Cover Feature

Kegg Pipe Organ Builders, Hartville, Ohio; Christendom College, Front Royal, Virginia

Landmark pipe organs come in a variety of forms, and lucky builders are usually afforded several such instruments over the course of a career. Rarely does one build for a truly landmark building. The Kegg company was chosen for one such building. 

The new neo-Gothic Christ the King Chapel of Christendom College in Front Royal, Virginia, can be seen from the western end of Interstate 66, a few miles east of where it meets Interstate 81 in western Virginia. It is noticeable because it is surrounded by farm fields and thus dominates the commanding and romantic rolling hills. Designed by the firm of O’Brien & Keane of Arlington, Virginia, the traditional cruciform building seats approximately 750 with extended transepts and Lady Chapel in the apse. The floor contains complex wood patterns in oak and walnut and includes marble roundels of the Four Wounds of Christ. There are eight side chapels in the transepts. All the altars and the sanctuary rail were rescued and restored from closed buildings. There are many other unusual features of this building, and I invite you to explore these online. 

Any new building, particularly in this form and style, brings the question of anticipated acoustic. Here the college wisely chose to engage and listen to the advice of Scott R. Riedel & Associates of Milwaukee. The triple drywall in the large organ/choir gallery and double drywall throughout the balance of the building brings satisfying reverberation and excellent bass response. 

The new Kegg organ was chosen based on visits to Canton, Ohio, and the Kegg shop. Canton organs auditioned were at the Basilica of Saint John the Baptist and Saint Peter Church. Music director Dr. Kurt Poterack considered us based on the suggestion of organ instructor Dr. Jeffery Alban, and was impressed with the color and character of the Kegg organs, particularly the versatility of the relatively modest Saint Peter organ. The new Christ the King organ, while not small, was limited by available space and funds. At 47 ranks, it contains many elements sometimes considered luxuries for an organ of this size. The organ invites exploration.

With a strong choral program and traditional values, Christendom College attracts students in the liberal arts, many of which are drawn toward traditional liturgy and music. Their chapel choir consists mostly of interested and driven students that number twenty-five to thirty, and are well rehearsed. Having outgrown the limited space of the existing chapel, and the new building easily being able to have twice this number plus additional instrumentalists, the program is expected to expand. With our emphasis on choral accompaniment in organ design, the Kegg company was a natural fit to this plan. 

The organ is based on two manual principal choruses, one each in the Great and Swell. The Great is complete from 16′ through Mixture IV, including a strong Twelfth. The Swell is also 16′ through Mixture IV and is secondary to the Great with a more textured tone, ideal for choral work as well as polyphonic music. On this framework, the balance of the organ brings elegant texture and color. The Great French Quartet of 8′ stops is present and is balanced to reflect the ideals of Aristide Cavaillé-Coll late in his career, with a strong Principal and Harmonic Flute, paired with the secondary Rohrflute and Violone. The Great reed chorus is a set of strong Trombas, leaning this division to the English side of the channel. The flues of this division are on four inches pressure while the reeds are on six inches. 

The Swell is of course the workhorse of the organ during liturgies. It is complete with everything required. The strings are narrow, in the late 1920s Skinner style with the full compass Celeste. The Diapason is more narrow than the Great Principal with a texture that compliments voices. The 4′ Salicet is helpful as a third flue stop of this pitch and of a decidedly different character. Reeds here are brighter than their Great counterparts, but still in the English family. While the stop name says “French Trumpet,” that is relative to the “veddy British” nature of the Great Trombas. The Swell is on five inches of wind pressure.

The Choir is of English/American construct, designed primarily to augment the Swell in choral work. It contains the softest and loudest of the three celeste pairs in the organ, including a Voce Humana, which pairs with the Geigen Diapason. The mysterious Flute Celeste is a crowd pleaser and will go well with incense. The Clarinet is orchestral, dark and woody. The first of two Tubas in the organ is also home in the Choir. This stop is patterned after an E. M. Skinner design to be strong, smooth, and lyrical. This division is on four inches of wind pressure, except the Tuba which is on ten inches. 

The Solo contains the aristocracy of the organ. Here we find a lovely Doppelflute, which truly enjoys the reverberant room into which it speaks. The English Horn and French Horn are copied directly from 1920s Skinner stops while the heroic Tuba Magna is based on a Willis model, being full and rich with a complete spectrum of harmonics. This division enjoys several other stops drawn from other divisions for convenience. While only four important stops, the Solo is on three different pressures. The Doppelflute and English Horn are on six inches, the French Horn is on ten inches and the Tuba Magna is on eighteen inches.

The Pedal division has all the elements needed to provide solid support of the manuals with variety in dynamic and well as color. Here we find two stops using vintage pipes, at the request of the client. The 32′ Bourdon is a Skinner stop of 44 pipes that we extended to make a 32′-16′-8′ unit. The 16′ Open Diapason is a Kimball stop of 32 pipes. In addition to these, we find an 8′ Principal, identical to the Great Principal, a 4′ Choral Bass, 32′-16′ Trombone, and 8′-4′ Trumpet. In addition to these six independent stops, the Pedal includes borrows from the manuals of other useful stops to aid registration while not always relying on couplers. The Pedal speaks on six inches of wind pressure. 

The console is movable on internal casters. It and the organ case have Gothic elements to complement the room and rose window, which depicts the Liberal Arts. With bone and rosewood keys, the console contains all the features expected of a first-class instrument today. It is remarkably compact with pleasant proportions and is low enough to allow the organist to direct a choir on risers.

Installed in February of 2023 in less than three weeks by the exceptional Kegg crew, the tonal finishing was completed by Charles Kegg and Chris Soer in time for the opening of this fine new facility in April. We would like to extend our sincere gratitude to Drs. Poterack and Alban for their continued friendship and support. In your travels west of Washington, D.C., please stop in and see this new instrument in a grand new landmark building. 

Kegg Pipe Organ Builders

Charles Kegg, President and Artistic Director

Erika Barnes

Philip Brown

Michael Carden

Joyce Harper

Philip Laakso

Brian Mattias

Nick Myers

Bruce Schutrum

Christopher Soer

David St. John

Paul Watkins

 

Builder’s website: www.keggorgan.com

College website: www.christendom.edu/

 

GREAT (Manual II)

1. 16′ Violone 73 pipes

8′ Solo Diapason IV (from #2-5-33-34)

2. 8′ Principal 61 pipes

8′ Violone (from #1)

3. 8′ Rohrflute 73 pipes

4. 8′ Harmonic Flute 49 pipes 1–12 from #3

5. 4′ Octave 61 pipes

4′ Flute (from #3)

6. 2-2⁄3′ Twelfth 61 pipes

7. 2′ Fifteenth 61 pipes 

8. 1-1⁄3′ Mixture IV 244 pipes

9. 16′ Tromba 73 pipes

8′ Tuba (from #29)

8′ Tromba (from #9)

36. 4′ Tromba Clarion 61 pipes

Tremulant

Great 16

Great Unison Off

Great 4

SWELL (Manual III – Enclosed)

10. 16′ Gedeckt 73 pipes

11. 8′ Diapason 61 pipes

8′ Gedeckt (from #10)

12. 8′ Salicional 73 pipes

13. 8′ Voix Celeste 61 pipes

14. 4′ Octave 61 pipes

4′ Salicet (from #12)

15. 4′ Spitzflute 73 pipes

16. 2-2⁄3′ Nazard 61 pipes

2′ Flute (from #15)

17. 1-3⁄5′ Tierce 61 pipes

18. 2′ Mixture IV 244 pipes

19. 16′ Bassoon 73 pipes

20. 8′ French Trumpet 73 pipes

8′ Oboe (from #19)

21. 8′ Vox Humana 61 pipes

4′ Clarion (from #20)

Tremulant

Swell 16

Swell Unison Off

Swell 4

CHOIR (Manual I – Enclosed)

22. 8′ Geigen Diapason 61 pipes

23. 8′ Voce Humana 61 pipes

24. 8′ Melodia 61 pipes

25. 8′ Flauto Dolce 61 pipes

26. 8′ Flute Celeste (TC) 49 pipes

27. 4′ Octave 73 pipes

28. 4′ Open Flute 61 pipes

2′ Fifteenth (from #27)

29. 8′ Tuba (high pressure) 61 pipes

30. 8′ Clarinet 61 pipes

Tremulant

Chimes

Choir 16

Choir Unison Off

Choir 4

SOLO (Manual IV – Enclosed)

8′ Solo Diapason IV (from #2-5-33-34)

8′ Flauto Dolce (from #25)

8′ Flute Celeste (from #26)

37. 8′ Doppelflute 61 pipes

41. 8′ English Horn 61 pipes

Tremulant

38. 8′ Tuba Magna 61 pipes

8′ Tuba (from #29)

39. 8′ French Horn 61 pipes

Solo 16

Solo Unison Off

Solo 4

PEDAL

31. 32′ Bourdon, 42 EMS pipes, reconditioned, 14 new pipes

32. 16′ Open Diapason (wood), 22 Kimball pipes, reconditioned, 10 new pipes

16′ Subbass (from #31)

16′ Violone (from #1)

16′ Gedeckt (from #10)

33. 8′ Principal 32 pipes

8′ Subbass (from #31)

8′ Violone (from #1)

8′ Gedeckt (from #10)

34. 4′ Choral Bass 32 pipes 

2′ Cantus Flute (from #4)

35. 32′ Trombone 44 pipes

32′ Harmonics (derived)

16′ Trombone (from #35)

16′ Tromba (from #9)

16′ Bassoon (from #19)

40. 8′ Trumpet 44 pipes

4′ Clarion (from #40)

4′ Clarinet (from #30)

Pedal Divide 12/13

 

TONAL RESOURCES: 47 ranks, 41 stops, 2,825 pipes

 

INTER-MANUAL 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

Solo to Pedal 8

Solo 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

Solo to Great 16

Solo to Great 8

Solo to Great 4

Pedal to Great 8

Solo to Swell 8

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 8

Pedal to Solo 8

Great / Choir Transfer

All Swells to Swell

 

ADJUSTABLE COMBINATIONS

40 memories per User

Unlimited Users

Great: 1 2 3 4 5 6 7 8 Thumb

Swell: 1 2 3 4 5 6 7 8 Thumb

Choir 1 2 3 4 5 6 7 8 Thumb

Solo 1 2 3 4 5 6 Thumb

Pedal 1 2 3 4 Toe

General 1 2 3 4 5 6 7 8 9 10 Thumb & Toe

General 11 12 13 14 Thumb

General Cancel Thumb

Set Thumb

Next 4 Thumb, 1 Toe

Previous 4 Thumb

Clear Thumb

Undo Thumb

Range Thumb

Memory Up Thumb

Memory Down Thumb

Transposer Up Thumb

Transposer Down Thumb

Crescendo A B Thumb

All Divisionals become Next with indicator

Thumb

 

REVERSIBLES

Great to Pedal Thumb & Toe

Swell to Pedal Thumb & Toe

Choir to Pedal Thumb & Toe

32′ Trombone Thumb & Toe

32′ Bourdon Toe

Adjustable Full Organ Thumb & Toe

 

ACCESSORIES

Swell expression pedal

Choir expression pedal

Solo expression pedal

2-memory adjustable Crescendo pedal

Concave and radiating pedal clavier

Adjustable bench

Numeric Crescendo indicator

Full Organ indicator

Transposer ±5 semitones

Integral performance recording sequencer

Pencil drawer

Cup holder

Jack Bethards

Schoenstein & Co., Benicia, California; Basilica of the National Shrine of Mary, Queen of the Universe,  Orlando, Florida

This modern basilica is based on the size and shape of the fourth-century Saint Peter’s Basilica in Rome. It seats 2,000 and is a place of pilgrimage for the millions of international tourists who visit Orlando each year. The extensive music program with professional choir is directed by William F. Picher. The shrine has a busy calendar of Masses, numerous special celebrations, and regular concerts. Dr. Picher envisioned an instrument of extremely broad tonal flexibility, something like the one we built for the Conference Center in Salt Lake City.

The organ had to be large enough to match the acoustic of this huge building. Its size is illustrated by the 32′ pipes in display. Behind the pipes on the left are the Great, Swell, and Choir divisions. On the right are Solo and Pedal. The console and singers are to the left of the sanctuary along with a small Positive division to provide an intimate sense of pitch and rhythm. The Gallery division is at the west end. Casework was designed in cooperation with Cameron Bird of Jackson & Ryan Architects and built by New Holland Church Furniture.

The acoustic of the Basilica maintains clarity throughout the space and is especially sensitive to subtle tonal color differences among the stops. This, along with five divisions under expression plus double expression in the Swell allows a kaleidoscopic color and dynamic range. Among the special features is a string division in the Gallery, which is designed to create a celestial atmosphere as worshippers enter for Mass. There are two powerful solo reeds, both under expression—Tuba Magna in the main organ and Grand Harmonic Trumpet in the Gallery. The Solo includes six genuine Wurlitzer stops. As in our Salt Lake City organ, these were selected to broaden the tonal palette. Each of these six stops is used in the ensemble the same way any other attractive tone would be.

This grand organ is the largest we have built for a Roman Catholic church in our 143-year history. It has very special meaning for our firm and our founding family. Surely our founder, Felix F. Schoenstein, a devout Catholic who dedicated two children and two grandchildren to Catholic religious orders and built his very first organ for a Marian church, would be pleased. Having emigrated from Germany, he would be especially honored to know the organ will be serving an international assembly from among the 75 million who visit Orlando yearly.

Four manuals, 70 voices, 86 ranks

Electric-pneumatic action

GREAT (II) 5′′ wind

32′ Lieblich Gedeckt (TC – Sw)

16′ Double Open Diapason 61 pipes

8′ Phonon Diapason (Solo)

8′ Open Diapason 61 pipes

8′ Small Open Diapason (ext) 12 pipes

8′ Gallery Diapasons (II)

8′ Harmonic Flute 61 pipes

8′ Gallery Strings (VIII)

8′ Aeoline (Choir)

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Spire Flute 61 pipes

2′ Fifteenth 61 pipes

2′ Mixture mf (III) 167 pipes

2′ Mixture f (IV) 201 pipes

8′ Trumpet 61 pipes

8′ Tuba Magna (Solo)

8′ Tuba Chorus †

8′ Grand Harmonic Trumpet (Gallery)

Gallery on Great

Positive on Great

† Tuba Magna at 16′, 8′, 4′

SWELL (III–enclosed) 5½′′ wind

16′ Lieblich Bourdon 12 pipes (ext Stopped Diapason)

8′ Open Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Viole de gambe 61 pipes

8′ Voix céleste 61 pipes

8′ Gallery Strings (VIII)

4′ Principal 61 pipes

4′ Harmonic Flute 61 pipes

2′ Harmonic Piccolo 61 pipes

2-2⁄3′ Cornet (III) 176 pipes

8′ Oboe 61 pipes

Tremulant

Stops under double expression, 10′′ wind

8′ Erzähler 61 pipes

8′ Erzähler Celeste (TC) 49 pipes

2′ Mixture ff (IV) 215 pipes

16′ Posaune 61 pipes

8′ Cornopean 61 pipes

4′ Clarion 61 pipes

8′ Vox Humana (Solo)

Swell 16′

Swell Unison Off

Swell 4′

Gallery on Swell

Positive on Swell

CHOIR (I – enclosed) 5½′′ wind

16′ Aeoline (ext) 12 pipes

8′ Open Diapason 61 pipes

8′ Chimney Flute 61 pipes

8′ Gallery Strings (VIII)

8′ Aeoline 61 pipes

8′ Unda Maris (TC) 49 pipes

4′ Fugara 61 pipes

4′ Silver Flute 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Blockflöte 61 pipes

1-3⁄5′ Tierce 54 pipes

2′ Mixture mf (IV–V) 285 pipes

16′ Bass Horn (ext Fl Horn) 12 pipes

8′ Trumpet 61 pipes

8′ Flügel Horn 61 pipes

8′ English Horn 61 pipes

8′ Clarinet 61 pipes

Tremulant

Choir 16′

Choir Unison Off

Choir 4′

8′ Tuba Magna (Solo)

Gallery on Choir

Positive on Choir

SOLO (IV–enclosed) 10′′ wind

16′ Tibia Clausa 85 pipes (1–12 Pedal Bourdon)

8′ Phonon Diapason 73 pipes

8′ Symphonic Flute 61 pipes

8′ Tibia Clausa (ext)

8′ Concert Flute 73 pipes

8′ Gamba 85 pipes

8′ Gamba Celeste 61 pipes

8′ Viol d’Orchestre 73 pipes

8′ Viol Celeste 73 pipes

8′ Gallery Strings (VIII)

4′ Octave (ext 8′ Phonon Diapason)

4′ Piccolo (ext Tibia)

4′ Flute (ext Concert Flute)

4′ Gambette (ext Gamba)

4′ Viol Celeste (II – Violes)

2-2⁄3′ Twelfth (ext Tibia)

2′ Fifteenth (ext Gamba)

2′ Piccolo (ext Tibia)

1-3⁄5′ Tierce (ext Tibia)

16′ Corno di Bassetto 73 pipes

8′ Tuba Horn 61 pipes

8′ French Horn 61 pipes

8′ Corno di Bassetto (ext)

8′ Vox Humana † 61 pipes

8′ Tuben (III – Swell)

Tremulant

Variable Tremulant

Solo 16′

Solo Unison Off

Solo 4′

8′ Tuba Magna (15′′ wind) 61 pipes

8′ Grand Harmonic Trumpet (Gallery)

Gallery on Solo

Positive on Solo

† Separate Tremulant – slow p/fast f

POSITIVE (unenclosed–floating) 4′′ wind

8′ Salicional 61 pipes

8′ Lieblich Gedeckt 61 pipes

4′ Salicet (ext) 12 pipes

4′ Lieblich Flute (ext) 12 pipes

2′ Fifteenth (ext) 12 pipes

GALLERY (floating) 5′′ wind

Unenclosed Stops

16′ Double Diapason 12 pipes (ext Diapason No.2)

8′ Open Diapason No.1 61 pipes

8′ Open Diapason No.2 61 pipes

4′ Octave (ext Diap No.2) 12 pipes

Enclosed Stops 

16′ Bass Viol (ext Viola Pomp) 12 pipes

8′ Viola Pomposa 73 pipes

8′ Viola Celeste 73 pipes

8′ Gamba Celeste (II) † 129 pipes

8′ Violin 73 pipes

8′ Violin Celeste 68 pipes

8′ Voix Serénissime (II) † 129 pipes

4′ Violina (ext Viola Pomposa)

8′ Grand Harmonic Trumpet †† 61 pipes

  † Unison 73, Celeste (TC) 56

†† 10′′ wind

PEDAL (enclosed) 5′′–15′′ wind

32′ Open Metal (unenclosed) 32 pipes

32′ Resultant

16′ Open Wood 32 pipes

16′ Open Metal (ext 32′) 12 pipes

16′ Double Open Diapason (Great)

16′ Diaphone (Solo) 12 pipes (ext Phonon Diapason)

16′ Diapason (Gallery)

16′ Violone 32 pipes

16′ Bourdon 32 pipes

16′ Aeoline (Choir)

16′ Bass Viol (Gallery)

16′ Lieblich Bourdon (Sw)

8′ Principal 32 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Tibia Clausa (Solo)

8′ Violone (ext 16′) 12 pipes

8′ Flute (Great)

8′ Stopped Diapason (Swell)

4′ Fifteenth 32 pipes

4′ Flute (Great)

2′ Mixture mf (IV–V Choir)

32′ Cornet (derived)

32′ Contra Trombone (ext) 12 pipes

16′ Trombone 32 pipes

16′ Posaune (Swell)

16′ Bass Horn (Choir)

8′ Tuba Magna (Solo)

8′ Tromba (ext 16′) 12 pipes

8′ Posaune (Swell)

4′ Octave Tromba (ext 16′) 12 pipes

4′ Corno di Bassetto (Solo)

8′ Pizzicato Bass 

Gallery on Pedal

Positive on Pedal

Emery Brothers, Allentown, Pennsylvania; Philadelphia Episcopal Cathedral, Philadelphia, Pennsylvania

Adam F. Dieffenbach

Our installation of this organ was scheduled to commence on March 16, 2020. As stay-at-home orders and other government measures came into effect, these plans changed. However, this was hardly the first detour for the mighty Möller on its path to Philadelphia Episcopal Cathedral.

