Ernest M. Skinner in Chicago: The first contracts

Stephen Schnurr

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

Editor’s note: much of the information in this article was delivered as a lecture for the Ernest M. Skinner Sesquicentennial Conference on April 25, 2016, in Evanston, Illinois. The conference was sponsored by the Chicago, North Shore, and Fox Valley Chapters of the American Guild of Organists, the Chicago-Midwest Chapter of the Organ Historical Society, the Music Institute of Chicago, and The Diapason.

The first part of this series appeared in The Diapason, April 2021, pages 14–20. The article focused on the first contracts of the Skinner firm in the Chicago area.

Saint Luke’s Episcopal Church of Evanston, Illinois, was founded in July 1885 as a mission of Saint Mark’s Episcopal Church, also of Evanston. The new congregation’s first services were conducted in Ducat’s Hall. Within a month, a store was rented on Chicago Avenue for services.

In October 1886, ground was broken for the congregation’s first church building of frame construction at the northeast corner of Lincoln Avenue (later Main Street) and Sherman Avenue. The building was occupied for services in May of the following year. The church was consecrated on November 10, 1889, and it would be expanded twice. Saint Luke’s was given parish status on January 1, 1891.¹

This building was served by a small organ by an unknown builder. In February 1894, the church purchased Hook & Hastings Opus 1605, a two-manual, twelve-stop instrument (twenty-one registers), at a cost of $1,840.

The parish began construction for the present building in 1906 with an estimated cost of $125,000. Considered by many to be the best design of the oeuvre of architect John Sutcliffe (1853–1913), the edifice was erected in several stages and was apparently modeled on Tintern Abbey in Wales. Sutcliffe, a native of England, was active in Chicago from 1892 until his death in 1913. Among his other commissions was Grace Episcopal Church of Oak Park, Illinois.

In the first stage of the new construction, the walls of the church were built to a height of ten feet, accomplished in 1907. In 1910, the Lady Chapel was completed. Four years later, the nave of the main church was completed to a height of seventy feet. The interior decoration of the nave was never completed. The fifteen-foot-high hanging rood was carved by Johannes Kirchmayer, a native of Oberammergau, Germany, who worked in Boston, Massachusetts. Saint Luke’s Church was used as the pro-cathedral of the Episcopal Diocese of Chicago from 1932 until 1941. The Bishop of Chicago at that time was the Right Reverend George Craig Stewart, who had previously served as rector of Saint Luke’s.

When the first portion of the church was finished in 1907, Saint Luke’s purchased an organ from Coburn & Taylor of Chicago, an instrument that is known to have utilized the case and façade pipes of the Hook & Hastings organ (and perhaps, if not likely, more). The two-manual instrument had fourteen stops. It cost $2,600, less $1,800 for the Hook & Hastings. The Coburn & Taylor was installed temporarily behind the pulpit on the chancel floor, now a part of the south ambulatory. It was used until 1922, and its fate is unknown.

For the Lady Chapel, Casavant Frères of Canada installed its Opus 386, a two-manual, twelve-stop, tubular-pneumatic-action organ, finished in 1910.²

1910 Casavant Frères Opus 386

GREAT (Manual I)

8′ Open Diapason 61 pipes

8′ Melodia 61 pipes

8′ Dulciana 61 pipes

SWELL (Manual II, enclosed)

16′ Bourdon 61 pipes

8′ Stopped Diapason 61 pipes

8′ Salicional 61 pipes

8′ Voix Celeste 61 pipes

8′ Aeoline 61 pipes

4′ Dolce Flute 61 pipes

8′ Oboe 61 pipes

Tremulant

PEDAL

16′ Gedeckt

16′ Bourdon (Sw)

Couplers

Great to Pedal 8

Swell to Pedal 8

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell to Swell 4

Accessories

2 Great pistons

3 Swell pistons

Great to Pedal reversible

Balanced Swell expression shoe

Balanced Crescendo shoe

The need for a pipe organ worthy of the new church edifice

When the nave of the church was completed to its intended height, the Coburn & Taylor organ was found to be inadequate for the much larger space. In early 1920, Herbert Hyde was appointed organist and choirmaster for Saint Luke’s. Hyde was an accomplished musician who had served Saint John’s, Ascension, and Saint Peter Episcopal parishes in Chicago as well as the Chicago Symphony Orchestra and had studied with Clarence Dickinson, Charles-Marie Widor, and Joseph Bonnet. Plans and fundraising were commenced practically immediately by the rector, Father Stewart, and Hyde for a substantial new instrument. Fortunately, the church’s archives contain a fountain of interesting letters and documents related to this process.

Negotiations for the organ quickly focused on the Skinner Organ Company of Boston, Massachusetts. Surviving correspondence in the church archives between the church and the organbuilder are primarily between Hyde and William Zeuch, Skinner vice-president. Zeuch had until recently lived in Chicago (his family was still there) and was good friends with Hyde. (The Zeuch family residence at 2833 Kenmore Avenue, Chicago, would see Skinner Opus 424 installed in 1923, a two-manual, twenty-two-rank organ that replaced a 1905 Marshall-Bennett organ.) Hyde and Zeuch referred to each other in correspondence as “Bert” and “Bill,” respectively. Despite the lack of letters from Ernest Skinner, one cannot discount his interest in the design and construction of the organ, as it was to be the largest installation by the firm in the Chicago region to that date.

The first surviving letter is from Zeuch to Hyde, May 13, 1920, noting that Hyde had submitted two specifications, one on May 6, the other on May 11. Hyde’s specifications were created with the consultation of his teacher Joseph Bonnet, Eric DeLamarter of Fourth Presbyterian Church, Chicago (which housed 1914 Skinner Opus 210), and Zeuch. Zeuch felt the second specification was much better, except for:

. . . the lack of a large scale string, such as a Gamba and Gamba Celeste on the Solo Organ. . . . You mention a large scale Viol d’ Orchestre. Could this not serve as one rank of such a string? Permit me to call your attention to the fact that all our Celestes run through to low C (of the manual keyboard) except the Unda Maris and the Flute Celeste. I have a slight personal preference for a Flute Celeste made with a Spitz on the Swell Organ. The scale and voicing of the stops of that name on my organ are of remarkably subtle charm, which I am sure you would be quick to appreciate.

I am with you without reservation on the “no borrowing” idea. I resort to this expedient only on small 2 manual specifications, where it is desirable to have several accompanimental stops on the Great Organ under expression.

For the price tag of $47,950 without casework, this would, Zeuch declared, provide “a perfect specification, and would give you the greatest organ in the country. It is not given to many organists to have an organ built just as they want it, and I congratulate you that you are to have this great fortune.”

Price would be a point of considerable discussion between the church and the builder, as Hyde stated in his letter to Zeuch, December 9, 1920, the church vestry “refuse to have the cost of the organ exceed $49,999.99,” which was a large sum for an organ in that day (nearly $675,000 in today’s currency). In this same letter, Hyde wanted the specification altered to remove the 8′ Dulciana from the Choir at a savings of $580; addition of a Dulcet II in its place at $828; addition of 16′ Violone/8′ Cello in the Pedal at $1,242; addition of Chimes at $993; and duplexing the Harp/Celesta on the Swell for $180; bringing the total cost of the organ to $52,613, without casework. Hyde embarrassingly asks the Skinner firm if they would kindly build the organ for less than $50,000.

A memorandum dated December 30, 1920, indicates that Zeuch had come to the Chicago area in order to meet with key people of Saint Luke’s Church. Between December 9 and the meeting, the Skinner firm offered to build the organ with the changes except the Chimes to be left prepared at the console at a cost of $49,998. The church further convinced Zeuch to allow a 5% discount for cash, amounting to $2,499.90, pending vestry approval.

A contract with the Skinner Organ Company and the church dated January 4, 1921, was signed on January 14 in the amount of $47,500 for a four-manual, 83-stop instrument of 5,343 pipes, Opus 327. (The Chimes were included, a memorial to William N. Cotterell.) Zeuch signed for the builder; Gabriel F. Slaughter, chairman of the music committee, signed for the church. Completion was set for January 10, 1922. The first payment of $10,000 was due on October 1, 1921, with the balance of $37,500 due “on completion and acceptance by a committee of three; one to be appointed by organ builders, one member by the church, these two to select a third member.”

The arrival of the Skinner organ

The blower arrived at the church December 9, 1921, well ahead of the rest of the instrument. It was clear in a letter from Zeuch on December 21, 1921, that the organ was behind schedule:

The organ is in the works and making good progress, tho I am sorry to say it is not yet sufficiently advanced to leave the factory. A few weeks more will suffice for that so that you will soon have tangible evidence of a new organ. Your suggestion to put more men on the work is interesting, if not practical. If you know of any skilled and experienced organ builders that would like a job with us send on as many as you care to. There is plenty of work for them.

As far as being late with our contracts is concerned, we are not the only ones. I don’t know of an organ concern in the country that meets their deliveries as called for. It isn’t possible in the nature of the business. Besides there is another side to the story. Last year we had six organs in storage all completed and ready for installation but held up because the buildings were not ready to receive them. At present moment we have two such cases. If we had the gift of prophecy it would indeed be helpful.

