Cover Feature

Peragallo Pipe Organ Company, Patterson, New Jersey; Saint Malachy Catholic Church, Brownsburg, Indiana

From the builder

When you arrive at a church for the first look and are greeted by the entire staff, you are off to a good start! That was the case with Saint Malachy. Hector Salcedo, the music minister, was joined by the pastor, Father Sean Danda, and the associate pastor, Father Michael Clawson, the business manager, John Kiefer, and the facility manager, Doug Tapscott, and finally the technical wizard, Michael Jasiak, as we walked through the door. This collegial team listened as we discussed everything from acoustics, organ location and casework design, tonal specifications, funding the instrument, and of course—where the best Italian trattoria in the area would be found.

This parish is so welcoming, with a generous gathering space with warm greeters flanked by social areas before entering the nave. You can feel that this place is built and operates well beyond just “Sunday Mass” and provides its parishioners with a full offering of social gatherings. All throughout the installation we were surprised with community events the church would host such as the county fair and hog roast! Approaching the church from the corn fields, one is taken with the free-standing bell tower and the church leaping high into the sky.

This nave is grand, with a seating capacity of over 1,200 and a very unconventional 270-degree in-the-round floor plan. The challenge quickly became how to situate an organ that could cover the full breath of floor space. The acoustical environment was perfectly bright and semi-reverberant, with plenty of height and lots of hard surfaces.

The first order of business was the tonal design. The back and forth with Hector was great—with many late-night conversations. The resulting instrument grew to “cathedral” proportions with a French design controlled from our low-profile terraced four-manual console. The console is movable, as the parish concert series is most active. Within minutes of completion, before the tools were even packed, Hector combined forces with the Diocesan Cathedral Choir and director Andrew Motyka, and accompanied a performance of the Duruflé Requiem as part of a parish Mass.

Frank Peragallo and John Peragallo IV designed a stepped, angled casework to project the tone of the instrument around the church. This proved most effective, and the ceiling’s reflectiveness added to the success of the full tonal coverage. Finally, the addition of a Celestial division, positioned high in the center of the room, offers the organist another tool in accompanying congregational hymnody and moving the solo colors around the room.

The repurposed Reuter pipes were reworked and placed on a new chassis, with the only “new” rank of pipes being the Trompette en Chamade with flared resonator bells. Rather than it being a true commander, it tops the chorus nicely and can be pulled in smoothly for big endings. We left the “party horn” for the Celestial organ where the Walker digitally sampled Tuba Magna offers a powerful yet comfortable alternative to the pipe “chamade.”

The tonal specification provides complete divisions in typical French style. There are three expressive divisions to properly accompany choral singing. A variety of celestes, solo reeds, and percussion are available. The tonal finishing was performed by John Peragallo III with Anthony Peragallo, a fourth-generation organ builder; they were able to successfully blend the repurposed pipework into a true bouquet of sound.

The Solo division, which lives on the fourth clavier, allows the organist to access a variety of stops from various divisions—such as the Great Cornet décomposé, the Positif 8′ Cromorne, and 16′ Clarinette playing at 8′ pitch. The Trompette en Chamade is also available at 16′, 8′, and 4′ pitches non-coupling for easy access. Hector’s skills at improvisation are evident as he employs these stops without concern for the plenum of the other divisions. The Solo is also home to an additional principal chorus of large scale and fiery chorus reeds.

As mentioned, the heavenly Celestial division floats down from on high, offering a nice alternative with a full complement of flutes, strings, reeds, and an additional principal chorus and a tower carillon.

Considerable thought, design, and engineering was put into the planning of this beautiful instrument, so that three important functions of a church organ would be achieved: the leading of worship in song, satisfying the performance requirements of the major musical compositions written for “The King of Instruments,” and finally, enhancing the architectural magnificence of the building. We firmly believe these goals have been fulfilled with the new Peragallo organ at Saint Malachy Church. Since its installation the organ has supported an ambitious concert series and weekly liturgies, taking the music to a new level of inspirational praise.

Many thanks to all at Saint Malachy who assisted in this noble project including Reverend Sean Danda, pastor, Mr. Hector Salcedo, director of music, John Kiefer, business manager, Michael Jasiak, videographer, who documented the entire project; and finally, the talented staff of the Peragallo Organ Company.

—John Peragallo III

From the music director

Saint Malachy Catholic Church in Brownsburg, Indiana, has a history dating back more than 150 years. It was founded by natives of Ireland who immigrated to America in the late 1840s. In 2014 the parish relocated to a site outside town in the beautiful countryside. The parishioners insisted on building a bigger church, and after much effort, our current magnificent structure became a reality. Since the project’s inception, the possibility of having a pipe organ was considered.

In 2017 I was hired as music director of the parish, and I had the dream of fulfilling the task of seeing a pipe organ installed in our church. Of course, purchasing a pipe organ is not an easy task. I first subscribed to an email list to receive notifications of any second-hand pipe organs for sale.

In May 2019 I received an email announcing the sale, at an affordable price, of Reuter Opus 1368 (1962), three manuals, 33 ranks, at the Northminster Presbyterian Church, located in Indianapolis. What a great opportunity to be able to play the organ before buying it, and even better, to take my pastor to listen to it! He was so enthusiastic that after a month he signed the contract. Goulding & Wood removed the instrument, and we put the organ in storage until we were able to raise the necessary funds.

The organ was originally built in 1958 for the American Guild of Organists convention in Houston, Texas. It then had two manuals, 25 ranks. In 2006 Schantz built a new three-manual console; following that, Goulding & Wood added the 16′ Principal extension to the Pedal.

After making a short list of organbuilders, we interviewed three of them, and decided that Peragallo was the best option for us. Their unique approach as well as their quality workmanship were just what we were looking for. John Peragallo III is also an organist, so he knows what an organist needs. We had many conversations about the tonal palette and the best option to enlarge it. We wanted an organ to support the liturgy by accompanying the congregation, choir, and cantors, while also providing sufficient tonal resources for organ literature. We decided to expand the organ with more pipes and with digital stops from Walker Technical Company. There was no doubt that the French style would cover all our needs. We also needed a moveable console for the different activities we have in our parish, and thus decided to build a new console.

Frank Peragallo inspected the organ in storage and pointed out major defects and other concerns. After many conversations, we decided to build a completely new chassis, keeping only the pipes.

Our church has a semicircular shape where the sides open a little more at an angle. This meant that if we built an organ parallel to the wall, the sound would be projected in a direction other than the center of our church. We decided to angle the casework in such a way that near the chancel it would be narrower, and it would widen as you move away from it. Frank Peragallo created the design, and we loved it from the first sketch. He used visual elements from our own church to make the organ look like it had always been there. Even the music rack is reminiscent of the railing that surrounds the sanctuary.

This pipe organ was built in a short period of time thanks to our many generous donors and the incredible crew of the Peragallo Pipe Organ Company. It was amazing to see how many people were eager to have a pipe organ in our parish.

—Hector Salcedo

Hector Salcedo studied composition, organ, and improvisation at the Pontifical Institute of Sacred Music in Rome. He was an assistant organist in the Vatican and a member of the Cappella Giulia and the Choir of the Vicariato della Basilica di S. Pietro.

Photo credit: Michael Harker

 

Builder’s website: www.peragallo.com

Church’s website: stmalachy.org

GRAND ORGUE  (manual I)

16′ Violone 61 wps

8′ Montre I 61 wps

8′ Montre II 61 pipes

8′ Violoncelle 61 wps

8′ Flûte Harmonique* 49 pipes

8′ Bourdon 61 pipes

8′ Cor de Nuit (Récit)

8′ Cor de Chamois Celeste II (Positif)

4′ Prestant 61 pipes

4′ Flûte Fuseau 61 pipes

2-2⁄3′ Quinte 61 wps

2′ Doublette 61 pipes

2′ Flûte à Bec (ext) 12 pipes

1-3⁄5′ Tierce  61 wps

III Fourniture 183 pipes

IV Cymbale 244 wps

16′ Contre Trompette 61 wps

8′ Trompette 61 wps

4′ Clairon 61 wps

8′ Trompette en Chamade (Solo)

16′ G.O.

  G.O.Unison

  4′ G.O.

Chimes

G. O. Midi 1

  G. O. Midi 2

POSITIF (expressive, manual II)

16′ Quintaton 61 wps

8′ Montre 61 wps

8′ Flûte à Cheminée 61 pipes

8′ Viola Pomposa 61 wps

8′ Viola Celéste 61 wps

8′ Cor de Chamois 61 pipes

8′ Cor de Chamois Celéste (TC) 49 pipes

4′ Principal 61 pipes

4′ Flûte Traversière 61 pipes

4′ Unda Maris II (composite)

2′ Octavin 61 pipes

1-1⁄3′ Larigot 61 pipes

1′ Sifflet 61 pipes

III Fourniture 183 wps

III Scharf 183 pipes

16′ Clarinette 61 wps

8′ Trompette Doux 61 wps

8′ Cromorne 61 pipes

Tremulant

8′ Tuba Mirabilis (Celestial)

16′ Positif

Positif Unison

4′ Positif

Positif Midi 1

Positif Midi 2

RECIT (expressive, manual III)

16′ Bourdon Doux 61 wps

8′ Montre 61 pipes

8′ Flûte Bouchée 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Celéste (TC) 49 pipes

8′ Flauto Celeste II 122 wps

4′ Prestant 61 pipes

4′ Flûte Ouverte 61 pipes

2-2⁄3′ Nasard 61 pipes

2′ Doublette (ext) 12 pipes

2′ Flûte à Bec 61 pipes

1-3⁄5′ Tierce 61 pipes

III–IV Plein Jeu 244 wps

16′ Basson 61 pipes

8′ Trompette 61 pipes

8′ Hautbois  61 wps

8′ Voix Humaine 61 wps

4′ Clarion (ext) 12 pipes

Tremulant

8′ Trompette en Chamade (Solo)

16′ Récit

Récit Unison

4′ Récit

Récit Midi 1

Récit Midi 2

SOLO (manual IV)

16′ Montre (G.O.)