Opus 6425 was installed in Schwab Auditorium at Penn State University in State College, Pennsylvania, in 1936. Designed by Möller’s illustrious, imported tonal director Richard Whitelegg, the organ’s thirty-three ranks are replete with warm, bold diapasons, evocative flutes, colorful and varied strings, and four iconic reeds, all at eight-foot pitch: Trumpet, Oboe, Clarinet, and Vox Humana. The organ was fully enclosed, including all three open 16′ flue ranks—Wood Diapason, Metal Diapason, and Gemshorn. It also included, and retains today, a set of Deagan Class-A chimes and a forty-nine-note harp. When the stylistic demands of the organ world changed, this broad-shouldered organ fell into disuse, the console cable was eventually severed, and benign neglect allowed it to survive the ravages of mid-century revisions and replacements. It was in this pristine—although inoperable—condition that we first came to know Möller Opus 6425.

Our relationship with the instrument began in 2013 when we were invited to collect its constituent parts, already dismantled by another firm, with a view to restoring the organ and installing it in a church in Philadelphia. In fact, my first day as an employee at Emery Brothers was spent unloading the last truckload of parts from State College. It took some time for restoration and relocation plans to come into focus, but we eventually entered into a contract for just that: restoring the organ to like-new condition, with no tonal changes, but with an updated solid-state control system, and a redesigned layout to fit the new space.

However, plans to install the organ in this first location were discontinued, and with roughly three-quarters of the restoration work done, Möller Opus 6425 went back into storage, its future uncertain. Then, over the next few years we continued to keep our eyes open for a new home for the organ while we continued to work through our existing backlog of projects.

At the same time, we were caring for an ailing, heavily modified and digitally hybridized 1903 Austin organ at Philadelphia Episcopal Cathedral. Wind leaks from the Universal windchests, now over 110 years old, were so loud that the blower had to be turned off during the service to allow the spoken word to be heard in the church. When discussions around a long-term plan for the organ began, we immediately thought of Möller Opus 6425. All the windchests and reservoirs had been releathered, the reed pipes restored by Sam Hughes, and all the flue pipes cleaned and ready for voicing.

Some additions would be needed, including a new console and an organ in the rear gallery to support congregational and choral singing from that location. The decision was made early on to call this part of the instrument the “Nave Organ” because it has an important role as a standalone organ to support singers in the nave of the church. The decision was also made to add a few select ranks to Opus 6425 to fill out its specifications towards use in the cathedral. These were:

• 16′/8′ Tromba/Trombone (Great/Pedal)

• 32′ Harmonics (12 notes extending Trombone, 36 pipes, Pedal)

• 32′ Bourdon (12 pipes, extending existing 16′ Bourdon, Pedal)

• 16′ Double Trumpet (Swell)

• 8′ Tuba (Choir)

Around this time, we also learned of Möller Opus 6512, a two-manual Whitelegg Möller organ in a church building that was up for sale. This donor instrument provided the Tromba/Trombone pipes we added to Opus 6425 in the Great/Pedal chamber, and also allowed us to populate the Nave Organ with voices sympathetic to Opus 6425. Most of the other ranks added to Opus 6425 to create the Nave Organ came from the existing cathedral Austin. For instance, cathedral organist Wesley Parrott cleverly pointed out that the Austin Swell 4′ Traverse Flute, sub-coupled and matched to the Austin Choir 8′ Melodia, created a beautiful flute celeste effect, which we placed in the Nave Great.

In addition to its role in supporting congregational and choral singing from the rear gallery, the Nave Organ houses many of the organ’s solo voices, such as the Flugelhorn, Cromorne, Doppelflute, and Cornet (decomposé). The Nave Organ was installed first, and while assembly of the Chancel Organ was still underway, was the only organ in the cathedral for several months. Its sixteen ranks do a remarkable job of filling the room. Its design is perhaps the only real departure from a true Whitelegg installation, as the diminutive organ chambers would likely have housed an Echo or Celestial division. As it stands, several of the boldest flue voices in the organ reside in the Nave Great, including the largest diapason in the organ (42 scale, linen lead).

In its new arrangement, Opus 6425 surrounds the chancel, referred to in the cathedral as the presbyterium. the Great and Pedal divisions share an elevated chamber on the north side of the presbyterium. The Swell and Choir are stacked in the south chamber, with the Choir below and the Swell above. Each of these three divisions has two shade fronts—one facing the nave and one facing the presbyterium. The Nave Organ is split between two matching cases eleven feet above the gallery floor, with the Great in the north case and the Swell in the south case. Basses of both the 16′ Diapason and 16′ Gedeckt are mounted along the back wall, framing the rose window.

With five expressive divisions, eight shade fronts, and a total of 145 individual shades, expression control is an important aspect of our design for this installation. This is accomplished by way of an expression matrix, with a default setting and four settable expression pistons. While this isn’t the first time a church organ has had an expression matrix, to our knowledge this is the first range- and direction-settable expression matrix. In other words, any of the organ’s eight shade fronts can be set to function in either direction, for any range of travel on any of the four expression shoes in the console. This has led to a lot of experimentation and will provide endless flexibility in expression control for this deeply expressive organ. For instance, one of the settings currently in use has all shades assigned to one swell shoe, with all shades closed at the midpoint of its travel. As it is pushed forward, the Chancel Organ shades all open. Push the heel down, and the Nave Organ shades all open.

Having recently completed our relocation of Aeolian-Skinner Opus 878 into Stoneleigh, headquarters of the Organ Historical Society in Villanova, Pennsylvania [featured on the cover of the December 2019 issue of The Diapason], we elected to work with a partner to do some of the “heavy lifting” for the much larger cathedral installation. JR Neutel and the staff of Reuter Organ Company proved an excellent choice for this role, providing the new four-manual console, as well as the engineering and the lion’s share of the onsite installation labor for the project, and any new windchests and reservoirs required for added stops. As Pennsylvania and other states began reopening, we rescheduled and then commenced installation in September of 2020. The organ was dedicated in an inaugural recital featuring Tyrone Whiting, Jeff Brillhart, and Clara Gerdes-Bartz on October 24, 2021.

This project was made possible by generous funding from the Wyncote Foundation as recommended by Fred Haas and Rafael Gomez. We are also deeply grateful for the support of the cathedral community, including The Right Rev. Daniel G. P. Gutiérrez, Bishop; The Very Rev. Judith A. Sullivan, Dean; Canon for Music and the Arts Thomas Lloyd; Cathedral Organist Wesley Parrott; Canon for Administration Lynn Buggage; and Sexton Lamont Murray. Our network of suppliers and subcontractors for this project included Sam Hughes, Reuter Organ Company, Opus Two Instrument Control Systems, Organ Supply Industries, Rudewicz & Associates, and COE Percussion.

GREAT

16′ Double Open Diapason 12 pipes (ext Second Open Diapason)

8′ First Open Diapason  73 pipes

8′ Second Open Diapason   73 pipes

8′ Claribel Flute 73 pipes

8′ Gemshorn 73 pipes

4′ Octave 73 pipes

4′ Harmonic Flute 73 pipes

2′ Fifteenth 61 pipes

III Mixture 183 pipes

16′ Trombone¹ (ext Tromba) 12 pipes

8′ Tromba¹ 73 pipes

Tremolo

8′ Tuba (Ch)

Chimes (G–g) (25 tubes)

Great 16 - Unison Off - 4

Nave Swell on Great

Nave Great on Great

Nave on Great Pistons

Pedal Combinations on Great

SWELL

16′ Lieblich Gedeckt 73 pipes

8′ Geigen Principal 73 pipes

8′ Rohr Flute 73 pipes

8′ Salicional 73 pipes

8′ Voix Celeste (TC) 61 pipes

4′ Principal 73 pipes

4′ Triangular Flute 73 pipes

IV Mixture 244 pipes

16′ Double Trumpet² 73 pipes

8′ Trumpet 73 pipes

8′ Oboe 73 pipes

8′ Vox Humana 73 pipes

Tremolo

Swell 16 - Unison Off - 4

Nave Swell on Swell

Nave Great on Swell

Nave on Swell Pistons

Pedal Combinations on Swell

CHOIR

8′ Concert Flute 73 pipes

8′ Viola 73 pipes

8′ Viola Celeste (TC) 61 pipes

8′ Dulciana 97 pipes

8′ Unda Maris (TC) 61 pipes

4′ Flute d’Amour 73 pipes

4′ Dulcet (ext Dulciana)

2-2⁄3′ Dolce Twelfth (ext Dulciana)

2′ Dolce Fifteenth (ext Dulciana)

8′ Clarinet 73 pipes

Tremolo

16′ Trombone (Gt)

8′ Tromba (Gt)

8′ Tuba (by F. J. Rogers, 15 inches pressure) 73 pipes

8′ Harp (TC) (49 bars)

Chimes (Gt)

Choir 16 - Unison Off - 4 - 22⁄3

Nave Swell on Choir

Nave Great on Choir

Pedal Combinations on Choir

PEDAL

32′ Bourdon 12 pipes

32′ Resultant

16′ Diapason 32 pipes

16′ Double Diapason (Gt)

16′ Bourdon 32 pipes

16′ Lieblich Gedeckt (Sw)

16′ Gemshorn (Gt) 12 pipes

8′ Octave (ext Diapason) 12 pipes

8′ Major Flute (ext Bourdon) 12 pipes

8′ Claribel Flute (Gt)

8′ Gemshorn (Gt)

4′ Triangular Flute (Sw)

32′ Trombone (ext 16′ Trombone, 1–12 III Harmonics) 36 pipes

16′ Trombone (Gt)

16′ Double Trumpet (Sw)

8′ Tromba (Gt)

8′ Double Trumpet (Sw)

8′ Tuba (Ch)

4′ Double Trumpet (Sw)

Chimes (Gt)

NAVE GREAT

8′ Open Diapason1 61 pipes

8′ Doppleflute 49 pipes (Roosevelt, 1–12 from Melodia)

8′ Melodia² 61 pipes

8′ Bois Celeste² (TC) 49 pipes

4′ Octave¹  73 pipes

2′ Super Octave¹ (ext 4′ Octave)

II Grave Mixture¹ 122 pipes

8′ Flugelhorn 61 pipes (from Reuter, revoiced)

8′ Cromorne³ 61 pipes

Tremolo

8′ Tuba (Ch)

Tower Bells (13 bells)

Chimes (Gt)

Great on Nave

Nave Great 16 - Unison Off - 4

NAVE SWELL

16′ Gedeckt¹ (ext 8′ Gedeckt) 12 pipes

8′ Viole² 73 pipes

8′ Voix Celeste² (TC) 61 pipes

8′ Gedeckt¹ 73 pipes

4′ Open Flute³ 73 pipes

2-2⁄3′ Nazard 61 pipes

2′ Piccolo¹ (ext 8′ Gedeckt) 12 pipes

1-3⁄5′ Tierce 61 pipes

16′ Fagotto⁴ (ext 8′ Fagotto) 12 pipes

8′ Fagotto⁴ 73 pipes

Tremolo

Zimbelstern

Nave Swell 16 - Unison Off - 4

NAVE PEDAL

32′ Resultant

16′ Open Diapason (Nave Gt) 12 pipes

16′ Gedeckt (Nave Sw)

8′ Open Diapason (Nave Gt)

8′ Gedeckt (Nave Sw)

4′ Open Diapason (Nave Gt)

4′ Gedeckt (Nave Sw)

16′ Fagotto (Nave Sw)

8′ Fagotto (Nave Sw)

4′ Cromorne (Nave Gt)

COUPLERS

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir to Pedal 8, 51⁄3, 4

Nave Great to Pedal 8, 4

Nave Swell to Pedal 8

Swell to Great 16, 8, 4

Choir to Great 16, 8, 5-1⁄3, 4, 2-2⁄3

Nave Great to Great 8, 4

Nave Swell to Great 8, 4

Swell to Choir 16, 8, 4

Nave Great to Choir 8, 4

Nave Swell to Choir 8, 4

Choir to Swell 8, 4, 2-2⁄3

Nave Great to Swell 8

Nave Swell to Swell 8

Great/Choir Transfer

Notes

1. From 1937 M. P. Möller Op. 6512

2. From 1903 Austin Organ Company Opus 73

3. From inventory

4. From 1960 M. P. Möller Op. 9453

 

53 ranks, 86 stops, 3,606 pipes

 

Photo credit: Adam F. Dieffenbach

Midmer-Losh, Inc., Merrick, Long Island, New York, Opus 5550 (1929–1932); Jim Whelan Boardwalk Hall, Atlantic City, New Jersey

Where is the largest pipe organ?

If you ask the average person what Atlantic City, New Jersey, is known for, the most likely response would be “gambling.” However, Atlantic City boasts an international treasure that predates the 1976 referendum legalizing gaming in the seaside resort by more than four decades. Tucked within the walls of Jim Whelan Boardwalk Hall, originally known as the Atlantic City Convention Hall, is an instrument of colossal proportions boasting seven manuals, 449 ranks, and some 33,112 pipes. Built between 1929 and 1932 by the Midmer-Losh Organ Company of Merrick, Long Island, the organ is a monument of music and technology.

The end of the 19th century and the beginning of the 20th century ushered in a dramatic shift in the art of organbuilding. Electricity brought about daily changes in all aspects of life, and organbuilders were eager to harness its possibilities. No longer bound by the limitations of mechanical or tubular-pneumatic actions, pipes could be located remotely throughout a building or in some extreme cases, other buildings and outdoors! Builders were pioneering their own electric actions, eager to outdo their competitors and build on their own successes. The Hutchings-Votey Organ Company built a sizable instrument for Yale’s Woolsey Hall from 1902 to 1903 that would see great expansion over the next two decades into the superlative instrument we know today. At the same time, the Los Angeles Art Organ Company was building a lavish instrument for the 1904 St. Louis World’s Fair. At the time of its construction, it was the largest pipe organ in the world with more than 10,000 pipes. It would later become the nucleus of the Wanamaker Organ in Philadelphia, where it has nearly tripled in size.

In the early 20th century, Atlantic City went through a radical building boom, and many of the seaside resort’s cottages and boarding houses were replaced with large hotels. The moderate summer temperatures and ocean breezes brought visitors by the thousands. By the 1920s, tourism was at its peak, causing many historians to deem that era “Atlantic City’s Golden Age.” Prohibition was enacted in 1919 but went largely unenforced in Atlantic City. With many local officials turning a blind eye to the illegal sale and consumption of alcohol, spirits could be readily obtained at restaurants and speakeasies, and the resort’s popularity grew further still. 

In November 1923, Mayor Edward L. Bader initiated a public referendum at which time residents approved the construction of a convention hall. Construction began in August 1926, and the building was officially opened in June 1929. At the time of its construction, the building was the world’s largest auditorium and covered seven acres. The arena, where the Midmer-Losh organ is located, measures 487 feet long, 288 feet wide, and 137 feet high. The barrel-shaped ceiling is supported by the building’s walls rather than pillars, granting an unobstructed view from one end of the room to the other.  In its original configuration, the building was a multi-purpose room that could serve as a convention hall, sports arena, and concert venue. Fixed seating in balconies ran along three of the walls, but the bulk of the seating was in bleachers or moveable chairs on the main floor. When opened the arena could hold more than 40,000 people at full capacity. Following a $90 million renovation in 1999, the capacity of the arena was reduced to just over 14,000 but with greatly improved sight lines and better access and amenities.

One of the key players responsible for the creation of the mammoth organ was a senator by the name of Emerson Lewis Richards. A lawyer and politician by profession, Richards was enthralled by pipe organs from an early age. He was well-traveled, spending a great deal of time in Europe studying historical instruments, and was well acquainted with many of the finest organbuilders and organists of the time. His family’s wealth enabled him to install numerous pipe organs in his palatial home, located only ten blocks from Convention Hall. His home instruments were a laboratory for testing new pipework, and he was notorious for swapping ranks of pipes with some frequency. One of the largest of his residence instruments, Aeolian-Skinner Opus 1047 (four manuals, 146 ranks), was built for the senator in 1944 and moved a few years later in 1948 to First Baptist Church of Denver, Colorado, where it still resides. His vision of the “perfect” pipe organ morphed considerably throughout his life, and his contributions to organbuilding cannot be overstated.

It was Richards who was the champion and mastermind behind the installation of a pipe organ in the Convention Hall. While a pipe organ would not have been uncommon in a civic building of the time, the senator used his influence to convince city officials that it would be more cost effective to spend a large sum of money up front to build an organ and then only need one organist to play it, rather than to hire a large orchestra or band every time live music was needed in the hall. The size of the instrument would have to be enormous to fill the space and lead 40,000 people in song.

