste. The Choir reeds included a rather thin Krummhorn (3/4′′ scale) and an 8′ Trumpet, voiced on 6′′ of wind pressure. In the style of many fine Austin instruments of the period, this organ’s Pedal division had nine independent ranks of pipes, beginning with a generous 16′ Open Wood Contra Bass, through a Pedal Mixture and reed chorus. At some point in history, an electronic 32′ Bourdon extension was added, but had failed and was disconnected several years ago.

Approaching the organ’s tonal redesign, we had some specific goals in mind: improve the Diapason chorus, revoice/replace some existing reeds, and supplement the Pedal department. Other enhancements became possible as the project developed. For example, while we would have liked to build a new, movable, drawknob console for the instrument, a decision was made for the present time to maintain the existing console. It was certainly showing its age, but we decided to add new stopkeys in situ for the new voices. This approach would allow us to use more available funds for tonal work as a first step. It would seem that God had other thoughts. Within a month of signing the contract for the tonal work, the church was hit by an electrical storm that disabled the console, along with the church’s sound system. We removed the console to the factory, and installed a new multiplexed console and organ control system, featuring a fiber-optic connection between the console and the organ’s Universal Air Chest. While back “home” in the factory, the manual and pedal claviers were refurbished, all new wiring and stop controls were installed, and the elegant black walnut casework finish was also restored. 

 

Tonal matters

The first matter to address was the wind pressure. To achieve the aural presence we collectively desired, we recognized that the pressure needed to be increased. To that end, we chose to increase the wind pressure to 4′′ water column for the entire instrument. Next, we needed to make a decision regarding the disposition of the Great Organ’s 16′ Quintaton, which had been partly replaced (from 8′ C) several years earlier with Bourdon pipes. The breakpoint from the 8′ to the 16′ octave was abominable, and the effect of the Quintaton in general was counterproductive to our desired ensemble. The Great Mixture was overwhelming and the rest of the chorus was anemic. Our sweeping decision was to remove the entire Quintaton from the specification, and to achieve a manual 16′ voice, install a new Austin Internal Borrow action in the chest that would play the Pedal 16′ Spitz Flute as a Great stop. Previously, this stop was only available in the manual at 8′ pitch, and 16′ in the Pedal. Austin’s voicer Dan Kingman revoiced these pipes to create an excellent Viole de Gamba. Being mildly conical (1/2 taper), we adjusted the nomenclature to reflect that construction, calling it a Spitz Viole. As a manual 16′ and 8′ borrow, it has proven to be extremely successful. While we were sweeping through the organ, we chose to “wash” the 1960s voicing out of the Great Bourdon, which resulted in a flute with more warmth and fundamental. The Diapason and Principal were rescaled, and the Spitz Fifteenth replaced with a new set of Principal pipes that work well with this new chorus. The existing Fourniture was also replaced with new pipes, scaled and voiced to fit perfectly with the new scheme. The final element was the inclusion of a new reed stop for the Great. After much discussion, the choice was made to install an English Horn. Rather than yet another Trumpet, or something from the Clarinet family, we concluded that an English Horn would serve equally well as either a gentle solo or ensemble voice. 

In the Swell, we regret that we were unable to add a new Diapason, as space would not allow it. However, the large scale Viola and Flute are rather successful, evoking “synthetic Diapason” tone, to quote the late G. Donald Harrison. A vintage 4′ Wald Flute was installed to replace the original, which was removed several years ago, having been replaced with the Koppelflute from the Positiv, where it was subsequently returned. The 8′ octave of the Rohrflute was moved off the main chest, and in its place we located the 12 lowest pipes of the 16′ Waldhorn (full-length). The rather pleasant 8′ (French) Trumpet was revoiced to blend well in the ensemble, and a new 8′ (English) Oboe was installed. As a compromise to allow the installation of the Oboe, we removed the 4′ Clarion, (which was rather thin) and extended the Waldhorn to 4′ pitch to complete the chorus. Also added to the organ was a vintage Austin Vox Humana. This particular type is affectionately known as a “Vox-in-a-Box,” as the pipes are entirely placed within an encased chest that hangs directly in front of the Swell expression shades and can be adjusted for dynamic by opening or closing the top cover of said box. The effect of the Vox Humana in this church is extremely successful—it shimmers like a “chorus of voices in the distance!” Finally, the high-pitched mixture was removed and replaced with a new IV–V Plein Jeu, starting at 22⁄3′ pitch. It provides a measure of gravitas to the ensemble, whether flues or reeds. 