On Christmas Eve, Slaughter wrote to the Skinner firm as to when to expect the organ to be shipped:

Since it takes several weeks to install the organ, and as you may know the Ecclesiastical kalendar is strictly observed, and Lent arrives on the first of March, you will realize our anxiety lest any continued delay might make it impossible for us to open the new organ with an appropriate series of recitals.

The first railcar of the organ was not shipped until April 7, 1922. (Easter Sunday occurred April 16.) In all, a total of twelve railroad freight cars were dispatched to Evanston’s Main Street station, two blocks from the church. The organ was announced on the front page of The Diapason’s March 1, 1921, issue, along with a specification and a picture of Herbert Hyde.

When the Skinner organ was installed in the nave, the action of the Casavant organ in the Lady Chapel was electrified, and this instrument was made playable from the main organ console as an Echo division. Skinner added an 8′ Vox Humana to the Echo. The Skinner main console of four manuals was movable within a radius of twelve feet, situated in the choir stalls of the chancel. The chapel organ had a new console installed for use in that space. In the main organ chamber, the Choir and Pedal divisions were installed at the bottom, with the Great and Solo above, and the Swell at the top.

Installation of the organ was supervised by William S. Collins. Regulating, tuning, and “delicate voicing” was accomplished by Gust Bergkvist. Simplified casework was installed, with the more complex casework designed by the architect Thomas Tallmadge of Chicago’s Tallmadge & Watson created later. As eventually completed, the main façade facing the chancel includes some eighty-six speaking pipes from the Great and Pedal diapasons. A smaller façade in the south aisle is composed of non-speaking pipes.

The instrument was dedicated on Sunday, October 15, 1922, in a service presided over by the Right Reverend Sheldon Munson Griswold, Suffragan Bishop of Chicago, with Hyde at the console. The choir sang Hyde’s composition for the occasion, “O Praise the Lord of Heaven.” In the afternoon, assistant organist Mack Evans gave a brief program. That evening, Hyde presented a recital to the public, which was a capacity crowd.

Mr. Evans’s program was as follows:

Grand Choeur, Guilmant

Prayer and Cradle Song, Guilmant

Prelude and Fugue in D Minor, Bach

Variations on “Saviour, Breathe” and “Evening Blessings,” Thompson

Processional March, Rogers

 

Mr. Hyde’s program was as follows:

Caprice Heroique [sic], Bonnet

Reverie, Bonnet

Romance sans Paroles, Bonnet

Toccata and Fugue in D Minor, Bach

The Guardian Angel, Pierne [sic]

Slumber Song, Seely

Menuet à l’Antico, Seeboeck-Hyde

To a Wild Rose, MacDowell

Chromatic Fantasie, Thiele

Vision, Rheinberger

Cradle Song, Grieg

Le Bonheur, Hyde

 

This was the first day in a series of four that included programs that more than filled the church. The Diapason of November 1, 1922, stated:

The new Skinner organ in Saint Luke’s Church at Evanston, rated as the largest organ in any church in Chicago or vicinity, was inducted into service in a manner befitting the size and quality of the instrument . . . . None of the recitals was attended by fewer than 1,000 people and the night of the services under the auspices of the Illinois chapter, A. G. O., hundreds stood in the aisles throughout the performance.

The front-page article included a picture of the console.³

The six other recitalists heard in this series were Eric DeLamarter of Fourth Presbyterian Church, Chicago; Palmer Christian, then of Northwestern University and Fourth Presbyterian Church, formerly of Kenwood Evangelical Church, Chicago, and shortly thereafter at University of Michigan, Ann Arbor; Tina Mae Haines of Saint James Methodist Episcopal Church, Chicago; Stanley Martin of Saint Mark’s Episcopal Church, Evanston; William Lester of First Baptist Church, Evanston; and Mrs. Wilhelm Middelschulte of First Presbyterian Church, Evanston.

Monday, October 16, was “Evanston Organists” recital night, with appearances by Martin, Middelschulte, and Lester. Peter C. Lutkin of Northwestern University, Evanston, delivered an address, “The Education of the Soul,” as noted in The Diapason, “in which he dwelt on the need of cultivating the soul through music and art as being as essential to humanity as the training of the mind.”

Mr. Martin’s program:

Suite in F, Corelli-Noble

Contrasts, J. Lewis Browne

Scherzo, Fifth Sonata, Guilmant

 

Mrs. Middelschulte’s program:

Prelude and Nocturne, Bairstow

Toccata, Grison

 

Mr. Lester’s program:

Invocation (dedicated to Herbert Hyde), Lester

In Indian Summer, Lester

Venetian Idyl, Andrews

Andante con moto, Bridge

Heroic Overture, Ware

 

Tuesday, October 17, featured a “Recital by Chicago Organists Under the Auspices of the Illinois Chapter of the American Guild of Organists.” DeLamarter, Haines, and Christian were the featured performers.

Mr. DeLamarter’s program:

Chant de Printemps, Bonnet

Intermezzo, DeLamarter

Legende, Zimmerman

Finale, Sixth Symphony, Widor

 

Miss Haines’s offerings:

Matin Provencale [sic], Bonnet

Dance of the Sugar-Plum Fairy (Nut-Cracker Suite), Tschaikowsky [sic]

Meditation at Ste. Clotilde, James

Fantasie on Spanish Themes, Gigout

 

Mr. Christian’s appearance included:

Dreams, Strauss

Rhapsodie, Rossetter G. Cole

A Cloister Scene, Mason

Scherzo Caprice, Ward

 

The series closed on Wednesday evening, October 18, Saint Luke’s Day, with a program by Hyde, assisted by the church choir:

Sonata 1, Borowski

Meditation, Klein

Bourée, Bach

Suite Gothique, Boëllmann

O Praise the Lord of Heaven, Hyde (with the choir)

Berceuse, Dickinson

Caprice (manuscript), Seely

Toccata, Fifth Symphony, Widor

 

For many years, the organ was the venue of many important recital events. It was featured during the 1925 national convention of the American Guild of Organists and the 1933 national convention of the National Association of Organists. It was also a demonstration instrument for the builder, especially as Hyde became the western representative for Skinner.

Mr. Skinner exhibited great pride in the instrument over decades. In The Composition of the Organ, co-authored with his son Richmond H. Skinner, he wrote of Opus 327:

The Diapasons of the Great division of the organ in St. Luke’s Church, Evanston, Illinois, are most satisfactory to me and are of ideal Diapason character. There are three of eight foot pitch; First Diapason, scale 41 [sic], second 43 [sic], third 45. Later judgment suggests that the smallest be scale 48.

The church has fine acoustics and, in their locations, these Diapasons have an indescribable glow and richness, making them exceptionally churchly. All have a 1⁄5 mouth, cut up 5⁄12 their width. This is reduced in the trebles. All are tuned with sliding sleeves. The first, and I believe the second, has a thickened upper lip and structurally is of good weight of metal, including 22% tin. They have a pronounced octave harmonic and no flavor of thickness, nor have they any of the string quality characteristic of the German Diapason. The[y] differ again from the English types, which to me suggest the American Melodia, having little foundation and few harmonics and which M. Dupré calls “Gemshorns.”⁴

As the years passed . . .

Dr. Thomas Matthews became organist and choirmaster of Saint Luke’s Church in May 1946. Shortly thereafter, and in cooperation with William H. Barnes, organ consultant and author of the many editions of The Contemporary American Organ, some alterations were made to the Skinner organ. The Solo 8′ Philomela was replaced by an 8′ Doppel Flute from the 1889 Roosevelt organ removed from the Auditorium Theater of Chicago in 1942. Barnes ordered an 8′ Trompette from Gieseke in Germany to replace the Swell 8′ Cornopean. (The Cornopean was placed in safe storage at the church.)⁵

On December 18, 1956, Matthews wrote to Zeuch at the Aeolian-Skinner Organ Company about the possibility of addition of a horizontal trumpet to Opus 327. Joseph S. Whiteford, then tonal director for Aeolian-Skinner, replied in acknowledgment on January 3, 1957. On March 15, 1957, Thomas V. Potter, Midwest representative for Aeolian-Skinner, wrote to Matthews proposing a “Fanfare Trumpet” with several options. The preferred option was installation at the rear of the nave, above the entry door and below a window, for $4,000, including a blowing plant. A second option was installation behind the main altar reredos, which would cost $2,250 without a second blower, or $2,500 with blower. Delivery would be within one to two years.

It was agreed to install the trumpet at the rear of the nave, and a contract was sent to the church in the amount of $4,000, for completion by March 1, 1959. A down payment of $400 was due on signing, $1,080 when construction began, $1,080 when the trumpet arrived at the church, and the balance due upon completion. The reed pipes were harmonic from middle C, and the wind pressure was between 7-1⁄2 and 8 inches.