Richards’s initial design called for an astonishing 592 ranks and 43,641 pipes. Space and budget constraints mercifully intervened, and the revised scheme was reduced to 403 ranks and 29,646 pipes. By the time construction was complete, the instrument grew to its present 449 ranks and 33,112 pipes. The twenty divisions of the organ are located in eight chambers at the front and center of the room. W. W. Kimball, M. P. Möller, and Midmer-Losh submitted bids for the contract. Kimball’s price was the highest at $467,617. Möller came in lower at $418,850, and the lowest bid of $347,200 came from Midmer-Losh. All of the bids were still over the $300,000 budget established by the city, but Richards pointed out that if the instrument was to fit the budget exactly, it would have to be smaller than what was, at the time, the largest organ—the Wanamaker organ in nearby Philadelphia. The fact that the city provided the extra money suggests that perhaps having the world’s largest organ was indeed part of Atlantic City’s agenda. Ultimately, Richards was able to insert a clause into the contract, which the builder accepted; it gave him the power as the architect of the organ to make any change to the contract at any time with the builder bearing the cost. Richards invoked the clause on numerous occasions with devastating financial results for the Midmer-Losh company.

Construction on the organ, Midmer-Losh’s Opus 5550, began in May 1929 and was completed in December 1932. The first two divisions to be played were the Brass Chorus and String II on July 28, 1929. They were played from a used three-manual Möller theatre organ console. As construction continued the instrument was played from the five-manual “portable” console until the seven-manual console was completed. James Winter, an electrician for Midmer-Losh, gave the first public recital on May 11, 1932, during the Atlantic City Fair.

The contract for the organ was signed only a few months before the Great Depression began, but the money for the organ was not affected and construction continued. In fact, in some ways, the Great Depression may have contributed to the success of the instrument. While other organbuilding firms were downsizing or ceasing operation altogether, there was plentiful work in Atlantic City and many of the best and brightest minds in organbuilding were associated with the project. Employees from Estey, Steere, Odell, Marr & Colton, Dennison, Gottfried, and Wurlitzer all found their way to Atlantic City, and their contributions can be seen and heard throughout the instrument. In the end, however, the project was not exempt from the financial struggles of the Depression, which led to the Midmer-Losh company and Atlantic City to be in conflict over the completion of the instrument.

The contentious end to the construction of the instrument was perhaps a foreshadowing of its future. Following the official completion of the organ, signed on December 5, 1932, the Midmer-Losh company was required for one year to keep two men at the job to carry out maintenance and, in effect, continue the tonal regulation that would have otherwise been completed during the actual construction period. One of the men tasked with this assignment was Roscoe Evans, who would remain in Atlantic City and become the organ’s first curator. His greatest challenge was the combination action for the seven-manual console. The complex machinery to control 1,235 stop tabs and 240 pistons was located in two rooms in the basement below the stage. The combination of delicate metal traces and machinery contained in wooden boxes proved a disastrous pairing, especially with a steam line running through one of the rooms! The combination action was so troublesome that it was decommissioned after only two years. The great Atlantic hurricane that struck the island in 1944 inundated the basement levels of the hall with 15 million gallons of seawater, permanently damaging the combination action and requiring extensive repair to the blowers and their motors.

Evans retired in the early 1950s, and his successor was William Rosser. Rosser continued the daunting effort of single-handedly trying to keep the largest pipe organ in the world playing. The organ was used for the 1964 Democratic National Convention held at the Hall, but by that time the instrument was already exhibiting problems. By 1962, the Gallery I reeds were no longer being used. There may have been other portions that were unplayable or only marginally playable by then as well. While there is considerable documentation from Evans’s tenure, there are no records from Rosser’s time. A stipulation for holding the 1964 convention in Atlantic City was the installation of air conditioning. While no doubt enjoyed by convention attendees and many others in the following years, leaks from condensate pans caused significant problems and plunged more of the instrument into silence. Dennis McGurk joined Rosser as his assistant in 1959. While he had no background in organbuilding, he was a quick learner and in 1984 succeeded Rosser as the third curator of organs. McGurk recalled, “Pretty much all of the organ was working when I arrived in 1959. Since that time, however, it has slowly but surely gone downhill. Roof leaks in the ’70s caused most of the damage in the two upper chambers, and the simple fact of the matter is that the authorities had little interest in spending money on repairs at a time when the City as a whole was in decline.” McGurk had the unenviable and discouraging task of keeping what little of the organ he could playable with limited budget and materials. But, perhaps his greatest contribution was keeping those who wished to simply discard the instrument at bay, thus preserving it for future restoration. McGurk retired at the end of 1998. Prior to his retirement, the Atlantic City Convention Hall Organ Society was formed to raise awareness of the instrument and begin the process of fundraising for its restoration. This group was instrumental in protecting the instrument during the 1998 building renovation and furthering McGurk’s advocation that the instrument be saved and not relegated to the scrap pile.

My first visit to Atlantic City was in the winter of 2007. At that time, the organ could not be played from the console, but that did little to dampen my excitement. The sheer size of the room, the scaling of the pipework, and seemingly endless chambers were enough of a sensory overload for a first visit. The downside to the visit was the confirmation of my study of and readings concerning the condition of the organ and the sad state of affairs of the instrument. Thankfully by that time, there was a glimmer of hope as Carl Loeser, the fourth curator of organs, was leading his staff and volunteers to mitigate the worst of the damage and prevent further destruction or loss.

Fast forward to September 1, 2015, when I began my tenure as the fifth curator of organs. The Midmer-Losh was basically a large two-manual instrument with about 25% functionality. Only the Right Stage chamber was working, with the Great, Solo, and Solo-Great divisions playing from their respective keyboards with limited sub and super coupling available to other manuals. Expression was negligible, and the shades were more for visual effect, flapping earnestly for the audience to see, but doing little to change the actual volume or timbre of the sound emanating from the chamber. Making music was a challenge at best, and subtlety and nuance were almost totally elusive. By 2015, much restoration work had already been done to the Swell division in the Left Stage chamber, but much more work in the chamber needed to be completed before pipework could be returned to the Swell chests. The other divisions in the Left Stage chamber—Swell-Choir, Unenclosed Choir, and String I—all must be accessed through the Swell, and to have put in even a few ranks in the Swell would have been far too risky. Work began in earnest to remove pipework and chests for restoration. The Swell-Choir manual windchests were sent to Columbia Organ Leathers of Columbia, Pennsylvania, for restoration, while the offset chests, tremulants, and regulators were completed in-house. Fifty-eight ranks of pipes were sent to Oyster Pipe Works of Louisville, Ohio, for restoration and repair.

On-site work at Boardwalk Hall is accomplished by a staff of six; four are full-time and two are part-time. We are assisted in our efforts by a significant group of dedicated volunteers. While this may seem like a large number by today’s standards, at the height of construction the Midmer-Losh company employed more than sixty! An early aid was a work symposium co-sponsored by the American Institute of Organbuilders and the Historic Organ Restoration Committee (the 501(c)(3) non-profit organization now overseeing the restoration of the pipe organs at Boardwalk Hall). The symposium was held in February 2016 and brought fifteen organbuilders from across the country to join the staff and volunteers at Boardwalk Hall. During that symposium, we focused on the restoration and releathering of much of the Pedal Left chest work. These efforts combined with the work completed in the Unenclosed Choir and String I allowed those divisions to be played publicly for the first time in decades during the Organ Historical Society convention on July 1, 2016.

The Swell division is the powerhouse of the Left Stage chamber, boasting 55 ranks, twenty of which are mixtures. While most Swell divisions are usually based on a 16′ string or stopped flute, the chorus here is based on a 16′ Double Diapason. The diapason chorus continues with two 8′ diapasons and extends logically upwards to the lower-pitched Furniture V, the spicy Cymbal VIII, and finally the Plein Jeu VII for brilliance and sparkle. The Harmonic Flute 8′ and its Celeste are the softest stops in the division and are hauntingly beautiful. Three pairs of celestes provide lushness, and unison strings at 16′, 8′, and 4′ provide additional clarity. Two reed choruses on 15 inches and 30 inches crown the ensemble. The lower-pressure chorus is based on the chocolatey Double Horn 16′ and is a darker and more noble chorus. The high-pressure chorus adds fire and gravity to the full ensemble with the Field Trumpet 8′ blazing through for a final punch. Perhaps the most unique reed in the Swell division is the Muted Trumpet 8′. Its 3/4-length, thin-scaled resonators remind one of an orchestral oboe. While its tone is quite lovely alone, it is perhaps most useful in coloring other stops, and its application opens up a wealth of solo possibilities.

On paper, the Swell division is curiously devoid of mutations, particularly given its large number of ranks! The answer lies immediately adjacent to the Swell. The appropriately named Swell-Choir division is meant to supplement both the Swell and Choir divisions with the entirety of its resources playable independently from both the Swell and Choir keyboards. This division provides color reeds, softer flues, and an extensive array of mutations. Independently expressive from the Swell, the division contains 3rd, 5th, 7th, 9th, and 11th mutations. Their use is further enhanced through unification providing pitches from 62⁄5′ all the way up to 1⁄4′. Also available in the Swell-Choir are a clarinet, oboe, and vox humana, all available at 16′, 8′, and 4′. A trio of gemshorns, one celeste tuned sharp and the other flat, further expand the utility of this division. Also in the Left Stage chamber is the String I division. Twenty ranks of strings all voiced on 25 inches of wind provide unmistakably powerful beauty. Housed within its own expression box, the String I division rounds out the immense expressive capabilities of the Left Stage chamber.

While the vast majority of the Left Stage chamber’s resources are enclosed, the loudest and softest voices are unenclosed. The Unenclosed Choir is voiced on 33⁄4 inches, the lowest pressure in the organ, and was a significant forerunner of the organ reform movement. By contrast, the Grand Choir division is the upward extension of the Pedal Left voices and boasts pipework voiced on 20 inches to 50 inches. In the Pedal Left division, the Bombarde 32′ has wooden resonators for the 32′ and 16′ octaves giving it a darker, heavier bass. Shallot construction changes no fewer than three times throughout the compass, and metal construction from 8′ C up with harmonic and double harmonic length resonators gives this voice powerful treble ascendency and allows it to bloom into a powerful solo voice in the upper register. The Major Posaune 16′ is voiced on 50 inches and is a staggeringly powerful voice reminiscent of a trombone playing fff. Finally, the Fagotto 32′ with its smaller resonators and relatively lower pressure of 20 inches finds great use under softer ensembles and is equally at home undergirding a full string ensemble.

By the latter half of 2018, the restoration work in the Left Stage chamber was largely complete, and we were able to turn some of our attention back to the Right Stage chamber. The Right Stage chamber has always been considered the “show chamber” due to its immediate proximity to the organ shop and curator’s office. Even during the darkest days of Dennis McGurk’s tenure when he was forced to shut off large portions of the instrument, he was able to continue to maintain and care for this chamber. The timing was fortuitous as another convention was looming: the Mid-Atlantic regional convention of the American Guild of Organists was to be held on July 3, 2019. While the chamber had been playing regularly since 2013, it was still riddled with dead notes and problematic issues. Carl Loeser completed considerable work in 2013 and 2014, releathering the three large pitman chests in the Solo division. This made it the most reliable of the divisions in the Right Stage chamber. Several of the lower and more accessible windchests in the Great division had also been releathered under the supervision of Dennis McGurk. To best utilize time and materials, we took on the task of releathering and repairing chests with the loudest and most important stops in the Great. The 30-inch-pressure windchest containing the First and Second 8′ Open Diapasons and Rausch Quint II was taken out of the chamber and completely restored. Two levels above it, the chest holding the Furniture VI was repaired in place. The Grand Great chests, the upward extensions of the Pedal Right stops, were also taken out of the chamber for complete restoration with new leather, gasketing, and magnets. A systematic process of rebuilding all of the pedal primaries has eliminated the vast majority of the irritating dead notes in the pedal.

The Great division boasts an incredible ten 8′ diapasons, each with its own character through the use of various construction techniques and pressures. These ten 8′s are undergirded by a 32′ Sub Principal and three 16′ Double Diapasons. Continuing up the chorus, you will find no fewer than five 4′ Octaves and three 2′ Fifteenths. An eleven-rank Grand Cornet, five-rank Major Sesquialtera, and two mixtures serve to complete the chorus. In a letter dated April 11, 1932, Senator Richards wrote to Henry Willis, III, saying “When the whole chorus is on from 32′ up to Mixtures, even the 50-inch reeds have no chance with it in power and brilliance. A demonstration that reeds are unnecessary except for a change in color.” Indeed, the Great reed chorus is quite small considering the size of the division, with only three trumpets at 16′, 8′, and 4′ pitches, albeit playing on 30 inches of wind.

The Solo division stands its own ground with a powerful Stentor Diapason 8′, Octave 4′, and Grand Chorus IX mixture; the division includes two sets of celestes and a complete flute chorus including the soaring Tibia Rex. The division’s real claim to fame, however, is its brilliant reed chorus. With pressures ranging from 30 inches to 100 inches, the chorus includes a softer Trumpet Profunda playing at 16′, 8′, and 4′, frequently used as a chorus reed. By contrast the Tuba Magna, also 16′, 8′, and 4′, plays on 50 inches and has a powerful, clear tone. Providing blazing clarity is the brass Bugle 8′, also on 50 inches. Finally, the whole ensemble is crowned by the Tuba Imperial, voiced by Roscoe Evans and playing on 100 inches of wind. Where the Solo division excels in sheer power, the neighboring Solo-Great division shines through with subtlety and color. Divided into separately expressible flue and reed ensembles, the Solo-Great is similar in concept to the Swell-Choir division in the Left Stage chamber. Like the Swell-Choir, the Solo-Great has a wealth of mutations from 102⁄3′ to 1⁄4′, two sets of softer celestes, and delicate flutes.  Eleven ranks of color reeds, six extended down to 16′, provide a wide array of solo choices.

Where the Pedal Left division is predominately darker in order to support the expressive divisions above it, the Pedal Right division must stand up to the bold choruses in the Great and Solo divisions. The 32′ Tibia is colossal in scale, and more than a few pipes in the 32′ octave have been repaired by crawling in the mouth and standing upright in the pipe. The 32′ Bombardon is voiced on 40 inches of wind and has metal resonators, the lowest of which is 24 inches in diameter. The Diaphone Phonon 16′ on 50 inches is unmistakable in its power from practically anywhere in the building. Perhaps the most notorious stop on the Midmer-Losh organ is the loudest organ stop in the world: the Grand Ophicleide. Voiced on 100 inches of wind, it is actually a pedal stop that is extended up to 85 notes to allow it to play on the seven-octave Great keyboard. In the Pedal, the stop plays at 16′ and gives an unrelenting power to the pedal line, while in the manuals its sheer power and tone cut through even the largest of registrations with ferocious clout. When a chord is released its tone seems to reverberate in the cavernous hall, long after the rest of the organ’s sound has died away. The 64′ Dulzian, one of only two real 64′ stops in the world, gives a final dramatic punch when a 32′ just won’t do! 

A continuing project since 2017 has been the restoration of the Choir division. Located in the Left Forward chamber, this is the first of the Gallery level chambers that we have addressed. Funding already in place from a settlement following damage to the winding and relay for this chamber during the 1999–2000 renovation of the building made this the most logical and financially feasible chamber to begin with (outside of the two main chambers). The Choir division is no diminutive organ, boasting 37 ranks. It has a wealth of undulating stops, complete diapason chorus, orchestral and high-pressure reeds, and multiple open 16′ stops. Restoration is now approximately 50% complete with all of the offset chests, tremulants, and four of the six large pitman chests completed. Flue pipe restoration has been completed in house or by A. R. Schopp’s Sons of Alliance, Ohio, who restored the badly damaged Dulciana, Dulciana Celeste, and Acuta VI. Along with other projects in the shop, work will continue on this chamber as time permits.

Perhaps the most significant musical turning point for the Midmer-Losh organ in modern times has been the installation of a new combination action. While it was a technological marvel of its time, its complexity and installation in a difficult environment prevented it from ever working properly. The initial plan had been to restore the movable five-manual console first and the larger seven-manual console at a later date. However, as more and more of the instrument was brought online, it became clear that not having a functioning combination action was a major hindrance. After many months of tracing cables and intensive study, we determined that a portion of the existing system in the seven-manual console could be put to use again. The existing tablets and their magnets were in good working order, and the boxes containing the mechanical components for the system in the basement made for a logical and accessible location to tie new wiring into the system. The piston rails from each of the seven keyboards were taken off and rewired, allowing all the thumb and toe pistons to be used. While it is a departure from our desire to restore the organ to its original state, the incorporation of a modern multilevel combination action has proven remarkably beneficial, and organists are now able to showcase the instrument as it was intended.

With the completion of the Left Stage chamber and the extensive repairs completed in the Right Stage chamber, the organ is now a reliable and manageable instrument. We have turned the corner from simply having a large collection of pipes to hearing a beautiful and truly musical instrument. At the time of this writing, 238 of the 449 ranks are playing—53% of the organ—all in only two of the eight chambers! With each rank brought online and the instrument becoming a more cohesive whole, the brilliance of the organ’s designer and architect, Senator Emerson Richards, becomes ever more apparent. New and exciting projects are already on the horizon as we work to restore the first of the ranks in the Center chambers. Both of the 100-inch reeds in Gallery I will soon come online as we work to bring more sound to the center of the room. Upon the completion of the Choir division, we will move to the Gallery I and II divisions, across to Gallery III and IV, and finally to the String II and Brass Chorus, completing the work on the Gallery level divisions before we undertake the herculean task of restoring the Echo and Fanfare organs in the ceiling of Boardwalk Hall.

Not to be forgotten is the magnificent W. W. Kimball pipe organ located in the Adrian Phillips Theater, adjacent to the main arena where the Midmer-Losh organ resides. In any other setting, this organ would be the showcase instrument with four manuals and 55 ranks, but it is often overshadowed by its larger neighbor. The Kimball organ is largely playable and restored thanks to efforts by previous curator Carl Loeser who had the console restored by the Crome Organ Company. Through the generosity of the American Theatre Organ Society, a pair of grants were awarded to HORC to complete the releathering of chests in the Main (left stage) and Solo (right stage) divisions and to restore the Brass Trumpet, a unique example of this stop in a Kimball organ. 

