Cover Feature: Kegg Pipe Organ Builders, Little Flower Church

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

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

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

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

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

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

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

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

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

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

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

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

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

Kegg Pipe Organ Builders

Charles Kegg, President and Artistic Director

Erika Barnes

Philip Brown

Michael Carden

Joyce Harper

Philip Laakso

Brian Mattias

Nick Myers

Bruce Schutrum

Christopher Soer

David St. John

Paul Watkins

 

Builder’s website: www.keggorgan.com

College website: www.christendom.edu/

 

GREAT (Manual II)

1. 16′ Violone 73 pipes

8′ Solo Diapason IV (from #2-5-33-34)

2. 8′ Principal 61 pipes

8′ Violone (from #1)

3. 8′ Rohrflute 73 pipes

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

5. 4′ Octave 61 pipes

4′ Flute (from #3)

6. 2-2⁄3′ Twelfth 61 pipes

7. 2′ Fifteenth 61 pipes 

8. 1-1⁄3′ Mixture IV 244 pipes

9. 16′ Tromba 73 pipes

8′ Tuba (from #29)

8′ Tromba (from #9)

36. 4′ Tromba Clarion 61 pipes

Tremulant

Great 16

Great Unison Off

Great 4

SWELL (Manual III – Enclosed)

10. 16′ Gedeckt 73 pipes

11. 8′ Diapason 61 pipes

8′ Gedeckt (from #10)

12. 8′ Salicional 73 pipes

13. 8′ Voix Celeste 61 pipes

14. 4′ Octave 61 pipes

4′ Salicet (from #12)

15. 4′ Spitzflute 73 pipes

16. 2-2⁄3′ Nazard 61 pipes

2′ Flute (from #15)

17. 1-3⁄5′ Tierce 61 pipes

18. 2′ Mixture IV 244 pipes

19. 16′ Bassoon 73 pipes

20. 8′ French Trumpet 73 pipes

8′ Oboe (from #19)

21. 8′ Vox Humana 61 pipes

4′ Clarion (from #20)

Tremulant

Swell 16

Swell Unison Off

Swell 4

CHOIR (Manual I – Enclosed)

22. 8′ Geigen Diapason 61 pipes

23. 8′ Voce Humana 61 pipes

24. 8′ Melodia 61 pipes

25. 8′ Flauto Dolce 61 pipes

26. 8′ Flute Celeste (TC) 49 pipes

27. 4′ Octave 73 pipes

28. 4′ Open Flute 61 pipes

2′ Fifteenth (from #27)

29. 8′ Tuba (high pressure) 61 pipes

30. 8′ Clarinet 61 pipes

Tremulant

Chimes

Choir 16

Choir Unison Off

Choir 4

SOLO (Manual IV – Enclosed)

8′ Solo Diapason IV (from #2-5-33-34)

8′ Flauto Dolce (from #25)

8′ Flute Celeste (from #26)

37. 8′ Doppelflute 61 pipes

41. 8′ English Horn 61 pipes

Tremulant

38. 8′ Tuba Magna 61 pipes

8′ Tuba (from #29)

39. 8′ French Horn 61 pipes

Solo 16

Solo Unison Off

Solo 4

PEDAL

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

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

16′ Subbass (from #31)

16′ Violone (from #1)

16′ Gedeckt (from #10)

33. 8′ Principal 32 pipes

8′ Subbass (from #31)

8′ Violone (from #1)

8′ Gedeckt (from #10)

34. 4′ Choral Bass 32 pipes 

2′ Cantus Flute (from #4)

35. 32′ Trombone 44 pipes

32′ Harmonics (derived)

16′ Trombone (from #35)

16′ Tromba (from #9)

16′ Bassoon (from #19)

40. 8′ Trumpet 44 pipes

4′ Clarion (from #40)

4′ Clarinet (from #30)

Pedal Divide 12/13

 

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

 

INTER-MANUAL COUPLERS

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Solo to Pedal 8

Solo to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Solo to Great 16

Solo to Great 8

Solo to Great 4

Pedal to Great 8

Solo to Swell 8

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 8

Pedal to Solo 8

Great / Choir Transfer

All Swells to Swell

 

ADJUSTABLE COMBINATIONS

40 memories per User

Unlimited Users

Great: 1 2 3 4 5 6 7 8 Thumb

Swell: 1 2 3 4 5 6 7 8 Thumb

Choir 1 2 3 4 5 6 7 8 Thumb

Solo 1 2 3 4 5 6 Thumb

Pedal 1 2 3 4 Toe

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

General 11 12 13 14 Thumb

General Cancel Thumb

Set Thumb

Next 4 Thumb, 1 Toe

Previous 4 Thumb

Clear Thumb

Undo Thumb

Range Thumb

Memory Up Thumb

Memory Down Thumb

Transposer Up Thumb

Transposer Down Thumb

Crescendo A B Thumb

All Divisionals become Next with indicator

Thumb

 

REVERSIBLES

Great to Pedal Thumb & Toe

Swell to Pedal Thumb & Toe

Choir to Pedal Thumb & Toe

32′ Trombone Thumb & Toe

32′ Bourdon Toe

Adjustable Full Organ Thumb & Toe

 

ACCESSORIES

Swell expression pedal

Choir expression pedal

Solo expression pedal

2-memory adjustable Crescendo pedal

Concave and radiating pedal clavier

Adjustable bench

Numeric Crescendo indicator

Full Organ indicator

Transposer ±5 semitones

Integral performance recording sequencer

Pencil drawer

Cup holder

Kegg Pipe Organ Builders, Hartville, Ohio; Main Street United Methodist Church, Abbeville, South Carolina

Charles Kegg

Working in the South has its advantages. The climate can be most pleasant, but the main attraction is its people. Southern hospitality is real, and the folks at Main Street United Methodist Church certainly showed this to us in great measure.

When we first visited we found a handsome 19th-century Felgemaker case with highly decorated pipes. Behind it was an ailing Möller instrument built during the soft zinc era. Pipes were of thin metal, and the zinc basses were sagging. While we are always happy to retain worthy pipes and chests from existing instruments, the only parts of the previous organ we thought worthy were the chime tubes and the fine Felgemaker case. This case has speaking pipes, but sadly, all had been mute for decades.

The new instrument we have built consists of ten ranks of pipes, shared over two manuals and pedal. The stoplist is similar to others we have built of this size, with some special considerations. The 300-seat worship space of Main Street United Methodist Church would be familiar to many. It is a handsome room with vaulted plaster ceilings held up by ornate wood trusses. It is almost square with a raked floor and no balcony. Fully carpeted, it is an intimate room requiring a warm, rich, and powerful organ sound with a wide dynamic range. Such a space requires special voicing attention since any imperfections will be obvious. The Kegg company was chosen after a visit to Winnsboro, South Carolina, where the organs of Sion Presbyterian Church and First United Methodist Church were heard.

This instrument is a unit organ with careful attention to design and execution for which we have become known. In order to be successful, such organs must have special pipe scaling along with the dynamic balance of each rank of pipes that is different from such stops when in a straight design. Another key to successful unit design is restraint. One must resist the urge to violate this rule. Stops are designed with borrows for variety, but with discipline and a solid chorus in mind. The most important rule is an 8′ Principal with a 4′ Octave as two proper and independent stops. Couplers are provided with care and purpose. This is to help avoid double coupling of unit stops, which could destroy the thoughtful design. Unison couplers are not a concern, but octave couplers must have a specific use and not be able to do harm. For example, octave couplers are provided on the Swell to provide special effects such as massed strings, but there are no octave couplers to the Great.

The organ contains one stop that we have never before included on an instrument of this size, which is the Flute Celeste to join the Spitzflute. A Flute Celeste should be mysterious in the E. M. Skinner tradition, providing a soft blanket of sound. Our Spitzflutes as built in this style of instrument have a milky sound in the lower and mid ranges that appear to be quiet, especially with the shades closed. Here the Flute Celeste works beautifully. Because the Spitzflute ascends in volume to make a successful 2′, the upper range becomes louder. The Celeste is kept at the softer volume. Since the treble of the Spitzflute is louder, we purposely provide no way to couple the Flute Celeste at 4′ pitch, which would ruin the heavenly effect.

Because the Flute Celeste provides a lovely soft sound, the Viola and Celeste could be made somewhat more aggressive than they might have otherwise been. On the keen side, these provide another dynamic level as well as a character stop that blends well and adds texture to other stops.