8′ Montre 61 wps

8′ Flûte Majeure 61 wps

8′ Bourdon (G.O.)

4′ Octav 61 wps

4′ Flûte Octaviante (G.O.)

2-2⁄3′ Quinte (G.O.)

2′ Octavin (G.O.)

1-3⁄5′ Tierce (G.O.)

V Fourniture Harmonique 305 wps

III Tierce Cymbale 183 wps

16′ Bombarde Harmonique 61 wps

8′ Trompette Harmonique 61 wps

4′ Clairon Harmonique 61 wps

8′ Cor Anglais 61 wps

8′ Cromorne (Positif)

8′ Clarinette (Positif)

16′ Trompette en Chamade (G.O.)

8′ Trompette en Chamade* 49 pipes

Tremulant

Solo Unison

Chimes

CELESITAL (floating)

8′ Principal 61 wps

8′ Flûte à Pavillon 61 wps

8′ Viole Sordone 61 wps

8′ Viole Celéste 61 wps

4′ Octav 61 wps

4′ Flûte Amabile 61 wps

2-2⁄3′ Nasat 61 wps

2′ Octavin 61 wps

1-3⁄5′ Tierce 61 wps

V Fourniture 305 wps

8′ Tuba Mirabilis 61 wps

8′ Corno di Bassetto 61 wps

Tremulant

16′ Celestial

Celestial Unison

4′ Celestial

PÉDALE

32′ Contre Basse 32 wps

32′ Contre Bourdon 32 wps

16′ Flûte Ouverte 32 wps

16′ Montre 32 pipes

16′ Violone (G.O.)

16′ Bourdon 32 wps

16′ Bourdon Doux (Récit)

8′ Octav Basse 32 pipes

8′ Bourdon (ext 16′) 12 wps

8′ Flûte Doux (Récit)

8′ Cor de Chamois (Positif)

4′ Doublette 32 pipes

4′ Flûte Ouverte (G.O.)

IV Fourniture 128 pipes

32′ Contre Bombarde 32 wps

16′ Bombarde 32 wps

16′ Contre Trompette (G.O.)

16′ Basson (Récit)

8′ Trompette (G.O.)

4′ Cromorne (Positif)

8′ Trompette en Chamade (Solo)

Tower Carillon

wps = Walker pipe sampled

* 1–12 wps

 

Couplers

Grand Orgue à Pédale 8, 4

Recit à Pédale 8, 4

Positif à Pédale 8, 4

Solo à Pédale 8, 4

Celestial à Pédale, 8

Récit à Grand Orgue 16, 8, 4

Positif à Grand Orgue 16, 8, 4

Solo à Grand Orgue 8

Celestial sur Grand Orgue 8

Récit à Positif 16, 8, 4

Solo à Positif 8

Celestial sur Positif 8

Grand Orgue à Positif 8

Celestial sur Récit 8

Solo à Récit 8

Celestial sur Solo 8

Manual Transfer G.O./Positif

 

Pedal Movements

Celestial / Solo

Positif

Récit

Crescendo

 

Combination System

General 1–12 thumb and toe

Récit 1–6 thumb

G.O. 1–6 thumb

Positif 1–6 thumb

Solo 1–6 thumb

Celestial 1–4 thumb

Pédale 1–5 toe

Cancel

Grand Orgue à Pédale thumb and toe

Récit à Pédale  thumb and toe

Positif à Pédale thumb and toe

Récit à Grand Orgue thumb

Positif à Grand Orgue thumb

Solo a Grand Orgue thumb

Recit a Positif

Etoile Sonore toe

Tûtti thumb and toe

Next and Previous thumb and toe

Contre Basse 32 toe

Contre Bourdon 32 toe

Contre Bombarde 32 toe

Ipad Page Back thumb and toe

Ipad Page Forward thumb and toe

All Récit à Récit thumb

Bass Coupler thumb

G.O. Melody Coupler thumb

 

40 ranks / 50 Walker pipe sampled

Fratelli Ruffatti, Padova, Italy; Notre Dame Seminary, New Orleans, Louisiana

Flexibility is the key

The new instrument for Notre Dame Seminary of New Orleans is a two-manual organ. In spite of its relatively moderate size, however, it is designed to be more flexible in its use than many of its three-manual counterparts. This is made possible primarily by the careful choice of stops and console controls by sacred music director Max Tenney in collaboration with the builder.

A notable and not-so-common feature is the division of the Grand-Orgue into two sections, unenclosed and enclosed. The first contains the principal chorus, based on a 16′ Principal, while the latter includes flutes, a Gemshorn with its Celeste, and a rather powerful reed. Versatility not only comes from graduating the volume of the enclosed stops, but goes well beyond. Let’s look at how this is accomplished.

Each section of the Grand-Orgue is equipped with its own set of sub and super couplers and a Unison Off. The unusual possibility of applying interdivisional couplers and Unison Off only to a few stops and of using them in conjunction with other non-coupled stops within the same manual offers new and exciting possibilities. As an example, the Great Trompette, which is only controlled by one stop knob at 8′ pitch, can be used at 16′, 8′, and 4′ (and under expression) with a non-coupled principal chorus.

The console controls include a Grand-Orgue Enclosed to Expressif Transfer, which can separate the two Grand-Orgue sections in a single motion, canceling the stops drawn on the first manual and transferring them to the second. The two Grand-Orgue sections, now located on separate keyboards, can be used in dialogue, one against the other. In addition, the transfer makes it possible to use the enclosed Grand-Orgue stops with the stops of the second manual, which are also under expression. Imagine the possibilities!

A further step toward the separation of the two Grand-Orgue sections is their separate set of couplers (at 8′ and 4′) to the Pedal. There are more controls to stimulate creativity, such as the Manual Melody coupler, the Grand-Orgue Trompette coupler, and the Pedal Divide.

The most important contribution to tonal flexibility, however, is the result of very careful choices of dimensions and manufacturing parameters of the pipes, which comes from decades of experience. Together with refined voicing techniques, a good blending of each stop in all traditional stop combinations is guaranteed. In addition, the performer can create registrations that are often considered unconventional but provide valid musical solutions to whatever challenges arise. With proper voicing and pipe dimensioning, a smaller instrument can display a tonal flexibility comparable to that of a much larger pipe organ.

Technically, the console has much to offer. In addition to quality tracker-touch keyboards (61 keys), a 32-note standard AGO pedalboard, and an ergonomic design, it is equipped with a very reliable and well-tested control panel, which is remarkable in many ways. It displays a user-friendly touchscreen—by a simple touch the organist can jump from one icon to the next to access different functions. The icons are many, but all are intuitive to put any organist at ease from the first experience.

The combination action, which includes both generals and divisionals, offers great flexibility. As is often the case with modern systems, organists can have their own dedicated “folders.” Password input is not needed to open them; a personalized magnetic “key” placed next to a sensor will allow access. The storing of combinations is made simple by giving them the name of the piece for which they were set (i.e., Widor Toccata). Further, a number of such pieces can be selected and grouped into concert folders, which can be given a name as well (i.e., Christmas Concert 2021).

—Francesco Ruffatti

Partner & Tonal Director

The organ case

Designing a new pipe organ is always an exciting process. Many things must be taken into account, both from the technical and the visual standpoints. Technically, it is always a challenge to make sure that every part is easily accessible, that every pipe is reachable for tuning, that the various divisions speak freely into the building, and that all technical elements fall into place properly. Visually, the design is the result of a combination of several aspects: the environment in which the organ is located, the client’s wishes, and the designer’s creativity.

The chapel at Notre Dame Seminary is not a large building, yet it is a place with high, vaulted ceilings and classical architectural design. The organ and the console find their place in the loft above the main door, where the choir will sing under the direction of music director and organist Max Tenney.

The casework was stipulated to be of classical design, with the largest pipes in the façade. Our approach to the design follows this criteria, but with a contemporary touch to it, in an effort to blend the classical style with features that belong to the 21st century. The case is divided into five bays, with the central bay capped by an arch, thus recalling the big central arch dividing the loft from the chapel. The side bays closest to the center have counter arches, which bring more emphasis to the central bay, while the bays to their sides are a natural conclusion to the organ case containing the smaller façade pipes.

The organ façade features a decorative element in front of the pipes, which enriches the design as a whole. This element develops from the top of the arched roofs next to the central bay and follows its curve, spanning through the three central bays. The decoration crosses in front of the central pipe and changes its curvature until it reaches the vertical columns, where it is replaced by gilded shadow gaps, and then continues on the low part of the side bays, matching the curvature of the pipe mouths of the outermost bays.

The case is finished with a white lacquer and is enriched by 24-carat gold leaf accents, to complement the interior scheme of the planned redecoration of the chapel, soon to be implemented.