Both pipe organs at Boardwalk Hall have now returned to regular use and are a significant part of the life and events here. Recitals are enjoyed every week year-round on Wednesdays at noon and every weekday during the summer season from Memorial Day through Labor Day. In 2019, we welcomed 1,688 visitors for the Curator’s tour, 1,249 for the brief tour, and 4,093 visitors for the noon recitals. Through creative collaboration with the management of Boardwalk Hall, we are able to offer the organ for use to a multitude of events. The Midmer-Losh has been requested to play the prelude to a rodeo as well as for wrestling championships, numerous graduation ceremonies, and Miss America pageants. Likewise, the Kimball organ sees regular use for award ceremonies, banquets, and religious gatherings in the Theater. We look forward to bringing more of the instruments back online and furthering their outreach to the Atlantic City community and the world!

—Nathan L. Bryson, Curator of Pipe Organs at Boardwalk Hall

Cover photo credt: Michael Sluzenski.

PEDAL RIGHT

64′ Diaphone 

32′ Sub Principal

32′ Contra Tibia 97 pipes

21-1⁄3′ Tibia Quint 

16′ Diaphone Phonon (50′′) 39 pipes

16′ Diapason

16′ Principal 109 pipes

16′ Diapason 

16′ Geigen Principal

16′ Tibia Major 85 pipes

16′ Grand Bourdon

16′ Major Flute

16′ Wald Flute

16′ Tibia Clausa

16′ Viol 85 pipes

12-4⁄5′ Gross Tierce 68 pipes

10-2⁄3′ Diaphone Quint (50′′)

10-2⁄3′ Tibia Quint

10-2⁄3′ Tibia Quint

10-2⁄3′ Principal Quint

10-2⁄3′ Minor Quint

9-1⁄7′ Septieme 68 pipes

8′ Octave Principal

8′ Octave Major

8′ Octave Diapason

8′ Octave Geigen

8′ Gross Gemshorn

8′ Tibia Major

8′ Tibia Clausa

8′ Doppel Gedeckt

8′ Octave Viol

6-2⁄5′ Gross Tierce

5-1⁄3′ Tibia Quint

5-1⁄3′ Principal Quint

5-1⁄3′ Tibia Quint

4-4⁄7′ Gross Septieme

4′ Super Octave

4′ Super Octave

4′ Tibia Fifteenth

4′ Flute Fifteenth

4′ Viol Fifteenth

3-1⁄5′ Tierce

2-2⁄3′ Flute Nineteenth

2-2⁄3′ Tibia Major Nineteenth

2-2⁄3′ Viol Nineteenth

2-2⁄7′ Septieme

2′ Tibia Twenty-Second

2′ Flageolet

1-3⁄5′ Octave Tierce

1-1⁄3′ Tibia Twenty-Sixth

1-1⁄7′ Octave Septieme

1′ Flute Twenty-Ninth

Mixture

64′ Dulzian 85 pipes

42-2⁄3′ Contra Dulzquint

32′ Contra Bombardon 85 pipes

32′ Contra Dulzian

21-1⁄3′ Dulzian Quint

16′ Grand Ophicleide (100′′) 85 pipes

16′ Tuba Magna (50′′)

16′ Bombardon

16′ Trumpet Profunda

16′ Dulzian

16′ Trumpet 97 pipes

16′ Saxophone

16′ Krummhorn

16′ Oboe Horn

16′ English Horn

16′ French Horn

16′ Vox Baryton

10-2⁄3′ Bombard Quint

10-2⁄3′ Dulzian Quint

8′ Ophicleide (100′′)

8′ Octave Bombardon

8′ Octave Dulzian

8′ Bugle (50′′)

8′ Trumpet

8′ Octave Krummhorn

8′ Vox Baryton

5-1⁄3′ Trumpet Quint

5-1⁄3′ Bombardon Quint

4′ Dulzian Fifteenth

4′ Trumpet Fifteenth

Reed Mixture V

Brass Chorus (floating)

Pedal Divide

PEDAL LEFT

32′ Diaphone (50′′) 97 pipes

32′ Diapason 97 pipes

16′ Diaphone (50′′)

16′ Major Diapason 32 pipes

16′ Diaphone 85 pipes

16′ Diapason

16′ Diapason

16′ Tibia Clausa 85 pipes

16′ Doppel Gedeckt

16′ Stopped Diapason

16′ Bass Viol 85 pipes

16′ Bass Viol

16′ Bass Gamba

16′ Cone Gamba

10-2⁄3′ Quint Diapason

10-2⁄3′ Stopped Quint

10-2⁄3′ Cone Quint

8′ Octave Gemshorn

8′ Octave Diaphone (50′′)

8′ Octave Diapason

8′ Octave Phonon

8′ Gross Flute

8′ Flute Clarabella

8′ Cello

6-2⁄5′ Terz

5-1⁄3′ Twelfth

4-4⁄7′ Octave Septieme

4′ Fife (50′′)

4′ Super Octave

4′ Gemshorn Fifteenth

4′ Flute Fifteenth

3-1⁄5′ Tierce

2-2⁄3′ Nineteenth

2-2⁄7′ Twenty-First

2′ Gemshorn Twenty-Second

2′ Twenty-Second

2′ Fife

1′ Twenty-Ninth

Stentor Sesquialtera VII 224 pipes

Grave Mixture VI

32′ Contra Bombard (50′′) 97 pipes

32′ Fagotto 109 pipes

16′ Major Posaune (50′′) 44 pipes

16′ Bombard (50′′)

16′ Trumpet

16′ Horn

16′ Bass Clarinet

16′ Fagotto

16′ Oboe

16′ Vox Humana

8′ Major Posaune (50′′)

8′ Octave Bombard (50′′)

8′ Octave Clarinet

8′ Octave Fagotto

8′ Octave Oboe

5-1⁄3′ Horn Twelfth

4′ Bombard Fifteenth

4′ Oboe Fifteenth

4′ Horn Fifteenth

2-2⁄3′ Horn Nineteenth

2′ Fagotto Twenty-Second

String I (floating)

String II (floating)

String III (floating)

Gallery I Reeds (floating)

Gallery II Flutes (floating)

Gallery III Diapasons (floating)

Gallery IV Orchestral (floating)

PEDAL RIGHT GALLERY

32′ Contra Violone

16′ Diaphone

16′ Flute Maggiorre

16′ Flute Bourdon

16′ Spire Flute

16′ Contra Bass

16′ Contra Viol

16′ Double Bass

16′ Contra Viol

16′ Contra Gamba

10-2⁄3′ Flute Quint

8′ Cone Flute

8′ Viol 

4′ Viol

16′ Trumpet Sonora (100′′)

16′ Tuba D’Amour

16′ Chalumeau

16′ Contra Bassoon

16′ Vox Baryton

8′ Bassoon

PEDAL LEFT GALLERY

16′ Grand Diapason

16′ Dulciana

16′ Major Flute

16′ Double Melodia

8′ Melodia Flute

32′ Contra Trombone

16′ Posaune (50′′)

16′ Bombardon

16′ Trombone

16′ Trombone

16′ Saxophone

10-2⁄3′ Tromba Quint

8′ Trombone

8′ Tromba

6-2⁄5′ Tromba Tierce

5-1⁄3′ Tromba Quint

3-1⁄5′ Tromba Seventeenth

PEDAL PERCUSSION

Cymbal

Persian Cymbal

Snare Drum Roll

Snare Drum Roll

Snare Drum Strike

FF Bass Drum Strike

FF Bass Drum Roll

FF Contra Drum Roll

FF Contra Drum Strike

Persian Cymbal

Persian Cymbal

Chinese Gong Roll

Chinese Gong Strike

Cymbal

Snare Drum Roll

Snare Drum Roll

Bass Drum Roll

Bass Drum Strike

Bass Drum Roll

Bass Drum Strike

Bass Drum Roll

Bass Drum Strike

FF Contra Drum Roll

FF Contra Drum Strike

MP Contra Drum Roll

Bass Drum Strike

16′ Piano

8′ Piano

Chimes

PEDAL SECOND TOUCH

64′ Dulzian Diaphone

32′ Diaphone (50′′)

16′ Diaphone

16′ Tibia Major

16′ Contra Viol

8′ Tibia Major

8′ Viol

4′ Tibia

4′ Viola

64′ Dulzian

32′ Contra Bombard (50′′)

32′ Contra Bombardon

16′ Ophicleide (100′′)

16′ Posaune

16′ Bombard (50′′)

16′ Bombardon

8′ Octave Ophicleide (100′′)

8′ Posaune (50′′)

8′ Bombardon

8′ Dulzian

4′ Bombard (50′′)

4′ Dulzian

Chimes

Brass Chorus (floating)

Fanfare (floating)

String I (floating)

String II (floating)

Gallery Reeds I (floating)

Gallery Diapasons III (floating)

SWELL-CHOIR (Manual III)

16′ Gross Gedeckt 97 pipes

16′ Stopped Diapason 104 pipes

16′ Cone Gamba 97 pipes

8′ Gemshorn 97 pipes

8′ Gemshorn Celeste 97 pipes

8′ Gemshorn Celeste 97 pipes

8′ Dopple Gedeckt 

8′ Dopple Spitz Flute 97 pipes

8′ Clarabella 92 pipes

8′ Stopped Diapason

8′ Muted Gamba

6-2⁄5′ Terz 97 pipes

5-1⁄3′ Major Fifth 97 pipes

5-1⁄3′ Gamba Quint 

5-1⁄3′ Gemshorn Quint

4-4⁄7′ Septieme 97 pipes

4′ Octave Gemshorn

4′ Spitz Flute

4′ Clarabella

4′ Dopple Flute

4′ Stopped Flute

4′ Zauber Flute 97 pipes

4′ Cone Flute

3-5⁄9′ Ninth 85 pipes

3-1⁄5′ Major Tenth 

3-1⁄5′ Gemshorn Tenth 

2-10⁄11′ Eleventh 85 pipes

2-2⁄3′ Gemshorn Twelfth 

2-2⁄3′ Twelfth  

2-2⁄3′ Flute Twelfth 

2-2⁄3′ Stopped Flute Twelfth 

2-2⁄7′ Octave Septieme 

2′ Gemshorn Fifteenth 

2′ Gedeckt Fifteenth  

2′ Magic Flute

1-7⁄9′ Sixteenth

1-3⁄5′ Major Seventeenth 

1-3⁄5′ Gemshorn Seventeenth 

1-5⁄11′ Eighteenth 

1-1⁄3′ Major Nineteenth 

1-1⁄3′ Gemshorn Ninteenth 

1-1⁄7′ Twenty-First

1′ Twenty-Second

1′ Zauber Flute Twenty-Second 

8⁄9′ Twenty-Third

4⁄5′ Twenty-Fourth

8⁄11′ Twenty-Fifth

2⁄3′ Twenty-Sixth

1⁄2′ Twenty-Ninth

1⁄3′ Thirty-Third

1⁄4′ Thirty-Sixth

32′ Fagotto

16′ Contra Oboe 85 pipes

16′ Bass Clarinet 97 pipes

16′ Bass Vox Humana 97 pipes

8′ Oboe

8′ Clarinet

8′ Vox Humana

4′ Octave Oboe

4′ Octave Clarinet

4′ Vox Humana

8′ Marimba Repeat

8′ Marimba Stroke 61 bars

4′ Marimba Repeat

4′ Marimba Stroke

4′ Glockenspiel Single 49 bars

4′ Glockenspiel Repeat

2′ Glockenspiel Single

SWELL (Manual III)

16′ Double Diapason 104 pipes

16′ Contra Gamba 104 pipes

8′ Diapason 80 pipes

8′ Diapason 80 pipes

8′ Waldhorn 80 pipes

8′ Tibia Plena 80 pipes

8′ Hohl Flute 80 pipes

8′ Gross Gedeckt 80 pipes

8′ Harmonic Flute 80 pipes

8′ Harmonic Flute Celeste 80 pipes

8′ Gamba 80 pipes

8′ Gamba Celeste 80 pipes

8′ Violin 80 pipes

8′ Viol Celeste I (2 ranks) 148 pipes

8′ Viol Celeste II (2 ranks) 148 pipes

4′ Ocarina 80 pipes

4′ Octave 80 pipes

4′ Octave

4′ Traverse Flute 80 pipes

4′ Silver Flute 80 pipes

4′ Viol Salicet

4′ Viol Gambette 80 pipes

2′ Fifteenth 80 pipes

2′ Orchestral Piccolo 80 pipes

Plein Jeu VII 560 pipes

Cymbal VIII 640 pipes

Furniture V 400 pipes

16′ Double Trumpet 104 pipes

16′ Double Horn 104 pipes

8′ Harmonic Trumpet 80 pipes

8′ Field Trumpet 80 pipes

8′ Posaune 80 pipes

8′ Cornopean 80 pipes

8′ Muted Trumpet 80 pipes

8′ Flugel Horn 80 pipes

8′ Krummhorn 80 pipes

8′ Vox Humana 80 pipes

4′ Trumpet Clarion 80 pipes

4′ Trumpet Clarion

4′ Octave Horn

Brass Chorus (floating)

Gallery I Reeds (floating)

Gallery II Flutes (floating)

Gallery III Diapasons (floating)

Gallery IV Orchestral (floating)

String I (floating)

String II (floating)

String III (floating)

FANFARE (Manual V)

16′ Major Flute 85 pipes

8′ Stentor Diapason (fr. Stentor VII)

8′ Stentorphone 61 pipes

8′ Stentor Flute 61 pipes

8′ Pileata Magna 61 pipes

8′ Gamba Tuba 61 pipes

8′ Gamba Tuba Celeste 61 pipes

4′ Stentor Octave (fr. Stentor VII)

4′ Major Flute

4′ Flute Octaviante 61 pipes

4′ Gamba Clarion 61 pipes

2-2⁄3′ Twelfth Recorder 61 pipes

2′ Fife 61 pipes

Stentor VII 427 pipes

Cymbal V 305 pipes

Harmonic Mixture VI 366 pipes

16′ Contra Posaune (50′′) 85 pipes

16′ Contra Bombardon 97 pipes

16′ Contra Trombone 97 pipes

10-2⁄3′ Tromba Quint 85 pipes

8′ Harmonic Tuba (50′′) 73 pipes

4′ Tuba Melody (melody coupler)

8′ Ophicleide (50′′) 61 pipes

8′ Posaune (50′′)

8′ Bombard

8′ Tromba

8′ Trombone

6-2⁄5′ Tromba Tierce 73 pipes

5-1⁄3′ Tromba Fifth

5-1⁄3′ Trombone Fifth

4′ Harmonic Clarion (50′′)

4′ Major Clarion (50′′) 61 pipes

4′ Octave Posaune (50′′)

4′ Clarion

4′ Trombone Clarion

3-1⁄5′ Tromba Tenth

2-2⁄3′ Tromba Twelfth

2′ Clarine Fifteenth

Gallery I Reeds (floating)

Gallery II Flutes (floating)

Gallery III Diapasons (floating)

Gallery IV Orchestral (floating)

String I (floating)

String II (floating)

String III (floating)

GALLERY I (floating)

16′ Contra Diaphone 85 pipes

8′ Diaphone

8′ Diapason (fr. Mixture Mirabilis VII)

4′ Octave (fr. Mixture Mirabilis VII)

Mixture Mirabilis VII 511 pipes

16′ Trumpet Mirabilis (100′′) 85 pipes

16′ Trumpet Melody (melody coupler)

8′ Tuba Maxima (100′′) 73 pipes

8′ Trumpet Imperial (100′′)

4′ Clarion Mirabilis (100′′)

4′ Clarion Melody (melody coupler)

4′ Clarion Real (100′′)

GALLERY II (floating)

16′ Flute Maggiore 97 pipes

8′ Jubal Flute 73 pipes

4′ Jubal Melody (melody coupler)

8′ Harmonic Flute 73 pipes

4′ Melodic Flute

4′ Harmonic Flute 73 pipes

2-2⁄3′ Harmonic Twelfth 61 pipes

2′ Harmonic Piccolo 61 pipes

Harmonic Mixture III 183 pipes

GALLERY III (floating)

16′ Contra Diapason 97 pipes

8′ Diapason I 73 pipes

8′ Diapason II 73 pipes

4′ Octave I 73 pipes

4′ Octave II

2′ Fifteenth 73 pipes

Mixture IV 292 pipes

16′ Grand Piano 

8′ Grand Piano 

4′ Grand Piano

GALLERY IV (floating)

16′ Contra Saxophone 85 pipes

8′ Brass Trumpet 73 pipes

8′ Egyptian Horn 73 pipes

8′ Euphone 73 pipes

8′ Major Clarinet 73 pipes

8′ Major Oboe 73 pipes

8′ Musette Mirabilis 73 pipes

8′ Cor D’Orchestre 73 pipes

8′ Saxophone

4′ Octave Saxophone

STRING I (floating)

16′ Contra Basso 97 pipes

8′ Cello 73 pipes

8′ Cello Celeste I (2 ranks) 146 pipes

8′ Cello Celeste II (2 ranks) 134 pipes

8′ Violins I (2 ranks) 146 pipes

8′ Violins II (2 ranks) 134 pipes

8′ Violins III (2 ranks) 146 pipes

8′ Violins IV (2 ranks) 134 pipes

8′ Viol Secundo I (2 ranks) 146 pipes

8′ Viol Secundo II (2 ranks) 134 pipes

4′ Octave Viola

4′ Viol Secundo (2 ranks) 146 pipes

16′ String Melody (melody coupler)

4′ String Melody (melody coupler)

String Pizzicato

STRING II (floating)

16′ Double Bass 97 pipes

16′ Contra Bass 97 pipes

16′ Contra Viol 97 pipes

8′ Viola Diapason 73 pipes

8′ Viol Cello 73 pipes

8′ Cello Phonon 73 pipes

8′ Cello 73 pipes

8′ Cello Celeste (2 ranks) 146 pipes

8′ Viola Phonon 73 pipes

8′ Viola Celeste (2 ranks) 134 pipes

8′ Violin Phonon 73 pipes

8′ Violin 73 pipes

8′ Viol Celeste I (2 ranks) 146 pipes

8′ Viol Celeste II (2 ranks) 134 pipes

8′ Viol Celeste III (2 ranks) 134 pipes

8′ Viol Celeste IV (2 ranks) 134 pipes

8′ Viol Celeste V (2 ranks) 134 pipes

4′ Viol Principal 73 pipes

4′ Violin (2 ranks) 146 pipes

4′ Viola (2 ranks) 146 pipes

4′ Octave Cello I

4′ Octave Cello II

4′ Octave Violin

5-1⁄3′ Quint Flute 78 pipes

4′ Stopped Flute

2-2⁄3′ Flute Twelfth 73 pipes

2′ Piccolo

String Mixture V 305 pipes

8′ Tromba D’Amour 73 pipes

16′ String II Melody (melody coupler)