The Mixture on this organ is derived from the Octave and the Quinte. Rooms such as this really require only a suggestion of a Mixture to make a pleasant chorus sound, and our “pretend” Mixture does this well. Larger rooms might require a genuine Mixture, but given the space limitations, we think the extra color of the second reed and second celeste is more useful for this client.

The reeds are what you might expect from a Kegg organ. The Trumpet is dark and commanding in the bass, which provides a solid footing. The stop morphs into a bright sound in the treble, making the unit Clarion successful for added fire. The capped Oboe is patterned after a Skinner Flügelhorn, making a fine solo stop or minor chorus reed.

The only unenclosed stop in the organ is the 8′ Principal on the Great. This stop also plays in the Pedal at 8′ and 4′. For its bass, we restored the fine Felgemaker façade, using the center 17 pipes. These pipes were cleaned and restored with advice from historian Marylou Davis. The scroll tuners were in poor shape and were replaced with inside slide tuners. Inside slide tuners are easy to tune and cause no wear on the pipe. I have had experience with pipes like these and knew they would work well with our voicing style. They required very little voicing to blend seamlessly with our new work and have a remarkably contemporary sound. The other case pipes include wood pipes, also with painted decorations.

The overall effect of this instrument is one that belies its size. It seems larger than it is. The derived Mixture is compelling, and the tutti satisfying. With the unusual dynamic range and the amount of color and variety available, one might think this organ is perhaps twice its rank count.

We would like to thank organist Dennis Kollmann, Pastor Brian Arant, and the congregation of Main Street United Methodist Church for their enthusiastic support throughout this project. We look forward to many years of continued friendship.

Kegg Pipe Organ Builders: Philip Brown, Mike Carden, Cameron Couch, Joyce Harper, Philip Laakso, Bruce Schutrum

GREAT

8′ Diapason (17 existing pipes, 44 new pipes)* 1

8′ Viola (from #5)

8′ Spitzflute (from #4 & #7)

8′ Flute Celeste (TC, 49 pipes) 2

4′ Octave (73 pipes) 3

4′ Rohrflute (from #4)

2′ Piccolo (from #7)

III Mixture (from #3 & #8)

8′ Trumpet (from #9)

8′ Oboe (from #10)

Chimes (existing bells, new action)

Swell to Great 8

* Unenclosed

SWELL

8′ Rohrflute (73 pipes) 4

8′ Viola (61 pipes) 5

8′ Viola Celeste (TC, 49 pipes) 6

4′ Principal 4’ (from #3)

4′ Spitzflute (73 pipes) 7

2-2⁄3′ Nazard (TC, from #8)

2′ Octave (from #3)

1-1⁄3′ Quinte (49 pipes) 8

16′ Bassoon (TC, from #10)

8′ Trumpet (73 pipes) 9

8′ Oboe (61 pipes) 10

4′ Clarion (from #9)

Tremulant

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

PEDAL

16′ Bourdon (12 pipes & from #4)

8′ Diapason (from #1)

8′ Flute (from #4)

8′ Viola (from #5)

4′ Octave (from #1)

16′ Trumpet (12 pipes & from #9)

8′ Trumpet (from #9)

4′ Oboe (from #10)

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

ADJUSTABLE COMBINATIONS

150 memories

Great 1 2 3 4 5 Thumb

Swell 1 2 3 4 5 Thumb

Pedal 1 2 3 Toe

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

General Cancel Thumb

Set Thumb

Undo Thumb

Clear Thumb

Range Thumb

Next Thumb and Toe

REVERSIBLES

Great to Pedal Thumb & Toe

Full Organ Thumb & Toe

ACCESSORIES

Expression Pedal

Concave and radiating pedal clavier

Adjustable bench

Full Organ indicator light

Crescendo Pedal with numeric indicator

Transposer

Integral performance record/playback

Pencil drawer

Cup holder

TONAL RESOURCES

10 ranks

646 pipes

Builder’s website: www.keggorgan.com.

Church website: www.mainstreetumcabbeville.org

Kegg Pipe Organ Builders, Hartville,

Ohio, 30th anniversary

Kegg Pipe Organ Builders began building new pipe organs in 1990, and 2020 marks thirty years with project opera 64, 65, and 66 presently under construction. Opus 64 is a new 47-rank four-manual instrument for Christ the King Chapel at Christendom College in Front Royal, Virginia. Opus 65 is a new console and restoration of the California Organ Company/Reuter organ in the St. Francis Auditorium at the Museum of New Mexico in Santa Fe. Opus 66 is a new organ for Little Flower Church in St. Louis, Missouri. 

I discovered the pipe organ at age eleven and by age thirteen, I had a playing pipe organ of nine ranks in my basement. I had very tolerant parents. After graduating high school, I began working at the Schantz Organ Company in the console department. After a year there, I went back to school to study architecture and mechanical engineering, after which I returned to the Schantz company to train as a reed voicer. I spent five years with Schantz as a production reed voicer and tonal finisher. I then joined Casavant Frères, Limitée where I was a sales representative. I also installed and voiced a number of Casavant organs during my five years with them. I then went to A. R. Schopp’s Sons, a fourth-generation pipe making company and a leader in the United States pipe organ supply industry, where I was general manager. After an enjoyable time there and with three different churches asking me to do work for them, which I took as a sign, I left my friends at Schopp to found Kegg Pipe Organ Builders. 

Wanting to start small and build the business carefully, I began in a 1,500-square-foot shop and built my first three instruments by myself, gradually adding employees as business demand grew. In 1994, the company moved into a 5,000-square-foot building with three employees where we built many instruments including the landmark 78-rank instrument for the Basilica of St. John the Baptist in Canton, Ohio. After ten years in that location, the company with five employees received a commission to build another landmark 70-rank instrument for the new concert hall at Texas A&M International University in Laredo, Texas. This instrument demanded a larger space, and in 2004 the company moved into its present shop enjoying 16,000 square feet of space. The company employs eight at this writing, three of whom are under the age of 35.

Early on in my career, I felt that instruments designed and built in a more Romantic style than was popular in the 1970s and ’80s would better suit traditional American church music. It also appealed to me more with my interest in warmer sounds. This was first demonstrated in my third organ built for the First Baptist Church in Canton, Ohio, which was the Kegg family church. This organ, completed in 1990, comprises two manuals and 25 ranks, with the Great under expression, save for the 8′ Principal. In 1990, an enclosed Great was most unusual and considered heretical by many. The organ caused quite a stir in 1990 with its large scales, warm sound, and Swell Vox Humana. A new Vox Humana was, again, highly unusual at that time. 

Another point of departure for me was my interest in all-electric chest action. This style of action had long been vilified due to its usual poor construction. All-electric action offers many advantages including ultra simplicity, ease of repair from water damage, and the ability to offer judicious borrowing of stops at different pitches and/or manuals. Its primary disadvantage is the poor pipe speech that is associated with it. I worked at developing chest construction with the goal of making this action indistinguishable from a pneumatic pouch windchest. My successful result has met that goal. While not inexpensive to build, it is reasonable at scale and offers our clients all the advantages with none of the disadvantages. Our instruments only employ pneumatic chests for large basses and high-pressure stops. This reduces or eliminates the leather wear found in pneumatic instruments. 

We employ schwimmer air regulator control. These air regulators that are built into the chests regulate pressure more efficiently than standard reservoirs and are easier and less expensive to maintain. While you will find standard reservoirs in our instruments for large pipes and occasional other use, you will find very few in our instruments compared to other engineering traditions. All this is done with the goal of making the Kegg instrument one that is musically responsive, colorful, interesting for the musician and listener, cost effective to purchase, and inexpensive to maintain. 

I spent a great deal of time working with the American Organ Institute in Norman, Oklahoma, when it was operating, encouraging young people who were interested in the pipe organ craft, understanding that new generations must be brought into our craft. Two AOI graduates presently work for the Kegg company. We look for those interested in a career in the pipe organ craft and have had several summer interns over the years. 

With thirty-plus years in business, our work can be found in homes, concert halls, churches, and synagogues. With a new generation in house, we look forward to the next thirty years of serving our clients. 