—Michela Ruffatti

Architect & Design Director

The organ in liturgy

Rooted in the Documents of the Universal Church, the Teaching of the Supreme Pontiffs, the Directives of the Dicastery for Divine Worship and the Discipline of the Sacraments in the Vatican, as well as the United States Conference of Catholic Bishops’ Secretariat on Divine Worship, together with the Norms for Spiritual Formation provided in the most recent edition (2022) of the Program for Priestly Formation, the Office of Sacred Music at Notre Dame Seminary seeks to provide the men in priestly formation with both a solid and comprehensive analysis, as well as a practical and methodological understanding of Liturgical Music, its role in service to the Sacred Liturgy, and the means by which the clear and consistent teaching of the Church on the subject might best be implemented throughout the dioceses and parishes in which these future priests will find themselves in the service of God’s Holy People.

These words have guided the Sacred Music Program at Notre Dame Seminary in the New Orleans Archdiocese since my arrival nearly a decade ago. Almost immediately the then-rector, the Very Reverend James A. Wehner, S.T.D., had begun a conversation with me about the organ in the seminary’s Chapel of the Immaculate Conception of the Blessed Virgin Mary. The Möller organ had served admirably for nearly a century. It had even survived several attempts to alter its original tonal design, including the expansion of the instrument through the means of extensive unification, in addition to a revoicing. Also, during the decades following the Second Vatican Council, the instrument had been severely neglected, receiving almost no service in those years.

It was decided early on in those conversations that the organ needed to be replaced. The mandate was clear: to design an instrument worthy of Our Lady’s seminary, the largest theologiate in the American Church, that would competently and beautifully accompany the Church’s liturgies, including both the Holy Mass and the Divine Office. As the seminary grounds are located in the urban uptown neighborhood of the city of New Orleans, the chapel is in frequent demand by the archdiocese for various ceremonies, rites, and services that can be accommodated in the small nave seating only 175 persons. These realities guided my mind in planning a new instrument. Additionally, I wanted to provide an organ that would serve to inspire future priests not only in their daily prayer, but in the eventual reality that, God willing, they will one day serve as pastors in parishes across the Gulf south, and that they themselves might go on to commission similar instruments of such high quality for these parish communities in which they will serve.

The concept for the seminary organ—two manuals and pedal with two enclosed divisions and an unenclosed complete principal chorus—came about through the months and years of conversations with Francesco Ruffatti, tonal director of the firm. This idea would seem to deliver the most flexibility for our instrument. It was also through these discussions and because of my desire to honor the French patrimony of the city, archdiocese, and seminary, that our concept for a French-inspired instrument was developed. Francesco and Michela had previously spent much time surveying and studying several famous instruments by the builder Cavaillé-Coll in preparation for what has become one of the firm’s landmark organs—in Buckfast Abbey, Devon, U.K., which contains a French Gallery division. Our instrument here in New Orleans is largely influenced by that study.

As we have now completed the installation of the instrument and are in the process of voicing and tuning, we have begun using the instrument at liturgies. To say that the organ surpasses my every expectation would be a gross understatement: it literally sings in the room. It is possible to lead the entire seminary community with only the 8′ Montre. The rich harmonics seem to lift the voices high in the nave. The Gregorian chant Propers sung by the Seminary Schola Cantorum are beautifully accompanied by the Gemshorn. The sounds are truly gorgeous in every sense of the word.

This project would not have been possible without the incredible support of the Very Reverend Father James A. Wehner, S.T.D., Sixteenth Rector and Sixth President of Notre Dame Seminary. As well, profound thanks are due to the entire team at Fratelli Ruffatti, including Piero, Francesco, and Michela Ruffatti, Fabrizio Scolaro, Evgeny Arnautov, Nancy Daley, and Tim Newby.

—Max Tenney

Associate Professor, Organist and

Director of Sacred Music

Notre Dame Seminary

The Roman Catholic Archdiocese of New Orleans

Builder’s website: ruffatti.com

Seminary website: nds.edu

Cover photo by Steven Blackmon

Detail photos by Fratelli Ruffatti

 

GRAND-ORGUE Unenclosed Manual I

16′ Montre 61 pipes

8′ Montre 61 pipes

4′ Prestant 61 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Doublette 61 pipes

1-3⁄5′ Seventeenth 61 pipes

2′ Fourniture III–V 264 pipes

Zimbelstern 12 bells

Sub Octave

Unison Off

Super Octave

GRAND-ORGUE Enclosed

16′ Bourdon (prep)*

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

8′ Gemshorn 61 pipes

8′ Gemshorn Celeste (TC) 49 pipes

4′ Flûte Octaviante 61 pipes

Tremblant for enclosed stops

8′ Cor de Wehner (Trompette de Fête) 61 pipes

Chimes (prep)*

Sub Octave

Unison Off

Super Octave

EXPRESSIF (Enclosed), Manual II

16′ Bourdon Doux (prep)*

8′ Stopped Diapason 61 pipes

8′ Viole de Gambe 61 pipes

8′ Viole Celeste (TC) 49 pipes

4′ Prestant 61 pipes

4′ Flûte de la Vierge 61 pipes

2-2⁄3′ Nasard 61 pipes

2′ Octavin 61 pipes

1-3⁄5′ Tierce 61 pipes

2′ Plein Jeu IV 244 pipes

16′ Basson-Hautbois 61 pipes

8′ Trompette Harmonique 61 pipes

8′ Hautbois (ext 16′) 12 pipes

Tremblant

8′ Cor de Wehner (Grand-Orgue)

Chimes (prep)*

Sub Octave

Unison Off

Super Octave

PÉDALE (Unenclosed)

32′ Contre Basse (prep)*

32′ Contre Bourdon (prep)*

32′ Resultant (from Soubasse 16′)

32′ Harmonics V (from Montre 16′ and Subbass 16′)

16′ Montre (Grand-Orgue)

16′ Soubasse 32 pipes

16′ Bourdon (Grand-Orgue)

16′ Bourdon Doux (Expressif)

8′ Basse 32 pipes

8′ Bourdon (ext 16′ Soubasse) 12 pipes

8′ Stopped Diapason (Expressif)

4′ Flûte (ext 16′ Soubasse) 12 pipes

32′ Contre Bombarde (prep)*

32′ Contre Basson (prep)*

16′ Bombarde 32 pipes

16′ Basson (Expressif)

8′ Trompette (ext 16′ Bomb.) 12 pipes

4′ Hautbois (Expressif)

8′ Cor de Wehner (Grand-Orgue)

Chimes (Expressif)

* console preparation for digital stop

50 speaking stops (including preparations and wired stops)

34 pipe ranks

1,970 pipes and 12 real bells

INTERDIVISIONAL COUPLERS

Expressif to Grand-Orgue 16, 8, 4

Grand-Orgue Enclosed to Expressif Transfer

Grand-Orgue Unenclosed to Pédale 8, 4

Grand-Orgue Enclosed to Pédale 8, 4

Expressif to Pédale 8, 4

Manual Melody Coupler

Grand-Orgue Cor de Wehner Coupler

COMBINATION ACTION

Generals 1–10

Grand-Orgue 1–6, Cancel

Expressif 1–6, Cancel

Pédale 1–6, Cancel

Set

General Cancel

Next (+) (multiple locations)

Previous (–)

All Generals Become Next (piston)

Divisional Cancels on stop jambs for each division

MIDI

MIDI Grand-Orgue

MIDI Expressif

MIDI Pédale

Pedal Divide 1

Pedal Divide 2

(Pedal divide configurations and dividing point are programmable from the touchscreen)

CANCELS (not settable)

Reeds Off

Mixtures Off

 

Zimbelstern

Tutti (Full Organ)

Expression for Expressif

Expression for Grand-Orgue Enclosed

All Swells to Expressif

Crescendo

CONSOLE CONTROL SYSTEM

The control panel is a 5.7-inch-wide color touchscreen.

Functions and features:

• Screen settings, language selection, date and time display, thermometer display

• Metronome

• Transposer, by 12 semitones either way

• Crescendo and Expressions bargraphs

• Crescendo sequences: standard and settable

• Crescendo Off

• Diagnostics

• “Open” memory containing up to 9,999 memory levels for the General pistons

• Additional 100 personalized folders, each containing up to 9,999 memory levels for the General pistons

• Access to the folders by password or by personal proximity sensor

• Up to 5 “insert” combinations can be included or cancelled between each General piston to correct errors or omissions while setting combination sequences

• Renumbering function for modified piston sequences

• All system data can be saved on USB drive.

• Display for combination piston and level in use

• Combination action sequences can be stored with the name of the piece, and pieces can be collectively grouped and saved into labelled “Concert” folders.

RECORD AND PLAYBACK

Export/import recordings with USB drive.

Christ Cathedral, Garden Grove, California;

Fratelli Ruffatti, Padua, Italy

Frederick Swann

Frederick Swann was Director of Music and Organist of the Crystal Cathedral 1982–1998. Upon retirement he was designated Director of Music and Organist Emeritus, and the Aeolian Skinner organ he had been instrumental in securing for the Arboretum was named The Fred Swann Organ.