In the Choir, we removed the thin, baroque Krummhorn, and replaced it with an 8′ Cremona, which is a hybrid stop that is constructed as a Clarinet in the lower registers, then it morphs into our Cromorne scale in the treble. This treatment delivers the color of a rich Clarinet in the tenor range and the brightness of a French Cromorne in the right hand. As a matter of course, the existing high-pressure Trumpet was reconstructed (new tuning inserts, etc.) and revoiced.

The changes to the Pedal division were rather dramatic. We were able to redesign the offset chests at the sides of the main organ to allow the installation of a 32′ and 16′ Bourdon. More dramatic yet, we chose to extend the Swell 16′ Waldhorn (a time-honored tradition) to become the 32′ Pedal reed. Organist Brian-Paul Thomas was very clear in his vision for this voice: he did not want a jackhammer or clatter, but smooth dark tone. Using this thought as a guideline, we scaled this stop moderately, and consequently, the 12 full-length resonators fit nicely in the space occupied by the former Quintaton, located in a split arrangement on either side of the Great chest.

The other two voices added to the organ were a set of Deagan Class A chimes, and a vintage Austin Harp. These two percussions also work very nicely in this space.

 

Conclusion

We find the new instrument is exciting, rich, and versatile. It has a delicious, smooth crescendo from pianissimo to fortissimo, never missing a step! These changes were made possible because of the amazing flexibility of the Austin Universal Airchest design. Having been at the helm of Austin since 2005, I am still constantly in awe of the versatility of the Austin system. 

In a future article, we would like to discuss the transformation of a few Austin organs. These instruments were built in the same time period (the mid-1960s). The tonal disposition of each organ was very similar, and they were stereotypical of the period, and desperate for change! The study of the resulting specifications will serve as empirical evidence for any church with an organ, especially an Austin, thinking that there is no hope for a rather bland tonal ensemble. The transformation of each organ was completed with remarkable success—each one unique. We are also embarking on a plan to make a collective recording of these instruments.

While history furnishes a wealth of motivation, we are confident that new avenues and designs are only just around the corner that may enhance earlier efforts. As surely as we are inspired by the triumphs of the past, we face the challenges of today by building organs that will continue to inspire interest beyond today, beyond tomorrow, and into the next generation. Art is only art when it represents the best efforts of the Creator, with both eyes open to even greater possibilities. We aim to create something significant for worship and the performance of great music, and in the greater sphere, to offer our own illumination of how music might be made.

—Michael B. Fazio

Austin Organs, Inc.

President and Tonal Director

 

 

 

 

Kegg Pipe Organ Builders, Hartville, Ohio

Christ the King Chapel, 

St. John Vianney Theological Seminary, Denver, Colorado

Every new pipe organ project, large or small, has a unique sense of importance. Rarely are we afforded the opportunity to build an instrument that will inspire generations of clergy to high ideals. Our new organ at St. John Vianney Theological Seminary is a true honor for an organbuilder.

Each of our pipe organs is custom designed for the space it occupies and the musical task it must perform. During the design process, the organ evolves. Sometimes the stop list has additions made as funds become available, or unknown building impediments are discovered that require us to adjust. This new organ of course went through this process, but through it all, the goal we shared with associate professor of sacred music, Dr. Mark Lawlor, did not. The goal was to build an instrument suited primarily to the multiple daily Masses of the seminarians.

The failing electronic organ from 20 years ago had “replaced” the original 1931 Kilgen pipe organ. Heavily damaged first by modifications to the stop list with foreign pipes installed by lesser hands, then with loud speakers among and largely on the pipes, the original pipe organ was assumed destroyed. When Kegg sales representative Dwayne Short first crawled into the crowded, dark, and dirty space, he made his way into the furthest reaches where few had ventured in years, to discover that many of the Kilgen Swell stops had survived in reasonable condition. These, along with one Pedal stop and an orphan Great Clarinet, gave us some original pipes to consider retaining in the new organ.

Christ the King Chapel is a handsome room built in 1931. Beautiful to look at with masonry walls and terrazzo floors, it is a child of its time, apparent when one looks up. The coffered ceiling panels are beautifully painted acoustic tile, rendering only about one second of reverberation when the room is empty. The organ is at the rear of the room, in a shallow chamber over the main door. The robust all-male congregation is mostly at the front of the nave and in the crossing. All these elements dictate a rich, strong, and dark organ to meet the voices at their pitch and location. There is an Antiphonal division that is prepared in the console. Until it is installed, the main organ will have to fill the room from the rear with the singers up front.