4′ String II Melody (melody coupler)

String II Pizzicato

STRING III (floating)

8′ Cello Celeste I (2 ranks) 146 pipes

8′ Cello Celeste II (2 ranks) 146 pipes

8′ Viola Celeste (2 ranks) 146 pipes

8′ Violins I (2 ranks) 146 pipes

8′ Violins II (2 ranks) 134 pipes

8′ Violins III (2 ranks) 146 pipes

8′ Violins IV (2 ranks) 134 pipes

8′ Viol Secundo (2 ranks) 146 pipes

8′ Cor Anglais 73 pipes

16′ Grand Piano

8′ Grand Piano

4′ Grand Piano

UNENCLOSED CHOIR (Manual I)

16′ Quintaton 73 pipes

8′ Diapason 73 pipes

8′ Holz Flute 73 pipes

4′ Octave 73 pipes

2′ Fifteenth 73 pipes

Rausch Quint II 146 pipes

Mixture II 146 pipes

CHOIR (Manual I)

16′ Contra Melodia 109 pipes

16′ Contra Dulciana 92 pipes

8′ Diapason 73 pipes

8′ Diapason 73 pipes

8′ Gemshorn 73 pipes

8′ Gemshorn Celeste 73 pipes

8′ Dulciana

8′ Dulciana Celeste 73 pipes

8′ Philomela 73 pipes

8′ Melodia

8′ Concert Flute 73 pipes

8′ Unda Maris 73 pipes

8′ Nachthorn 73 pipes

8′ Viola Pomposa 73 pipes

8′ Viola Celeste 73 pipes

8′ Voix Celeste II 134 pipes

5-1⁄3′ Dulzquint

4′ Fugara 73 pipes

4′ Dolce 85 pipes

4′ Spindle Flute 73 pipes

4′ Flute Overte 73 pipes

2-2⁄3′ Melodia Twelfth

2-2⁄3′ Dulzard

2′ Flageolet 73 pipes

2′ Melodia

2′ Dulcett

1-1⁄3′ Dulce

1′ Dulcinett

Acuta VI 438 pipes

Flute Mixture III 219 pipes

Brass Chorus (floating)

16′ Contra Tromba 97 pipes

8′ Tromba Real 73 pipes

8′ Brass Cornet 73 pipes

8′ French Horn 73 pipes

8′ Clarinet 73 pipes

8′ Bassett Horn 73 pipes

8′ Cor Anglais 73 pipes

8′ Kinura 73 pipes

4′ Tromba Clarion

String I (floating)

String II (floating)

String III (floating)

Gallery I Reeds (floating)

Gallery II Flutes (floating)

Gallery III Diapasons (floating)

Gallery IV Orchestral (floating)

GRAND CHOIR (Manual I)

16′ Diaphone (50′′)

16′ Diapahone Melody (coupler)

8′ Diaphone (50′′)

8′ Diapason

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Viol Cello

16′ Bombard (50′′)

16′ Fagotto

8′ Posaune

8′ Bombard (50′′)

4′ Bombard Melody (melody coupler)

8′ Chalumeau

4′ Octave Oboe

CHOIR SECOND TOUCH (Manual I)

16′ Double Bass

16′ Contra Bass

16′ Contra Viol

8′ Viola

8′ Viol Cello

8′ Viol Cello

4′ Viol Cello

4′ Viol Cello

String I (floating)

String II (floating)

String III (floating)

Fanfare (coupler)

CHOIR-SWELL (Manual I)

16′ Doppel Gedeckt

16′ Stopped Diapason

16′ Cone Gamba

8′ Doppel Gedeckt

8′ Stopped Flute

8′ Clarabella

8′ Spitz Flute

8′ Gemshorn

8′ Gemshorn Celeste I

8′ Gemshorn Celeste II

8′ Muted Gamba

6-2⁄5′ Third

5-1⁄3′ Fifth

5-1⁄3′ Cone Gamba Fifth

5-1⁄3′ Gemshorn Fifth

4-4⁄7′ Seventh

4′ Doppel Flute

4′ Stopped Flute

4′ Clarabella

4′ Spitz Flute

4′ Zauber Flute

4′ Gemshorn

4′ Cone Flute

3-5⁄9′ Ninth

3-1⁄5′ Tenth

3-1⁄5′ Gemshorn Tenth

2-10⁄11′ Eleventh

2-2⁄3′ Flute Twelfth

2-2⁄3′ Flute Twelfth

2-2⁄3′ Gemshorn Twelfth

2-2⁄3′ Twelfth

2-2⁄7′ Fourteenth

2′ Flute

2′ Magic Flute

2′ Gemshorn  

1-7⁄9′ Sixteenth

1-3⁄5′ Gemshorn Seventeenth

1-3⁄5′ Seventeenth

1-5⁄11′ Eighteenth

1-1⁄3′ Nineteenth

1-1⁄3′ Gemshorn  

1-1⁄7′ Twenty-First

1′ Twenty-Second

1′ Gemshorn Twenty-Second

8⁄9′ Twenty-Third

4⁄5′ Twenty-Fourth

8⁄11′ Twenty-Fifth

2⁄3′ Twenty-Sixth

1⁄2′ Gemshorn Twenty-Ninth

1⁄4′ Gemshorn Thirty-Sixth

32′ Fagotto

16′ Contra Oboe

16′ Clarinet

16′ Vox Humana

8′ Oboe

8′ Clarinet

8′ Vox Humana

4′ Oboe

4′ Clarinet

4′ Vox Humana

Chimes

8′ Marimba Repeat

8′ Marimba Stroke

4′ Glockenspiel Repeat

4′ Glockenspiel Single

2′ Glockenspiel Single

Snare Drum Roll

Snare Drum Tap

Snare Drums Roll

Snare Drums Tap

Wood Block

Castinets

Triangle

Tom Tom

GREAT (Manual II)

32′ Sub Principal 121 pipes

16′ Double Diapason I 97 pipes

16′ Double Diapason II 73 pipes

16′ Double Diapason III 73 pipes

10-2⁄3′ Sub Quint 73 pipes

8′ Principal

8′ Diapason I 73 pipes

8′ Diapason II 73 pipes

8′ Diapason III 73 pipes

8′ Diapason IV 73 pipes

8′ Diapason V 73 pipes

8′ Diapason VI 73 pipes

8′ Diapason VII 73 pipes

8′ Diapason VIII 73 pipes

8′ Diapason IX 73 pipes

8′ Diapason X 73 pipes

8′ Harmonic Flute 73 pipes

8′ Flute Overte 73 pipes

5-1⁄3′ Quint 73 pipes

4′ Octave I 73 pipes

4′ Octave II 73 pipes

4′ Octave III 73 pipes

4′ Octave

4′ Octave IV 73 pipes

4′ Octave V 73 pipes

4′ Harmonic Flute 73 pipes

3-1⁄5′ Gross Tierce 73 pipes

2-2⁄3′ Major Twelfth 73 pipes

2′ Fifteenth I 73 pipes

2′ Fifteenth II 73 pipes

2′ Fifteenth III 73 pipes

2′ Principal

5-1⁄3′ Rausch Quint 146 pipes

2-2⁄3′ Rausch Quint 146 pipes

Grand Cornet XI 803 pipes

Major Sesquialtera V 365 pipes

Furniture VI 414 pipes

Schulze Mixture V 365 pipes

Scharff Mixture III

Doublette Mixture II

16′ Trumpet 73 pipes

8′ Harmonic Trumpet 73 pipes

4′ Clarion 73 pipes

Brass Chorus (floating)

Chimes 37 tubes

8′ Harp 61 bars

4′ Harp

4′ Xylophone 49 bars

2′ Xylophone

Snare Drum Roll

Snare Drum Tap

Snare Drums Roll

Snare Drums Tap

Triangle

Tambourine

Castinets

Wood Block Stroke

Wood Block Roll

Tom Tom

Chimes S. T.

Drums Muffled S. T.

String I (floating)

String II (floating)

String III (floating)

Gallery I Reeds (floating)

Gallery II Flutes (floating)

Gallery III Diapasons (floating)

Gallery IV Orchestral (floating)

BRASS CHORUS (floating)

16′ Trombone 73 pipes

8′ Trombone 73 pipes

8′ Tromba 73 pipes

5-1⁄3′ Tromba Quint 73 pipes

4′ Trombone 73 pipes

2-2⁄3′ Tromba Twelfth 73 pipes

2′ Trombone 73 pipes

Tierce Mixture III 219 pipes

GRAND GREAT (Manual II)

8′ Principal

8′ Tibia Clausa

8′ Tibia Major

4′ Tibia Melody (melody coupler)

8′ Viol

4′ Viol Melody (melody coupler)

4′ Octave

2′ Super Octave

32′ Dulzian (currently playing at 16′)

16′ Trombone

8′ Trombone Melody (melody coupler)

8′ Ophicleide (100′′)

8′ Trumpet

4′ Clarion

4′ Clarion Melody (melody coupler)

GREAT SECOND TOUCH (Manual II)

8′ Viol Phonon

8′ Viol Cello

8′ Viol

8′ Viol

8′ Solo (coupler)

4′ Solo (coupler)

8′ Fanfare (coupler)

String I (floating)

String II (floating)

Gallery I Reeds (floating)

Brass Chorus (floating)

GREAT-SOLO (Manual II)

16′ Wald Flute 97 pipes

16′ Tibia Clausa 97 pipes

16′ Contra Geigen 97 pipes

10-2⁄3′ Wald Quint

10-2⁄3′ Tibia Quint

8′ Diapason Phonon 73 pipes

8′ Horn Diapason 85 pipes

8′ Geigen Principal

8′ Gemshorn 121 pipes

8′ Gemshorn Celeste 89 pipes

8′ Wald Flute

8′ Tibia Clausa

8′ Doppel Gedeckt 73 pipes

8′ Viola D’Gamba 73 pipes

8′ Vox Celeste 73 pipes

6-2⁄5′ Gemshorn Terz 97 pipes

5-1⁄3′ Wald Quint

5-1⁄3′ Gemshorn Quint 109 pipes

4-4⁄7′ Septieme 97 pipes

4′ Octave Phonon

4′ Octave

4′ Principal

4′ Gemshorn

4′ Gemshorn Celeste

4′ Wald Flute

4′ Stopped Flute

4′ Doppel Flute

4′ Viola

4′ Viola Celeste

3-1⁄5′ Gemshorn Tenth

3-1⁄5′ Tenth

2-2⁄3′ Flute Twelfth

2-2⁄3′ Minor Twelfth

2-2⁄3′ Twelfth

2-2⁄7′ Octave Septieme

2′ Fifteenth

2′ Geigen

2′ Gemshorn

2′ Piccolo

1-3⁄5′ Gemshorn Seventeenth

1-3⁄5′ Seventeenth

1-1⁄3′ Nineteenth

1-1⁄7′ Twenty-First

1′ Twenty-Second

4⁄5′ Twenty-Fourth

2⁄3′ Twenty-Sixth

1⁄2′ Twenty-Ninth

1⁄4′ Thirty-Sixth (currently plays Gong)

16′ Oboe Horn 97 pipes

16′ Krummhorn 97 pipes

16′ Saxophone 97 pipes

16′ English Horn 97 pipes

16′ French Horn 97 pipes

16′ Vox Baryton 97 pipes

8′ Oboe

8′ Clarinet 85 pipes

8′ Krummhorn

8′ Orchestral Saxophone 85 pipes

8′ Saxophone

8′ English Horn

8′ Orchestral Horn 85 pipes

2-2⁄3′ Flute Twelfth 73 pipes (originally 8′ French Horn)

8′ French Horn

8′ Kinura 73 pipes

8′ Vox Humana 85 pipes

8′ Vox Humana

4′ Octave Horn

4′ Krummhorn

4′ Saxophone

4′ English Horn

4′ French Horn

4′ Vox Humana

SOLO (Manual IV)

16′ Major Flute 85 pipes

10-2⁄3′ Quint Flute

8′ Stentor Diapason 61 pipes

8′ Diapason (fr. Grand Chorus IX)

8′ Tibia Rex 61 pipes

8′ Major Flute

8′ Hohl Flute 61 pipes

8′ Flute Overte 61 pipes

8′ Cello Pomposa 61 pipes

8′ Cello Celeste 61 pipes

8′ Violin 61 pipes

8′ Violin Celeste 61 pipes

5-1⁄3′ Quint Flute

4′ Stentor Octave 61 pipes

4′ Octave (fr. Grand Chorus IX)

4′ Wald Flute 61 pipes

4′ Major Flute

4′ Viola Pomposa 61 pipes

2′ Harmonic Piccolo 61 pipes

Grand Chorus IX 549 pipes

Carillon IV 244 pipes

16′ Tuba Magna (50′′) 85 pipes

16′ Trumpet Profunda 85 pipes

10-2⁄3′ Quint Trumpet

8′ Tuba Imperial (100′′) 61 pipes

8′ Tuba Magna (50”)

8′ Trumpet Royal 61 pipes

8′ Trumpet Profunda

8′ Bugle (50′′) 61 pipes

8′ English Post Horn 61 pipes

8′ French Horn 61 pipes (originally 22⁄3′ Flute Twelfth)

5-1⁄3′ Magna Fifth (50′′)

4′ Tuba Clarion (50′′)

4′ Trumpet Clarion

Brass Chorus (floating)

String I (floating)

String II (floating)

String III (floating)

Gallery I Reeds (floating)

Gallery II Flutes (floating)

Gallery III Diapasons (floating)

Gallery IV Orchestral (floating)

SOLO-GREAT (Manual IV)

16′ Wald Flute

16′ Tibia Clausa

16′ Contra Geigen

10-2⁄3′ Wald Quint

10-2⁄3′ Tibia Quint

8′ Diapason Phonon

8′ Horn Diapason

8′ Geigen Principal

8′ Gemshorn

8′ Gemshorn Celeste

8′ Wald Flute

8′ Tibia Clausa

8′ Doppel Gedeckt

8′ Viola D’Gamba

8′ Vox Celeste

6-2⁄5′ Gemshorn Terz

5-1⁄3′ Wald Quint

5-1⁄3′ Gemshorn Quint

4-4⁄7′ Gemshorn Septieme

4′ Octave Phonon

4′ Octave

4′ Octave Geigen

4′ Gemshorn

4′ Gemshorn Celeste

4′ Wald Flute

4′ Stopped Flute

4′ Doppel Flute

4′ Viola

4′ Viola Celeste

3-1⁄5′ Gemshorn Tenth

3-1⁄5′ Gemshorn Tenth

2-2⁄3′ Flute Twelfth

2-2⁄3′ Flute Twelfth (originally 8′ Fr. Horn)

2-2⁄3′ Minor Twelfth

2-2⁄3′ Gemshorn Twelfth

2-2⁄7′ Octave Septieme

2′ Fifteenth

2′ Geigen

2′ Gemshorn

2′ Piccolo

1-3⁄5′ Gemshorn Seventeenth

1-3⁄5′ Gemshorn Seventeenth

1-1⁄3′ Gemshorn Nineteenth

1-1⁄7′ Twenty-First

1′ Twenty-Second

4⁄5′ Twenty-Fourth

2⁄3′ Twenty-Sixth

1⁄2′ Twenty-Ninth

1⁄4′ Thirty-Sixth

16′ Oboe Horn

16′ Krummhorn

16′ Saxophone

16′ English Horn

16′ French Horn

16′ Vox Baryton

8′ Oboe

8′ Clarinet

8′ Krummhorn

8′ Orchestral Saxophone

8′ Saxophone

8′ English Horn

8′ Orchestral Horn

8′ French Horn

8′ Kinura

8′ Vox Humana

8′ Vox Humana

4′ Octave Horn

4′ Krummhorn

4′ Saxophone

4′ English Horn

4′ French Horn

4′ Vox Humana

Chimes

8′ Harp

4′ Harp

4′ Xylophone

2′ Xylophone

ECHO (Manual VI)

16′ Contra Violone 97 pipes

16′ Contra Gamba 85 pipes

16′ Contra Spire Flute 109 pipes

8′ Diapason 61 pipes

8′ Waldhorn 61 pipes

8′ Clarabella 97 pipes

8′ Spire Flute

8′ Spitz Flute 61 pipes

8′ Flute Celeste I 61 pipes

8′ Flute Celeste II 77 pipes

8′ Flute Sylvestre 61 pipes

8′ Flute Celeste 61 pipes

8′ Tibia Mollis 61 pipes

8′ Violone

8′ Violone Celeste 54 pipes

8′ Gamba

4′ Open Flute

4′ Rohr Flute 61 pipes

4′ Cone Flute

4′ Viol

4′ Gamba

3-1⁄5′ Spitz Tenth

2-2⁄3′ Flute Twelfth

2-2⁄3′ Spire Flute Twelfth

2′ Flute Fifteenth

2′ Spire Flute Fifteenth

1-3⁄5′ Spitz Seventeenth

1-1⁄3′ Spire Flute Nineteenth

1′ Spire Flute Twenty-Second

Aetheria VI 366 pipes

16′ Tuba D’Amour 85 pipes

16′ Contra Bassoon 85 pipes

16′ Chalumeau 85 pipes

16′ Vox Humana 85 pipes

8′ Tuba D’Amour

8′ Trumpet Minor 61 pipes

8′ Clarinet

8′ Cor D’Amour 61 pipes

8′ Bassoon

8′ Vox Humana I 61 pipes

8′ Vox Humana II

4′ Octave Clarinet

4′ Tuba D’Amour

4′ Octave Bassoon

4′ Vox Humana

Chimes 25 tubes

String I (floating)

String II (floating)

String III (floating)

Gallery I Reeds (floating)

Gallery II Flutes (floating)

Gallery III Diapasons (floating)

Gallery IV Orchestral (floating)

GALLERY MASTERS

Gallery I Reeds to Bombard

Gallery II Flutes to Bombard

Gallery III Diapasons to Bombard

Gallery IV Orchestral to Bombard

TREMOLOS

Trem Master (affects all Tremolos)

Tremolos Left:

String III

Fanfare Pileata

Fanfare

Gallery IV

Sw-Ch Vox Humana

Swell-Choir

Swell

String I

Choir Philomela

Choir

Open Choir

Tremolos Right:

Great Tibia

Solo 20′′

Gt-Solo Organ Tone

Gt-Solo Wood Wind

String II

Echo

Items in italics await restoration and thus are not operating at present.

Further information about the Midmer-Losh and Kimball pipe organs, including detailed specifications and documentation, can be found at www.boardwalkorgans.org.