Resurgam

Few pipe organs in history have received as much attention as has the iconic Fratelli Ruffatti instrument dedicated in May 1982 in the Crystal Cathedral in Garden Grove, California. For many years it was seen and heard weekly by millions of people via television throughout the United States and in over 130 foreign countries on The Hour of Power with Dr. Robert Schuller. In addition to recordings, tens of thousands experienced it live for over three decades in religious services, solo recitals, and a variety of musical presentations.

It is generally known that the plan for this instrument was made by Virgil Fox, who died prior to the installation. The 1977 Ruffatti organ in the former worship space of the congregation was combined with the 1966 Aeolian-Skinner from Philharmonic Hall in New York. The Ruffatti firm added several new divisions, all controlled by what was, at the time, the largest drawknob console in the world—five manuals, 363 drawknobs, 68 coupler tablets, and a myriad of control assists. The organ was an instant success. Many carefully considered changes and additions were made in the early years. The stoplist accompanying this article is the final result. No changes were made during the present renovation.

Over the years the organ was used on a daily basis. It was beautifully maintained by curators John Wilson, Guy Henderson, and Brian Sawyers. Mr. Sawyers continued the work with various helpers for many years after the death of Mr. Wilson and the debilitating illness of Mr. Henderson. The lack of heating and air conditioning in the building resulted in many large windows being open for twenty-four hours most days throughout the year. The accumulated dirt from blowing winds and visits of birds and insects, plus drastic variations in temperature and humidity, took a heavy toll on the organ. Portions ultimately became unusable despite the dedicated efforts of the curators.

In October 2010 Crystal Cathedral Ministries filed for bankruptcy. In February 2012 the entire campus of architecturally stunning buildings—including the 78,000-square-foot Philip Johnson glass cathedral and the original church (now known as The Arboretum)—was purchased by the Roman Catholic Diocese of Orange, California.

You can perhaps imagine the joy felt when the diocese announced that the Hazel Wright Ruffatti in the Cathedral and the Fred Swann Aeolian-Skinner in the Arboretum would be retained, and the cathedral organ would undergo a thorough restoration. Thankfully, both Bishop Kevin Vann and Cathedral Rector Fr. Christopher Smith are organists and realized the significant part the organs could play in the planned dynamic music program of the cathedral. It was soon announced that this would be under the direction of Dr. John Romeri and organist David Ball. A truly significant music ministry has been established by these gentlemen and staff.

In 2012 a committee of diocesan organists and clergy was formed under the direction of Monsignor Art Holquin. After due investigation and consideration, the decision was made to entrust the renovation of the organ to Fratelli Ruffatti. I was asked to be advisor and consultant throughout the several-year project, and I have been honored to accept these duties.

All pipes were cleaned and repaired as necessary, and the chests restored. As mentioned, no changes were made in the specification.

The organ was removed from its chambers starting in December 2013. The work, supervised by Piero Ruffatti, was accomplished by six workers from the Ruffatti factory plus cathedral organ curators Brian Sawyers and Scott Clowes. The assistance of four riggers was required. The pipes were all carefully laid out rank by rank covering the empty floor of the cathedral—an impressive sight—before being carefully packed for shipping.

The console, chests, and most pipes were shipped by sea to the Ruffatti factory in Padua, Italy. The Ruffatti company subcontracted Brian Sawyers to work on some of their pipes plus most of the Aeolian-Skinner pipes and some chest actions in his shop not far from the church. Major cleaning and all necessary repairs were finished by all on schedule, but could not be returned to the cathedral due to unexpected major repairs needed on the 10,000-plus windows. Meanwhile it was decided to keep the five-manual gallery console (M. P. Möller, 1990), and it was sent to Italy where it received an amazing transformation by Ruffatti.

Consequently it was necessary for the entire organ to be placed in a climate-controlled warehouse in May 2016. The organ was finally taken to the cathedral, and re-installation began in January 2019. This was largely completed five months later. However, the enormous amount of wiring and careful detailing continued for months.

Although the entire organ remains in place as before, all visible woodwork portions have been painted a beautiful white color to blend with changes in the cathedral interior. Most exposed wooden pipes were also painted white.

When the organ was first tested we were all shocked. Due to the physical changes made in the cathedral interior, the organ sounded as if it had been designed for another building, which in reality it had been. The new acoustic was excellent, but the organ was much too bold a sound for the space. This necessitated the revoicing of almost every one of the more than 16,000 pipes. This enormous task was accomplished by Francesco Ruffatti and three assistants from the factory working two eleven-hour shifts each weekday for almost three months. The cathedral was closed to visitors except on weekends so that the work could be done in quiet. The flue revoicing was accomplished by the end of November 2019, and the reeds were started in December and continued in February 2020.

The Ruffattis have given unstintingly in every way to assure the success of the entire renovation project.

The remodeled Christ Cathedral was dedicated in mid-July 2019. A large Walker Technical Company digital organ has accompanied all Masses and programs and will be used until Easter 2020. The Walker voices that had been installed in the Ruffatti organ for bona fide reasons and used successfully for years are being replaced with the latest technology.

It is planned that the completed organ will be blessed before the end of Lent and used for the first time during Easter Masses.

A new book, Let everything that has breath praise the Lord—The story of the Hazel Wright Pipe Organ, by Dr. David Crean, will be available for purchase during the dedication weekend events, and may be ordered at a later date. It will consist of the history of other organs over the years in the buildings of the Crystal Cathedral congregation, with major and detailed emphasis on the Hazel Wright organ in the cathedral.

Finally, a bit about the most frequently asked question over the years. Many have wondered about the problems associated with the tuning of the organ. Keeping the organ sounding well was a challenge ever since the initial installation. The tuning was always done in evening hours. The tuning held well, but on warm mornings it was not possible to couple unenclosed and enclosed divisions. I always hoped for cloudy or overcast Sunday mornings, as coupling was then possible. By most afternoons, heat rendered the organ almost unusable. But, as soon as the sun went down the tuning quickly settled in perfectly.

This is why recitals were always played in the evening. When it was announced that all windows in the remodeled building would be sealed and air conditioning installed, we became very hopeful. But, since the organ is located at such a variety of heights and locations in the building, it has so far been impossible for the air conditioning to reach them all. Consequently, the same challenges still exist of having all divisions maintain the same pitch at all times. This will continue to be worked on; meanwhile, learned knowledge and experience will be helpful for the most effective use of the organ.

Since the publishing of this article, the schedule for dedication has been postponed. For up-to-date information: www.christcathedralmusic.org or www.hazelsback.org or call 714/620-7912.

CHANCEL (North) ORGAN includes:

Great, Swell, Choir, Positiv, Solo, Bombarde, Percussions (partial), Pedal

GALLERY (South) ORGAN includes:

Gallery Great, Celestial, String, Percussions (partial), Gallery Pedal

EAST ORGAN includes: Gospel

WEST ORGAN includes: Epistle

GREAT (Manual II, unenclosed)

16′ Montre

16′ Kontra Geigen

16′ Bourdon

8′ Diapason

8′ Principal Major

8′ Principal

8′ Flûte Harmonique (TC)

8′ Spitzflöte

8′ Spitz Celeste

8′ Holz Gedeckt

51⁄3′ Gross Quinte (TC)

4′ Oktav

4′ Octave

4′ Flûte Ouverte

4′ Flûte à cheminée

3-1⁄5′ Gross Tierce

2-2⁄3′ Quinte

2-2⁄3′ Sesquialtera II

2-2⁄3′ Jeu de Tierce II

2′ Fifteenth

2′ Super Octave

2′ Blockflöte

1-1⁄3′ Mixture IV–VI

1-1⁄3′ Ripieno IV

2⁄3′ Cimbalo IV

1⁄2′ Zimbel IV

16′ Contre Trompette

16′ Posaune (ext 8′ Trompete)

8′ Trompette

8′ Trompete

8′ Herald Trumpet (Bombarde)

4′ Clairon

Tremulant

Sub

Unison off

Super

GALLERY GREAT (Manual II, unenclosed)

8′ Grand Montre

8′ Principal

8′ Holzgedeckt

4′ Octave

4′ Koppelflöte

2′ Fifteenth

1-1⁄3′ Nineteenth

1′ Twenty-second

1-1⁄3′ Fourniture V

1⁄2′ Zimbel IV

16′ Sub Trumpet (ext 8′ Trumpet)

8′ Trumpet

8′ Millenial Trumpet

8′ Herald Trumpet (Bombarde)

4′ Clairon (ext 8′ Trumpet)

Gallery Great on Choir

Gallery Great on Swell

Gallery Great on Solo

Gallery Great on Celestial

Gallery Great off II

Tremulant

Sub

Unison off

Super

SWELL (Manual III, enclosed)

32′ Contre Gambe *

16′ Gambe *

16′ Flûte Courte

16′ Quintaton

8′ Montre

8′ Principal

8′ Bourdon

8′ Flûte Couverte

8′ Viole de Gambe

8′ Gambe Celeste

8′ Salicional

8′ Voix Celeste

8′ Erzähler

8′ Erzähler Celeste

4′ Prestant

4′ Octave

4′ Cor de Nuit

4′ Flûte à Pavillon

2-2⁄3′ Nazard

2′ Doublette

2′ Flûte à bec

1-3⁄5′ Tierce

1-1⁄3′ Larigot

1-1⁄7′ Septième **

1′ Piccolo

8⁄9′ Neuf

2′ Plein Jeu III

1-1⁄3′ Mixture V

2⁄3′ Cymbale III

8′ Cornet de Récit V (wired)