—Charles Kegg

The Kegg team

Philip Brown

Michael Carden

Cameron Couch

Joyce Harper

Philip Laakso

Bruce Schutrum

Paul Watkins

Website: http://www.keggorgan.com/

Photo: Basilica of Saint John the Baptist, Canton, Ohio (photo courtesy: Kegg Pipe Organ Builders)

Opus 3, First Baptist Church, Canton, Ohio

GREAT

16′ Bourdon TC (Chimney Flute)

8′ Principal 61 pipes

8′ Chimney Flute 61 pipes

8′ Gemshorn 61 pipes

4′ Octave 61 pipes

4′ Flute (ext) 12 pipes

2′ Fifteenth (ext) 12 pipes

1-1⁄3′ Mixture IV 244 pipes 

Sesquialtera II TC 98 pipes

8′ Trumpet (Swell)

Tremulant

Chimes (Deagan 25 notes)

SWELL

16′ Bourdon 61 pipes

8′ Bourdon (ext) 12 pipes

8′ Viole 61 pipes

8′ Viole Celeste TC 49 pipes

4′ Principal 61 pipes

4′ Koppelflute 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Flute (ext) 12 pipes

1-1⁄3′ Larigot (Nazard)

1′ Mixture IV 244 pipes

16′ Contra Trumpet 61 pipes

8′ Trumpet (ext) 12 pipes

8′ Oboe 61 pipes

8′ Vox Humana 61 pipes

Tremulant

PEDAL

16′ Principal 32 pipes

16′ Subbass 32 pipes

16′ Bourdon (Swell)

8′ Principal (ext) 12 pipes

8′ Subbass (ext) 12 pipes

4′ Octave (ext) 12 pipes

32′ Harmonics (derived)

16′ Trumpet (Swell)

4′ Oboe (Swell)

Full complement of couplers

Opus 28, Basilica of St. John the Baptist, Canton, Ohio

GREAT

16′ Violone 61 pipes

8′ Principal 61 pipes

8′ Hohlflute 49 pipes (bass from Pd 16′ Bourdon)

8′ Bourdon (Pd 16′ Bourdon) 17 pipes

8′ Violoncello (ext) 12 pipes

8′ Gemshorn 61 pipes

5-1⁄3′ Rohrquinte 61 pipes

4′ Octave 61 pipes

4′ Koppelflute 61 pipes 

2-2⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

IV Fourniture 244 pipes

16′ Contra Trumpet 61 pipes

8′ Trumpet (ext) 12 pipes

8′ French Horn (Solo)

4′ Clarion 61 pipes

Tremulant

Chimes (Deagan 25 notes)

Zimbelstern

SWELL

16′ Lieblich Gedeckt 61 pipes

8′ Open Diapason 61 pipes

8′ Gedeckt 61 pipes

8′ Clarabella 61 pipes

8′ Salicional 61 pipes

8′ Voix Celeste 61 pipes

8′ Aeoline 61 pipes

8′ Unda Maris TC 49 pipes

4′ Octave 61 pipes

4′ Flute 61 pipes

2-2⁄3′ Nazard 61 pipes 

2′ Flautino 61 pipes

1-3⁄5′ Tierce 61 pipes 

IV Plein Jeu 244 pipes

IV Scharf (PJ 8va)

16′ Double Trumpet 61 pipes

16′ Oboe TC (Oboe)

8′ Trumpet (ext) 12 pipes

8′ Oboe 61 pipes

8′ Vox Humana 61 pipes

4′ Clarion 61 pipes

Tremulant

CHOIR

8′ Open Diapason 61 pipes

8′ Stopped Flute 61 pipes

8′ Spitzflute 61 pipes

8′ Flute Celeste TC 49 pipes

8′ Dolce 61 pipes

8′ Dolce Celeste TC 49 pipes

4′ Octave 61 pipes

4′ Flute 61 pipes

2′ Piccolo 61 pipes

1-1⁄3′ Larigot 61 pipes 

1′ Sifflute 61 pipes 

8′ Cornopean 61 pipes

8′ Clarinet 61 pipes

Tremulant

8′ Tuba Mirabilis (Solo)

SOLO

8′ Doppelflute 61 pipes

8′ Gross Gamba 61 pipes

8′ Gross Gamba Celeste 61 pipes

4′ Hohlpfeife 61 pipes

8′ Orchestral Oboe 61 pipes

8′ English Horn 61 pipes

Tremulant

16′ Contra Trumpet TC (Great)

8′ Neumann Trumpet 61 pipes

8′ Tuba Mirabilis 61 pipes (high pressure)

8′ French Horn

8′ Blair Trumpet II (draws Tuba and Antiphonal Trumpet Magna)

8′ Trumpet (Great)

8′ Cornopean (Choir)

8′ Oboe (Swell)

8′ Clarinet (Choir)

4′ Clarion (Great)

Chimes (Great)

String FF Ensemble (collective)

String PP Ensemble (collective)

Unison Ensemble (collective)

Reed Ensemble (collective)

ANTIPHONAL (Floating)

8′ Gedeckt 61 pipes

8′ Salicional 61 pipes

8′ Voix Celeste TC 49 pipes

8′ Flute Celeste II 110 pipes

8′ Unda Maris II 98 pipes (bass from Flute Celeste)

4′ Fugara 61 pipes

4′ Flute (ext) 12 pipes

4′ Unda Maris II (ext) 24 pipes

8′ Vox Humana 61 pipes

8′ Trumpet Magna 61 pipes

Tremulant

PEDAL

32′ Resultant (derived) 

32′ Bourdon (1–12 electronic)

32′ Lieblich Gedeckt (1–12 electronic)

16′ Open Diapason (wood) 32 pipes

16′ Bourdon 32 pipes

16′ Violone (Great)

16′ Lieblich Gedeckt (Swell)

16′ Dulciana 32 pipes

8′ Octave (ext) 12 pipes

8′ Diapason (Swell)

8′ Diapason (Choir)

8′ Violoncello (Great)

8′ Bourdon (ext) 12 pipes

8′ Dulciana (ext) 12 pipes

4′ Super Octave (ext) 12 pipes

4′ Still Flute (ext) 12 pipes

32′ Contra Trombone 32 pipes

32′ Harmonics (derived)

16′ Trombone (ext) 12 pipes

16′ Trumpet (Swell)

8′ Tromba (ext) 12 pipes

4′ Clarion (ext) 12 pipes

4′ Clarinet (Choir)

4′ Oboe (Swell)

Full complement of couplers

Opus 64, Christendom College, Front Royal, Virginia

GREAT

16′ Violone 61 pipes

8′ Solo Diapason IV (from Gt Prin, Gt Octave, Pd Prin, Pd C. Bass)

8′ Principal 61 pipes

8′ Violone (ext) 12 pipes

8′ Rohrflute 61 pipes

8′ Harmonic Flute 49 pipes (1–12 from Rohrflute)

4′ Octave 61 pipes

4′ Flute (ext) 12 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes 

1-1⁄3′ Mixture IV 244 pipes

16′ Tromba 61 pipes

8′ Tuba (Choir)

8′ Tromba (ext) 12 pipes

4′ Tromba Clarion 61 pipes

Tremulant

SWELL

16′ Gedeckt 61 pipes

8′ Diapason 61 pipes

8′ Gedeckt (ext) 12 pipes

8′ Salicional 61 pipes

8′ Voix Celeste 61 pipes

4′ Octave 61 pipes

4′ Salicet (ext) 12 pipes

4′ Spitzflute 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Flute 61 pipes

1-3⁄5′ Tierce 61 pipes

2′ Mixture IV 244 pipes

16′ Bassoon 61 pipes

8′ French Trumpet 61 pipes

8′ Oboe (ext) 12 pipes

8′ Vox Humana 61 pipes

4′ Clarion (ext) 12 pipes

Tremulant

CHOIR

8′ Geigen Diapason 61 pipes

8′ Voce Humana 61 pipes

8′ Melodia 61 pipes

8′ Flauto Dolce 61 pipes

8′ Flute Celeste TC 49 pipes

4′ Octave 61 pipes

4′ Open Flute 61 pipes

2′ Fifteenth (ext) 12 pipes

8′ Tuba (high pressure) 61 pipes

8′ Clarinet 61 pipes

Tremulant

Chimes

SOLO

8′ Solo Diapason IV (from Gt Prin, Gt Octave, Pd Prin, Pd C. Bass)

8′ Flauto Dolce (Choir)

8′ Flute Celeste (Choir)