Photo: The organ restoration staff (left to right): James Martin, shop apprentice; Carl Hersom, shop apprentice; Scott Banks, membership and events coordinator; Brant Duddy, senior shop technician; Nathan Bryson, curator of pipe organs; Chuck Gibson, professional assistant to the curator

The Saint Cecilia Organ, Church of the Transfiguration; Community of Jesus, Orleans, Massachusetts

If we all embrace a new vision, special guidance and support will surely come.

—Nelson Barden

On Monday, May 15, 1995, at 10:56 p.m., a fax from Nelson Barden (president, Nelson Barden & Associates, restorer-in-residence, Boston University) arrived in the music office. This was not just another fax. This document was in response to Nelson’s first visit to the Community of Jesus to meet with the superior, Mother Betty Pugsley, during which they discussed the vision, need, scope, and reason for an organ of incredible depth, proportion, beauty, and scale that would support the worship at the Community of Jesus and its world-renowned music outreach. Nelson realized instantly and exactly what she was saying, and both agreed that, “Above all other considerations, this organ must uncompromisingly spring from its spiritual and artistic vision until that vision becomes reality.”

To that end, the organ’s specification, geographic layout, and overall design were inspired and motivated by the ministry and mission of Gloriæ Dei Cantores (the resident professional choir at the Community of Jesus) as well as the community’s enthusiastic hymn singing. Gloriæ Dei Cantores performs repertoire of more than thirty nationalities, from Gregorian chant to music of the present day—a challenge for any organ to support, given the number of genres this includes!

Before meeting Nelson, we had committed to the restoration of an E. M. Skinner organ for the Church of the Transfiguration, knowing the innate beauty and flexibility of these instruments. In fact, we had already purchased, and had in storage, Skinner Organ Company Opus 762 from the Munn Avenue Presbyterian Church in East Orange, New Jersey. We soon realized, however, that this instrument would not be enough on its own and instead would need to become the basis for something far larger and with greater impact. In order to fulfill his vision and charge to unite the organ with the basilica form of the church, Nelson said, “Surround Sound:”

For this installation, I suggest rotating the traditional east-west organ placement 90 degrees to north-south and stretching the instrument completely down the nave in balconies over both side aisles. The divisions would start near the chancel (above the choir seating) with the Swell and Choir on opposite sides. These would be followed by an exposed Great and an Enclosed Great (including some Pedal) to broaden the tone and bring it down the nave . . . . Next would be matching north and south Solo divisions, followed by North and South Orchestral. These paired divisions would contain similar but distinct voices. These four matched divisions would form the “moving melody” section. . . . Near the west end would be the Bombarde/Antiphonal opposite the Echo. The shades of these divisions would not open directly toward the congregation but project the sound toward the back wall. This would modulate the heavy hitters in the Bombarde and allow the Echo to do a tonal “disappearing act.” The directional and surround effects achieved by computer control of stops and shades would lift the instrument beyond state-of-the-art into a unique realm. Moving melody could range freely over the building from left to right and front to back . . . . A single pianissimo chord from the chancel could grow into a mighty wave of sound, roll down the entire length of the nave, cascade into the Echo, and disappear.

Over the course of many years, there ensued hundreds of discussions about the numerous specifics needed to arrive at such a conclusion. (The specification alone has been through more than 150 revisions!) Only two weeks after the first fax came the next “prophetic” fax that would soon reveal the platform upon which we would collaborate for more than two and a half decades.

In addition to the primary precept of always maintaining the spiritual and artistic vision, two other significant points were developed from this second exchange:

1. Encourage apprentice-interested Community of Jesus members into the organ building field to act as good stewards in both the construction and future care of this instrument; and

2. Let the project take the time required for the organ to “teach and tell us” how it should grow and be transformed through varied experiences.

Upon mutually enthusiastic agreement, we reviewed the concepts set forth in the May 15 document in which Nelson said the organ should be:

1. World-class and unique

2. Ideally suited to your purposes

3. A tangible expression of Community of Jesus spiritual principles

4. Beautiful and musical, with instantly recognizable tone

5. Designed for posterity; built to last forever

6. Able to perform both nineteenth-century music authentically and eighteenth-century Bach convincingly

7. Capable of eliciting profound emotions

8. Designed for HDCD recordings

9. Focused on future developments, not current technology

10. A “trend setter.”

These discussion points quickly converted into:

1. Adopting the vision

2. Making the commitment to move forward

3. Incorporating the organ space into the church design

4. Refining the vision, shaping it to our precise needs

5. Defining the mechanical system of the organ

6. Developing a plan of action and a realistic budget

7. Locating a shop and storage space

8. Beginning to implement the plan of action

9. Training part-time workers and develop their expertise

10. Acquiring more component parts to restore

11. Organizing and commencing restoration work

12. Setting up a division and playing it for inspiration!

Thus, the organ restoration project began in earnest.

Fast forward to the summer of 2021, and we look back to see that Nelson’s original division layout, with some changes in nomenclature, has come true. The disposition of the divisions is as follows:

APSE

Choir Swell

North Gt (& Ped) South Gt (& Ped)

Solo (& Pedal) String (& Pedal)

Antiphonal/Processional Echo

WEST END

We were extremely fortunate to find instruments available for purchase that, together, created a “joyful musical genesis.” Below is a partial list of the Skinner organs whose components constitute this “new” instrument:

Opus 140, Trinity Episcopal Cathedral, Cleveland, Ohio

Opus 195, Williams College, Williamstown, Massachusetts

Opus 310, Plymouth Church, Shaker Heights, Ohio

Opus 473, Florida State University, Tallahassee, Florida

Opus 540, Saint Paul’s Lutheran Church, Williamsport, Pennsylvania

Opus 541, First Congregational Church, St. Petersburg, Florida

Opus 655, Saint Paul’s Episcopal Church, Rochester, New York

Opus 656, Princeton University, Princeton, New Jersey

Opus 762, Munn Avenue Presbyterian Church, East Orange, New Jersey

Opus 855, Sacred Heart Catholic Church, Pittsburgh, Pennsylvania

Opus 858, Rollins College, Winter Park, Florida

Opus 934, Saint Joseph’s College, Adrian, Michigan

Opus 991, Broadway Tabernacle, New York, New York

Opus 1242, First Baptist Church, Abilene, Texas

Nelson and the Community of Jesus have maintained an organ building apprenticeship program over these many years, having trained one of our members to journeyman status (over the course of twenty years), and four others in multi-year, work-training situations. During this time, the construction and installation truly did follow Nelson’s initial concept—division by division. This is what allowed the organ to “teach” us. Below are some other significant dates in the history of this organ:

June 2000: Dedication of the Church of the Transfiguration: North Great, Swell, and Tuba Mirabilis

June 2003: Great Artist series begins with American Guild of Organists Regions I and II convention, featuring Thomas Murray: Choir division

June 2005: Fifth anniversary of the Church of the Transfiguration: Antiphonal/Processional divisions

June 2010: Tenth anniversary of the Church of the Transfiguration: Echo division and arrival of the West End console for the concerts by Gerre and Judith Hancock and Thomas Murray

Summer 2018: 32′ Bombarde installed on South side

Summer 2019: removal of 1929 console and return of the rewired west end console serving as temporary main console

February 2020: Arrival of the final console

Our new console was designed, constructed, and installed by Richard Houghten and Joseph Zamberlan. From 2000 until 2020, we had used the original Skinner Organ Company console from Opus 762, which by 2020 the organ had long outgrown. The new console was designed to be as comfortable as a Skinner one, with everything clearly identified and within reach. Special features include shade expression thumb slides underneath the bottom three keyboards, an expression matrix so that any of the divisions can be assigned to a specific swell shoe (the entire organ is under expression), ivory keyboards that came from the Opus 762 console and are E. M. Skinner’s “tracker touch.” Some unusual couplers such as pedal to manual are included.

Perhaps the most moving realizations are the visionary outlooks of how this organ would affect people as they listened and experienced it in the setting of the Church of the Transfiguration. In concluding his initial thoughts to us in May 1995, Nelson wrote this to encourage us to take this on:

The Ultimate Goal

Every church is an expression of the builders, and so is every organ. When this instrument is finished, Community members will feel they are a part of the organ, and the organ is part of them. It will give voice to their aspirations and resonate with deep-seated meaning.

Building a magnificent instrument is hard work, sometimes tedious and always prolonged. Non-professionals may become discouraged, just as organ builders are when the job drags on. The difference is that organ builders hold a vision that gives them boundless energy and faith. They know the end result and imagine how it sounds.

Community members will understand everything when their labor comes to life and the organ starts to play. Lumber and leather, wire, and wind—if a pipe organ can sing with the angels, isn’t there hope for us all?

The list of people to thank is simply endless at this point, but here are names of those without whom this organ would not exist:

Mother Betty Pugsley

Nelson Barden

Sean O’Donnell

Joseph Sloan

Joseph Rotella

John Ananda

Jonathon Ambrosino

Duane Prill

William Czelusniak

Richard Houghten

Joseph Zamberlan

Christopher Broome

David Broome*

James Hudson Crissman

Peter Rudewicz

Thomas Murray

David Craighead*

Gerre Hancock*

*deceased

To learn more, please visit our website, www.communityofjesus.org.

—Nelson Barden and Jim Jordan

Since 1956, Nelson Barden has been recognized as one of America’s leading experts in the museum quality restoration of orchestral pipe organs—particularly the work of E. M. Skinner—and is President of Nelson Barden & Associates.

Jim Jordan is one of the organists in residence at the Church of the Transfiguration at the Community of Jesus since 1988, during which has performed as an organ accompanist for Gloriæ Dei Cantores, and a soloist throughout the United States and Eastern and Western Europe.

RELATED: View a video about the project here

Nelson Barden & Associates

Church of the Transfiguration, Orleans, Massachusetts

NORTH GREAT

1. 16′ Violone 73

2. 8′ First Diapason 61

3. 8′ Second Diapason 61

    8′ Violone --

4. 8′ Harmonic Flute 61

5. 8′ Gemshorn 61

6. 8′ Gemshorn Celeste (TC) 49

7. 4′ Octave 61

8. 4′ Harmonic Flute 61

9. 2′ Fifteenth 61

10. Willis Mixture IV 244

15 19 22 26 12

12 15 19 22 24

8 12 15 19 12

1 8 12 15 13

11. 16′ Posaune 61

12. 8′ Cornopean 61

13. 4′ Clarion 61

Tremolo

North Great Sub

North Great Unison Off

North Great Super

8′ Tuba Mirabilis Choir

8′ Tuba Major Processional

8′ Trompette Militaire Processional

SOUTH GREAT

14. 16′ Gedecktpommer 68

15. 8′ Stentorphone 73

16. 8′ Principal 61

17. 8′ Bourdon 61

18. 4′ Octave 61

19. 4′ Nachthorn 61

20. 2-2⁄3′ Twelfth 61

21. 2′ Fifteenth 61

22. Fourniture III–V 245

15 19 22 12

12 15 19 22 12

8 12 15 19 12

1 8 12 15 12

1 5 8 12 15 13

23. Scharff III–IV 220

15 19 22 18

12 15 19 6

12 15 17 19 18

8 12 15 17 6

8 10 12 15 13

24. 16′ Willis Trombone 56

25. 8′ Willis Trumpet 61

26. 8′ Hautbois 68

27. 4′ Clairon 68

Tremolo

South Great Unison Off

East Chimes

SWELL

28. 16′ Bourdon 73

29. 8′ Diapason 73

30. 8′ Salicional 73

31. 8′ Voix Celeste 73

      8′ Bourdon (ext 16′ Bourdon) --

32. 8′ Rohrflöte 61

33. 8′ Flauto Dolce 73

34. 8′ Flute Celeste (TC) 61

35. 4′ Octave 73

36. 4′ Triangle Flute 73

37. 2′ Flautino 61

38. Willis Mixture IV 244

15 19 22 26 12

8 12 15 19 36

1 8 12 15 13

39. 16′ Waldhorn 73

40. 8′ Trumpet 73

41. 8′ Oboe d’Amour 73

42. 8′ Vox Humana 73

43. 4′ Clarion 61

Tremolo

Swell Sub

Swell Unison Off

Swell Super

8′ Tuba Mirabilis Choir

8′ Tuba Major Processional

8′ Trompette Militaire Processional

Orchestral Bells

Orchestral Harp

ANTIPHONAL

44. 16′ Lieblich Bourdon 61

45. 8′ Diapason 73

46. 8′ Gross Flute 73

47. 8′ Clarabella 73

48. 8′ Erzähler Celeste II (celeste TC) 134

49. 4′ Principal 61

50. 4′ Harmonic Flute 61

51. Mixture IV 244

12 15 19 22 18

8 12 15 19 12

1 8 12 15 31

Tremolo

Antiphonal Sub

Antiphonal Unison Off

Antiphonal Super

CHOIR

52. 16′ Erzähler 85

53. 8′ Diapason 73

54. 8′ Cello 73

55. 8′ Cello Celeste 73

56. 8′ Viola 73

57. 8′ Viola Celeste 73

58. 8′ Concert Flute 73

59. 8′ Lieblich Gedeckt 73

      8′ Erzähler --

60. 8′ Erzähler Celeste 73

61. 8′ Aeoline Celeste II (celeste TC) 110

62. 4′ Principal 73

63. 4′ Flute 61

64. 2-2⁄3′ Nazard 61

65. 2′ Piccolo 61

66. 1-3⁄5′ Tierce 61

67. 1′ Sifflöte (to f54) 54

68. Low Mixture III–IV 207

15 19 22 12

12 15 19 12

8 12 15 13

1 8 12 15 24

69. High Mixture III 183

22 26 29 18

19 22 26 12

15 19 22 12

12 15 19 6

8 12 15 13

70. 16′ Heckelphone 73

      8′ Heckelphone --

71. 8′ Flügel Horn 73

72. 8′ English Horn 73

73. 8′ Clarinet 73

Tremolo

74. 8′ Tuba Mirabilis 67

Choir Sub

Choir Unison Off

Choir Super

PROCESSIONAL

75. 8′ Principal Diapason 73

76. 8′ Gamba Celeste II 146

77. 8′ Orchestral Flute 73

78. 8′ Chorus Trumpet 73

Tremolo

79. 8′ Tuba Major 73

80. 8′ Trompette Militaire 73

Processional Sub

Processional Unison Off

Processional Super

STRING

      16′ Double Violin (Kimball, ext) --

      16′ Contra Viol (Haskell, ext. Ætheria)

81. 16′ Bourdon 73

82. 8′ Diapason 61

83. 8′ Violin 85

84. 8′ Violin Celeste 73

85. 8′ Cello 73

86. 8′ Cello Celeste 73

87. 8′ Flared Gamba 73

88. 8′ Flared Gamba Celeste 73

89. 8′ Gross Gamba 73

90. 8′ Gross Gamba Celeste 73

91. 8′ Cellos II (flat-front) 134

92. 8′ Salicional 73

93. 8′ Voix Celeste 73

94. 8′ Viole Ætheria 97

95. 8′ Viole Ætheria Celeste (TC) 61

96. 8′ Voix Celeste II (celeste TC) 110

97. 8′ Chimney Flute 73

98. 8′ Dulciana 73

99. 8′ Unda Maris (TC) 61

100. 8′ Quintadena 73

101. 8′ Quintadena Celeste (TC) 61

102. 8′ Flute Celeste II (celeste TC) 110

      4′ Violin Celeste II --

      4′ Violina Ætheria --

      4′ Voix Celeste II --

103. 4′ Triangle Flute 61

104. 2-2⁄3′ String Nazard 61

      2′ Violette

105. 1-3⁄5′ String Tierce (to c49) 49

106. 8′ Cornopean 61

107. 8′ French Horn 61

108. 8′ English Horn (free reed) 61

109. 8′ Oboe (labial) 61

110. 8′ Vox Humana (TC) 49

Tremolo

String Sub

String Super

String Unison Off

SOLO

111. 8′ Horn Diapason 73

112. 8′ Flauto Mirabilis 73

113. 8′ Saxophone (wood) 73

114. 8′ Viola 73

115. 8′ Viola Celeste 73

116. 8′ Dulcet II 146

117. 8′ Silver Flute 73

118. 4′ Concert Flute 61

119. 4′ Viole Celeste II 122

      4′ Silver Flute --

120. 8′ English Horn 73

121. 8′ Labial Clarinet 61

122. 8′ Orchestral Oboe 73

Tremolo

8′ Tuba Mirabilis Choir

8′ Tuba Major Processional

8′ Trompette Militaire Processional

Tremolo

Solo Sub

Solo Unison Off

Solo Super

Orchestral Harp

Harp

Orchestral Bells

East Chimes—West Chimes

ECHO

123. 8′ Echo Principal 61

124. 8′ Gamba 66

125. 8′ Dulcet Celeste II 146

126. 8′ Philomela 73

127. 8′ Fern Flute 73

128. 8′ Wood Celeste (TC) 49

129. 8′ Muted Viole 73

130. 8′ Muted Viole Celeste 73

131. 8′ Spitzflute Celeste II (celeste TC) 134

132. 8′ Double-Enclosed Aeoline 61

133. 4′ Fugara 61

134. 4′ Harmonic Flute 61

135. 2′ Piccolo 61

16′ Clarinet (Bassoon bass) 12

136. 8′ Clarinet (free-reed) 73

Tremolo

137. 16′ Bass Vox 73

138. 8′ Baritone Vox 73

139. 8′ Tenor Vox 73

140. 8′ Alto Vox 73

141. 8-4′ Soprano Vox I-II 112

142. 8′ Vox Humana (doubly-enclosed) 61

143. Aeolian Mixture IV–V 275

8 12 15 17 18

1 8 12 15 17 31

1 8 12 15 12

Vox Chorus Tremolo

PEDAL

      64′ Gravissima --

      32′ Open Wood (ext Major Bass) 12

      32′ Erzähler (ext Choir) 12

144. 16′ Open Wood 56

145. 16′ Major Bass (wood, Haskell bass) 44

146. 16′ Open Diapason (metal) 32

      16′ Double Violin String

      16′ Violone North Great

      16′ Contra Viol String

     16′ Erzähler Choir

      16′ Bourdon Swell

      16′ Echo Bourdon String

      16′ Lieblich Bourdon Processional

 .    16′ Gedecktpommer South Great

147. 16′ Quintadena (in Echo) 32

      8′ Open Wood --

148. 8′ Principal 44

      8′ Major Bass --

      8′ Violone North Great

      8′ Viol Ætheria String

      8′ Concert Flute Choir

      8′ Erzähler Choir

      8′ Gedeckt Swell

      8′ Still Gedeckt String

      8′ Lieblich Gedeckt Processional

      4′ Octave --

      4′ Concert Flute Choir

      4′ Erzähler Choir

      4′ Gedeckt Swell

      32′ Bombarde --

      32′ Waldhorn (TC) Swell

149. 16′ Bombarde 56

      16′ Posaune North Great

      16′ Willis Trombone South Great

      16′ Waldhorn Swell

      16′ Heckelphone Choir

      16′ Clarinet Echo

      8′ Bombarde --

      8′ Heckelphone Choir

      8′ English Horn Choir

      4′ Heckelphone Choir

      8′ Tuba Mirabilis Choir

      8′ Tuba Major Processional

      8′ Trompette Militaire Processional

COUPLERS

N. Great to Pedal

N. Great to Pedal 4

S. Great to Pedal

S. Great to Pedal 4

Swell to Pedal

Swell to Pedal 4

Choir to Pedal

Choir to Pedal 4

Solo to Pedal

Solo to Pedal 4

Swell to Great 16

Swell to Great

Swell to Great 4

Choir to Great 16

Choir to Great

Choir to Great 4

Solo to Great 16

Solo to Great

Solo to Great 4

Solo to Swell

Choir to Swell

Great to Solo

Swell to Solo

Swell to Choir 16

Swell to Choir

Swell to Choir 4

Solo to Choir 16

Solo to Choir

Solo to Choir 4

String on Great

Echo on Great

Antiph. on Great

Proc. on Great

String on Swell

Echo on Swell

Antiph. on Swell

Proc. on Swell

String on Choir

Echo on Choir

Antiph. on Choir

Proc. on Choir

String on Solo

Echo on Solo

Antiph. on Solo

Proc. on Solo

BALANCED PEDALS

I—II—III—IV—V/Crescendo

EXPRESSION THUMB SLIDES

Swell—Great—Choir

EXPRESSION MATRIX

Assigns any of the following onto any or all of the balanced pedals and thumb slides. When an enclosure or control is assigned to more than one pedal or slide, the pedal or slide open furthest takes precedent.