Materials were finished for shipping to Evanston in April 1958, but a strike by truckers stalled shipment until May 19 as noted in the church’s newsletter, The Parish Visitor, June 1958.⁶ The stop was first used on June 15 for the arrival of the Most Reverend Joost de Blank, Archbishop of Cape Town, South Africa, for his visit to Saint Luke’s Church. Final payment was received by Aeolian-Skinner on July 7 of that year. Saint Luke’s possessed the first Aeolian-Skinner fanfare trumpet in the Midwest, the fourth created by the builder. (Earlier examples were the Cathedral of St. John the Divine and Saint Thomas Church, New York City, and First Presbyterian Church, Kilgore, Texas.)

The trumpet stop was dedicated September 28, 1958, during a Eucharist service that featured a newly composed choir anthem by Thomas Matthews, “The Trumpeters and Singers Were As One.” The trumpet was named in memory of Joseph G. Hubbell. It is played from the Choir manual, its drawknob replacing the original 8′ Harp knob.

In November 1959, The Parish Visitor announced that William H. Barnes of Evanston, “a non-Episcopalian but a great admirer of St. Luke’s organ and music,” donated a new Chorus Mixture in memory of the late Herbert Hyde, who had died August 25, 1954, at the age of 67.⁷ The article stated:

Dr. Barnes is a nationally known organ architect and author of the book, “The Contemporary American Organ.” The new stop was built to his special specifications in Holland at an approximate cost, including installation, of $2,000. . . . Through the years, he has done much to keep our organ in good repair, and several years ago he gave a new Doppel Flute to replace an old one in the organ.

The addition of the new Chorus Mixture stop is the first step in modernizing the main organ. The next step will be the installation of three new sets of French reed pipes in the swell division as soon as the necessary funds become available.

The original Skinner III Mixture on the Great division was disconnected and the stop action reconnected to the new Chorus Mixture. The Skinner mixture pipework was removed, and it eventually disappeared.

The 1910 Casavant Lady Chapel organ was discarded in favor of an M. P. Möller organ of two-manuals, fourteen-ranks, playable from the Skinner console as well as a new two-manual console of tilting-tablet control in the chapel. The contract for Möller Opus 9244 was dated May 16, 1958, with completion set for August 1, 1959, at a cost of $16,950. Henry Beard was the builder’s legendary representative for the Chicago region. Wind pressures were three inches for the Great and Pedal divisions and 3-1⁄2 inches for the Swell. The Casavant organ became the property of Möller, but was apparently discarded. (The Möller organ was sold in 1986 to Our Lady of Hope Catholic Church, Rosemont, Illinois.) Funds for the new chapel organ were given in memory of Gabriel and Jessie Slaughter. Mr. Slaughter had served as chair of the parish music committee when the Skinner organ was procured and was a longtime vestryman.⁸

1959 M. P. MЪller Opus 9244

GREAT (Manual I, unenclosed)

8′ Rohrflöte 73 pipes (scale 54, halve on 20th, 12 zinc basses, remainder spotted metal)*

8′ Gemshorn (Sw)

8′ Unda Maris (Sw)

4′ Principal 73 pipes (scale 60, halve on 18th, spotted metal)*

III Rks. Mixture 183 pipes (“Spec. Formula ‘A’,” halve on 17th, spotted metal)*

SWELL (Manual II, enclosed)

16′ Gedeckt 73 pipes (scale 44, halve on 20th, 24 zinc basses, remainder spotted metal)

8′ Gedeckt (ext 16′)*

8′ Gemshorn 61 pipes (scale 52, 1⁄3 taper, halve on 17th, 12 zinc basses, remainder spotted metal)*

8′ Unda Maris 54 pipes (GG, scale 56, 2⁄3 taper, halve on 17th, 5 zinc basses, remainder spotted metal)*

4′ Nachthorn 61 pipes (scale 60, halve on 20th, spotted metal)*

2′ Prinzipal 61 pipes (scale 72, halve on 18th, spotted metal)*

II Rks. Cymbale 122 pipes (26–29, Spec. Formula “B,” halve on 17th, spotted metal)*

8′ Trompette 61 pipes (2-1⁄4″ scale, halve on 42nd)*

Tremolo

PEDAL

16′ Bourdon 12 pipes (CCC scale 40, CC scale 54, halve on 20th, 12 pipes, ext Gt 8′)*

16′ Gedeckt (Sw)

8′ Geigen 44 pipes (scale 46, halve on 18th, 17 zinc basses, remainder spotted metal)*

8′ Gedeckt (Sw)

4′ Octave (ext 8′)

2′ Gedeckt (Sw)

* stops available at the Skinner console

Couplers

Great to Pedal

Great to Pedal 4

Swell to Pedal

Swell to Pedal 4

Great 4

Swell to Great 16

Swell to Great

Swell to Great 4

Swell 16

Swell Unison Off

Swell 4

Accessories

3 General pistons

3 Great and Pedal pistons

3 Swell and Pedal pistons

Great to Pedal reversible

Balanced Swell expression shoe

Balanced Crescendo shoe with indicator light

 

Great Mixture “Formula ‘A’”

1–30 15 19 22

31–42 12 15 19

43–61 8 12 15

Unison scale 48 at 8′ CC, ¼ mouth

Quint scale 49 at 8′ CC, 2⁄9 mouth

Swell Cymbal “Formula ‘B’”

1–12 26 29

13–24 22 26

25–36 19 22

37–48 15 19

49–61 12 15

Unison scale 50 at 8′ CC, ¼ mouth

Quint scale 51 at 8′ CC, 2⁄9 mouth

Around 1960, in the Choir division of the Skinner organ, the 8′ Melodia was replaced by an 8′ Gedeckt, the 4′ Flute d’Amour replaced by a 4′ Rohr Flute, and the two-rank 8′ Dulcet replaced by a II Cymbal. This work was supplied by the Tellers Organ Company. A Cymbala or cymbelstern of four bells was installed in memory of Eliza C. Akeley. In the 1970s, Frank J. Sauter & Sons of the Chicago region repitched the Choir 8′ Diapason to 4′ and reinstalled the Swell 8′ Cornopean.⁹ At some point, the Swell Mixture was recomposed, and the 2′ stops in the Swell and Choir divisions were swapped. The organ was honored with the Organ Historical Society’s Historic Organ Citation #161.

In 1986 a restoration of the historic building and its nave was carried out. The project included removal of four-inch-thick horsehair and burlap padding from the wooden ceiling, installed in 1914. The result was a remarkable nearly four seconds of reverberation. Around the same time, the church acquired a one-manual, four-stop, portable, mechanical-action pipe organ from Karl Wilhelm.

Bringing the Skinner organ back to its origins

Most of the alterations to the Skinner organ were reversed in a restoration project by the A. Thompson-Allen Company of New Haven, Connecticut, begun in 1994 and completed in 1998. The first phase of the project included removal of the Swell division for restoration, the remainder of the instrument completed in time for Christmas 1998. Several of the ranks that were removed from the organ and stored in the church in previous decades were reinstated in the organ, namely, the three Choir division stops noted above. The Swell and Great mixture stops were recreated with new pipework.¹⁰ All of the original Skinner reed ranks were restored by Broome & Company of East Granby, Connecticut. Thompson-Allen added a General Cancel piston, as the console never had one.

The organ was rededicated on September 12, 1999. A series of recitals occurred in the 1999–2000 year; featured performers included Marilyn Keiser, Gillian Weir, Karel Paukert (a former organist and choirmaster of Saint Luke’s Church), and Richard Webster, organist and choirmaster of Saint Luke’s.

In 2013, the original blower for the organ was replaced. The parish completed a $1.8 million restoration of the church nave in 2016.

In anticipation of the organ’s centennial year and celebrations in 2022, the Thompson-Allen firm returned to Evanston in May and October 2021 for minor repairs. Centennial celebrations began February 25 of this year, with Jackson Borges accompanying the silent film feature of Buster Keaton’s Sherlock Jr. Friday through Sunday, October 14–16 will see a weekend of events, including a hymn festival with Richard Webster and a newly composed work by Malcolm Archer, both of whom will be present for the festivities.