8′ Doppelflute 61 pipes

8′ English Horn 61 pipes

Tremulant

8′ Tuba Magna (high pressure) 61 pipes

8′ Tuba (Choir)

8′ French Horn 61 pipes

PEDAL

32′ Bourdon 32 pipes

16′ Open Diapason (wood) 32 pipes

16′ Subbass (ext) 12 pipes

16′ Violone (Great)

16′ Gedeckt (Swell)

8′ Principal 32 pipes

8′ Subbass (ext) 12 pipes

8′ Violone (Great)

8′ Gedeckt (Swell)

4′ Choral Bass 32 pipes 

2′ Cantus Flute (Gt Harmonic Flute)

32′ Trombone 32 pipes

32′ Harmonics (derived)

16′ Trombone (ext) 12 pipes

16′ Tromba (Great)

16′ Bassoon (Swell)

8′ Trumpet 32 pipes

4′ Clarion (ext) 12 pipes

4′ Clarinet (Choir)

Pedal Divide

Full complement of couplers

Virtuoso control system

Opus 66, Little Flower Catholic Church, St. Louis, Missouri

GREAT

16′ Gemshorn (ext, Choir) 12 pipes

8′ Solo Diapason III (from Gt Prin, Gt Octave, Pd Prin)

8′ Principal 61 pipes

8′ Harmonic Flute (Choir)

8′ Gemshorn (Choir)

4′ Octave 61 pipes

4′ Harmonic Flute (Choir)

2′ Fifteenth (ext) 12 pipes

2′ Mixture IV (cancels 15th) 244 pipes 

8′ Tuba 61 pipes (high pressure, separate enclosure)

8′ Trumpet (Swell)

8′ Clarinet (Choir)

Chimes (Deagan, 25 notes)

SWELL

16′ Gedeckt 61 pipes

8′ Geigen Diapason 61 pipes

8′ Gedeckt (ext) 12 pipes

8′ Salicional 61 pipes

8′ Voix Celeste 61 pipes

4′ Principal 61 pipes

4′ Salicet (ext) 12 pipes

4′ Open Flute 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Octave (ext) 12 pipes

2′ Piccolo (ext) 12 pipes

1-3⁄5′ Tierce TC 37 pipes

1-1⁄3′ Larigot (Nazard)

16′ Trumpet 61 pipes

8′ Trumpet (ext) 12 pipes

8′ Oboe 61 pipes

4′ Clarion (ext) 12 pipes

Tremulant

CHOIR

8′ Gemshorn 61 pipes

8′ Harmonic Flute 61 pipes

8′ Dulciana 61 pipes

8′ Unda Maris TC 49 pipes

4′ Principal 61 pipes

4′ Flute (ext) 12 pipes

2′ Octave (ext) 12 pipes

V Cornet (Swell)

8′ Oboe (Swell)

8′ Tuba (Great)

8′ Clarinet 61 pipes 

Tremulant

PEDAL

32′ Resultant (derived)

16′ Open Diapason (wood) 32 pipes

16′ Bourdon 32 pipes

16′ Gemshorn (Choir)

16′ Gedeckt (Swell)

8′ Principal 32 pipes

8′ Bass Flute (ext) 12 pipes

8′ Gemshorn (Choir)

4′ Octave (ext) 12 pipes

4′ Flute (Choir)

32′ Harmonics (derived)

16′ Trumpet (Swell)

8′ Trumpet (Swell)

4′ Clarinet (Choir)

Full complement of couplers

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

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

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

—Nelson Barden

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

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

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

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

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

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

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

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

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

1. World-class and unique

2. Ideally suited to your purposes

3. A tangible expression of Community of Jesus spiritual principles

4. Beautiful and musical, with instantly recognizable tone

5. Designed for posterity; built to last forever

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

7. Capable of eliciting profound emotions

8. Designed for HDCD recordings

9. Focused on future developments, not current technology

10. A “trend setter.”

These discussion points quickly converted into:

1. Adopting the vision

2. Making the commitment to move forward

3. Incorporating the organ space into the church design

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

5. Defining the mechanical system of the organ

6. Developing a plan of action and a realistic budget

7. Locating a shop and storage space

8. Beginning to implement the plan of action

9. Training part-time workers and develop their expertise

10. Acquiring more component parts to restore

11. Organizing and commencing restoration work

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

Thus, the organ restoration project began in earnest.

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

APSE

Choir Swell

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

Solo (& Pedal) String (& Pedal)