Dr. Lawlor specifically requested that all manual divisions be enclosed to afford him and future musicians maximum musical flexibility. Most organists prefer a three-manual organ to two, which we frequently offer in organs of this size. The new organ is 19 stops and 25 ranks dispersed over three manuals and pedal. The only unenclosed stops are the Pedal 16′ Principal, from which the façade pipes are drawn, and the horizontal Pontifical Trumpet, in polished brass with flared bells. This last stop was also a specific request. Because the room is not excessively large, these pipes are placed as high as possible. The large scale, tapered shallots and 7-inch wind pressure give these pipes a round, Tuba-like quality that is commanding and attractive.

The Great/Choir and Swell are enclosed in separate expression boxes. The stop list is not unusual, but the execution of the Principal choruses is. Both choruses have Mixtures based at 2′. This allows them to couple to the Pedal without a noticeable pitch gap in the bottom octave sometimes heard with 11⁄3′ Mixtures. The breaks of these two Mixtures are different. The Swell Mixture breaks before the Great, bringing in the 22⁄3′ pitch early. This gives the Swell Mixture a rich texture, particularly helpful in choral work. Emphasis in finishing is on unison and octave pitches when present. The first break in the Great Mixture is at C#26 and from C#14 is one pitch higher than the Swell, making it relatively normal. For the Great Mixture, the upper pitches are given more prominence during finishing. The two choruses complement and contrast well in this intimate space, without excessive brightness.

Many of the flutes and strings were retained from the original Kilgen organ. With some attention in the voicing room, these work well within the Kegg tonal family. Having heard other examples of our work, there was a keen desire by Dr. Lawlor for a new Kegg Harmonic Flute. To make this happen within the budget and space available, we used an existing wood Kilgen 8′ Concert Flute for notes 1–32. At note 33, this stop changes to new Kegg harmonic pipes. The stop increases in volume dramatically as it ascends the scale. Available at 8′ and 4′ on both the Great and Choir manuals, the 8′ stop is nicely textured and mezzo-forte. The treble of the 4′ morphs into a soaring forte voice, made even more alluring by the tremulant.

With the exception of the Clarinet, all reeds are new Kegg stops and typical of our work. The Trumpet has a bright treble and a darker, larger bass extending into the Pedal at 16′. The Oboe is capped and modeled after a Skinner Flügelhorn. The lovely Kilgen Clarinet fits nicely into the Kegg design.

The Pedal has the foundation needed for the organ. The 16′ Principal unit of 56 pipes provides stops at 16′, 8′, and 4′. This is the only flue stop that is not under expression. It grows in volume as you ascend the scale and does so more than its manual counterparts. Because of this, it is easy to have the Pedal be independent and prominent when needed for polyphonic music. This stop joins the Great Principal and Octave, all playing at 8′ pitch, to make the 8′ Solo Diapason III, a Kegg exclusive. With three 8′ diapasons at one time, it is similar in effect to a First Open for both solo and chorus work where a firm 8′ line is required.

The console provides all the features expected in a first-class instrument today including unlimited combination memory, multiple Next/Previous pistons, bone and rosewood keys and, of course, the Kegg signature pencil drawer and cup holder. 

The original 1931 organ was covered by a gray painted wood and cloth grill. The new organ façade design was inspired by the building age and funds, but mostly by the significant stone door that dominates the rear wall. This is not a formal case, but it is more than a simple fence row. The stone door is massive and will always be visually dominating, so it is natural to acknowledge it and build from it. The center façade section pipe toes sit atop the lintel with the tops dipping down to mirror the brick arch above, making space for the Pontifical Trumpet to seemingly float. The center section sits 5 inches behind the side bass sections, giving more depth to the visual effect. Viewing the façade from any angle other than head-on, it becomes sculptural.  

This was an exceptionally exciting and enjoyable project for us. The enthusiasm, interest, and complete cooperation from the seminarians and staff were a daily spiritual boost for the entire Kegg team. This organ was installed in nine days, ready to be voiced, due largely to the excellent working conditions. Many thanks to James Cardinal Stafford, Archbishop Samuel J. Aquila, Dr. Mark Lawlor, and all our new friends at St. John Vianney.