16′ Bombarde

16′ Contre Trompette (ext 2ème Tpt)

16′ Basson

8′ Première Trompette

8′ Deuxième Trompette

8′ Voix Humaine

8′ Hautbois

8′ Hautbois d’Orchestre

4′ Premier Clairon

4′ Deuxième Clairon

Tremulant

Sub

Unison off

Super

2 drawkobs prepared

CHOIR (Manual I, enclosed)

16′ Gemshorn

8′ Viola Pomposa

8′ Viola Celeste

8′ Flauto Dolce

8′ Flauto Celeste

8′ Cor de Nuit

4′ Prinzipal

4′ Koppelflöte

2-2⁄3′ Rohrnazat

2′ Prinzipal

2′ Zauberflöte

1-3⁄5′ Tierce

1-1⁄3′ Larigot

2⁄3′ Scharff IV

16′ Fagotto

8′ Petite Trompette

8′ Millenial Trumpet (Gallery)

8′ Clarinet

4′ Fagotto (ext 16′ Fagotto)

Tremulant

Sub

Unison off

Super

Great–Choir Transfer

POSITIV (Manual V, unenclosed)

16′ Bourdon (Great)

8′ Prinzipal

8′ Rohrflöte

4′ Prinzipal

4′ Spillflöte

2′ Oktav

1-1⁄3′ Larigot

1′ Sifflöte

1′ Scharff IV

1⁄4′ Terz Zimbel III

16′ Fagotto (Choir)

8′ Krummhorn

8′ Tuba Mirabilis (Bombarde)

4′ Rohrschalmei

Tremulant

Sub

Unison off

Super

SOLO (Manual IV, enclosed)

8′ Gambe

8′ Gambe Celeste

8′ Doppelflöte

8′ Major Flute (TC) (Gallery)

4′ Orchestral Flute

2-2⁄3′ Quintflöte (TC)

2′ Fife

8′ French Horn

8′ English Horn

8′ Corno di Bassetto

8′ Cor de Bassett (Gallery)

Tremulant

Gallery Flute Trem

Sub

Super

BORSTWERK

6 drawknobs prepared

BOMBARDE (Manual IV, unenclosed)

8′ Flûte d’Arvella (TC, Ped 4′ Spillflöte)

16′ Tuba Profunda (TC, 8′ T. Mirabilis)

8′ Tuba Mirabilis

8′ Herald Trumpet

8′ Millenial Trumpet (Gallery Great)

4′ Tuba Clairon (ext 8′ Tuba Mirabilis)

BOMBARDE (Manual IV, enclosed with Solo)

4′ Major Octave

1-1⁄3′ Harmonics VI

1-1⁄3′ Fourniture III

1⁄2′ Cymbel IV

16′ English Post Horn (ext 8′)

8′ English Post Horn

8′ Trompette Harmonique

4′ Clairon Harmonique

Unison off

CELESTIAL (Manual V, enclosed)

16′ Bourdon Doux (ext 8′ Fl à cheminée)

8′ Principal

8′ Flûte à cheminée

8′ Viola Pomposa

8′ Viola Celeste

8′ Flauto Dolce

8′ Dolce Celeste (TC)

4′ Principal

4′ Italian Principal

4′ Flûte Traversière

2-2⁄3′ Sesquialtera II (TC)

2′ Doublette

2′ Octavin

1-1⁄3′ Plein Jeu V

2⁄3′ Cymbale IV

4⁄5′ Jeu de Clochette II

16′ Contre Trompette (ext 8′ Trompette)

16′ Ranquette

8′ Trompette

8′ Cor Anglais

8′ Cromorne

4′ Clairon

4′ Chalumeau

Tremulant

8′ Harpe *

Sub

Unison off

Super

Positiv Off

1 drawknob prepared

STRING (Manual I, enclosed)

16′ Viola

16′ Viola Celeste

8′ Dulciana

8′ Unda Maris

8′ Salicional

8′ Voix Celeste

8′ Dulcet

8′ Dulcet Celeste

8′ Muted Viole I

8′ Muted Viole Celeste I

8′ Muted Viole II

8′ Muted Viole Celeste II

8′ Violoncello

8′ Cello Celeste

8′ Rohrpfeife

4′ Nachthorn

8′ Voix Humaine

Tremulant

Sub

Unison off

Super

String Off I

String on Great

String on Swell

String on Solo

String on Celestial

String Tutti

1 drawknob prepared

ECHO (floating, expressive)

8′ Violes Forte II *

8′ Fernflute *

8′ Vox Amorosa II *

4′ Divinare *

8′ Vox Seraphique II *

2-2⁄3′ Rohr Nazat *

8′ Anthropoglossa *

8′ Oboe d’Amore *

Tremulant

Sub

Super

Echo on V

Echo on IV

Echo off III

Echo on II

Echo on I

Echo to Pedal

EPISTLE (floating)

8′ Principal *

4′ Octave *

2′ Mixture IV–V *

8′ Mounted Cornet V

16′ Trompette en chamade

8′ Trompette en chamade

4′ Trompette en chamade

2′ Trompette en chamade

16′ Pedal Principal *

Sub

Epistle on Choir

Epistle on Great

Epistle on Swell

Epistle on Solo

Epistle on Celestial

GOSPEL (floating)

8′ Principal *

4′ Octave 4 *

2′ Super Octave *

1-1⁄3′ Mixture IV *

16′ Trompette en chamade

8′ Trompette en chamade

4′ Trompette en chamade

16′ Pedal Principal *

Sub

Gospel on Choir

Gospel on Great

Gospel on Swell

Gospel on Solo

Gospel on Celestial

PERCUSSIONS

Bells on IV *

Bells on Pedal *

Rossignol

Etoile de Grand matin

Glockenstern

Celestial Cloches

8′ Choir Harp *

4′ Choir Celesta *

Great Chimes *

Carillon on Pedal (bell tower)

Carillon I (bell tower)

Carillon IV (bell tower)

PEDAL

64′ La Force (resultant)

32′ Double Diapason

32′ Kontra Geigen (ext 16′ Geigen)

32′ Contre Gambe (Swell) *

32′ Contra Bourdon *

32′ Grand Cornet IV (wired)

21-1⁄3′ Diapente Grave (ext 16′ Geigen)

16′ Contre Basse

16′ Diapason (ext 32′ Double Diapason)

16′ Principal

16′ Montre (Great)

16′ Geigen (Great)

16′ Gambe (Swell) *

16′ Subbasso

16′ Bourdon

16′ Flûte Courte (Swell)

16′ Quintaton (Swell)

16′ Gemshorn (Choir)

10-2⁄3′ Quinte

8′ Principal

8′ Octave

8′ Principal (Positiv)

8′ Violone

8′ Geigen (Great)

8′ Bourdon (ext 16′ Bourdon)

8′ Bordone

8′ Spitzflöte

8′ Flûte Courte (Swell)

8′ Gemshorn (Choir)

5-1⁄3′ Octave quinte (ext 10-2⁄3′ Quint)

4′ Octave

4′ Choralbass

4′ Principal (Positiv)

4′ Spireflöte

4′ Spillflöte

2′ Octave

2′ Spindleflöte (ext 4′ Spillflöte)

5-1⁄3′ Fourniture IV

2-2⁄3′ Ripieno VI

1-1⁄3′ Acuta II

32′ Contre Bombarde *

32′ Kontra Posaune

32′ Contra Fagotto *

16′ Posaune (ext 32′ Kontra Posuane)

16′ English Post Horn (Bombarde)

16′ Contre Trompette (Great)

16′ Bombarde (Swell)

16′ Basson (Swell)

16′ Fagotto (Choir)

8′ Trompette

8′ Trompete

8′ Herald Trumpet (Bombarde)

8′ Fagotto (Choir)

8′ Krummhorn (Positiv)

4′ Trompette (ext 8′ Trompette)

4′ Klarine (ext 8′ Trompete)

4′ Krummhorn (Positiv)

4′ Rohrschalmei (Positiv)

Pedal FFF (tutti)

1 drawknob prepared

GALLERY PEDAL

32′ Untersatz *

32′ Contre Basse *

32′ Grand Harmoniques IV (wired)

16′ Open Wood

16′ Montre La Tour (ext Gallery Great Grand Montre)

16′ Bourdon

16′ Bourdon Doux (Celestial)

16′ Viola (String)

16′ Viola Celeste (String)

16′ Gemshorn *

8′ Viola (String)

8′ Viola Celeste (String)

8′ Prestant (Gallery Great)

8′ Bourdon (ext 16′ Bourdon)

4′ Basse de Chorale (Gallery Great)

2-2⁄3′ Mixture V (ext Gallery Gt Fourn V)

32′ Contre Bombarde *

16′ Bombarde

16′ Contre Trompette (Celestial)

16′ Sub Trumpet (Great)

16′ Ranquette (Celestial)

8′ Trompette (ext 16′ Bombarde)

8′ Millenial Trumpet (Gallery Great)

4′ Clairon (ext 16′ Bombarde)

COUPLERS

Great to Pedal 8 – 4

Swell to Pedal 8 – 4

Choir to Pedal 8 – 4

Solo to Pedal 8 – 4

Positiv to Pedal 8 – 4

Gallery Great to Pedal 8 – 4

Celestial to Pedal 8 – 4

String to Pedal 8 – 4

Epistle to Pedal 8

Gospel to Pedal 8

Swell to Great 16 – 8 – 4

Choir to Great 16 – 8 – 4

Solo to Great 16 – 8 – 4

Positiv to Great 8

Celestial to Great 16 – 8 – 4

Pedal to Great 8

Great to Choir 8

Swell to Choir 16 – 8 – 4

Solo to Choir 16 – 8 – 4

Positiv to Choir 8

Celestial to Choir 16 – 8 – 4

Choir to Swell 16 – 8 - 4

Solo to Swell 16 – 8 – 4

Positiv to Swell 8

Celestial to Swell 16 – 8 – 4

Positiv to Solo 8

Celestial to Solo 16 – 8 – 4

Great on Solo 8

Selected accessories

Pedal divide

Echo Expression to Solo

Full Organ

String Expression on Celestial

String Expression on Choir

String Expression on Swell

String Expression on Solo

All Swells to Swell

21 Generals, divisionals, reversibles, silencers, silencer cancel

Gallery in Control / Split / Chancel in Control

Tutti

Chancel Tutti

Digital stops marked with *

Stop preparations marked with **

*Digital stops were added over the years to help support congregational singing in the distant East and West galleries, and also to reinforce the Pedal due to the poor acoustics for bass frequencies. Those digital voices have now been replaced with the latest technology, under a separate contract not involving Fratelli Ruffatti.