North Great

South Great

Swell

Choir

Solo

Echo (west end only)

Interior Echo (speaking into String enclosure)

String

Pedal

Antiphonal

Processional

Tremolo Speed

Tremolo Depth

All Swells

The Matrix has its own divisionals

Standard–1–2–3–4–5–6–7

COMBINATIONS

Generals 1–25 / 1–10 Thumb/Toe

Great 1–10 Thumb

Swell 1–10 Thumb

Choir 1–10 Thumb

Solo 1–8 Thumb

Pedal 1–10 Toe

Great to Pedal Thumb/Toe

Swell to Pedal Thumb/Toe

Choir to Pedal Thumb

Solo to Pedal Thumb

All Divisionals Next – All Generals Next

Next and Previous (multiple)

Library – Scope – Set – Cancel

Solid State Organ Systems Organist Palette

149 independent stops

185 ranks

11,964 pipes

Stephen Schnurr

Stephen Schnurr is editorial director and publisher of The Diapason, director of music for Saint Paul Catholic Church, Valparaiso, Indiana, and adjunct instructor in organ for Valparaiso University.

As one travels the John F. Kennedy Expressway on the north side of downtown Chicago, one can count the towers of five impressive church edifices that comprise the principal history of Chicago’s Polish Catholics. The heart of Chicago’s “Polonia,” the neighborhoods nearby, has been home to a large number of immigrants who came to the United States from Poland or are of Polish descent. In 1950, Chicago had the largest Polish population outside the city of Warsaw. Today, Polish is the third most frequently heard language in this city, behind English and Spanish.

This is a tale of a church founded for success with large numbers of faithful, only two generations later experiencing alarming decline. Scheduled to close, the parish managed to turn itself around and is now thriving once again, a jewel box of sacred art and architecture, a model of traditional liturgy, and a home for the performing arts, sacred and secular. While many churches have removed their organs or cannot afford to maintain them, here is a parish with no fewer than four pipe organs, all in regular use, for ritual or for concert, or both! Indeed, one could have an “organ crawl” at one address.

Saint John Cantius Catholic Church was founded in 1893 to relieve the overcrowded parish of Saint Stanislaus Kostka and other Polish parishes in this area of the city. Saint Stanislaus had become the largest parish in the world in 1892, and, thus, a division of the parish of 8,000 families had become necessary.  The mother parish was located approximately one mile away in its Patrick C. Keely-designed edifice constructed between 1877 and 1881 and housing Johnson & Son opus 553, a two-manual, thirty-three-rank organ.

The Reverend John Kasprzycki, C.R. (Congregation of the Resurrection), was appointed first pastor of Saint John Cantius, a congregation with an immediate roster of 2,000 families. In acquiring the present property on North Carpenter Street between West Fry and Chicago Avenues, some twenty residences were demolished for the new parish campus. The cornerstone of the church was laid by Archbishop Patrick A. Feehan on September 4, 1893. A crowd of an estimated 25,000 attended the event, with music provided by twenty-seven Polish singing societies. By November, the parish school was opened in the basement section of the building. The rectory, located at the corner of Carpenter and Fry, was blessed on December 20. The lower church was blessed by Feehan on Christmas Eve, and the first Mass was celebrated the following day, the traditional founding date of the parish. The upper church was completed and blessed by Archbishop Feehan on December 11, 1898. Construction cost was $130,000. The Romanesque edifice was designed by Adolphus Druiding. A German native then living in Chicago, Druiding designed Saint George and Saint Hedwig Catholic Churches in Chicago, as well. Seating 2,000 persons, Saint John Cantius Church measured 230 feet long, 107 feet wide.

Father Eugene Sedlaczek, C.R., was named second pastor of Saint John Cantius in 1899. Within two years, he oversaw the interior decoration of the church.

The Reverend Stanislaus Rogalski, C.R., was named fourth pastor in 1902. The following year, construction for the present school building commenced, completed in November. The school and the rectory were designed by Henry Schlacks of Chicago. A clock and bells were installed in the 130-foot tower and the church interior painted. Father John Kosinski, C.R., became fifth pastor in 1909. Under his leadership, magnificent stained-glass windows were installed in the church. The Reverend Stanislaus Siatka, C.R., became pastor in 1915. New concrete stairs of monumental proportions were created in front of the church, the basement was remodeled to become an auditorium, and a convent constructed. (At one point, the convent housed forty-seven School Sisters of Notre Dame.) By the parish silver jubilee on December 25, 1918, membership climbed to 23,000 persons, with 2,000 children enrolled in the school.

In the 1950s, numerous neighborhood homes were demolished to make way for what would become known as the Kennedy Expressway, a project that drastically changed the parish environs. Parish membership, which had been in decline, would drop even more drastically. The school closed in 1967. At one point, the parish itself was to be shuttered.

The decline of the parish was reversed in the late 1980s with the appointment of the Reverend C. Frank Phillips, C. R., as pastor, and the parish was soon vibrant and growing, with membership coming from great distances. The Canons Regular of Saint John Cantius, a religious community of men, was founded in the parish in 1998, and this organization now administers the parish. The church interior has been thoroughly restored and enhanced, complemented with countless religious artworks now on display throughout the entire parish campus.

The first organ of record in Saint John Cantius Church was A. B. Felgemaker & Son Opus 723, installed in the choir gallery (the upper of two balconies) in the rear of the nave in 1900.

1900 A. B. Felgemaker & Son Opus 723

GREAT (Manual I)

16′ Double Open Diapason 61 pipes (metal)

8′ Open Diapason (metal) 61 pipes

8′ Doppel Floete (wood) 61 pipes

8′ Viola da Gamba (metal) 61 pipes

8′ Dulciana (metal) 61 pipes

4′ Octave (metal) 61 pipes

4′ Flute d’Amour 61 pipes (wood & metal)

3′ Octave Quinte (metal) 61 pipes

2′ Super Octave (metal) 61 pipes

III Mixture (metal) 183 pipes

8′ Trumpet (metal) 61 pipes

SWELL (Manual II, enclosed)

16′ Bourdon 61 pipes (treble and bass, wood)

8′ Open Diapason 61 pipes (wood & metal)

8′ Stopped Diapason (wood) 61 pipes

8′ Salicional (metal) 61 pipes

8′ Aeolina (metal) 61 pipes

4′ Gemshorn (metal) 61 pipes

4′ Flute Harmonique 61 pipes (metal)

2′ Flageolet (metal) 61 pipes

III Dolce Cornet (metal) 183 pipes

8′ Oboe & Bassoon (metal) 61 pipes

PEDAL

16′ Double Open Diapason 30 pipes (wood)

16′ Bourdon (wood) 30 pipes

8′ Violoncello (metal) 30 pipes

8′ Floete (wood) 30 pipes

Couplers

Great to Pedal

Swell to Pedal

Swell to Great in Sub-Octave

Swell to Great

Swell to Great in Super Octave

Accessories

Forte Combination Great and Pedal Stops

Piano Combination Great and Pedal Stops

Forte Combination Swell and Pedal Stops

Piano Combination Swell and Pedal Stops

Tremolo

Great to Pedal Reversible

Balanced Swell Pedal

Balanced Crescendo Pedal

Bellows Signal

Wind Indicator

The January 1, 1919, issue of The Diapason noted that a W. W. Kimball Company organ was dedicated at Saint John Cantius in December of 1918. Further information on this instrument has not come to light, and it may not have been installed in the church. It is possible that it was placed in the lower church-auditorium or elsewhere.

In 1922, Geo. Kilgen & Son of Saint Louis, Missouri, installed a new three-manual organ in the upper balcony of the church, Opus 3118. In 1927, the builder added an Echo division, placed behind the main altar, as their Opus 3932.

1922/1927 Geo. Kilgen & Son Opus 3118/3932

GREAT (Manual II, enclosed?)

8′ First Open Diapason

8′ Second Open Diapason

8′ Gross Flute

8′ Doppel Flute

8′ Gamba

4′ Octave

4′ Harmonic Flute

2′ Octave

8′ Tuba

Great to Great 16

Great Unison Off

Great to Great 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

Echo to Great 8

SWELL (Manual III, enclosed)

16′ Lieblich Gedeckt

8′ Open Diapason

8′ Stopped Flute (ext 16′ Lieb Ged)

8′ Salicional

8′ Voix Celeste

8′ Muted Viole

4′ Violina

4′ Flute

16′ Fagotto

8′ Cornopean

8′ Fagotto (ext 16′ Fagotto)

8′ Vox Humana

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Swell 8

CHOIR (Manual I, enclosed)

16′ Quintadena

8′ Violin Diapason

8′ Melodia

8′ Quintadena (ext 16′ Quintadena)

8′ Dulciana

4′ Flute d’Amore

2′ Piccolo

8′ Clarinet

Tremolo

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Echo to Choir 8

ECHO (Manual IV, enclosed)

16′ Bourdon

8′ Open Diapason

8′ Bourdon (ext 16′ Bourdon)

8′ String

8′ Celeste (TC)

4′ Flute

2′ Zart Flute (ext 4′ Flute)

8′ Vox Humana

Tremolo

Chimes

PEDAL

32′ Resultant

16′ Open Diapason (wood)

16′ Open Diapason (metal)

16′ Bourdon

16′ Lieblich Gedeckt (Sw 16′ Lieb Ged)

8′ Gamba (Gt 8′ Gamba)

8′ Bass Flute (ext 16′ Bourdon)

8′ Dolce Flute (Sw 16′ Lieb Ged)

16′ Trombone

16′ Fagotto (Sw 16′ Fagotto)

8′ Fagotto (Sw 16′ Fagotto)

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Echo to Pedal 8

By the early 1990s, a one-manual, mechanical-action organ was relocated to the left balcony of the nave. The builder of this instrument was never ascertained, though interior evidence leads one to believe it was likely built around 1881 and perhaps in the New York City area. The organ has since been removed from the church and is now in storage at the retreat facility of the Canons Regular of Saint John Cantius in Lawton, Michigan. It has a 55-note compass (C–G, no high F#) and a Pedal compass of 27 notes (C–D).

MANUAL

8′ Principal

8′ Gamba

8′ Melodia

4′ Flute

2′ Open

PEDAL

16′ Subbass

Manual to Pedal Coupler

About 1996, the Kilgen organ in the rear gallery of the nave was rebuilt by Daniel Bogue and Associates of Downers Grove, Illinois, which closed in 1989. Some pipework was incorporated from an organ formerly in Alvernia High School of Chicago. This organ was removed in late 2011.

1996 Daniel Bogue and Associates organ

GREAT (Manual II, enclosed with Choir, south side)

8′ Principal

8′ Flute (stopped)

4′ Octave (5 basses in façade)

4′ Flute (harmonic from middle C)

2′ Principal (ext 4′ Octave)

IV Fourniture (1′)

8′ Trompette (harmonic from B3)

4′ Clarion (ext 8′ Trompette)

2 blank tabs

Great to Great 16

Great Unison Off

Great to Great 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

Echo to Great 8

SWELL (Manual III, enclosed, north side)

16′ Bourdon (wood)

8′ Principal

8′ Bourdon (ext 16′ Bourdon)

8′ Gamba

8′ Gamba Celeste (TC)

4′ Principal (ext 8′ Principal)

4′ Flute (open wood, harmonic from middle C)

2-2⁄3′ Nazard

2′ Principal

1-3⁄5′ Tierce

IV Plein Jeu

16′ Fagotto (1–12 half-length)

8′ Trumpet

8′ Fagotto (ext 16′ Fagotto)

4′ Clarion (ext 8′ Trumpet)

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Swell 8

CHOIR (Manual I, enclosed with Great, south side)

16′ Gemshorn (12 Quintaton basses)

8′ Violin Diapason

8′ Hohl Flute (wood, 12 stopped basses, remainder open)

8′ Gemshorn (ext 16′ Gemshorn)

8′ Gemshorn Celeste (TC)

4′ Principal (ext 8′ Violin Diapason)

4′ Gedeckt (wood)

2′ Flute (harmonic from tenor C)

1-1⁄3′ Larigot (ext 4′ Gedeckt)

III Cymbel

8′ Cromorne

Tremolo

1 blank tab

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Echo to Choir 8

ECHO (Enclosed, floating)

8′ Bourdon

8′ String

8′ Celeste (TC)

4′ Flute (ext 8′ Bourdon)

2′ Flute (ext 8′ Bourdon)

8′ Vox Humana

1 blank tablet

Tremolo

Chimes

PEDAL

32′ Resultant (fr 16′ Bourdon)

16′ Double Open Diapason (wood, north side)

16′ Contra Bass (E1–E4 in façade, south side)

16′ Bourdon (north side)

16′ Lieblich Gedeckt (Sw 16′ Bourdon)

8′ Octave (ext 16′ Contra Bass)

8′ Bass Flute (ext 16′ Bourdon)

8′ Gedeckt (Sw 16′ Bourdon)

4′ Choral Bass (ext 16′ Contra Bass)

4′ Flute (Sw 16′ Bourdon)

2′ Octavin (ext 16′ Contra Bass)

16′ Contra Trumpet (ext Great 8′ Trompette, full-length)

16′ Contra Fagotto (Sw 16′ Fagotto)

8′ Trumpet (Gt 8′ Trompette)

4′ Clarion (Gt 8′ Trompette)

Great to Pedal 8

Swell to Pedal 8

Choir to Pedal 8

Echo to Pedal 8

ECHO PEDAL (enclosed with Echo)

16′ Bourdon (ext Echo 8′ Bourdon)

8′ Bourdon (fr Echo 8′ Bourdon)

Accessories

10 General Pistons (thumb)

6 Great Pistons and Cancel (thumb)

6 Swell Pistons and Cancel (thumb)

6 Choir Pistons and Cancel (thumb)

6 Echo Pistons and Cancel (thumb)

6 Pedal Pistons and Cancel (thumb)

General Cancel (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Balanced Swell expression shoe

Balanced Great/Choir expression shoe

Balanced Crescendo shoe (with indicator light)

Combination Lock (key)

Sforzando Reversible (thumb and toe, with indicator light)

Wind Indicator

In 2005, Saint John Cantius Church commissioned one of the last organs built by Oberlinger Orgelbau of Windesheim, Germany. The one-manual, mechanical-action instrument resides on the main floor of the nave. Manual compass is 51 notes (C–D). A lever transposes the organ one half-step down (A=415 Hz). The instrument was blessed on May 14, 2005, by the Most Reverend Basil Meeking, Bishop Emeritus of Christchurch, New Zealand.

2005 Oberlinger organ

MANUAL

8′ Traversflöte (tenor B, wood)

8′ Copula (stopped wood)

4′ Gedackt (30 basses stopped wood, remainder open metal)

2′ Principalflöte (18 capped metal basses, remainder open metal)

1-1⁄3′ Quinte (24 capped metal basses, remainder open metal)

1–2f Cymbel (1⁄2′)

Accessory

H–C (transposer)

In August 2008, a two-manual, mechanical-action organ built in 1991 by Alfred Wild of Gottenhouse, France, was installed in the sanctuary of the church. It was on loan to the parish by a nearby resident who was a friend of Father Phillips. The stopknobs are unlabeled. Temperament is Kirnberger. Manual compass is 56 notes (C–G). In October 2015, the organ was moved to the lower balcony at the rear of the church, so that it could be used with the choir or instrumentalists when a small organ is desirable. In 2017 the instrument was returned to its owner.

1991 Alfred Wild organ

MANUAL I

8′ Gedackt (wood)

4′ Chimney Flute

2′ Principal

MANUAL II

8′ Gedackt (fr Manual I 8′ Gedackt)

8′ Regal

Couplers

Manual I to Pedal

Manual II to Pedal

Manual II to Manual I

The lower balcony at the rear of the nave housed an organ installed in January 2007. The instrument was built by Allyn Hoverland for his residence and sold to the church in December 2006. Wind pressure is 21⁄2 inches. The console is recycled from an M. P. Möller organ. The organ was blessed by Auxiliary Bishop Thomas J. Paprocki on Sunday, February 11, 2007. When the upper gallery organ was removed in preparation for the restored Casavant organ described below, this instrument was the primary organ in the church for several years. This instrument was sold to Saint Mary Catholic Church, Iron Mountain, Michigan, and moved there in late 2014 by
J. L. Weiler, Inc., of Chicago.