1922 Skinner Organ Company Opus 327, as restored by A. Thompson-Allen Company¹¹

GREAT (Manual II, 7-1/2″ wind pressure)

16′ Diapason 73 pipes (scale 32, 1–29 zinc, 30–73 common metal)

8′ First Diapason 73 pipes (scale 40, 1–17 zinc, 18–73 linen lead, 1/5 mouth, leathered lips)

8′ Second Diapason 73 pipes (scale 42, 1–17 zinc, 18–73 linen lead, 1⁄5 mouth, leathered lips)

8′ Third Diapason 73 pipes (scale 45, 1–17 zinc, 18–73 spotted metal, 1⁄5 mouth)

8′ Claribel Flute* 73 pipes (1–12 stopped wood, 13–36 open wood, 37–73 open metal)

8′ Erzähler 73 pipes (1–12 zinc, 13–73 spotted metal, 1⁄4 taper)

4′ Octave 61 pipes (scale 58, 1–5 zinc, 6–61 spotted metal, 2⁄9 mouth)

4′ Harmonic Flute* 61 pipes (1–5 zinc, 6–61 common metal, harmonic 25–49)

2-2⁄3′ Twelfth* 61 pipes (scale 69, spotted metal)

2′ Fifteenth* 61 pipes (scale 70, spotted metal)

Chorus Mixture IV 244 pipes (added 1959, revoiced by A. Thompson-Allen in 1998)

Mixture III (A-9)* 183 pipes (original removed; replicated by A. Thompson-Allen in 1998)

16′ Trombone* 73 pipes (4-1⁄2″ @ 8′ C, 1–6 wood resonators, 6–61 zinc and Hoyt metal, 43–61 harmonic, 62–73 open spotted metal flues)

8′ Trumpet* 73 pipes (4-1⁄2″, 1–56 reeds, zinc and Hoyt metal, 31–56 harmonic, 57–73 spotted metal flues)

4′ Clarion* 61 pipes (3-1⁄4″, 1–44 reeds, zinc and Hoyt metal, 19–44 harmonic, 45–61 spotted metal flues)

Chimes (from Solo)

* enclosed

SWELL (Manual III, enclosed, 7-1/2″ wind pressure)

16′ Bourdon 73 pipes (1–61 stopped wood, 62–73 open common metal)

8′ Diapason 73 pipes (scale 45, 1–17 zinc, 18–73 common metal, 2⁄9 mouth)

8′ Salicional 73 pipes (scale 64, 1–12 zinc, 13–71 spotted metal)

8′ Voix Celeste 73 pipes (draws 8′ Salicional, scale 64, 1–12 zinc, 13–73 spotted metal)

8′ Gedeckt 73 pipes (1–43 stopped wood, 44–73 open common metal)

8′ Spitz Flute 73 pipes (1–17 zinc, 18–61 tapered common metal, 62–73 cylindrical common metal)

8′ Flute Celeste (TC) 61 pipes (13–17 zinc, 18–61 tapered common metal, 62–73 cylindrical common metal)

8′ Aeoline 73 pipes (scale 60, 1–12 zinc, 13–73 spotted metal)

4′ Octave 61 pipes (scale 60, 1–5 zinc, 6–61 common metal)

4′ Traverse Flute 61 pipes (1–5 zinc, 6–61 common metal, 25–49 harmonic)

2′ Flautino 61 pipes (scale 70, spotted metal)

III Mixture III 183 pipes (original A-9 mixture removed; replicated to a slightly later C-15 Skinner formula by Austin/ A. Thompson-Allen, 1998)

16′ Contra Posaune 73 pipes (4-1⁄2″ @ 8′ C, 1–6 wood resonators, 7–61 zinc and Hoyt metal, 55–61 harmonic, 62–73 open spotted metal flues)

8′ Cornopean 73 pipes (4-1⁄2″, 1–32 zinc and Hoyt metal, 33–56 Hoyt metal, 43–56 harmonic, 57–73 spotted metal flues)

8′ Oboe 73 pipes (zinc, common metal, spotted metal, 1–56 reeds, 57–73 spotted metal flues)

8′ Vox Humana 73 pipes (zinc and Hoyt metal, 1–56 reeds, 57–73 spotted metal flues)

4′ Clarion 61 pipes (3-1⁄4″, 1–44 reeds, 31–44 harmonic, 45–61 spotted metal flues)

Tremolo

Harp (Ch)

Celesta (Ch)

CHOIR (Manual I, enclosed, 6″ wind pressure)

8′ Diapason 73 pipes (scale 44, 1–17 zinc, 18–73 linen lead)

8′ Melodia 73 pipes (1–12 stopped wood, 13–43 open wood, 44–73 common metal)

8′ Dulcet II 146 pipes (scale 75, 1–12 zinc, 13–73 spotted metal)

8′ Kleine Erzähler 134 pipes (celeste TC, 1–31 stopped wood, 32–73 open common metal)

4′ Flute d’Amour 61 pipes (“#2,” 1–5 zinc, 6–73 common metal, 25–49 harmonic)

2-2⁄3′ Twelfth 61 pipes (slotted spotted metal, 1–49 tapered, 50–61 cylindrical)

2′ Piccolo 61 pipes (common metal, 13–49 harmonic)

1-1⁄3′ [sic] Tierce 61 pipes (slotted spotted metal, 1–41 tapered, 42–61 cylindrical)

8′ Clarinet 73 pipes (1–56 common metal, 57–73 open spotted metal flues)

8′ Orchestral Oboe 73 pipes (1–56 zinc and Hoyt metal, 57–73 open spotted metal flues)

Tremolo

Harp (61 bars, first octave repeats)

8′ Fanfare Trumpet 61 pipes (7-1⁄2″ wind pressure, 1–12 zinc, 13–56 spotted metal, 25–56 harmonic, 57–61 flues)

SOLO (Manual IV, enclosed, 10″ wind pressure)

8′ Diapason 73 pipes (scale 40, leathered lips, 1–17 zinc, 18–73 linen lead)

8′ Philomela 73 pipes

8′ Gross Gamba 73 pipes (scale 50, flared 4 notes, 1–12 zinc, 13–73 spotted metal)

8′ Gamba Celeste 73 pipes (scale 50, flared 4 notes, 1–12 zinc, 13–73 spotted metal)

8′ French Horn 73 pipes (7″, large scale, 1–49 zinc and common metal, capped, 50–73 open spotted metal flues)

8′ English Horn 73 pipes (single bell-type, 1–49 zinc and common metal, double-conical capped, 50–56 lidded conical resonators, 57–73 open spotted metal flues)

4′ Tuba Clarion 61 pipes (1–49 zinc and Hoyt metal, 7–49 harmonic, 50–61 open spotted metal flues)

Tremolo

8′ Tuba Mirabilis 73 pipes (20″ wind pressure, 1–61 zinc and Hoyt metal, 19–61 harmonic, 62–73 open spotted metal flues)

Chimes (25 tubes)

PEDAL (6″ wind pressure)

32′ Diapason (open wood) 68 pipes

16′ First Diapason (ext 32′ Diapason)

16′ Second Diapason 32 pipes (1–29 zinc, 30–32 linen lead)

16′ Violone 44 pipes (1–12 bearded open wood, 13–32 spotted metal with rollers)

16′ Bourdon (stopped wood) 56 pipes

16′ Echo Bourdon (Sw 16′ Bourdon)

8′ Octave (ext 32′ Diapason)

8′ ’Cello (ext 16′ Violone)

8′ Gedeckt (ext 16′ Bourdon)

8′ Still Gedeckt (Sw 16′ Bourdon)

4′ Super Octave (ext 32′ Diapason)

4′ Flute (extension, 16′ Bourdon)

32′ Bombarde 68 pipes (15″ wind pressure, 16″ x 16″ @ low C, 1–24 wood resonators, remainder zinc and Hoyt metal)

16′ Trombone (ext 32′ Bombarde)

8′ Tromba (ext 32′ Bombarde)

4′ Clarion (ext 32′ Bombarde)

Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Solo to Pedal 8

Solo to Pedal 4

Swell to Great 8

Choir to Great 8

Solo to Great 8

Swell to Choir 8

Great to Solo 8

Swell to Solo 8

Great to Great 16

Great to Great 4

Swell to Great 16

Swell to Great 4

Choir to Great 16

Choir to Great 4

Solo to Great 16

Solo to Great 4

Choir to Choir 16

Choir to Choir 4

Swell to Choir 16

Swell to Choir 4

Swell to Swell 16

Swell to Swell 4

Solo to Solo 16

Solo to Solo 4

Great to Solo 16

Great to Solo 4

Accessories

5 General pistons (thumb and toe)

9 Great pistons (1–9 thumb, 1–4 toe)

9 Swell pistons (1–9 thumb, 1–4 toe)

7 Choir pistons (1–7 thumb, 1–4 toe)

7 Solo pistons (1–9 thumb, 1–4 toe)

4 Pedal pistons (toe)

General Cancel (thumb, added by A. Thompson-Allen, 1998)

Couplers Off (thumb)

Combination setter button (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb)

Choir to Pedal reversible (thumb)

Solo to Pedal reversible (thumb and toe)

Solo to Great reversible (thumb and toe)

3 buttons: Chapel, Off, Both on Great

3 buttons: Chapel, Off, Both on Swell

3 buttons: Great Box to Solo, Off, Great Box to Choir

2 buttons: all Swells to Swell shoe, Off

Balanced Swell expression shoe

Balanced Choir (and Great) expression shoe

Balanced Solo (and Great) expression shoe

Balanced Crescendo shoe (with indicator light)

Sforzando reversible (toe, with indicator light)

Cymbala (knob in Swell stop jamb)

 

Great IV Chorus Mixture

1–17 15 19 22 26

18–24 12 15 19 22

25–49 8 12 15 19

50–61 8 8 12 15

Great III Mixture

1–18 15 19 22

19–30 12 15 19

31–61 8 12 15

Swell III Mixture

1–22 15 19 22

23–42 12 15 19

43–61 8 12 15

 

Church website: stlukesevanston.org

Organ website: opus327.org

 

Notes

1. Newton Bateman and Paul Selby, ed., Historical Encyclopedia of Illinois and History of Evanston, Volume II (Chicago, Illinois: Munsell Publishing Company, 1906), 374–375.