263 pipe stops, 265 pipe ranks, 16,000 pipes

Builder’s website: www.ruffatti.com

Cathedral website: https://christcathedralcalifornia.org

Cathedral music website: http://christcathedralmusic.org

Cathedral organ website: http://hazelsback.org

Scott Smith Pipe Organs, Lansing, Michigan

Grace Lutheran Church, Auburn, Michigan

Auburn is a modest-sized city of just over 2,000 in the Great Lakes Bay Region of Michigan, nearly equidistant from Midland to the west, Bay City to the east, and slightly farther from Saginaw to the south. As a result, the churches in this region draw members from a rather diverse culture, comprising everything from chemical engineering to manufacturing to agriculture.

Around 1980, a local builder moved a small, two-manual Wicks organ into Grace Lutheran from a church in Maple Heights, Ohio, replacing an electronic substitute. In 1986, the church expanded in size, and the organ was moved to the rear of the sanctuary and enlarged to fifteen ranks.

The instrument came to us as a new service account a few years ago. Almost immediately, Nathan Beethe, the church’s music director, initiated what was to become an ongoing discussion about the condition of the organ, its built-in constraints, and some changes he would like to see. Chronic dead notes and ciphers were only the beginning. The organ’s overall character was harsh and loud, posing constant challenges in registration choices, particularly for offertories and choir accompaniment. Perhaps the most annoying issue for organists was the failing console and the limitations posed by its 56-note manual compass controlling 61-note chests.

Soon, the church underwent a facility-wide upgrade, and the organ became an integral part of that overall improvement. The first thing we asked the church to do was to beef up the back wall of the chamber, as the 16′ Subbass was sorely lacking in projected power into the sanctuary. Its bass sound waves were being transmitted through a single layer of gypsum board to the chapel behind. The vibration of the 16′ Subbass vigorously shook the chapel’s shared back wall on the other side of the studs. An additional layer of gypsum board had a dramatic effect of focusing the bass tones, and the Subbass could be heard and felt for the first time in the surprisingly good acoustic of the sanctuary.

Joe Granger of our team worked with Organ Supply Industries on the design of a new console, which offers two 61-note manuals and an exterior cabinet of red oak in a diagonal shiplap design that matches the cabinetry of the organ casework. The elegant new console features drawknobs instead of the tongue tabs on the old unit. Joe collaborated with Kantor Beethe to develop the new specification.

In our opinion, a fifteen-rank organ did not require three 2′ stops, so the Swell 2′ Principal was replaced by a 100-year-old Austin 4′ Harmonic Flute. Its positioning near the Swell opening helps to enhance the delicate spray of harmonics from this beautiful stop that sounds surprisingly at home in the instrument.

The Swell 16′ Trumpet was judged to be too harsh and too thin to adequately cap the rest of the organ in big ensembles and did not work well as a solo stop. Limited by space and therefore unable to install a larger-scaled reed, we handed the work of transforming the stop over to Oyster Pipeworks of Louisville, Ohio. They successfully merged portions of the existing rank with another to create one whose overall character now possesses tones that are darker, warmer, and more pleasing in both ensemble and solo work.

As it stood, we felt that the Great III Mixture (11⁄3′) spoke an octave too high. Through the magic of computer programming, the rank was repitched an octave lower, but still remains available at the original pitch for those occasions when the extra “spice” is desired without the aid of an octave coupler.

The Great 8′ Rohr Schalmei was of limited usage and was replaced with a vintage 8′ Clarinet, believed to have been made by Hook & Hastings. 

To make this modest-sized organ as versatile as possible, we made extensive use of the Swell 8′ Viole, which is now also available as a three-rank derived Swell III Mixture (2′, breaking), Swell 11⁄3′ Larigot, and Great Grave Mixture II (2′ and 22⁄3′, non-breaking). This medium-scale, rather generic string was nearly perfect as it stood to provide the basis for these faux stops, in addition to its normal duty as the Swell Viole.

In the 1986 expansion, the low twelve Pedal 16′ Subbass pipes were extended upward for the next twenty notes with chunky zinc/spotted metal pipes, which were never very effective, nor did they match well. These were replaced with wood pipes, merging two vintage Estey sets, and rescaled to match the Wicks Subbass. The end result now brings warmth and power to the entire compass of the organ’s bass. Combining these two nearly identical sets also allowed us to slow down the halving ratio in the treble portion of its compass.

Today, the instrument’s ensemble is warmer, darker and fuller than before, without sacrificing a great deal of its brilliance. The reworked swell mechanism now provides greater and more subtle dynamic control, and the revised stoplist offers a more diverse palette of options for the organist. A Peterson ICS-4000 organ control system was chosen for the relay and multi-level combination action.

We acknowledge Richard Swanson of R. T. Swanson, Inc., who initially consulted on and assisted with installation of the first two incarnations of this instrument, and freely shared his file and drawings with us.

—Joe Granger, Scott Smith; Scott Smith Pipe Organs, Lansing, Michigan

Photos by Joe Granger

GREAT (Manual I)

16′ Bourdon Doux (Sw 16′ Bourdon)

8′ Diapason 61 pipes

8′ Bourdon 73 pipes

8′ Viole (Sw 8′ Viole)

8′ Viole Celeste (TC) (Sw 8′ Viole Cel)

4′ Octave 61 pipes

4′ Flute (ext 8′ Bourdon)

2′ Principal Conique 61 pipes

III Mixture (22⁄3′) 183 pipes

III Cymbale (11⁄3′) (fr III Mixture)

II Grave Mixture (fr Sw 8′ Viole)

16′ Contre Trompette (Sw 16′ C Trom)

8′ Trompette (Sw 16′ Contre Tromp)

8′ Clarinet 61 pipes

Chimes 21 tubes

Great 16

Great Unison Off

Great 4

Zimbelstern

SWELL (Manual II, enclosed)

16′ Bourdon 97 pipes

8′ Bourdon (ext 16′ Bourdon)

8′ Flute Conique (1–12 fr 16′ Bour,, 13–61 fr 4′ Flute Conique)

8′ Viole 85 pipes

8′ Viole Celeste (TC) 49 pipes

4′ Flute Harmonique 61 pipes

4′ Flute Conique 61 pipes

4′ Viole (ext 8′ Viole)

2-2⁄3′ Nasard (ext 16′ Bourdon)

2′ Flute (ext 16′ Bourdon)

1-3⁄5′ Tierce (fr 16′ Bourdon)

1-1⁄3′ Larigot (fr 8′ Viole)

III Plein Jeu (2′)(fr 8′ Viole)

16′ Contre Trompette 85 pipes

8′ Trompette (ext 16′ Contre Tromp)

4′ Clarion (ext 16′ Contre Tromp)

Swell 16

Swell Unison Off

Swell 4

Tremolo

PEDAL

32′ Resultant (16′ Soubasse, 10-2⁄3′ Bdn)

16′ Soubasse 44 pipes

16′ Bourdon (Sw 16′ Bourdon)

8′ Flute (ext 16′ Soubasse)

8′ Bourdon (Sw 16′ Bourdon)

8′ Diapason (Gt 8′ Diapason)

4′ Flute (Sw 16′ Bourdon)

4′ Octave (Gt 4′ Octave)

16′ Contre Trompette (Sw 16′ C Trom)

8′ Trompette (Sw 16′ Contre Tromp)

COUPLERS

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

ACCESSORIES

10 General pistons (thumb and toe)

5 Great pistons (thumb)

5 Swell pistons (thumb)

3 Pedal pistons (toe)

General Cancel (thumb)

Setter (thumb) 

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Swell to Great reversible (thumb and toe)

Sforzando (thumb and toe)

Combination level, up or down (thumb)

Transposer (up/down, thumb)

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

Roger Banks,

Oklahoma City, Oklahoma

Reuter Organ Company,

Lawrence, Kansas

First Presbyterian Church,

Oklahoma City, Oklahoma

From Roger Banks

I first heard the M. P. Möller organ at First Presbyterian Church shortly after its installation in 1964. At that time, I was a senior at Oklahoma City University nearby. As one of the newest and largest organs in the Oklahoma City area, it should have been wonderful. After all, the specification indicated that it followed the latest trends in organbuilding and design at the time, yet I remember that, in that cavernous building, the result was much less
than satisfying.