Antiphonal/Processional Echo

WEST END

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

Opus 140, Trinity Episcopal Cathedral, Cleveland, Ohio

Opus 195, Williams College, Williamstown, Massachusetts

Opus 310, Plymouth Church, Shaker Heights, Ohio

Opus 473, Florida State University, Tallahassee, Florida

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

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

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

Opus 656, Princeton University, Princeton, New Jersey

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

Opus 855, Sacred Heart Catholic Church, Pittsburgh, Pennsylvania

Opus 858, Rollins College, Winter Park, Florida

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

Opus 991, Broadway Tabernacle, New York, New York

Opus 1242, First Baptist Church, Abilene, Texas

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

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

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

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

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

Summer 2018: 32′ Bombarde installed on South side

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

February 2020: Arrival of the final console

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

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

The Ultimate Goal

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

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

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

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

Mother Betty Pugsley

Nelson Barden

Sean O’Donnell

Joseph Sloan

Joseph Rotella

John Ananda

Jonathon Ambrosino

Duane Prill

William Czelusniak

Richard Houghten

Joseph Zamberlan

Christopher Broome

David Broome*

James Hudson Crissman

Peter Rudewicz

Thomas Murray

David Craighead*

Gerre Hancock*

*deceased

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

—Nelson Barden and Jim Jordan

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

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

RELATED: View a video about the project here

Nelson Barden & Associates

Church of the Transfiguration, Orleans, Massachusetts

NORTH GREAT

1. 16′ Violone 73

2. 8′ First Diapason 61

3. 8′ Second Diapason 61

    8′ Violone --

4. 8′ Harmonic Flute 61

5. 8′ Gemshorn 61

6. 8′ Gemshorn Celeste (TC) 49

7. 4′ Octave 61

8. 4′ Harmonic Flute 61

9. 2′ Fifteenth 61

10. Willis Mixture IV 244

15 19 22 26 12

12 15 19 22 24

8 12 15 19 12

1 8 12 15 13

11. 16′ Posaune 61

12. 8′ Cornopean 61

13. 4′ Clarion 61

Tremolo

North Great Sub

North Great Unison Off

North Great Super

8′ Tuba Mirabilis Choir

8′ Tuba Major Processional

8′ Trompette Militaire Processional

SOUTH GREAT

14. 16′ Gedecktpommer 68

15. 8′ Stentorphone 73

16. 8′ Principal 61

17. 8′ Bourdon 61

18. 4′ Octave 61

19. 4′ Nachthorn 61

20. 2-2⁄3′ Twelfth 61

21. 2′ Fifteenth 61

22. Fourniture III–V 245

15 19 22 12

12 15 19 22 12

8 12 15 19 12

1 8 12 15 12

1 5 8 12 15 13

23. Scharff III–IV 220

15 19 22 18

12 15 19 6

12 15 17 19 18

8 12 15 17 6

8 10 12 15 13

24. 16′ Willis Trombone 56

25. 8′ Willis Trumpet 61

26. 8′ Hautbois 68

27. 4′ Clairon 68

Tremolo

South Great Unison Off

East Chimes

SWELL

28. 16′ Bourdon 73

29. 8′ Diapason 73

30. 8′ Salicional 73

31. 8′ Voix Celeste 73

      8′ Bourdon (ext 16′ Bourdon) --

32. 8′ Rohrflöte 61

33. 8′ Flauto Dolce 73

34. 8′ Flute Celeste (TC) 61

35. 4′ Octave 73

36. 4′ Triangle Flute 73

37. 2′ Flautino 61

38. Willis Mixture IV 244

15 19 22 26 12

8 12 15 19 36

1 8 12 15 13

39. 16′ Waldhorn 73

40. 8′ Trumpet 73

41. 8′ Oboe d’Amour 73

42. 8′ Vox Humana 73

43. 4′ Clarion 61

Tremolo

Swell Sub

Swell Unison Off

Swell Super

8′ Tuba Mirabilis Choir

8′ Tuba Major Processional

8′ Trompette Militaire Processional

Orchestral Bells

Orchestral Harp

ANTIPHONAL

44. 16′ Lieblich Bourdon 61

45. 8′ Diapason 73

46. 8′ Gross Flute 73

47. 8′ Clarabella 73

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

49. 4′ Principal 61

50. 4′ Harmonic Flute 61

51. Mixture IV 244

12 15 19 22 18

8 12 15 19 12

1 8 12 15 31

Tremolo

Antiphonal Sub

Antiphonal Unison Off

Antiphonal Super

CHOIR

52. 16′ Erzähler 85

53. 8′ Diapason 73

54. 8′ Cello 73

55. 8′ Cello Celeste 73

56. 8′ Viola 73

57. 8′ Viola Celeste 73

58. 8′ Concert Flute 73

59. 8′ Lieblich Gedeckt 73

      8′ Erzähler --

60. 8′ Erzähler Celeste 73

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

62. 4′ Principal 73

63. 4′ Flute 61

64. 2-2⁄3′ Nazard 61

65. 2′ Piccolo 61

66. 1-3⁄5′ Tierce 61

67. 1′ Sifflöte (to f54) 54

68. Low Mixture III–IV 207

15 19 22 12

12 15 19 12

8 12 15 13

1 8 12 15 24

69. High Mixture III 183

22 26 29 18

19 22 26 12

15 19 22 12

12 15 19 6

8 12 15 13

70. 16′ Heckelphone 73

      8′ Heckelphone --

71. 8′ Flügel Horn 73

72. 8′ English Horn 73

73. 8′ Clarinet 73

Tremolo

74. 8′ Tuba Mirabilis 67

Choir Sub

Choir Unison Off

Choir Super

PROCESSIONAL

75. 8′ Principal Diapason 73

76. 8′ Gamba Celeste II 146

77. 8′ Orchestral Flute 73

78. 8′ Chorus Trumpet 73

Tremolo

79. 8′ Tuba Major 73

80. 8′ Trompette Militaire 73

Processional Sub

Processional Unison Off

Processional Super

STRING

      16′ Double Violin (Kimball, ext) --

      16′ Contra Viol (Haskell, ext. Ætheria)

81. 16′ Bourdon 73

82. 8′ Diapason 61

83. 8′ Violin 85

84. 8′ Violin Celeste 73

85. 8′ Cello 73

86. 8′ Cello Celeste 73

87. 8′ Flared Gamba 73

88. 8′ Flared Gamba Celeste 73

89. 8′ Gross Gamba 73

90. 8′ Gross Gamba Celeste 73

91. 8′ Cellos II (flat-front) 134

92. 8′ Salicional 73

93. 8′ Voix Celeste 73

94. 8′ Viole Ætheria 97

95. 8′ Viole Ætheria Celeste (TC) 61

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

97. 8′ Chimney Flute 73

98. 8′ Dulciana 73

99. 8′ Unda Maris (TC) 61

100. 8′ Quintadena 73

101. 8′ Quintadena Celeste (TC) 61

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

      4′ Violin Celeste II --

      4′ Violina Ætheria --

      4′ Voix Celeste II --

103. 4′ Triangle Flute 61

104. 2-2⁄3′ String Nazard 61

      2′ Violette

105. 1-3⁄5′ String Tierce (to c49) 49

106. 8′ Cornopean 61

107. 8′ French Horn 61

108. 8′ English Horn (free reed) 61

109. 8′ Oboe (labial) 61

110. 8′ Vox Humana (TC) 49

Tremolo

String Sub

String Super

String Unison Off

SOLO

111. 8′ Horn Diapason 73

112. 8′ Flauto Mirabilis 73

113. 8′ Saxophone (wood) 73

114. 8′ Viola 73

115. 8′ Viola Celeste 73

116. 8′ Dulcet II 146

117. 8′ Silver Flute 73

118. 4′ Concert Flute 61

119. 4′ Viole Celeste II 122

      4′ Silver Flute --

120. 8′ English Horn 73

121. 8′ Labial Clarinet 61

122. 8′ Orchestral Oboe 73

Tremolo

8′ Tuba Mirabilis Choir

8′ Tuba Major Processional

8′ Trompette Militaire Processional

Tremolo

Solo Sub

Solo Unison Off

Solo Super

Orchestral Harp

Harp

Orchestral Bells

East Chimes—West Chimes

ECHO

123. 8′ Echo Principal 61

124. 8′ Gamba 66

125. 8′ Dulcet Celeste II 146

126. 8′ Philomela 73

127. 8′ Fern Flute 73

128. 8′ Wood Celeste (TC) 49

129. 8′ Muted Viole 73

130. 8′ Muted Viole Celeste 73

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

132. 8′ Double-Enclosed Aeoline 61

133. 4′ Fugara 61

134. 4′ Harmonic Flute 61

135. 2′ Piccolo 61

16′ Clarinet (Bassoon bass) 12

136. 8′ Clarinet (free-reed) 73

Tremolo

137. 16′ Bass Vox 73

138. 8′ Baritone Vox 73

139. 8′ Tenor Vox 73

140. 8′ Alto Vox 73

141. 8-4′ Soprano Vox I-II 112

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

143. Aeolian Mixture IV–V 275

8 12 15 17 18

1 8 12 15 17 31

1 8 12 15 12

Vox Chorus Tremolo

PEDAL

      64′ Gravissima --

      32′ Open Wood (ext Major Bass) 12

      32′ Erzähler (ext Choir) 12

144. 16′ Open Wood 56

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

146. 16′ Open Diapason (metal) 32

      16′ Double Violin String

      16′ Violone North Great

      16′ Contra Viol String

     16′ Erzähler Choir

      16′ Bourdon Swell

      16′ Echo Bourdon String

      16′ Lieblich Bourdon Processional

 .    16′ Gedecktpommer South Great

147. 16′ Quintadena (in Echo) 32

      8′ Open Wood --

148. 8′ Principal 44

      8′ Major Bass --

      8′ Violone North Great

      8′ Viol Ætheria String

      8′ Concert Flute Choir

      8′ Erzähler Choir

      8′ Gedeckt Swell

      8′ Still Gedeckt String

      8′ Lieblich Gedeckt Processional

      4′ Octave --

      4′ Concert Flute Choir

      4′ Erzähler Choir

      4′ Gedeckt Swell

      32′ Bombarde --

      32′ Waldhorn (TC) Swell

149. 16′ Bombarde 56

      16′ Posaune North Great

      16′ Willis Trombone South Great

      16′ Waldhorn Swell

      16′ Heckelphone Choir

      16′ Clarinet Echo

      8′ Bombarde --

      8′ Heckelphone Choir

      8′ English Horn Choir

      4′ Heckelphone Choir

      8′ Tuba Mirabilis Choir

      8′ Tuba Major Processional

      8′ Trompette Militaire Processional

COUPLERS

N. Great to Pedal

N. Great to Pedal 4

S. Great to Pedal

S. Great to Pedal 4

Swell to Pedal

Swell to Pedal 4

Choir to Pedal

Choir to Pedal 4

Solo to Pedal

Solo to Pedal 4

Swell to Great 16

Swell to Great

Swell to Great 4

Choir to Great 16

Choir to Great

Choir to Great 4

Solo to Great 16

Solo to Great

Solo to Great 4

Solo to Swell

Choir to Swell

Great to Solo

Swell to Solo

Swell to Choir 16

Swell to Choir

Swell to Choir 4

Solo to Choir 16

Solo to Choir

Solo to Choir 4

String on Great

Echo on Great

Antiph. on Great

Proc. on Great

String on Swell

Echo on Swell

Antiph. on Swell

Proc. on Swell

String on Choir

Echo on Choir

Antiph. on Choir

Proc. on Choir

String on Solo

Echo on Solo

Antiph. on Solo

Proc. on Solo

BALANCED PEDALS

I—II—III—IV—V/Crescendo

EXPRESSION THUMB SLIDES

Swell—Great—Choir

EXPRESSION MATRIX

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

North Great

South Great

Swell

Choir

Solo

Echo (west end only)

Interior Echo (speaking into String enclosure)

String

Pedal

Antiphonal

Processional

Tremolo Speed

Tremolo Depth

All Swells

The Matrix has its own divisionals

Standard–1–2–3–4–5–6–7

COMBINATIONS

Generals 1–25 / 1–10 Thumb/Toe

Great 1–10 Thumb

Swell 1–10 Thumb

Choir 1–10 Thumb

Solo 1–8 Thumb

Pedal 1–10 Toe

Great to Pedal Thumb/Toe

Swell to Pedal Thumb/Toe

Choir to Pedal Thumb

Solo to Pedal Thumb

All Divisionals Next – All Generals Next

Next and Previous (multiple)

Library – Scope – Set – Cancel

Solid State Organ Systems Organist Palette

149 independent stops

185 ranks

11,964 pipes

Quimby Pipe Organs, Warrensburg, Missouri

Dunwoody United Methodist Church, Dunwoody, Georgia

Quimby Pipe Organs Opus 76, recently installed at Dunwoody United Methodist Church, comprises 100 ranks distributed over five manual divisions, playable from a four-manual and pedal console. The completion of this instrument represents the culmination of an idea and process that began in 2007. After many attempts to make an organ project “go,” either as a stand-alone project, or paired with other proposed major capital work on campus, it wasn’t until the need for a major renovation of the sanctuary occurred that a new organ, installed in a different location, became a necessity and, eventually, a reality.