2. David McCain, “St. Luke’s Episcopal Church, Evanston, Illinois: A History of the Organs,” The Stopt Diapason, Chicago-Midwest Chapter Organ Historical Society, volume 3, number 3, whole number 15 (June 1982): 26–32.

3. “Great Feast of Music Ushers in Huge Organ: Busy Week for Evanston, Recitals Draw Upward of Thousand People Every Evening—Hyde and Other Organists heard on Skinner Instrument,” The Diapason, November 1, 1922: 1–2.

4. Ernest M. Skinner and Richmond H. Skinner, The Composition of the Organ, ed. by Leslie A. Olsen (Ann Arbor, Michigan: Melvin J. Light, 1980), 26.

5. McCain, “St. Luke’s,” 26–32.

6. “Delivery of Fanfare Trumpets delayed by truck strike,” The Parish Visitor, St. Luke’s Episcopal Church, volume 2, number 2 (June 1958): 5.

7. “Dr. Barnes donates organ stop,” The Parish Visitor, St. Luke’s Episcopal Church, volume 2, number 12 (November 1959): 80.

8. “St. Luke’s to be given new chapel organ in memory of Gabriel & Jessie Slaughter,” The Parish Visitor, St. Luke’s Episcopal Church, volume 2, number 7 (June 1958): 3.

9. McCain, “St. Luke’s,” 26–32.

10. “St. Luke’s Organ Rededication: September 12, 1999, Evanston, Illinois,” pamphlet published by St. Luke’s Episcopal Church, 1999.

11. “Saint Luke Episcopal Church,” Organ Handbook 2002 (Richmond, Virginia: The Organ Historical Society, 2002): 167–173.

 

Bibliography

Bateman, Newton, and Paul Selby, ed. Historical Encyclopedia of Illinois and History of Evanston, Volume II. Chicago, Munsell Publishing Company, 1906: 374–375.

“Delivery of Fanfare Trumpets delayed by truck strike,” The Parish Visitor, St. Luke’s Church, Evanston, Illinois, June 1958, volume 2, number 2: 5.

“Dr. Barnes donates organ stop,” The Parish Visitor, November 1959, volume 2, number 12: 8.

“Great Feast of Music Ushers in Huge Organ: Busy Week for Evanston, Recitals Draw Upward of Thousand People Every Evening—Hyde and Other Organists heard on Skinner Instrument,” The Diapason, November 1, 1922: 1–2.

McCain, David. “St. Luke’s Episcopal Church, Evanston, Illinois: A History of the Organs.” The Stopt Diapason, Chicago-Midwest Chapter Organ Historical Society, volume 3, number 3, whole number 15 (June 1982): 26–32.

“Saint Luke Episcopal Church,” Organ Handbook 2002. Richmond, Virginia, The Organ Historical Society, 2002: 167–173.

“St. Luke’s Organ Rededication: September 12, 1999, Evanston, Illinois,” published by the church.

“St. Luke’s to be given new chapel organ in memory of Gabriel & Jessie Slaughter,” The Parish Visitor, volume 2, number 7 (June 1958): 3.

Schnurr, Stephen. “Organ News.” The Stopt Diapason, Chicago-Midwest Chapter Organ Historical Society, whole number 65 (August 1999): 6–12.

Schnurr, Stephen J., Jr., and Dennis Northway, Pipe Organs of Chicago, Volume 1. Oak Park, Illinois, Chauncey Park Press, 2005: 94–97.

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.

This article is the final installment of a series in the August 2015, June 2016, July 2017, February 2018, June 2018, March 2021, and May 2021 issues of The Diapason. The information was delivered as a lecture for the Midwinter Pipe Organ Conclave on January 19, 2015, in La Grange, Illinois. The research for this project provides a history of a number of pipe organs in the village, but not all. For instance, organs in residences and theaters are not surveyed.

Grace Lutheran Church of La Grange was organized on April 14, 1887, as the Swedish Lutheran Church, the sixth congregation founded in the village. The lot at the southeast corner of Ogden and South Kensington Avenues was purchased the next month for $600. In June, an architect’s plan for a church measuring twenty feet by fifty feet was accepted, and ground was broken. The basement portion of the church was dedicated on September 25, 1887. The remainder of the structure was completed for dedication on October 8, 1895. This church was served by a reed organ.

Reverend Alfred Ostrom was called as first resident pastor in 1897 at a salary of $600 per year, plus a Christmas Day collection. A musician, he served as an editor of the first English hymnal of the Augustana Synod in 1901. In 1904, the congregation took the name Swedish Evangelical Lutheran Emmaus Church of La Grange. Reflecting the change of language for services from Swedish to English, the congregation became known as Emmaus Evangelical Lutheran Church in 1922.

In 1926, a committee was formed to plan for much-needed larger facilities, to be built on newly acquired property across Ogden Avenue. That year, the congregation became known as Grace English Lutheran Church, though “English” was dropped in 1927.

On the church’s fortieth anniversary in April 1927, a campaign was announced for the new structure. Ground was broken in October 1928, with the cornerstone laid the following month for a redbrick Gothic edifice with stone trim. Architects were Harry K. Culver and Walter C. Eden, the latter a member of the church. The nave seated 350 persons, and sliding doors to the adjoining hall provided overflow for an additional 125. Dedication occurred on June 2, 1929, with three services. Additions were made to the building in 1950 and 1966. The sanctuary was renovated to its present configuration in preparation for the congregation’s 125th anniversary celebration in 2012.

The original church still stands and was for some time home to another congregation, Grace and Truth Gospel Chapel. It has since been converted into a private residence.

For the present sanctuary, M. P. Möller of Hagerstown, Maryland, provided its opus 5522 costing $4,200. The contract was dated January 30, 1929, with completion set for June 1 of that year. An addition was typed onto the standard Möller contract stating that the builder “guarantees the workmanship, material, and tone qualities of this organ to be equal or superior to any organ built.” Wind pressure was five inches. The Echo division, never installed, was to be in a chamber provided near the rear of the nave, at second-floor level. A second tonal opening was located in the ceiling of an adjoining dining room. The organ was dedicated in service on June 4, 1929, two days after the church itself.

1929 M. P. Möller Opus 5522

GREAT (Manual I, enclosed)

8′ Open Diapason 73 pipes (scale 40, wood bass)

8′ Concert Flute 73 pipes

8′ Dulciana (scale 56) 73 pipes

4′ Solo Flute (ext 8′ Concert Flute)

4′ Dulcet (ext 8′ Dulciana)

Tremulant

Chimes (“Silent stop”)

SWELL (Manual II, enclosed)

16′ Bourdon 97 pipes

8′ Stopped Diapason (ext 16′ Bourdon)

8′ Salicional (scale 60) 73 pipes

8′ Voix Celeste (TC, scale 62) 61 pipes

4′ Flute d’Amour (ext 16′ Bourdon)

4′ Violina (ext 8′ Salicional)

2-2⁄3′ Nazard (ext 16′ Bourdon)

8′ Cornopean (“Small scale”) 73 pipes

8′ Vox Humana 61 pipes (scale 40, wood bass)

Tremulant

ECHO (Manual I, prepared at console)

8′ Echo Flute 73 pipes

8′ Muted Viole 61 pipes

8′ Vox Angelica 61 pipes

4′ Wahl [sic] Flute (ext 8′ Echo Flute)

Tremulant

PEDAL

16′ Sub Bass 44 pipes

16′ Lieblich Gedeckt (Swell, 16′ Bdn.)

8′ Bass Flute (ext 16′ Sub Bass)

Couplers

Great to Pedal

Swell to Pedal

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Great

Echo On/Great Off

Adjustable Combinations

3 Full Organ

4 Great and Pedal and Cancel

4 Swell and Pedal and Cancel

3 Echo Organ

Accessories

Great to Pedal reversible (toe)

Balanced Swell expression shoe

Balanced Great expression shoe

Balanced Crescendo shoe (with indicator light)

Sforzando reversible (toe)

The congregation began to consider rebuilding and enlarging the organ or replacing it entirely in early 1957. A committee focused on proposals from the Aeolian-Skinner Organ Co., Casavant Frères, Limitée, and M. P. Möller, Inc. The initial concept was to expand the existing organ chambers to either side of the chancel, involving small additions to the building. An initial proposal from Möller, June 7, 1957, called for a modest instrument with Great, Swell I, Swell II, Antiphonal, Pedal, and Antiphonal Pedal divisions, showing the influence of Ernest White’s tonal direction. The Aeolian-Skinner, Casavant, and Möller proposals were sent (without builder identification) to several Chicago area organ experts, with opinions and comparisons received from Edward Eigenschenk (American Conservatory and Second Presbyterian Church), Heinrich Fleischer (University of Chicago and DePaul University), Austin Lovelace (First Methodist Church and Northwestern University, Evanston), and Stanley Martin (Emmanuel Episcopal Church, La Grange, and the Chicago Sunday Evening Club). The overwhelming response was in favor of the Möller proposal, though several had caveats.