In the intervening time between then and now, I have fully transitioned from the spare but well-intentioned organ sounds of the 1960s and 1970s, through the 1980s and 1990s, to arrive at my current tonal philosophy, which favors broader scales and divisions featuring rich fundamental tone. Thus I was delighted when John Edwards entrusted me with the care of the instrument at First Presbyterian.

The first project we undertook was to replace the failing Swell division expression pneumatics. That opened up the shade front to fully allow the sound to enter the chancel area rather than bounce off the ceiling. The improvement was immediate and quite noticeable. In 1994, the previous technician installed a new console. However, this large console appeared to have more prepared drawknobs than actual stops. I suggested that John Edwards consider not only completing the console preparations, but also replacing and/or rescaling most of the Great principal chorus as well as adding foundation stops to the other divisions. We decided to make it a two-year project to better utilize the available funding source.

It did not take long for us to realize that rescaling the existing Great 8′ Principal was hopeless. The lowest fourteen pipes were in the façade, scale 46, and nearly forced double length by the façade design. The 4′ Octave rescaled nicely, but the 2′ Weit Prinzipal as well as the IV- and III-rank mixtures were not be able to be reused. The new principal chorus that was added now has a substantial 8′ Principal and upper work to match. We also added a new Twelfth and Seventeenth to fill out the chorus. The existing Koppel Flöte was adequate, but the 8′ Nason Gedeckt and 8′ Quintadena were too similar, so I moved the Nason Gedeckt to the Quintadena chest and added a new, larger-scaled 8′ Bourdon. The 16′ Dulzian was moved to a new unit chest, and I added a new large-scale 8′ Flûte Harmonique. The Flûte Harmonique pipes were then voiced to be commanding as a solo stop in the treble, yet work well in the ensemble.

The Swell division only needed the addition of a new 8′ Diapason of adequate scale. Every other need in that division was addressed during the tonal finishing that was done later.

The Positiv division was next on the list. It was typical of the period, yet still an effective division. I moved the 8′ Geigen from the Choir to a new unit chest above the Great in order to provide some foundation at 8′ and 4′ pitches. As a result, we also discovered that it makes an impressive 16′ Double on the Great. The existing 11⁄3′ was of flute tone, so I replaced it with pipes from the old Great IV Mixture. The remaining issues again were done during the final tonal work.

The Choir division was an interesting challenge. It was originally designed as the enclosed division to partner with the Positiv. After the 1994 revision, the Choir was left on its own. It had the 8′ Geigen, a hybrid 4′ Gemshorn/Principal, a pair of Erzählers, a large 8′ Clarinet, and a 4′ Hautbois. It was not a lot to work with.

By the time we addressed the Choir, work on the other divisions had rapidly depleted funding for the project. Fortuitously, the church had several vintage ranks in storage from a donated Kimball, and I had several nice stops remaining from various earlier projects. For example, I had a lovely 8′ Reuter Spitz Principal that we installed on the now vacant 8′ Geigen chest. The church had a wonderful 8′ open wood Kimball Claribel Flute that was installed where the 8′ Krummhorn had been. I had a new chest built to hold a pretty 4′ Möller Flute d’Amour and III–IV Mixture, and Reuter built the bottom octave for the Hautbois to make it an 8′. We also added a lovely set of Kimball 8′ strings which reside in the enclosed Bombarde division that sits atop the choir. To increase versatility, there is now a knob that allows the Choir expression to operate the Bombarde expression when the strings are used on the Choir. Tonal finishing did wonders to tie together all the disparate pipework in the Choir. The division now has purpose and adds a great deal of color to the entire ensemble.

The Bombarde division also received a vintage 4′ Harmonic Flute. It adds color to the 8′ English Horn and sneaks in as a filler with the strings.

The Pedal division had the fewest needs, though we did add a larger scale 8′ Diapason to augment the existing 8′ Principal. This gave the Pedal a better 8′ line. The remaining work was done in the tonal finishing phase.

I cannot thank JR Neutel from Reuter enough for the marvelous job he did during the tonal finishing phase. I have worked with him on many instruments in the last twenty years. He has limitless energy coupled with complete mastery of dealing with pipework that appears to be hopeless. We spent over three weeks going through every pipe in the organ. The completed organ now has the weight to carry the length of the nave, but it is still nimble enough to play the lightest literature. I would also like the thank G. Mark Caldwell, Marty Larsen, Tom Birkett, and John Riester for their assistance in making the completed instrument possible.

—Roger Banks

Oklahoma City, Oklahoma

 

From Reuter Organ Company

This project is unique in that it was not conceived in the typical relationship that many equate with a “main-line builder” and the “sales representative.” In this case, Roger Banks called upon us to consult with him—a partnership of equals. Together we discussed numerous ideas of how to tonally enhance the organ, culminating with all of the specific details needed to complete this tonal enhancement, including final pipe scales and wind pressures to achieve the objective. Reuter was then given the opportunity to provide the new pipes and chests that Roger needed. Reuter has been fortunate to develop similar relationships with other affiliates over the past decade.

While Roger has had a fifty-plus year relationship with Reuter, he and I began working together on numerous installations, most notably back to 2001, when he first assisted me with the voicing of our flagship instrument at Saint John’s Cathedral in Albuquerque, New Mexico. I was honored when Roger asked me to take the lead on the revoicing of the organ at First Presbyterian Church. I also thank John Edwards for his confidence and support. With an instrument of this size the undertaking was daunting. Roger’s ability to “massage” new sounds out of old pipes as well as working with new pipes is second to none. With our combined abilities and weeks of on-site voicing time, the desired results were achieved.

This “new” organ at First Presbyterian, along with two other recently completed organ renovations in Oklahoma City (Christ the King Catholic Church and Oklahoma City University), and a soon to be completed project at Westminster Presbyterian Church, are the culmination of a rewarding partnership and friendship with Roger. We applaud Roger and his successful career as one of the central state’s leading organ specialists and extend our deep appreciation for his leadership on this project. The renewed organ stands as a landmark instrument in the area!

—JR Neutel

Reuter Organ Company

 

From John L. Edwards

Standing for over half a century on its northwest Oklahoma City site, the fourth house of worship of First Presbyterian Church is a grand Gothic structure of Tennessee limestone. In addition to its impressive stained glass windows, the building boasts four pipe organs: chapel (1956 Austin, two manuals, fifteen ranks); Watchorn Hall (1956 M. P. Möller, two manuals, four ranks); choir room (1965 Walcker, two manuals, eleven ranks); and sanctuary (1964 M. P. Möller, four manuals, seventy-one ranks; 2016 Banks-Reuter, four manuals, nintety-one ranks). The “4X4 Organ Concert” is unique and very popular to the Oklahoma City community, four organists playing four pipe organs moving from venue to venue.

From its 1889 beginnings, the church has regarded music as a primary form of worship and, to that end, has had many well-known church musicians leading that endeavor. John S. C. Kemp served as minister of music from 1949 to 1968 with encore service from 1983 to 1986. During these periods of service, his wife, Helen developed her expansive work with children as well as her soaring soprano voice. In their honor, the church now has a free concert series named for them. John Blackwell followed the Kemps’ first term of service. Organists have included Wilma Jensen and Samuel C. Hutchison. Several others served shorter terms or as music interns for a year of their undergraduate studies. Those include Elaine Warner Chard, Louise Bass, Dorothy Kosanke-Elder, Greg Funfgeld, Eric Howe, Mark Lawlor, and Glenn A. Miller, among others.

While meeting for Sunday worship in Watchorn Hall until completion of the sanctuary in 1964, an organ committee chaired by DeWitt B. Kirk and then-organist Gale Norman Enger chose the M. P. Möller Organ Co. of Hagerstown, Maryland, to build the new instrument for the 1,400-seat sanctuary. Completed in 1964, Opus 9862 had four manuals with seventy ranks in the chancel and one “En Chamade” rank at the rear of the church. Wilma Jensen oversaw
the installation.

In 1992 a decision was made to purchase a new console and solid-state operating system, with preparations for future additions. The console plus four ranks were added in 1994. Organ committee chair, Dargan Mayberry, organist John L. Edwards, and director of music Michael W. Yeager, along with consultants John Balka, Fred Haley, Jon Olin Roberts, Frederick Swann, and Laura van der Windt worked together with the McCrary Pipe Organ Service of Oklahoma City, Oklahoma, to complete this project.

By 2014 the pneumatics to the Swell expression shades had failed. It was decided to replace them with new electric motors for the operation that also allowed for expanded opening of the louvers. This improvement then led to the discussion of revoicing existing ranks and adding ranks of pipes to better facilitate the lack of fundamental tone experienced in the nave of the church. Roger A. Banks, current curator of the instruments at First Presbyterian Church, in conjunction with JR Neutel of the Reuter Organ Company, presented a plan for rescaling certain pipes, adding new pipework, and relocating several stops to alternate divisions. Additionally, some vintage pipework was available and incorporated into the instrument, notably from organs made by W. W. Kimball, Estey, M. P. Möller, Reuter, McManis, and even a Robert Morton Clarinet. The Hooded Tuba was sent to Reuter to be revoiced for a more commanding and appropriate Tuba quality. All in all, sixteen ranks were added in 2016, and the organ became an instrument of ninety-one ranks with 5,269 pipes. I was honored to present an inaugural recital on May 1, 2016, which also marked my twenty-fifth anniversary on staff at First Presbyterian Church.