Specification of the Allyn Hoverland organ

MANUAL I

8′ Principal (B)

8′ Stopped Flute (A, 1–49; E, 50–61)

8′ Chimney Flute (A, 1–12; C, 13–61)

4′ Principal (B)

4′ Block Flute (A, 1–12; E, 13–61)

2-2⁄3′ Quinte (D)

2′ Block Flute (E)

III Mixture (D, F)

II Mixture (F)

MANUAL II

8′ Block Flute (A, 1–24; E, 25–61)

8′ Chimney Flute (A, 1–12; C, 13–61)

4′ Chimney Flute (C)

2′ Principal (B, 1–49; E, 50–61)

1-1⁄3′ Quinte (D)

PEDAL

16′ Bourdon (A, 1–24; C, 25–32)

10-2⁄3′ Quint Flute (A, 1–17; C, 18–32)

8′ Principal (B)

8′ Chimney Flute (A, 1–12; C, 13–32)

5-1⁄3′ Quinte (A, 1–5; C, 6–12; D, 13–32)

4′ Principal (B)

4′ Chimney Flute (C)

2-2⁄3′ Quinte (D)

2′ Block Flute (E)

Mixture III [sic] (F)

Accessories

10 General pistons (1–10, thumb; 1–5, toe)

5 Manual I pistons (thumb and toe)

5 Manual II pistons (thumb)

General Cancel (thumb)

Analysis

A=16′ Bourdon, c. 1890, builder unknown, 61 pipes

B=8′ Principal, 12 basses c. 1980 M. P. Möller, remainder 1978 Casavant, 73 pipes

C=4′ Chimney Flute, c. 1870, builder unknown, 61 pipes

D=2-2⁄3′ Quinte, builder unknown, 61 pipes

E=2′ Block Flute, 1978 Casavant, 61 pipes

F=II Mixture (1′), 1978 Casavant, 122 pipes

The lower auditorium of the church building houses a 1927 Wurlitzer organ that was installed by Century Pipe Organs of Minneapolis, Minnesota. The Wurlitzer was built for the Terrace Theatre of New York City and, in 1935, moved by the builder to the studios of radio station WOR of the Mutual Broadcasting System in New York City. At Saint John Cantius, the two-manual, seven-rank, electro-pneumatic-action organ (Style “E”) was placed in a special chamber built on the stage of the auditorium. Manual compass is 61 notes (C–C); Pedal compass (concave, radiating pedalboard) is 32 notes (C–G). The project was completed in 2013.

The console has stop-tongue control, with the following colors: reeds in red; strings in mottled yellow; flues in white; couplers in black. Originally, the Tibia, Vox Humana, and Trumpet ranks were in a separate expression box, though the entire organ is now in one enclosure. There are today still two expression shoes.

In 2015, J. L. Weiler, Inc., of Chicago carried out work on the console, improving its overall appearance, fine-tuning the key regulation and response, revising atypical nomenclature as it applies to console controls, and tidying the wiring in the console. The existing solid-state control system was upgraded to its latest version.

1927 Wurlitzer Opus 1818

Analysis

8′ Tibia Clausa 85 pipes

16′ Bourdon/Concert Flute 97 pipes

16′ Diaphone/Diaphonic Diapason 85 pipes

8′ Trumpet 61 pipes

8′ Violin 73 pipes

8′ Violin Celeste 73 pipes

8′ Vox Humana 61 pipes

ACCOMPANIMENT (Manual I)

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Violin (Violin and Celeste)

8′ Concert Flute

8′ Vox Humana

4′ Octave

4′ Piccolo (Tibia Clausa)

4′ Viol (Violin and Celeste)

4′ Flute

4′ Vox Humana

2-2⁄3′ Twelfth (Bourdon)

2′ Piccolo (Bourdon)

Accompaniment Octave

Chrysoglott (G1–G5)

Snare Drum (reiterates)

Tambourine (reiterates)

Castanets (reiterates)

Chinese Block

Tom Tom

Jazz Cymbal

Triangle

Sleigh Bells

Accompaniment Second Touch

8′ Trumpet

8′ Open Diapason

8′ Tibia Clausa

4′ Piccolo (Tibia)

Chrysoglott

Glockenspiel

Cathedral Chimes

Accomp Traps

SOLO (Manual II)

16′ Trumpet (TC)

16′ Diaphone

16′ Tibia Clausa (TC)

16′ Violone (TC, two ranks)

16′ Bourdon

16′ Vox Humana (TC)

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Violin (Violin and Celeste)

8′ Concert Flute

8′ Vox Humana

5-1⁄3′ Fifth (Tibia Clausa)

4′ Octave

4′ Piccolo (Tibia Clausa)

4′ Viol (Violin and Celeste)

4′ Flute

2-2⁄3′ Twelfth (Tibia Clausa)

2′ Piccolo (Tibia Clausa)

2′ Fifteenth (Violin)

2′ Piccolo (Bourdon)

1-3⁄5′ Tierce (Tibia Clausa)

1′ Fife (Bourdon)

Solo Sub Octave

Solo Octave

Xylophone (C2–C5)

Glockenspiel (G2–C5)

Chrysoglott (G1–G5)

Sleigh Bells (C2–C4, tuned, reiterates)

Chimes (G2–C4) 18 tubes

PEDAL

16′ Diaphone

16′ Bourdon

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Cello

8′ Flute

Accomp to Pedal

Bass Drum

Kettle Drum (reiterates)

Tap Cymbal

Crash Cymbal

Tremulants

Tibia Clausa Trem

Solo Tremulant

Main Tremulant

Vox Humana Trem

Accessories

5 Accompaniment pistons (thumb), usable as divisionals or generals

5 Solo pistons (thumb), usable as divisionals or generals

Celestes Off

Accomp Perc/Pedal

Bell (right Accompaniment keycheeck)

Balanced Main expression shoe

Balanced Solo expression shoe

Balanced Crescendo shoe

Range

Set

Unlabeled toe studs for effects: Bird, Auto Horn, Train Whistle, Horses Hooves, Fire Gong

The former convent, now known as the Canonry, has a chapel named for Saint Joseph housing a two-manual, three-rank, electro-pneumatic-action Casavant organ, built for the chapel of the Servantes de Jesus Marie, Rimouski, Québec, Canada. This instrument was installed at Saint John Cantius in Autumn 2010 by Jeff Weiler and Associates of Chicago. The console of the organ is located in a balcony, while the pipework is in a free-standing case on the floor. Manual compass is 61 notes (C–C); Pedal compass (concave, radiating pedalboard) is 32 notes (C–G). The entire organ is enclosed.

1957 Casavant Opus 2403

GRAND ORGUE (Manual I)

16′ Bourdon 85 pipes

8′ Principal (TC, 12 basses 61 pipes from 8′ Flute at 8′ and 4′ pitches)

8′ Bourdon (ext 16′ Bourdon)

8′ Dulciane (TC, 12 basses 73 pipes from 8′ Flute)

4′ Violina (ext 8′ Principal)

4′ Dulcet (ext 8′ Dulciane)

4′ Flute d’Amour (ext 16′ Bourdon)

2-2⁄3′ Nazard (ext 8′ Dulciane)

2′ Doublette (ext 8′ Dulciane)

Recit au Grand Orgue

RECIT (Manual II)

8′ Principal (G.O. 8′ Principal)

8′ Bourdon (G.O. 16′ Bourdon)

8′ Quintaton (synthetic, Flute at 8′, Dulciane at 2-2⁄3′)

8′ Dulciane (G.O. 8′ Dulciane)

4′ Violina (G.O. 8′ Principal)

4′ Flute (G.O. 16′ Bourdon)

4′ Dulcet (G.O. 8′ Dulciane)

8′ Hautbois (synthetic, Principal at 8′, Flute at 2-2⁄3′, 12 basses from Flute at 8′ and 4′)

Tremolo

PEDALE

16′ Bourdon (G.O. 16′ Bourdon)

8′ Bourdon (G.O. 16′ Bourdon)

4′ Principal (G.O. 8′ Principal)

4′ Flute (G.O. 16′ Bourdon)

4′ Dulcet (G.O. 8′ Dulciane)

Gr. Orgue a la Pedale

Recit a la Pedale

Accessories

3 Grand Orgue and Pedale pistons (thumb)

3 Recit pistons (thumb)

Balanced expression shoe

Balanced Crescendo shoe (with rotating indicator dial)

On Sunday, October 20, 2013, a historic pipe organ that has been part of Chicago’s history for more than three-quarters of a century was dedicated in its new home, Saint John Cantius Church. The afternoon and evening activities commenced with a blessing of the organ by His Eminence, the late Francis Cardinal George, OMI, Archbishop of Chicago, followed by a Pontifical Latin High Mass, celebrated by the Most Reverend Joseph N. Perry, Auxiliary Bishop of Chicago. Choral and organ works by Louis Vierne, Healey Willan, Charles-Marie Widor, and Marcel Dupré filled the nave with sound. An over-capacity crowd filled the church, including its side balconies, with additional faithful standing in the aisles. Following a dinner catered in the church’s lower level, the evening was capped with a dedicatory recital.

The event was the conclusion of a three-year restoration and relocation project for Casavant Frères opus 1130, built for Saint James Methodist Episcopal Church of the Kenwood neighborhood on the South Side of Chicago. Saint James, founded in 1896, was once attended by several of Chicago’s great commerce giants, including the Swift and Harris families of meatpacking and banking fame. In 1915, Gustavus F. Swift donated a four-manual Casavant organ built in the company’s South Haven, Michigan, plant. The Victorian Gothic church and its organ burned in 1924. The congregation commissioned Chicago’s Tallmadge & Watson to design an expansive new building, again in the Gothic style, completed in 1926. For this edifice, Tina Mae Haines, arguably Chicago’s finest female organist, lobbied the church’s leaders for a new, four-manual Casavant organ, despite pressure to purchase a Skinner organ, like many other wealthy churches. Miss Haines won her argument, and Opus 1130 was built to her specification, the funds again donated by the Swift family, $28,890. (M. P. Möller installed its Opus 4605, a two-manual, ten-rank organ costing $5,100 in the chapel.) The Casavant would be one of the South Side’s finest church and concert organs. Marcel Dupré gave a memorable program at Saint James in 1937 to a capacity crowd.

Sadly, Saint James United Methodist Church closed Sunday, December 26, 2010. The author was honored to be the last person to play the Casavant organ publicly in its original home, for an impromptu hymn festival at the conclusion of the church’s final service. Andrew Szymanski, a friend who had informed me of the church’s impending closure, joined church members as we all sang, concluding with “Abide with Me” and George Frederick Handel’s “Hallelujah Chorus.” It was the first time the organ had been used in many years. Several congregants present at Saint James’s closing were present for the rededication of their organ at Saint John Cantius.

That fateful phone call from my friend informing me the church was closing made the relocation of the organ possible. If not for that, the church would have silently ended its existence; instead, I was able to make phone calls that made the connections happen for the organ to be removed.

Then followed a restoration project for Opus 1130, carried out by J. L. Weiler, Inc., of Chicago, and the organ’s builder, Casavant, in Saint-Hyacinthe, Québec, Canada. The console of the organ is located in the lower west balcony, while the remainder of the main organ is in the upper west balcony with the Echo division in the north balcony (in a transept). Nearly ninety years after its initial installation, the organ began a new era of promise. It is fondly known as “Tina Mae.”

1926 Casavant FrПres, Limitée, Opus 1130

GREAT (Manual II, 4-inch wind pressure)

16′ Double Open (metal) 73 pipes

8′ I Open Diapason (metal) 73 pipes

8′ II Open Diapason (metal) 73 pipes

8′ Doppelflöte 73 pipes (wood and metal)

8′ Gemshorn (metal) 73 pipes

4′ Octave (metal) 73 pipes

4′ Harmonic Flute (metal) 73 pipes

Mixture IV (metal) 244 pipes

8′ Trumpet (metal) 73 pipes

Chimes (from Echo)

SWELL (Manual III, enclosed, 41Џ2-inch and 7-inch wind
pressures)

16′ Bourdon (wood) 73 pipes

8′ Open Diapason (metal)* 73 pipes

8′ Violin Diapason (metal) 73 pipes

8′ Stopped Diapason 73 pipes (wood and metal)

8′ Salicional (metal) 73 pipes

8′ Viola di Gamba (metal) 73 pipes

8′ Aeoline (metal) 73 pipes

8′ II Voix Celeste (metal) 134 pipes

4′ Violina (metal) 73 pipes

4′ Flauto Trav. 73 pipes (wood and metal)*

2′ Piccolo (metal) 61 pipes

Dolce Cornet III (metal) 183 pipes

16′ Double Trumpet (metal)* 73 pipes

8′ Cornopean (metal)* 73 pipes

8′ Oboe (metal) 73 pipes

8′ Vox Humana (metal) 73 pipes

4′ Clarion (metal)* 73 pipes

Tremulant

Chimes (from Echo)

* 7-inch wind pressure

CHOIR (Manual I, enclosed, 6-inch wind pressure)

16′ Gamba (metal) 73 pipes

8′ Open Diapason (metal) 73 pipes

8′ Concert Flute 73 pipes (wood and metal)

8′ Dulciana (metal) 73 pipes

8′ Unda Maris (metal) 73 pipes

4′ Flute d’Amour 73 pipes (wood and metal)

2-2⁄3′ Nazard (metal) 73 pipes

2′ Flageolet (metal) 61 pipes

8′ Clarinet (metal) 73 pipes

8′ Cor Anglais (metal) 73 pipes

Tremulant

Celesta 61 bars

Celesta Sub (from Celesta)

SOLO (Manual IV, enclosed, 12-inch wind pressure)

8′ Stentorphone (metal) 73 pipes

8′ Gross Flute 73 pipes (wood and metal)

8′ Viole d’Orchestre (metal) 73 pipes

8′ Viole Celeste (metal) 73 pipes

8′ Tuba (metal) 73 pipes

Tremulant

ECHO (Floating, enclosed, 3-1/2-inch wind pressure)

8′ Echo Diapason (metal) 73 pipes

8′ Cor de Nuit 73 pipes (wood and metal)

4′ Fern Flöte (metal) 73 pipes

8′ Musette (metal) 73 pipes

Tremulant

Chimes (from tenor G) 25 tubes

PEDAL

32′ Double Open 12 pipes (resultant, 16′ Open Diapason, with independent quints)

16′ Open Diapason (wood) 44 pipes

16′ Bourdon (wood) 44 pipes

16′ Contra Gamba (Ch 16′ Con Gamba)

16′ Lieblich Gedeckt (Sw 16′ Bourdon)

8′ Flute (ext 16′ Open Diapason)

8′ Stopped Flute (ext 16′ Bourdon)

8′ Cello (metal) 32 pipes

16′ Trombone (metal) 32 pipes

Chimes (from Echo)

Couplers

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Solo to Pedal 8

Solo to Pedal 4

Echo to Pedal 8

Great to Great 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

Solo to Great 16

Solo to Great 8

Solo to Great 4

Echo to Great 16

Echo to Great 8

Echo to Great 4

Echo On/Great Off

Choir to Choir 16

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 16

Solo to Choir 8

Solo to Choir 4

Swell to Swell 16

Swell to Swell 4

Solo to Swell 8

Solo to Solo 16

Solo to Solo 4

Great to Solo 8

Swell to Solo 8

Echo to Solo 16

Echo to Solo 8

Echo to Solo 4

Echo On/Solo Off

All Swells to Swell Pedal

Accessories

10 General pistons (thumb and toe, originally 5, toe)

5 Great pistons (thumb)

7 Swell pistons (thumb)

5 Choir pistons (thumb)

3 Solo pistons (thumb)

3 Echo pistons (thumb)

5 Pedal pistons (thumb)

Sequencer Up (4 thumb, 1 toe)/Down (1 thumb)

300 memory levels

Memory + Up/ - Down (thumb, under Manual IV)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (toe)

Choir to Pedal reversible (thumb)

Solo to Pedal reversible (thumb)

Echo to Pedal reversible (thumb)

Swell to Great reversible (thumb)

Choir to Great reversible (thumb)

Solo to Great reversible (thumb)

Swell to Choir reversible (thumb)

Manual 16′ On/Off (thumb, with indicator)

Manual 2′ On/Off (thumb, with indicator)

General Cancellor (thumb)

Combination Adjustor (thumb)

Balanced Swell Expression Shoe

Balanced Choir Expression Shoe

Balanced Solo and Echo Expression Shoe

Balanced Crescendo Shoe (with indicator dial)

Full Organ Reversible (toe, with indicator)

Generator Indicator

Wind Indicator

The Casavant organ can be heard on a compact disc recorded by Andrew Schaeffer, St. John Cantius Presents The Nutcracker, available from Amazon and other resources. The disc includes movements from Tchaikovsky’s The Nutcracker Suite, along with selections of music appropriate for Christmas. Also available is St. John Cantius Presents Jonathan Rudy: Epic Music for Organ, similarly available from Amazon and other resources.

This year, a 32′ Contra Trombone extension of twelve full-length pipes will be added to the Pedal 16′ Trombone. A 16′ Bourdon of thirty-two pipes will be added to the Echo division to function as a pedal stop. The Bourdon pipes come from the Casavant organ that was built for Saint Paul of the Cross Catholic Church in Park Ridge, Illinois. Casavant will build the new components, and J. L. Weiler, Inc., will install everything onsite. Work is expected to be completed by August.

§

Saint John Cantius Catholic Church is once again the spiritual home to many Catholic families, most of whom drive a considerable distance on the same expressway that enticed so many parishioners to leave the parish a generation ago. The regenerated parish’s investment in music is exemplary, with multiple choirs presenting an auspicious schedule of selections. A full calendar of concert performances provides quality music to the community. Concert and theater organ programs are frequently presented. With over a century of record, the parish is poised for many more years serving the spiritual and cultural needs of the Chicago metropolitan community.

Sources

Koenig, Rev. Msgr. Harry C., STD, ed. A History of the Parishes of the Archdiocese of Chicago, Chicago, Illinois, Archdiocese of Chicago, 1980, volume 1, pp. 487–491.

Lindberg, William Edward. The Pipe Organs of A. B. Felgemaker, Late Nineteenth Century American Organ Builder, dissertation, University of Pittsburgh, Pittsburgh, Pennsylvania, 1976, p. 262.

McNamara, Denis R. Heavenly City: The Architectural Tradition of Catholic Chicago, Chicago, Illinois, Liturgical Training Publications, 2005, pp. 50–52.

Saint John Cantius: 1893–1993, Chicago, Illinois, Saint John Cantius Catholic Church, 1993.

Schnurr, Stephen J., and Dennis E. Northway. Pipe Organs of Chicago, Oak Park, Illinois, Chauncey Park Press, 2005, volume 1, pp. 116–118.

For further information: cantius.org/sacredmusic