A revised Möller proposal dated February 24, 1958, abandons the divided Swell plan and enlarged the Antiphonal division, so that it would be more useful in leading the congregation from the rear of the nave. An 8′ Principal was also added to the Great specification. By May of that year, Grace Church was contemplating placing most of the organ in the rear gallery. With this change of focus, the chambers in the chancel would be reused for an antiphonal organ for the gallery instrument.

A contract dated September 11, 1958, was signed for Möller Opus 9325, in the amount of $45,400, with completion set for December 1, 1959. Perhaps recalling a certain condition of the 1929 contract, this one stated, “The organ shall be a distinctive work of the builder, a product of his factory, and in no way an assembled instrument.” A three-manual gallery organ was provided, and the old organ was rebuilt as a two-manual chancel instrument, played from the gallery console. The church’s choirs moved from the chancel to the gallery. For the gallery organ, wind pressures were three-and-a-half inches for the Great, four inches for the Swell, Choir, and Pedal.

1959 M. P. Möler opus 9325

GREAT (Manual II)

16′ Quintade 73 pipes (scale 46, 24 zinc basses, remainder spotted metal)

8′ Principal 61 pipes (scale 46, 24 zinc basses, remainder spotted metal)

8′ Holzgedackt 61 pipes (“Reg. Stopped Flute Bass & Treble,” wood and metal)

8′ Quintaton (ext 16′ Quintade)

4′ Octave 61 pipes (scale 58, spotted metal)

2′ Waldflöte 61 pipes (scale 68, 3⁄4 taper, spotted metal)

III Rks. Fourniture 183 pipes (spotted metal)

Tremolo

Chimes 20 tubes (“present Antiphonal,” from tenor A)

SWELL (Manual III, enclosed)

8′ Rohrpfeife 61 pipes (scale 56, 12 zinc basses, remainder spotted metal)

8′ Viola 61 pipes (scale 52, 12 zinc basses, remainder spotted metal)

8′ Viola Celeste 54 pipes (from low G, scale 54, 5 zinc basses, remainder spotted metal)

4′ Suavial 61 pipes (scale 60, spotted metal)

2′ Zauberflöte 61 pipes (scale 62, spotted metal)

III Rks. Plein Jeu 183 pipes (spotted metal)

16′ Cor Anglais 61 pipes (half length, 4″ scale, “English Horn Pattern”)

8′ Trompette 61 pipes (12 basses half length)

4′ Hautbois 61 pipes (3″ scale, “Reg. Oboe Full Length”)

Tremolo

CHOIR (Manual I, enclosed)

16′ Gemshorn 73 pipes (scale 40, 1⁄3 taper, 24 zinc basses, remainder spotted metal)

8′ Bordon 61 pipes (scale 56, 12 zinc basses, remainder spotted metal)

8′ Gemshorn (ext 16′ Gemshorn)

4′ Koppelflöte 61 pipes (scale 64, spotted metal)

2′ Doublette 61 pipes (scale 72, spotted metal)

II Rks. Sesquialtera 122 pipes (spotted metal)

8′ Krummhorn 61 pipes (1″ scale, “Brass Treble”)

Tremolo

PEDAL

16′ Sub Bass  32 pipes (“Large Pedal Bdn., Low Lip, Large Ears”)

16′ Quintade (Great, 16′ Quintade)

16′ Gemshorn (Choir, 16′ Gemshorn)

8′ Geigen 44 pipes (scale 45, 17 zinc basses, remainder spotted metal)

8′ Quintaton (Great, 16′ Quintaton)

8′ Gemshorn (Choir, 16′ Gemshorn)

4′ Oktav (ext 8′ Geigen)

4′ Quintaton (Great 16′ Quintaton)

II Rks. Grave Mixture 88 pipes (5 zinc basses, remainder spotted metal)

II Rks. Rauschquinte (ext II Rks. Grave Mixture)

CHANCEL GREAT (Enclosed)

8′ Harfenprinzipal 73 pipes (new pipes, old action, scale 50, 12 zinc basses, remainder spotted metal)

8′ Concert Flute 73 pipes (old pipes and action, “Reg. Concert FLT,” wood and metal)

4′ Octave (ext 8′ Harfenprinzipal)

4′ Flute (ext 8′ Concert Flute)

III Rks. Mixture 183 pipes (new pipes, old Diapason action, spotted metal)

CHANCEL SWELL (Enclosed)

16′ Gedeckt 85 pipes (old pipes and action, “Reg. Man. Bdn.”)

8′ Gedeckt (ext 16′ Gedeckt)

8′ Salicional 61 pipes (old pipes and action, scale 60, 12 zinc basses, remainder spotted metal)

4′ Spitzprinzipal 73 pipes (new pipes, old action, scale 60, 3⁄4 taper, spotted metal)

4′ Gedeckt (ext 16′ Gedeckt)

2′ Octavin (ext 4′ Spitzprinzipal)

1-1⁄3′ Nasat 61 pipes (new pipes, old Vox Humana action, scale 80, 2⁄3 taper, spotted metal)

8′ Fagotto 61 pipes (new pipes, old Cornopean action, 2-1⁄4′′ scale, half length, “Open Oboe”)

Tremolo

CHANCEL PEDAL

16′ Bourdon 44 pipes (old pipes and action, “Reg. Ped. Bdn.”)

16′ Gedeckt (Chancel Swell, 16′ Gedeckt)

8′ Bourdon (ext 16′ Bourdon)

8′ Gedeckt (Chancel Swell, 16′ Gedeckt)

4′ Gedeckt (Chancel Swell, 16′ Gedeckt)

Couplers

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Chancel Great to Pedal 8

Chancel Swell to Pedal 8

Chancel Swell to Pedal 4

Great Unison Off

Swell to Great 8

Swell to Great 4

Choir to Great 8

Choir to Great 4

Chancel Swell to Great 8

Chancel Swell to Great 4

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Great to Choir 8

Swell to Choir 8

Swell to Choir 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Chancel Swell Unison Off

Chancel Swell 4 to Swell 4

Adjustable Combinations

8 General pistons (thumb, 5–8 toe)

6 Great Organ pistons (thumb)

3 Chancel Great Organ pistons (thumb)

6 Swell Organ pistons (thumb)

3 Chancel Swell Organ pistons (thumb)

6 Choir Organ pistons (thumb)

6 Pedal and Chancel Pedal pistons (toe)

General Cancel (thumb)

Combination adjustor (thumb)

Accessories

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Balanced Swell and Chancel Swell expression shoe

Balanced Choir expression shoe

Balanced Chancel Great expression shoe

Balanced Crescendo shoe (with 3 indicator lights)

Gallery-Both-Chancel thumb pistons

Chancel Swell to Chancel Great expression shoe reversible (with indicator light)

Tutti reversible (thumb and toe, with indicator light)

Cancel tabs over stop groups

In 1993, the Möller organ was thoroughly rebuilt by Dan Vaughan of Phoenix, Arizona. The organ’s action was converted to all-electric. Much of the Möller pipework was retained for the new instrument. In 2001, Ericksen, Christian, and Associates of Glen Ellyn, Illinois, replaced the Great 8′ Principal, 4′ Octave, and 2′ Fifteenth with new pipes supplied by Rieger-Kloss of the Czech Republic.

1993 Dan Vaughan organ

GREAT (Manual II)

16′ Quintaten 61 pipes

8′ Principal 61 pipes

8′ Holz Gedeckt 73 pipes

4′ Octave 61 pipes

4′ Gedeckt (ext 8′ Holz Gedeckt)

2′ Fifteenth 61 pipes

III Fourniture 183 pipes

8′ Trompette 61 pipes

Chimes (tenor A) 21 tubes

Zimbelstern

SWELL (Manual III, enclosed)

8′ Principal 61 pipes

8′ Rohr Flute 73 pipes

8′ Viola 61 pipes

8′ Viole Celeste (low G) 54 pipes

4′ Octave 61 pipes

4′ Rohr Gedeckt (ext 8′ Rohr Flute)

2′ Flautina 61 pipes

III Plein Jeu 183 pipes

16′ Cor Anglais 73 pipes

8′ Trumpet 61 pipes

8′ Trompette (Great, 8′ Trompette)

8′ Hautbois (ext 16′ Cor Anglais)

4′ Clarion 61 pipes

Tremolo

CHOIR (Manual I, enclosed)

8′ Bourdon 61 pipes

8′ Gemshorn 61 pipes

4′ Koppelflote 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Principal 61 pipes

1-3⁄5′ Tierce 61 pipes

1′ Twenty-Second (fr 2′ Principal)

8′ Krummhorn 61 pipes

Tremolo

Choir Unison

Choir to Choir 4

PEDAL

32′ Resultant (fr 16′ Bourdon)

16′ Principal 56 pipes

16′ Sub Bass 32 pipes

16′ Bourdon 12 pipes (ext Choir 8′ Bourdon)