This was a particularly challenging and yet ultimately rewarding sanctuary and chancel renovation project, the genesis of which was to adapt the space so that the church’s contemporary worship service could relocate from a social hall to meet in the sanctuary, where a traditional service and music program were making good use of the traditionally styled space and generous acoustics. The emergent projects goals were many, among which: 1) to relocate the choir and organ from the rear gallery to the chancel; 2) to somehow create organ chambers in a space where they didn’t exist and where there didn’t appear to be room for them; 3) to acoustically deaden and otherwise transform the room for the successful accommodation of the contemporary worship service; 4) but to do this without permanently changing the acoustics of the space for traditional worship.

The spacious sanctuary, which had been constructed new in the year 2000, had excellent acoustics, and even though the former organ, which had been relocated from a much smaller sanctuary, was undersized for the room, the acoustics of the space enabled the organ to remain in use for nearly twenty years following its temporary location. It was well constructed and a good example of its type; it simply didn’t go far enough in its scope to support the music program.  As director of music Sonny Walden and organist Mary Ruth Solem will immediately tell you, it not only wasn’t loud enough, it also wasn’t soft enough, and there were too few opportunities for smoothly graded dynamic levels in between the two.

The renovation solution was costly, but effective. Space for organ chambers was created, encroaching on unused above-ceiling space outside the existing chancel, the footprint of the original chancel, and a mechanical mezzanine behind the chancel. A choir loft with built-in risers was constructed in front of the new organ chambers. For contemporary worship, retractable acoustical banners lower down from the attic, covering the choir loft, Chancel organ, Antiphonal organ, and all windows at the push of the button. The result is a space acoustically and visually suitable for amplified music, electronic projection, and colored LED lighting effects; it has had a net-zero impact on the intrinsic acoustical quality of the space.

From an early point in the dialogue, the church voiced an interest in exploring the possible use of high-quality vintage American pipework for incorporation into a new instrument. Given our experience in working with vintage pipework for new organ projects that are not restoration-focused, we enthusiastically agreed, and began the search for an instrument that would fit the bill—something that would allow artistic latitude and freedom in the creation of a new, unified identity, but which would also contribute a unique tonal provenance and material advantage to the project.

What we eventually found, in fact, were two organs, which the church ultimately bought and placed into storage until the project could be realized. The first, Ernest M. Skinner Co. Opus 195 (four manuals, 66 ranks), dating from 1913, was originally installed in Grace Chapin Hall at Williams College, Williamstown, Massachusetts, where it was used until it was vandalized in 1959. As the story goes, which is now almost as apocryphal as it is difficult to document, an organ student, following his end of semester juries, entered the organ chamber, and destroyed nearly everything he could access. From that time until the organ was removed in 2011, the organ was mothballed at Williams College and never played again. A careful cataloguing of the surviving pipes following the organ’s removal from the college revealed a surprising picture: perhaps a third of the organ’s ranks either missing or damaged beyond any cost effective repair; another third showing some damage but imminently repairable under skilled hands; and a final third, perhaps, completely untouched and as good as the day the organ was installed.   

Surviving examples of pipes from the Great Diapason chorus, which was nearly entirely destroyed, exist from all pitch levels of that ensemble—from a 16′ Double Open Diapason through a three-rank chorus mixture—and provide an interesting insight into Skinner’s tonal work for a large organ in the early 1910s. These are scaled and voiced to be heroic while also harmonically developed and bright—not at all dull. The ensemble has much more in common with highly developed diapason chorus work at the culmination of the nineteenth-century American building tradition—before organ ensembles devolved into a tonal center around the unison pitch, with little-to-no upperwork—than it does the Skinner sound we have come to know and appreciate from the 1920s. It stands in complete contrast to his work from later periods, and it is a shame that this chorus work was destroyed.

In addition to the usual very fine diapasons, flutes, strings, and reeds, Opus 195 is the first Skinner organ to have one of the now-famous Skinner French Horns, and also is where the Skinner Corno di Bassetto first made its appearance. A review of the tonal specification for the new organ demonstrates that this defunct organ, constructed by one of the foremost early twentieth-century American organbuilders, has made a significant contribution to the new organ at Dunwoody, including the very fine Pedal 32′ Contra Bourdon, which produces some of the deepest tones in the instrument, and the Solo 8′ Tuba, which is the loudest stop in the organ.

The second organ procured for use in the new instrument was constructed in 1939 by Casavant Frères, Ltd. (three manuals, 42 ranks) for the now defunct Chapel of the Immaculate Conception Seminary in Darlington, New Jersey. Like most Casavant organs dating from the 1930s, this organ was constructed and voiced according to English Romantic ideals, brought to Casavant by tonal director Stephen Stoot, and included diapason chorus work of remarkably heavy construction, superbly constructed wood flutes, and English-style reeds. Our own assessment is that the flues were never voiced up to scale, and, as we found them, were rather lackluster and dull as individual voices. The reeds seem to have suffered an unfortunate fate following a haphazard revoicing prior to the closing of the seminary. After the seminary was closed in the early 1980s, the organ was repeatedly flooded due to serious roof leaks over the organ cases. Nevertheless, in terms of substantial, beautifully constructed pipework, suitable for revoicing, Casavant Opus 1600 presented a wealth of material. Most of the water damage was sustained by the 32′ Contra Posaune, which because of its miters, held the water in the miter knuckles, where, completely undetectable from the outside, the zinc corroded from the inside out. These pipes have been substantially reconstructed and revoiced and form the bass of the Pedal 32′ Contra Trombone at Dunwoody.

It may seem strange to conceptualize the combination of pipework from two very different instruments, constructed nearly thirty years apart, and with widely divergent tonal ideals in mind, in an attempt to create any kind of instrument that has a cohesive tonal identity. And it’s true that this is probably not a good idea, at least if it is approached with a restoration-conservation mindset, where the ranks from each respective organ are to retain their original voices, balance, and relationship to one another. That approach is on its own extremely valid, and certainly equally satisfying, and should certainly have been undertaken if, say, this were a project where the Skinner pipework (were it all intact) and mechanics were to be restored as an entity and installed in an environment that demanded a 1913 organ sound. However, because of the vandalism the 1913 Skinner all but disappeared in the 1950s, and the 1939 Casavant, with beautifully and substantially constructed pipes, was, as we found it, unevenly and under voiced, possessing a disappointing ensemble. Neither organ, as we encountered them, was playable or usable, and neither organ stood much prospect of restoration and reuse elsewhere. More importantly, we were not tasked with a restoration project by the church, but rather, to create something new using to advantage the accumulated material at hand.

Looking beyond this, however, it’s helpful to place the 1913 Skinner and 1939 Casavant organs, while different, both as a part of an organbuilding continuum that continued uninterrupted in development and refinement from its fifteenth-century origins right up until the middle twentieth century. Organs from later in this continuum are markedly different from earlier instruments, but each builder in this centuries-long procession built upon what had been given by the previous generation, at least until this succession was interrupted by the Organ Reform Movement. For the first time in organbuilding history, the work of the immediate past was swept away, intentionally and deliberately, in an effort to recapture ideals—sometimes real, and sometimes supposed—that marked organbuilding in an earlier age.