—Charles Kegg

President and Artistic Director

 

The Kegg team:

Philip Brown

Michael Carden

Cameron Couch

Joyce Harper

Charles Kegg  

Philip Laakso 

Bruce Schutrum

Ben Schreckengost

Dwayne Short

 

GREAT (manual II, enclosed)

8′ Solo Diapason III (fr Gt 8′, 4′, Ped 8′)

8′ Principal (61 pipes)

8′ Concert Flute (1–32 existing, 33–73 

    new pipes)

8′ Dulciana (61 existing pipes)

8′ Unda Maris (TC, 49 pipes)

4′ Octave (73 pipes)

4′ Harmonic Flute (ext 8′)

2′ Fifteenth (ext 4′ Octave)

IV Mixture (2′, 244 pipes)

8′ Clarinet (61 existing pipes)

Tremulant

8′ Trumpet (Sw)

8′ Pontifical Trumpet (TC, 39 pipes, 

    C13–D51, polished brass, flared 

    bells, high pressure)

Chimes (console preparation)

Great 16

Great Unison Off

Great 4

8 stops, 11 ranks, 661 pipes

SWELL (manual III, enclosed)

16′ Gedeckt (73 existing pipes)

8′ Diapason (73 existing pipes)

8′ Gedeckt (ext 8′)

8′ Salicional (61 existing pipes)

8′ Voix Céleste (TC, 49 existing pipes)

4′ Principal (ext 8′)

4′ Harmonic Flute (73 existing pipes)

22⁄3′ Nazard (TC, 49 existing pipes)

2′ Flute (ext 4′)

13⁄5′ Tierce (TC, console preparation)

11⁄3′ Larigot (fr 22⁄3′)

IV Mixture (244 pipes)

16′ Trumpet (85 pipes)

8′ Trumpet (ext 16′)

8′ Oboe (61 pipes)

4′ Clarion (ext 16′)

Tremulant

Swell 16

Swell Unison Off

Swell 4

9 stops, 12 ranks, 768 pipes

CHOIR (manual I, enclosed with Great)

8′ Concert Flute (Gt)

8′ Dulciana (Gt)

8′ Unda Maris (TC, Gt)

4′ Principal (Gt 4′)

4′ Flute (fr Gt 8′)

2′ Octave (fr Gt 4′ Octave)

8′ Oboe (Sw)

8′ Clarinet (Gt)

Tremulant

8′ Pontifical Trumpet (Gt)

Choir 16

Choir Unison Off

Choir 4

PEDAL

32′ Resultant (derived)

16′ Principal (56 pipes)

16′ Subbass (44 existing pipes)

16′ Gedeckt (Sw)

8′ Octave (ext 16′)

8′ Subbass (ext 16′)

8′ Gedeckt (Sw)

4′ Choral Bass (ext 16′)

32′ Harmonics (derived)

16′ Trumpet (Sw)

8′ Trumpet (Sw)

4′ Clarinet (Gt)

2 stops, 2 ranks, 100 pipes

 

INTER-DIVISIONAL COUPLERS

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Great/Choir Transfer

 

ADJUSTABLE COMBINATIONS

14 General pistons (1–14 thumb, 1–10 toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Choir pistons (thumb)

4 Pedal pistons (toe)

General Cancel (thumb)

Set (thumb)

Range (thumb)

Undo (thumb)

Clear (thumb)

Next (General piston sequencer, 4 thumb, 1 toe)

Previous (2 thumb)

30 memories per User, unlimited Users

 

REVERSIBLES

Great to Pedal (thumb and toe)

Swell to Pedal (thumb)

Choir to Pedal (thumb)

Full Organ (thumb and toe)

32′ Harmonics (toe)

 

ACCESSORIES

Balanced Swell expression pedal

Balanced Great/Choir expression pedal

Balanced Crescendo pedal (2 memory adjustable, with numeric indicator)

Full Organ indicator

Transposer

Concave and radiating pedal clavier

Adjustable bench

 

TONAL RESOURCES

19 Stops, 25 Ranks, 1,529 Pipes

 

Organbuilder website: www.keggorgan.com

 

Seminary website: http://sjvdenver.edu

Muller Pipe Organ Company, Croton, Ohio

Saint Paul the Apostle Parish, Westerville, Ohio

The highlight of Muller Pipe Organ Company’s ninety-fifth anniversary year was the completion of the new pipe organ for Saint Paul the Apostle Parish of Westerville, Ohio, the largest congregation in the Catholic Diocese of Columbus. Our relationship with the parish began as the new building was being designed, and we enjoyed working collaboratively to create a space that would be effective for both worship and music. The result is a handsome brick edifice seating approximately 1,500 parishioners in an acoustically reverberant and visually arresting space. 