Working closely with Roger Banks has been a highlight for me and for our church. He has become family to us. His knowledge and expertise are unsurpassed! Roger and JR Neutel, president of the Reuter Pipe Organ Company, went through every single pipe of the instrument, critically listening and voicing each to give the best and necessary response to the cavernous space of the sanctuary. The finished result is a warm and rich singing sound extending into the nave, especially noticed by stronger congregational singing.

­—John L. Edwards, organist

First Presbyterian Church

Photo credit: Kathy Rangel, except where noted

 

GREAT (Manual II)  

16′ Geigen (ext 8′, 1–12 electronic)

16′ Quintadena 73 pipes

16′ Claribel Flute (Ch)

8′ Principal 61 pipes

8′ Geigen  73 pipes

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

8′ Quintade (ext)

51⁄3′ Quint (TC, fr 22⁄3′)

4′ Octave 61 pipes

4′ Koppelflöte 61 pipes

31⁄5′ Grossterz (TC, fr 13⁄5′)

22⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

2′ Flageolet 61 pipes

13⁄5′ Seventeenth 61 pipes

IV Fourniture 11⁄3′ 244 pipes

III Scharf 1′ 183 pipes

16′ Dulzian 73 pipes

8′ Bombarde (Ped)

8′ Dulzian (ext)

Tremolo

Great to Great 16

Great Unison Off

Great to Great 4

Chimes (G2 – G4, volume 0–5)

Carillon

SWELL (Manual III, expressive)

16′ Rohrbass 73 pipes

8′ Diapason 73 pipes

8′ Viola Pomposa 61 pipes

8′ Viola Céleste 61 pipes

8′ Rohrflöte (ext)

8′ Flûte Céleste II 110 pipes

4′ Octave Diapason (ext)

4′ Praestant 61 pipes

4′ Flûte Harmonique 61 pipes

22⁄3′ Nazard 61 pipes

2′ Flachflöte 61 pipes

13⁄5′ Tierce 61 pipes

IV Plein Jeu 11⁄3′ 244 pipes

III Cymbal 1′ 183 pipes

32′ Contra Fagotto (TC, fr 16′)

16′ Fagotto 73 pipes

8′ Trompette 61 pipes

8′ Fagotto Oboe (ext)

8′ Vox Humana 61 pipes

4′ Clairon 61 pipes

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

CHOIR (Manual I, expressive)

16′ Erzähler 73 pipes

8′ Spitz Principal 61 pipes

8′ Salicional (Bomb)

8′ Voix Céleste (Bomb)

8′ Erzähler (ext)

8′ Erzähler Céleste (TC) 49 pipes

8′ Claribel Flute 85 pipes    

4′ Gemshorn Principal 61 pipes

4′ Flauto d’Amore 61 pipes

2′ Claribel Fife (ext)

III–IV Mixture 2′ 190 pipes

8′ Clarinet 61 pipes

8′ Cromorne (Pos)

8′ Hautbois 61 pipes

Tremolo

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

POSITIV (floating)

16′ Quintadena (Gt)

16′ Claribel Flute (Ch)

8′ Geigen (Gt)

8′ Holz Bordun 61 pipes

4′ Geigen (Gt)

4′ Rohrflöte 61 pipes

22⁄3′ Nazat 61 pipes

2′ Prinzipal 61 pipes

13⁄5′ Terz (GG) 54 pipes

11⁄3′ Quinte 61 pipes

1′ Sifflöte 61 pipes

III Zymbel 1⁄4′ 183 pipes

16′ Dulzian (Gt)

8′ Cromorne 61 pipes

4′ Rohr Schalmei 61 pipes

Tremolo

BOMBARDE (Manual IV, expressive)

8′ Salicional Céleste II 122 pipes

8′ Orchestral Flute (TC, fr 4′)

4′ Salicet Céleste II (ext)

4′ Orchestral Flute 61 pipes

4′ Claribel Flute (Ch)

IV Harmonics 13⁄5′ 244 pipes

16′ Bombarde (TC, fr 8′)

8′ Bombarde 61 pipes

8′ Clarinet (Ch)

8′ Dulzian (Gt)

8′ English Horn 61 pipes

4′ Clairon 61 pipes

Tremolo

8′ Hooded Tuba (unenclosed) 73 pipes

4′ Tuba Clarion (ext)

Bombarde to Bombarde 16

Bombarde Unison Off

Bombarde to Bombarde 4

Chimes

HÉROÏQUE (floating, en chamade)

16′ Trompette Héroïque (TC, fr 8′)

8′ Trompette Héroïque 61 pipes

4′ Trompette Héroïque (ext)

PEDAL

64′ Gravissima (Bourdon resultant)

32′ Violone (electronic)

32′ Contre Bourdon 44 pipes

16′ Principal 32 pipes

16′ Geigen (Gt)

16′ Subbass (ext)

16′ Quintadena (Gt)

16′ Rohrbass (Sw)

16′ Erzähler (Ch)

102⁄3′ Bourdon Sub Quint (ext)

8′ Diapason 32 pipes

8′ Octave 44 pipes

8′ Geigen (Gt)

8′ Flûte Harmonique (Gt)

8′ Rohr Pommer 32 pipes

8′ Quintade (Gt)

8′ Rohrflöte (Sw)

8′ Erzähler (Ch)

51⁄3′ Bourdon Quint (ext)

4′ Choralbass (ext)

4′ Geigen (Gt)

4′ Nachthorn 44 pipes

2′ Geigen (Gt)

2′ Nachthorn (ext)

III Cornet 51⁄3′ 96 pipes

IV Rauschbass 21⁄3′ 128 pipes

32′ Contre Bombarde 85 pipes

16′ Bombarde (ext)

16′ Fagotto (Sw)

16′ Dulzian (Gt)

8′ Hooded Tuba (Bomb)

8′ Bombarde (ext)

8′ Fagotto (Sw)

8′ Dulzian (Gt)

4′ Clairon (ext)

4′ Fagotto Oboe (Sw)

4′ Rohr Schalmei (Pos)

4′ Cromorne (Pos)

2′ Clairon Doublette (ext)

2′ Rohr Schalmei (Pos)

Chimes

Carillon

Pedal Unison Off

Pedal to Pedal 4

BELLS

Glockenstern = a) Handbells; b) India Bells (a, b, or a & b)

Zimbelstern = fast/slow

COUPLERS

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir to Pedal 8, 4

Bombarde to Pedal 8, 4

Positiv to Pedal 8, 4

Héroïque to Pedal (drawknob)

Pedal Continuo to Great 8

Swell to Great 16, 8, 4

Choir to Great 16, 8, 4

Bombarde to Great 16, 8, 4

Positiv to Great 16, 8, 4

Héroïque to Great (drawknob)

Swell to Choir 16, 8, 4

Bombarde to Choir 16, 8, 4

Positiv to Choir 16, 8, 4

Héroïque to Choir (drawknob)

Choir to Swell 16, 8, 4

Bombarde to Swell 16, 8, 4

Positiv to Swell 16, 8, 4

Héroïque to Swell (drawknob)

Great to Bombarde 16, 8, 4

Positiv to Bombarde 16, 8, 4

Héroïque to Bombarde (drawknob)

REVERSIBLES

Great to Pedal (thumb and toe)

Swell to Pedal (thumb and toe)

Choir to Pedal (thumb and toe)

Bombarde to Pedal (thumb)

Positiv to Pedal (toe)

Tutti (thumb and toe)

Glockenstern (toe)

Zimbelstern  (toe)

32′ Contre Bourdon (toe)

32′ Violone (toe)   

32′ Contre Bombarde (toe)

COMBINATIONS (99 memory levels)

Generals: 1–10 (thumb and toe)

Generals: 11–20 (toe)

Great: 1–8 (thumb)

Swell: 1–8 (thumb)

Choir: 1–8 (thumb)

Positiv: 1–3 (thumb)

Bombarde: 1–5 (thumb)

Pedal: 1–3 (toe); 4–8 (thumb)

Combination Setter Button (thumb)

General Cancel (thumb)

ACCESSORIES

Drawknob console (movable)   

Swell/Choir/Bombarde expression pedals

Crescendo pedal (four crescendo sequences)

Tutti (programmable)

All Swells to Swell

Bombarde to Choir Expression (drawknob)

Tuba Non-Coupling On/Off (drawknob)

Great/Choir Transfer

Peterson Operating System and Piston Sequencer

Next/Previous Pistons (thumb and toe)

Héroïque Power On/Off (toggle switch)

Adjustable Bench, in memory of Wanda L. Bass

4 manuals, 91 ranks

M. P. Möller Opus 9862, 1964, 4 manuals, 71 ranks; 1994, new console, 4 manuals, 75 ranks; 2016, tonal revisions/additions by Roger A. Banks and Reuter Organ Co. Tonal finishing by Roger A. Banks and JR Neutel, president, Reuter Organ Co.

Great 1,195 pipes

Swell 1,366 pipes

Choir 702 pipes

Positiv 725 pipes

Bombarde 683 pipes

Heroïque 61 pipes

Pedal 537 pipes

Total: 5,269 pipes

Church website: https://fpcokc.org.