16′ Gedeckt (Chancel Swell, 16′ Bourdon)

16′ Gemshorn 12 pipes (ext Choir 8′ Gemshorn)

8′ Principal (ext 16′ Principal)

8′ Bourdon (Choir 8′ Bourdon)

8′ Gedeckt (Chancel Sw 16′ Gedeckt)

4′ Octave (ext 16′ Principal)

4′ Bourdon (Choir 4′ Koppel Flote)

2′ Super Octave (fr Great 4′ Octave)

III Cornet 96 pipes

16′ Bombarde (Swell 16′ Trumpet)

8′ Trumpet (Swell, 8′ Trumpet)

4′ Hautbois (Swell, 8′ Hautbois)

CHANCEL GREAT (Manual II)

8′ Bauerflote 85 pipes

4′ Lieblich Flote (ext 8′ Bauerflote)

2′ Bauerflote (ext 8′ Bauerflote)

1′ Lieblich Flote (fr 8′ Bauerflote)

III Cymbal 183 pipes

CHANCEL SWELL (Manual III, enclosed)

16′ Gedeckt 97 pipes

8′ Gedeckt (ext 16′ Gedeckt)

8′ Salicional 61 pipes

4′ Spitz Principal 73 pipes

4′ Gedeckt (ext 16′ Gedeckt)

2-2⁄3′ Nazard (ext 16′ Gedeckt)

2′ Flute (ext 16′ Gedeckt)

1-1⁄3′ Larigot (ext 4′ Spitz Principal)

8′ Fagotto 61 pipes

Tremolo

Swell to Swell 4

Inter-divisional Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Accessories

8 Full Organ pistons (thumb), 1–4 and 8 (toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Choir pistons (thumb)

3 Chancel Great pistons (thumb)

3 Chancel Swell pistons (thumb)

2 Pedal pistons (toe)

General Cancel (thumb)

Comb. Adjuster (thumb)

Midi 1–8

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Gallery/Chancel/Both (thumb)

Balanced Swell expression shoe

Balanced Choir expression shoe

Balanced Chancel Swell expression shoe

Balanced Crescendo shoe (with three green indicator lights)

Tutti reversible (thumb and toe, with red indicator light)

Wind indicator (white)

Memory Level/Show/Player/Gt.-Ch. Rev./Transp. Up/Transp. Down (thumb)

Stephen Schnurr

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

This article is a continuation of a series in the August 2015, June 2016, July 2017, February 2018, June 2018, and March 2021 issues of The Diapason. The information was delivered as a lecture for the Midwinter Pipe Organ Conclave on January 19, 2015, in La Grange, Illinois. The research for this project provides a history of a number of pipe organs in the village, but not all. For instance, organs in residences and theaters are not surveyed.

First Presbyterian Church was organized on May 13, 1890. The charter from the Presbytery of Chicago was accepted on October 27 of that year. The following year, property was purchased for construction of a church. The first church of local stone was dedicated on March 4, 1892. An estimated 500 persons crowded into the church seating 200. The building cost $5,336.

In 1907, the present property was purchased for $2,530. Construction for the first church at this location commenced in 1911, and the building was dedicated on March 3 of the following year. The design by architect Frank Jobson was patterned on a thirteenth-century church in Llambadarn, Wales, with a square tower and short spire. A picture of the model church was provided from the home of the church organist, J. Harry Jones.

The present church, built on the foundation of the earlier church, was dedicated on December 2, 1962, at a cost of $700,000. Charles Stade, well-known architect from Park Ridge, Illinois, drew the plans.

The first pipe organ for this congregation was built by W. W. Kimball of Chicago, an instrument of two manuals, seven ranks, and tubular-pneumatic action. The church is listed in both 1904 and 1913 catalogues of the builder. Further details on this organ are not available, but it was no doubt a standard Kimball “Portable” or “Boxcar” organ.

This instrument was taken in trade for Estey Opus 2798, a three-manual, 1929 rebuild of 1924 Estey Opus 2151, a two-manual instrument with player, originally placed in the Lyon & Healy studio of Chicago. In 1929, six ranks of pipes were added to the original thirteen, and a new three-manual “Master Keydesk” console provided. The organ was sold off the floor of the Chicago studio to the church, and the Kimball was resold to the Halleman Funeral Home, Chicago, for $1,150, less $400 for an Estey Style E two-manual reed organ.

The price for the organ to the La Grange church was $9,500, less $750 in trade for the Kimball.  (Estey also proposed a brand new, three-manual organ, with five fewer ranks, for the same price.) Approval for purchase of the studio organ came from the church in April 1931. The instrument was placed in chambers at either side of the chancel, with a decorative, non-speaking pipe façade. The Estey was to be partially playable for a wedding on May 15 and finished by May 29. A commission of $250 was paid to Claude D. Pierce of La Grange.

 

1929 Estey Organ Company Opus 2798

GREAT (Manual II)

8′ Open Diapason (scale 43) 73 pipes

8′ Melodia 73 pipes

8′ Dulciana (scale 58) 73 pipes

4′ Octave (ext 8′ Open Diapason)

4′ Flute (ext 8′ Melodia)

2′ Fifteenth (fr 8′ Dulciana)

8′ Trumpet (by Gottfried) 73 pipes

Harp* 49 bars

SWELL (Manual III, Enclosed)

16′ Bourdon 97 pipes

8′ Open Diapason (Gt)

8′ Stopped Diapason (ext, 16′ Bourdon)

8′ Melodia (Gt)

8′ Viol Celeste (TC)* 49 pipes

8′ Salicional 73 pipes

8′ Dulciana (Gt)

8′ Aeoline* 61 pipes

4′ Flute (fr Gt 8′ Melodia)

4′ Flute d’Amour (ext 16′ Bourdon)

4′ Salicet (ext 8′ Salicional)

2-2⁄3′ Twelfth (fr Gt 8′ Dulciana)

2′ Piccolo (fr Gt 8′ Melodia)

III Dulciana Mixture (fr Gt 8′ Dulciana)

8′ Oboe* 61 pipes

8′ Vox Humana* 61 pipes

Tremolo

Chimes* 20 tubes

CHOIR (Manual I, Enclosed)

8′ Open Diapason (scale 41)* 61 pipes

8′ Clarabella* 61 pipes

8′ Unda Maris (TC)* 49 pipes

8′ Viol d’Orchestre* 61 pipes

8′ Viol d’Amour (scale 56)* 61 pipes

4′ Flauto Traverso* 61 pipes

8′ Saxophone* 61 pipes

8′ Clarinet* 61 pipes

Tremolo

PEDAL

16′ Open Diapason* 30 pipes

16′ Bourdon* 30 pipes

16′ Lieblich Gedeckt* 44 pipes

16′ Bass Viol 30 pipes

8′ Dolce Flute (ext 16′ Lieb)

* retained from Estey Opus 2151.

COUPLERS

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Great to Great 16

Gt. Uni. Sep.

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

Choir to Choir 16

Choir Uni. Sep.

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Swell to Swell 16

Sw. Uni. Sep.

Swell to Swell 4

ACCESORIES

6 Universal pistons

6 Great and Pedal pistons

6 Swell pistons

6 Choir pistons

4 Pedal pistons

Great to Pedal reversible

Swell to Pedal reversible

Balanced Expression I

Balanced Expression II

Balanced Crescendo shoe (with indicator)

Sforzando reversible (with indicator)

Edwin Stanley Seder of the First Congregational Church of Oak Park played the dedicatory recital on Monday evening, June 1, 1931. Flora Hardie Burditt, contralto, assisted. There was a capacity crowd. The program:

Sinfonia to the Cantata “We Thank Thee, God,” J. S. Bach

Largo from Concerto in D Minor, J. S. Bach

O How Blessed Are Ye, Johannes Brahms

Pilgrim’s Chorus (Tannhauser), R. Wagner

Mr. Seder

I Will Sing New Songs of Gladness (Biblical Songs), A. Dvorak

The Mighty God Hath Spoken, Lincoln Case

Mrs. Burditt

Suite from Water Music, G. F. Handel

Allegro Vivace; Air; Hornpipe; Allegretto Giocoso; Allegro Maestoso

Mr. Seder

Offertory—Improvisation of a Well-known Hymn Tune

Prayer (Tristan and Isolde), R. Wagner

Mrs. Burditt

Canyon Walls (Mountain Sketches), Joseph W. Clokey

Dripping Spring (Sketches from Nature), Joseph W. Clokey

The Flight of the Bumble-Bee, N. Rimsky-Korsakoff

The Chapel of San Miguel (MS.), E. S. Seder

Carillon-Sortie, Henri Mulet

The church had several years to pay the debt for the organ in notes payable annually with interest. In 1932, a note of $2,000 with interest was due, and the church asked to pay $1,500 with interest, taking a new note for the remaining $500 due on December 1. The situation worsened in 1933 with our nation’s economy, and the congregation asked to pay $750–$1,000 towards its annual note of $2,000. Estey was also having troubles at that time, as the company was petitioned into receivership on February 20. The notes on the organ had been assigned to the First National Bank of Boston.