John Bryan, music director at St. Paul, and Paul Thornock, then diocesan organ consultant, worked with us as tonal ideas were developed. These conversations produced an eclectic instrument that supports the diverse liturgies of the parish, boldly leads major diocesan events, and accommodates a wide variety of organ repertoire.

Saint Paul boasts an active choral program to match the size of the parish and space. To ensure ample room for these singers, we placed the Positive on the railing, where it is reminiscent of a Rückpositv both in location and sound. The other divisions are in the large main case at the back of the spacious gallery.

Our tonal philosophy dictates a broad, warm sound for the Great division; this was readily accomplished at Saint Paul by a location in the main case. This division’s broadly scaled and boldly voiced principal chorus is the cornerstone of the entire instrument. The smaller-scaled Violone was designed primarily as a 16′ stop, but plays at 8′ pitch and functions as the secondary principal, being both brighter and more articulate. The Tromba is the darkest of the manual trumpets and employs English shallots and harmonic resonators beginning in the middle octave. Because the division is expressive, the Great includes ranks that would be expected in a Choir division: a throaty Clarinet and a pair of tapered Gemshorns.

The Swell is the workhorse of the organ and balances the Great division. A secondary principal chorus with a low-pitched mixture, an independent flute chorus, and broadly scaled Viole strings provide a solid platform for choral accompaniment. The Trompette and Clairon create a fiery French effect. The Hautbois, with its open shallots, also has a bright French quality or nasality. 

The Positive contains the most articulate and colorful stops of the organ. Its location on the gallery rail allowed us to contrast its voice with the Great by means of smaller scaling, lower wind pressure, and gentler voicing. The somewhat unconventional Quintadena provides a lovely solo voice and offers an alternative to the eloquent Gedeckt. The Positive Trompet is a median between the Great and Swell trumpets. These shallots were designed for effective tone on light wind pressure, providing plenty of power with ample fundamental tone.   

The pipes of the Pedal division are divided into C and C-sharp sections on either side of the main case. It boasts a powerful Trombone as well as a reclaimed 16′ Open Wood Diapason. Like each manual division, the Pedal has a complete and independent principal chorus, culminating with a four-rank mixture. To provide flexibility, the Pedal division includes judicious borrowing from the manual divisions.  

The visually and aurally commanding Pontifical Trumpet is mounted horizontally on the main case and is constructed of brass with flared resonators. This stop is powerful enough to speak over fuller combinations, yet does so with a refined, even tone.  

The cases were conceived to visually harmonize with the Romanesque features of the building. From the choir seating in the balcony, the outline of the Positive pipework mirrors the architecture of the ceiling and mural while drawing one’s focus directly to the liturgy at the front of the church. The casework and the console were fabricated by craftsmen at the Muller shop. The cases of quarter-sawn red oak were handcrafted using traditional joinery, as was the raised panel console. The console is movable and features interior accents of solid walnut with inlays of ebony and maple. 

We are especially grateful for the support of A. R. Schopp’s Sons, Inc., David R. Beck, Paul Thornock, and countless others in the industry for their counsel and wisdom. However, the instrument would not exist without the heroic efforts of John Bryan, the Reverend Charles Klinger, pastor, and the parishioners of Saint Paul the Apostle. We thank them all for honoring us with the opportunity to build this lasting testimony to their faithfulness.