While it’s certainly true that the Organ Reform Movement has left a mostly-positive legacy (and some noteworthy landmarks of twentieth-century organbuilding) on the contemporary American organbuilding landscape—even though most contemporary organbuilders have moved beyond the strictures of its dictums—at QPO, we like to regard our own work as very much a return to the continuum and succession that existed prior to World War II. What would it be like, we ask ourselves, if organbuilding had continued uninterrupted, and the work of each new generation an expansion of what had gone before, rather than a violent reaction against it? We like to think that Opus 76 at Dunwoody United Methodist, along with a number of other recent projects, has given us a chance to explore this in detail.

As to the ensemble, Opus 76 has the hallmark of any QPO ensemble from the past twenty-five years or so: highly characteristic, individually beautiful colors or voices that are simultaneously extremely effective and flexible ensemble players. These individualist voices are each strong, characteristic examples of their class and type, and are the sort of voice you want to hear played alone—full of intrinsic beauty and interest. However, beautiful, characteristic voices alone are not enough, for we’ve all heard and played organs where the colors individually are beautiful, but combine intractably into loose ensembles, mixing like oil and water, where the ear can pick apart all the constituent parts. On the other hand, we’ve all heard and played organs where decent or even very good ensembles are given, but a review, one by one, of the individual voices reveals bland, uninteresting color and voicing. One of the measures of any great organ—whatever the period, style, or timbre—is that the individual voices pass this litmus test: to be highly characteristic, colorful, and intrinsically beautiful, and yet nevertheless combine with others to form a wide array of flexible and dynamic ensembles of all types.

In Opus 76, there are, in fact, individual voices that may be recognizable as early “Skinner,” pre-WWII “Casavant,” or even modern “Quimby,” but in each and every case, the emphasis in terms of voicing has not been to maintain the original voice, but to expand upon it, changing it as required so that a new identity is revealed: an organ that speaks with one voice, a cohesive ensemble, and a truly musical instrument.

A review of the accompanying tonal specification will reveal where Skinner or Casavant ranks were used in the new disposition, but the basic concept is as follows. The choruswork for Great, Swell, and Choir-Positive is all Casavant, which has been revoiced and in some cases rescaled to achieve the bold, colorful, heroic-yet-transparent, and clear organ ensemble we strive for. Skinner diapasons from the Swell of 195 were repurposed in the Antiphonal organ chorus. Throughout the organ, colorful flutes and strings were used from both organs. The Casavant Swell reed chorus has been revoiced and resides in the Great. The Skinner reed chorus, at least in part, after substantial reconstruction and revoicing, is in the Swell. The Casavant 32′ Contra Posaune, 16′ Trombone, and 8′ Tromba have been combined to provide a reed that plays at 32′, 16′, 8′, and 4′ in the Pedal and at 8′ in the Solo. One rank of the pipes from the church’s former instrument, along with the Zimbelstern and Chimes, was reused in the new organ: a very fine 8′ Trompette-en-Chamade, now installed vertically, in the Antiphonal organ, and called “8′ Harmonic Trumpet.”

Because of its favorable placement and lack of enclosure, the Antiphonal diapason chorus functions more like a Grand Choeur, rather than a secondary, lesser Great. It is a spectacular effect, at once foundational, colorful, and heroic that must be experienced to be fully appreciated.

Most all of the mechanics and internal structure of the organ, including the windchests, façade pipes, console, and winding system, are completely new. Manual windchests for all straight manual ranks are electro-pneumatic slider windchests, constructed according to the Quimby-Blackinton design, with square drop pallets that allow for copious winding of heroically voiced pipes on a common channel. Also importantly, the chests are constructed without slider seals, which means that the organ won’t have to be de-piped and disassembled to replace the slider seals in a few decades, when they are bound to fail.

Our standard electro-pneumatic unit-action windchests have been used for most pedal ranks and manual unit ranks; the exception here exists in a few instances, where 1913 Skinner unit action windchests were restored for reuse with original ranks, such as the Solo 8′ Tuba and the Pedal 32′ Contra Bourdon and 4′ Solo Flute.

The winding system includes a 10-H.P. vintage Spencer blower, which provides 6-inch wind pressure for most manual and pedal flues, and 10-inch wind pressure for all reeds and Solo flues. The Solo 8′ Tuba is on 20-inch wind pressure, with its own step-up blower. New cone-valve reservoirs, according to our custom design, which is an adaptation of the Skinner reservoir, have been constructed for regulation of wind in the Chancel organ. The Antiphonal organ makes use of a blower and static wind system that was retained from the previous organ.

All manual divisions, except the Antiphonal, are individually enclosed by 2-inch-thick expression shutters and solid wood walls, which enable the heroically voiced ensembles to be brought down to a surprising diminuendo, and the soft voices to fade to nearly a whisper. A new four-manual and pedal console was constructed to a custom design and finished to match the renovated interior of the church, with solid oak exterior cabinetry and solid walnut interior.

During the first choral rehearsal with the new organ, director of music Sonny Walden told Mary Ruth Solem, “I know I’ve never said this before in this room, but the organ is too soft. Isn’t it wonderful to be able to say that?!” And he burst out into joyful laughter. Later, as she has continued to rehearse and perform with Opus 76, Mary Ruth said, “I am starting a long friendship with this instrument!  It’s beautiful, and I am immensely grateful . . . . This is a rare gem.”

We hope that the assessment will over time continue to be as equally enthusiastic and kind, as Opus 76 finds its place in the heart of traditional worship at Dunwoody United Methodist Church, and also in the greater organ world beyond. For our own part, at QPO we have found that working with the vintage fabric, as represented by the many ranks of pipes, originally constructed and voiced by some of the most reputable of our organbuilding forebears, has taught us many lessons, and will continue to yield an impact on the development of our organs into the future.

Because the organ is substantially new mechanically, and because the sound of the new organ is completely unlike a 1910s Skinner or a 1930s Casavant, we have given this instrument an opus number in our body of work. To be sure, the completed instrument does, in certain instances, reveal its parentage, but the overall ensemble has as much in common with all-new organs constructed by Quimby Pipe Organs as it does either Casavant or Skinner. This is no mere restoration of an artifact or the assemblage of collected parts; rather, this organ has been conceptualized to be musically communicative, inspiring, and above all, to support the music ministry and worship cycles of Dunwoody United Methodist Church in the broadest, most flexible way possible; an instrument that offers options, rather than limitations. In this regard, Opus 76 is an original creation—a testimony of our own time; one that we hope will remain timelessly relevant for generations to come.

—T. Daniel Hancock, A.I.A., President

Quimby Pipe Organs, Inc.

GREAT (Manual II, enclosed, 17 ranks, flues 6″ w. p., reeds 10″ w. p.)

16′ Violone (a & b) 73 pipes

16′ Bourdon (Ped)

8′ Open Diapason (b) 61 pipes

8′ Harmonic Flute (a) 49 pipes, 1–12 fr 8′ Stopped Diapason

8′ Stopped Diapason 61 pipes

8′ Violoncello (ext 16′)

51⁄3′ Quint (MC) (b) 37 pipes

4′ Octave (b) 61 pipes

4′ Wald Flute (a) 61 pipes

2-2⁄3′ Twelfth (b) 61 pipes

2′ Fifteenth (b) 61 pipes

1-3⁄5′ Seventeenth (b) 61 pipes

1-1⁄3′ Mixture IV (b) 244 pipes

16′ Double Trumpet (b) 61 pipes

8′ Trumpet (b) 61 pipes

4′ Clarion (b) 61 pipes

8′ Tuba (Solo)

8′ Harmonic Trumpet (Ant)

Chimes (d) 25 tubes

Tremolo

Great to Great 16

Great Unison Off

Great to Great 4

SWELL (Manual III, enclosed, 24 ranks, flues 6″ w. p., reeds 10″ w. p.)

16′ Spitz Flute (b) 73 pipes

8′ Open Diapason (b) 61 pipes

8′ Chimney Flute 61 pipes

8′ Spitz Flute (ext 16′)

8′ Gamba (b) 61 pipes

8′ Voix Celeste (b) 61 pipes

8′ Flauto Dolce (b) 61 pipes

8′ Flute Celeste (TC) (b) 49 pipes

4′ Octave (b) 61 pipes

4′ Night Horn 61 pipes

4′ Salicet 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Fifteenth 61 pipes

2′ Flautina 61 pipes

1-3⁄5′ Tierce 61 pipes

2-2⁄3′ Mixture IV–V 281 pipes

16′ Contra Trumpet 61 pipes

16′ Contra Oboe (a & b) 73 pipes

8′ Trumpet (a) 61 pipes

8′ Oboe (ext 16′)

8′ Vox Humana (a) 61 pipes

4′ Clarion (a) 61 pipes

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

CHOIR-POSITIVE (Manual I, enclosed, 20 ranks, 6″ w. p.)