—Luke Tegtmeier, Tonal Associate

Muller Pipe Organ Company

 

GREAT - Main case, enclosed

16′ Violone 73 

8′ Principal 61

8′ Violone (ext 16′)

8′ Rohrflöte 61

8′ Gemshorn 61

8′ Gemshorn Celeste (TC) 49

4′ Octave 61

4′ Koppelflöte 61

2′ Super Octave 61

11⁄3′ Fourniture IV 244

16′ Bass Clarinet (ext 8 ′)

8′ Trompet (Pos)

8′ Tromba 61

8′ Clarinet 73

8′ Pontifical Trumpet 61

Tremolo

SWELL – Main case, enclosed

16′ Bourdon 73

8′ Principal 61

8′ Bourdon (ext 16′)

8′ Viole 61

8′ Viole Celéste  61

4′ Octave 61

4′ Harmonic Flute 61

22⁄3′ Nazard 61

2′ Blockflöte 61

13⁄5′ Tierce 61

2′ Plein Jeu IV 244

16′ Basson-Hautbois 73

8′ Trompette 61

8′ Hautbois (ext 16′)

4′ Clairon 61

Tremolo 

8′ Pontifical Trumpet (Gt)

POSITIVE – Railing, unenclosed

8′ Principal 61

8′ Holz Gedeckt 61

8′ Quintadena 61

4′ Octave 61

4′ Waldflöte 61

22⁄3′ Quint 61

2′ Super Octave 61

2′ Flautina 61

13⁄5′ Tierce 61

11⁄3′ Larigot 61

1′ Mixture III 183

8′ Trompet 61

Tremolo

8′ Clarinet (Gt)

8′ Tromba (Gt)

8′ Pontifical Trumpet (Gt)

PEDAL – Main case, unenclosed

32′ Diapason (resultant, 16′ Open)

32′ Bourdon (resultant, 16′ Subbass)  

16′ Open Wood Diapason 32

16′ Violone (Gt)

16′ Subbass 56

16′ Bourdon (Sw)

8′ Octave 32

8′ Subbass (ext 16′)

8′ Bourdon (Sw)

4′ Choral Bass 32

4′ Subbass (ext 16′)

22⁄3′ Mixture IV 128

32′ Trombone 56

16′ Trombone (ext 32′)

16′ Basson-Hautbois (Sw)

16′ Bass Clarinet (Gt)

8′ Trombone (ext 32′)

8′ Hautbois (Sw)

4′ Clarinet (Gt)

8′ Pontifical Trumpet (Gt)

 

Wind pressures

Great – 51⁄2″

Swell and Pedal – 5″

Swell reeds – 41⁄2″

Positive – 3″

Pontifical Trumpet – 6″

32′ Trombone (1–24) – 8″

 

Full complement of couplers

Electro-pneumatic pitman chest action

Peterson ICS 4000

 

Three manuals, 54 ranks, 3,117 pipes

René A. Marceau and Sean Haley

Marceau Pipe Organ Builders,

Seattle, Washington, Opus 35

University Lutheran Church, 

Seattle, Washington 

Marceau Pipe Organ Builders has completed their Opus 35, a three-manual and pedal organ of 25 stops, 27 ranks, and 1,714 pipes for University Lutheran Church of Seattle, Washington. The first instrument for this edifice was built by the Reuter Pipe Organ Company in 1954, Opus 1097. It consisted of two manuals, 18 stops, 19 ranks, and 1,358 pipes. An Echo division was later installed by Balcom & Vaughan Organ Builders in 1957, Opus 637. This consisted of two manuals, six stops, six ranks, and 392 pipes. Two consoles were added; the Chancel unit was able to control both locations, and a separate console was placed in the rear balcony to play only the Echo division. This arrangement worked well for a number of years before mechanical and tuning issues began to affect the reliability of the organs.

In 2013, a conversation was begun that would address the status of the existing consoles, the unplayable Echo division, and the obsolete electrical system. After exploring a number of options, University Lutheran awarded Marceau Pipe Organs a contract to build a new three-manual, terraced drawknob console and create an Antiphonal division that would be located on the floor of the balcony, as well as some modest tonal additions to enable this division to function in a variety of musical styles and to stay in tune with the Chancel organ, regardless of the season. In addition to the above details, there was a desire to transform the sounds of both organs from dull and colorless to a brighter, more energetic sound. This was achieved by introducing new pipes for the Great, Swell, and Antiphonal principal choruses along with major re-regulation of the existing reed stops. In addition, the Antiphonal received an 8′ Festival Trumpet and an 8′ Krummhorn; the existing 8′ Vox Humana was not retained in this division since the Chancel Swell already contained a stop of this character.

The new console was constructed of solid white oak with the coupler rail and stop tiers of bubinga. The simple elegance of the white oak complements the red-brown appearance of the bubinga. The keyboards feature polished bone naturals and ebony sharps. These console treatments have been an integral element of all Marceau consoles for the past 15 years.

A reading of the stoplist suggests a much more colorful and energetic tonal design. The Great principal chorus is completely new to the organ and includes a much-needed 13⁄5′ Seventeenth. The Swell 8′ Principal was a last-minute addition, replacing the original rank, which was slotted with a narrow, string-like sound. The Antiphonal is the only division with a façade; these 12 pipes are from the 8′ Principal. The Pedal 16′ Principal was extended by 17 notes to become 8′ Principal II on the Great. The luxury of having four 8′ Principals is most effective in a less than supportive acoustic.

The number of flute stops is on the lean side due to space and mechanical limitations. The intent was to finish each stop with a multitude of functions, creating a more versatile result. While it is not an ideal design to derive multiple stops of various pitches from one rank, the various derived mutations (Swell and Antiphonal) work quite well as tonal contrasts to the independent Great mutations. 

There are two sets of strings that work remarkably well and complement each other tonally. Having a set of strings in the Antiphonal again creates a unique location of sound that has a most satisfying result!

The reeds all received extensive revoicing in the shop and regulation on site. Both Swell reeds were opened up to gain color and dynamic capabilities. For greater versatility, the Trumpet is set at 16′, 8′, and 4′ pitches in the Swell, 8′ pitch in the Great, and 16′, 8′, and 4′ pitches in the Pedal. A 32′ electronic extension was added as the final dynamic element for the Pedal chorus. The Antiphonal 8′ Krummhorn is bright, and its location still works well with the Chancel organ. The Antiphonal 8′ Festival Trumpet brings a solo reed sound to the organ. Its sound is bright and very present without overwhelming the full ensemble.

The organ was dedicated on October 8, 2016, with a vespers service followed by an organ recital performed by William Bryant.

This was a challenging project in so many ways. Working with an existing pipe organ brings many surprises along the way that could not have been anticipated. We acknowledge the following for their efforts in the many details of this work: Carl Dodrill (Pipe Organ Foundation), Jim Stettner and Michael Way (Puget Sound Pipe Organs), William Bryant, organist of University Lutheran Church, and the staff of Marceau Pipe Organ Builders. These skilled craftsmen took on the many and sometimes difficult challenges of this project with energy and commitment! 

—René A. Marceau 

President/Tonal Director

—Sean Haley

Operations Manager

 

Stephen Schnurr

Stephen Schnurr is editor and publisher of The Diapason and director of music for St. Paul Catholic Church, Valparaiso, Indiana. His most recent book, Organs of Oberlin, was published in 2013 by Chauncey Park Press (www.organsofoberlin.com). He has authored several other books and journal articles, principally on pipe organ history in the Great Lakes region.

This article is a continuation of a feature in the August 2015, June 2016, and July 2017 issues of The Diapason. This essay was delivered as a lecture for the Midwinter Pipe Organ Conclave on January 19, 2015, in La Grange, Illinois. The research for this project provides a history of a number of pipe organs in the village, but not all. For instance, organs in residences and theaters are not surveyed.

 

The Convent of the Sisters of St. Joseph in La Grange Park, Illinois, is the home of the Sisters of St. Joseph, established on this site on October 9, 1899, by Mother Stanislaus Leary. Mother Leary had been superior of her order in Kansas and came to Chicago to seek medical help as her health was failing. She was accompanied by others of the order. The pastor of nearby St. Francis Xavier Church, La Grange, invited the sisters to settle in the relatively new suburb.

The sisters opened a school for girls in September 1900. Some of the students were boarders. Soon, the sisters would open another school for boys. Nazareth Academy, now co-educational, is still located on the La Grange Park motherhouse campus.

On July 14, 1900, the cornerstone of a motherhouse and chapel was laid. The chapel contained an organ built in 1929 by M. P. Möller of Hagerstown, Maryland, Opus 5555, a two-manual, eight-rank instrument. The contract was dated March 20 of that year, with a projected completion date of June 1. Cost was $3,200.00, with one-third due upon completion, one-third in two equal payments at four and eight months thereafter, without interest. The electro-pneumatic action organ had a detached console of walnut, with “Gold Bronze” façade pipes and grille. Stop control was by tablets above the upper manual. Wind pressure was 5 inches. Pitch was specified at A=440 Hz. The Chicago agent for Möller, and the installer of the organ, was Ford & Reynolds.