16′ Contra Dulciana (a & c) 73 pipes

8′ Geigen Diapason 61 pipes

8′ Claribel Flute (b) 61 pipes

8′ Gedeckt (c)  61 pipes

8′ Erzähler (b)  61 pipes

8′ Erzähler Celeste (GG) (b) 54 pipes

8′ Dulciana (ext 16′)

8′ Unda Maris (TC) (c) 49 pipes

4′ Geigen Octave (b) 61 pipes

4′ Traverse Flute (b) 61 pipes

2-2⁄3′ Nazard (b) 61 pipes

2′ Harmonic Piccolo (a) 61 pipes

1-3⁄5′ Tierce (a) 61 pipes

1-1⁄7′ Septieme (a) 61 pipes

1-1⁄3′ Larigot 61 pipes

1′ Sifflute 61 pipes

1-1⁄3′ Mixture III–IV 190 pipes

8′ Clarinet (b) 61 pipes Tremolo

8′ Tuba (Solo)

8′ Harmonic Trumpet (Ant)       

8′ French Horn (Solo)    

8′ English Horn (Solo)    

Chimes (Great)      

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

SOLO (Manual IV, enclosed, 12 ranks, 6″ w. p., Tuba 20″ w. p.)

8′ Stentorphone 49 pipes, 1–12 fr Pedal 16′ Diapason

8′ Doppel Flute 49 pipes, 1–12 fr Pedal 32′ Bourdon

8′ Gross Gamba (a) 61 pipes

8′ Gross Gamba Celeste (a) 61 pipes

8′ Dulcet II (a) 122 pipes

4′ Orchestral Flute 61 pipes

4′ Violin 61 pipes

8′ French Horn (b) 61 pipes

8′ English Horn (c) 61 pipes

8′ Orchestral Oboe (c) 61 pipes

Tremolo

16′ Ophicleide (ext 8′, 1–12 Ped Tbone)

8′ Tuba (a)   73 pipes

8′ Harmonic Trumpet (Ant)    

8′ Tromba (Ped)

4′ Tuba Clarion (ext 8′)

Solo to Solo 16

Solo Unison Off

Solo to Solo 4

PEDAL (unenclosed, 10 ranks, flues 6″ w. p., reeds 10″ w. p.)

32′ Contra Bourdon (a) 73 pipes

16′ Open Metal Diapason 56 pipes

16′ Bourdon (ext 32′)

16′ Violone (Great)

16′ Spitz Flute (Swell)

16′ Contra Dulciana (Ch-Pos)

10-2⁄3′ Gross Quint (ext 16′ Open Diap)

8′ Octave (ext 16′)    

8′ Bourdon (ext 32′)

8′ Violoncello (Great)

8′ Spitz Flute (Swell)

6-2⁄5′ Gross Tierce (a) 44 pipes

5-1⁄3′ Quint (ext 16′ Open Diap)

4-4⁄7′ Septieme (b) 32 pipes

4′ Super Octave (ext 16′)

4′ Solo Flute (a) 32 pipes

3-1⁄5′ Tierce (ext 62⁄5′ Gross Tierce)

2-2⁄3′ Mixture IV 124 pipes

32′ Contra Trombone (b) 85 pipes (enclosed with Great)

16′ Trombone (ext 32′)

16′ Double Trumpet (Great)

16′ Contra Trumpet (Swell)

16′ Contra Oboe (Swell)

8′ Tromba (ext 32′)

8′ Trumpet (Swell)  

8′ Oboe (Swell)

4′ Tromba Clarion (ext 32′)

4′ Oboe (Swell)

8′ Tuba (Solo)

ANTIPHONAL (Manual IV, unenclosed in rear gallery, 15 ranks, 6″ w. p., Harmonic Trumpet 10″ w. p.)

8′ Open Diapason (a) 49 pipes, 1–12 fr Ant. Pedal 8′ Octave

8′ Concert Flute (a) 49 pipes, 1–12 fr 8′ Bourdon

8′ Bourdon (c) 61 pipes

8′ Gamba 61 pipes

8′ Voix Celeste (TC) 49 pipes

4′ Octave (a)   61 pipes

4′ Harmonic Flute (c)   61 pipes

2′ Fifteenth (a) 61 pipes

2′ Mixture III–V 244 pipes

8′ Trumpet     73 pipes

8′ Harmonic Trumpet (d) 61 pipes

Zimbelstern (d)

Antiphonal to Antiphonal 16

Antiphonal Unison Off

Antiphonal to Antiphonal 4

ANTIPHONAL PEDAL (unenclosed in gallery, 2 ranks, 6″ w. p.)

16′ Bourdon 44 pipes

8′ Octave (c) 44 pipes

8′ Bourdon (ext 16′)

4′ Super Octave (ext 8′)

16′ Posaune (ext Ant 8′ Trumpet)

8′ Trumpet (Ant)

8′ Harmonic Trumpet (Ant)    

ORIGIN KEY

(a) ranks from 1913 Ernest M. Skinner Company Opus 195, formerly in Grace Chapin Hall, Williams College, Williamstown, Massachusetts.

(b) ranks from 1939 Casavant Frères Opus 1600, formerly in Immaculate Conception Seminary Chapel, Darlington, New Jersey.

(c) vintage Skinner ranks from QPO inventory.

(d) ranks and tuned percussions from 1972 Schantz Opus 1125, formerly in Dunwoody United Methodist Church, Dunwoody, Georgia.

All other ranks are either new by Quimby Pipe Organs, Inc., or from QPO inventory.

CONSOLE ACCESSORIES

INTER-MANUAL COUPLERS

Great to Pedal 8′, 4′

Swell to Pedal 8′, 4′

Choir-Positive to Pedal 8′, 4′

Solo to Pedal 8′, 4′

Antiphonal on Pedal 8′, 4′

Swell to Great16′, 8′, 4′

Choir-Positive to Great 16′, 8′, 4′

Solo on Great

Antiphonal on Great

Swell to Choir-Positive 16′, 8′, 4′

Solo on Choir-Positive

Great to Choir-Positive 8′

Pedal to Choir-Positive 8′

Manual Transfer

COMBINATION ACTION

General pistons 1–20 (thumb) and 1–10 (toe)

Great divisional pistons 1–8

Swell divisional pistons 1–8

Choir-Positive divisional pistons 1–8

Solo divisional pistons 1–8

Antiphonal divisional pistons 1–5

Pedal divisional pistons 1–5 (thumb), 1–8 (toe)

General Cancel Piston

Set Piston

Memory Level Up and Down pistons

Previous and Next pistons (5 each, thumb) and toe studs (1 each)

Transposer Up and Down pistons

General Crescendo pedal 60 positions, three adjustable and one standard

REVERSIBLES

Great to Pedal piston & toe paddle

Swell to Pedal piston & toe paddle

Choir-Positive to Pedal piston & toe paddle

Solo to Pedal piston & toe paddle

Swell to Great piston

Choir-Positive to Great piston

Swell to Choir piston

Antiphonal on Great piston

Antiphonal on Swell piston

Antiphonal on Choir piston

Antiphonal on Solo piston

Antiphonal on Pedal toe paddle

Pedal on Divisionals piston

32′ Contra Bourdon piston & toe paddle

32′ Contra Trombone piston & toe paddle

Sforzando I and II pistons & toe studs

Manual Transfer—piston & indicator light

Crescendo on Solo Expression piston & indicator light

EXPRESSION & CRESCENDO

Great Expression Pedal

Swell Expression Pedal

Choir-Positive & Solo Expression Pedal

Solo Expression & Crescendo Pedal

SUMMARY

Great 17

Swell 24

Choir-Positive 20

Solo 12

Antiphonal 15

Antiphonal Pedal   2

Pedal 10

Total 100 ranks

Photo credits, including cover (except where noted): Sandra Jausch, Vitamamans-Pictures