 

1929 M. P. MЪller Opus 5555

GREAT (Manual I)

8′ Open Diapason (scale 44, wood 

    basses, 73 pipes) 

8′ Dulciana (scale 56, metal, 73 pipes)

8′ Melodia (wood, 73 pipes) 

4′ Flute (ext, 8′ Melodia)

Chimes (prepared)

SWELL (Manual II, enclosed)

16′ Bourdon (wood and metal, 97 pipes)

8′ Stopped Diapason (ext, 16′

    Bourdon)

8′ Salicional (scale 60, metal, 73 pipes)

8′ Dolce (fr Great, 8′ Dulciana) 

8′ Voix Celeste (TC, scale 62, metal, 61 

    pipes)

4′ Flute d’Amour (ext, 16′ Bourdon)

22⁄3′ Nazard (ext, 16′ Bourdon)

2′ Flautino (ext, 16′ Bourdon)

8′ Oboe Horn (metal, 73 pipes)

1 blank tablet

PEDAL

16′ Sub Bass (“big scale”, stopped wood, 

    32 pipes)

16′ Lieblich Gedeckt (fr Swell, 16′

    Bourdon)

 

Couplers

Great to Pedal

Swell to Pedal

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

 

Mechanicals

Tremulant

Crescendo Indicator by light

 

Adjustable combinations

3 Great and Pedal

3 Swell and Pedal

 

Pedal movements

Great to Pedal Reversible

Balanced Swell Pedal

Grand Crescendo Pedal

 

The present chapel of strikingly modern design was built in 1967 and 1968 to the designs of John Voosen of Chicago. The motherhouse and chapel were dedicated on Sunday, September 29, 1968. Sister Mary Victoria Rokos, SSJ (later known as Sister Emily), convent organist, was charged with developing plans for a new organ. She sought the advice of persons at Northwestern University of Evanston. The Möller organ was sold and removed.

The result was a recommendation of the Noack Organ Company of Georgetown, Massachusetts, to build a new two-manual, 20-stop, 31-rank organ of mechanical key and stop action in a free-standing case in an elevated balcony at the rear of the nave. A landmark design for the neo-classical organ revival movement in the Chicago metropolitan area, the organ was to cost what was then a large sum of money, $40,000.

The convent purchased a smaller Noack organ as a temporary instrument until the larger organ was completed, at which time the smaller organ was removed to the Academy on the campus. This organ has since been relocated elsewhere. Opus 42 was inaugurated in recital by James Leland on July 14, 1968. The one-manual, mechanical-action organ was provided with a pull-down pedal. 

 

1968 Noack Organ Company
Opus 42

MANUAL

8′ Gedackt (4 stopped wood basses, 

    remainder metal, 56 pipes)

4′ Stopped Flute (12 open trebles, 

    metal, 56 pipes)

2′ Principal (metal, 56 pipes)

 

In the summer of 1969, Noack installed its Opus 44, blessed on August 15. The Positive is in Brustwerk position, with Great above and Pedal to the sides. A dedication recital was presented by Benn Gibson on November 9.

 

1969 Noack Organ Company
Opus 44

GREAT (Manual I)

8′ Principal (in façade, 56 pipes)

8′ Chimney Flute (56 pipes)

4′ Octave (56 pipes)

4′ Spielflöte (56 pipes)

2′ Nachthorn (56 pipes)

V–VI Mixture (11⁄3′, 312 pipes)

8′ Trumpet (56 pipes)

POSITIVE (Manual II)

8′ Gedackt (56 pipes)

4′ Koppelflöte (56 pipes)

2′ Principal (in façade, 56 pipes)

11⁄3′ Quinte (56 pipes)

II Sesquialtera (122 pipes)

III Cymbal (1⁄2′, 168 pipes)

8′ Krummhorn (56 pipes)

PEDAL

16′ Subbass (32 pipes)

8′ Principal (in façade, 32 pipes)

8′ Gedackt (32 pipes)

4′ Choral Bass (32 pipes)

IV Mixture (22⁄3′, 128 pipes)

16′ Bassoon (32 pipes)

 

Couplers (toe lever, hitch-down)

Great to Pedal

Positive to Pedal

Positive to Great

Accessory

Tremulant (toe lever, hitch-down)

 

Opus 44 was the first permanent installation of a modern tracker organ in a Catholic institution in the Archdiocese of Chicago. In its early years, it was a frequently used recital instrument. Performers have included Marie-Claire Alain, Christa Rakich, David Hurd, and Gustav Leonhardt.