In October of 1936, the church complained of slow speech from the 1924 section of the organ, caused by rubberized cloth covering pneumatics that did not function properly and would cost approximately $500 to replace with leather. The church and the builder quarreled for a number of months over responsibility for repairs. Agreement for repair was finally reached on July 29, 1938. The church was closed for the month of August, and the work was to be completed by September 15.

In 1960, a contract was signed with the Aeolian-Skinner Organ Company of Boston, Massachusetts, for a three-manual, forty-rank gallery instrument (plus preparations for four additional stops), retaining some of the Estey organ in the chancel, which was installed in 1962, Opus 1390. The tonal director was Joseph Whiteford. The organ was designed by Thomas V. Potter, Aeolian-Skinner representative in Chicago, John J. Tyrell of Aeolian-Skinner, James A. Thomas, First Church minister of music, and James C. Andrews, also of the church.

The Estey organ was rebuilt under the direction of Andrews. Installation of the new organ was by Harold C. Lucas, representative for Aeolian-Skinner. Tonal finishing was by Lawrence L. Schoenstein of San Francisco, California. Correspondence on the organ, dated November 2, 1962, indicates that tonal finishing was delayed somewhat due to incompletion of the church, specifically, the installation of stained-glass windows. The organ was dedicated with the church on December 2, 1962, and named the Elsie Springer Hall Memorial Organ.

1962 Aeolian-Skinner Opus 1390

GREAT (Manual II, 3-1/4″ wind pressure)

16′ Quintatön (metal) 61 pipes

8′ Principal (metal) 61 pipes

8′ Bourdon (metal) 61 pipes

8′ Erzähler (prepared, blank knob)

4′ Octave (metal) 61 pipes

4′ Waldflöte (metal) 61 pipes

2′ Fifteenth (metal) 61 pipes

III–V Fourniture (C1–B1,III, C2–B2, IV, C3–C6, V, metal) 269 pipes

Chimes (in Swell, Deagan, five volume settings) 25 tubes

Swell to Great 16

Swell to Great 8

Swell to Great 4

Positiv to Great 16

Positiv to Great 8

Chancel to Great 8

Chancel to Great 4

SWELL (Manual III, Enclosed, 4″ wind pressure)

16′ Rohrbordun (metal) 80 pipes

8′ Viola (metal) 68 pipes

8′ Viola Celeste (metal) 68 pipes

8′ Rohrflöte (ext 16′)

8′ Flute Celeste II (metal, second rank TC) 124 pipes

4′ Spitz Principal (metal) 68 pipes

4′ Zauberflöte (prepared, blank knob)

2-2⁄3′ Nazard (metal) 61 pipes

2′ Blockflöte (metal) 61 pipes

IV Plein Jeu (metal) 244 pipes

16′ Fagotto (half-length, metal) 68 pipes

8′ Trompette (“#3 French,” metal) 68 pipes

4′ Rohrschalmei (“common,” metal) 68 pipes

Tremulant

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

POSITIV (2″ wind pressure)

8′ Nasonflöte (wood) 61 pipes

8′ Flute Celeste (Sw)

4′ Koppelflöte (metal) 61 pipes

4′ Flute Celeste (Sw 8′)

2′ Prinzipal (metal) 61 pipes

1-3⁄5′ Terz (metal) 61 pipes

1-1⁄3′ Quinte (metal) 61 pipes

1′ Spillflöte (metal) 61 pipes

II Zimbel (metal) 122 pipes

8′ Krummhorn (prepared, blank knob)

Tremulant

Positiv to Positiv 16

Swell to Positiv 16

Swell to Positiv 8

Swell to Positiv 4

PEDAL (3-1/4″ wind pressure)

16′ Contra Basse (metal) 32 pipes

16′ Quintatön (Gt)

16′ Rohrbordun (Sw)

8′ Spitz Principal (metal) 44 pipes

8′ Quintatön (Gt 16′)

8′ Rohrflöte (Sw 16′)

4′ Choralbass (ext 8′ Spitz Principal)

4′ Rohrflöte (Sw 16′)

III Rauschquinte (metal) 96 pipes

16′ Bombarde (41⁄2″ scale, “French,” metal) 32 pipes

16′ Fagotto (Sw)

8′ Fagotto (Sw 16′)

4′ Fagotto (Sw 16′)

1 blank knob

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Positiv to Pedal 8

CHANCEL

8′ Gedeckt (Estey 8′ Melodia)

8′ Gemshorn (Estey 8′ Dulciana, new pipes above tenor C)

8′ Gemshorn Celeste (prepared, TC)

4′ Montre (newer pipes)

2′ Principal (newer pipes)

III–IV Plein Jeu (prepared, to be 232 pipes)

8′ Festival Trumpet (newer pipes, “separate high pressure chest”)

1 blank knob

Chancel to Chancel 4

CHANCEL PEDAL

16′ Gedeckt (ext Chancel 8′ Gedeckt)

8′ Montre (ext Chancel 4′ Montre)

4′ Choralbass (fr Chancel 4′ Montre)

Chancel to Pedal 8

ACCESSORIES

6 General pistons (thumb and toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Positiv pistons (thumb)

4 Chancel pistons (thumb)

6 Pedal pistons (toe)

General Cancel (thumb)

Setter button (thumb)

Pedal to Manual Comb. (Great, on/off, thumb)

Pedal to Manual Comb. (Swell, on/off, thumb)

Pedal to Manual Comb. (Positiv, on/off,  thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Positiv to Pedal reversible (thumb)

Swell to Great reversible (thumb)

Swell to Positiv reversible (thumb)

Great Cancel (thumb, under Swell manual, and above Great stops)

Swell Cancel (thumb, under Swell manual, and above Swell stops)

Positiv Cancel (thumb, under Swell manual, and above Positiv stops)

Chancel Cancel (thumb, under Swell manual, and above Chancel stops)

Pedal Cancel (thumb, under Swell manual, and above Pedal stops)

Positiv/Chancel/Both/Release (buttons on right key cheek of Manual I)

Chancel on/off (buttons on right key cheek of Manual II)

Balanced Swell expression shoe

Balanced Chancel expression shoe

Balanced Crescendo shoe (with five green indicator lights)

Full Organ reversible (thumb and toe, with red indicator light)

Narthex signal button and light

Sacristy signal button and light

Choir Room signal button and light

Electric clock

The first recital was played by James A. Thomas, director of music, on January 13, 1963. The “official” dedicatory recital was played by Leonard Raver on March 17, 1963, playing a program of works by Buxtehude, Bruhns, Couperin, Stanley, Binkerd, Bingham, Alain, along with the Chicago-area premiere of Persichetti’s Sonata for Organ. The low-profile console stands three and three-quarters feet high, with all couplers located in the stop jambs. The instrument was featured on the cover page of the January 1963 issue of The Diapason.

Alec Wyton, Wilma Jensen, and Virgil Fox also concertized on this organ in its early years, performing to large audiences. The chancel organ has since been altered, was water-damaged in the late 1970s, fell silent, and has been removed.

The chancel also houses Brunzema Opus 3, a one-manual, four-rank mechanical-action portative organ, built in 1981. It represents the first of the firm’s Kistenorgel series. Brunzema pamphlets described the organ as follows:

The name of the Kisten Orgel comes from the Germanic word Kiste which literally means a wooden box or crate. The organ pipes are contained in a box and are protected when in use and also during transportation. This means that the instrument may not be too large or too heavy. Two persons should be able to carry the parts. It should not be necessary to hire a moving company for transportation. We have achieved this goal by building the organ in two parts: the upper section contains the windchest with the pipes, the lower section houses only the bellows and the electric blower. The critical dimension for ease of transportation is the depth of the larger part. Our instrument is only 48.5 cm (19-1/8 inches) and therefore fits through any door, and can even be moved around narrow corners and hallways.

Open metal pipes are cone-tuned, metal stopped pipes have soldered-on caps, for tuning stability. Key action is suspended mechanical. Pitch is A = 440 Hz. The organ has carved wood pipeshades on three sides for excellent tonal egress.

1981 Brunzema Opus 3

MANUAL

8′ Gedackt (oak and walnut, stopped) 50 pipes

4′ Flöte (oak and walnut, stopped) 50 pipes

2′ Prinzipal (12 basses stopped, 70% tin) 50 pipes

1-1⁄3′ Quinte (12 basses at 2⁄3′ pitch, 70% tin) 50 pipes

Stephen Schnurr

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

The First Presbyterian Church holds the distinction of having the longest history of service of any religious organization in the city of Chicago. The first home for the fledgling church was within Fort Dearborn, the location of which today can be found marked within the sidewalks of Michigan Avenue near the Chicago River. The first century of the history of First Presbyterian Church reveals that the congregation was a leader in the city, a distinction that extended to the congregation’s music and its pipe organs.

The first church building

On May 13, 1833, the Reverend Jeremiah Porter arrived at the fort to commence missionary work. The first service was held the following Sunday, May 19, in the fort’s carpenter shop. The church was organized within the Presbytery of Detroit on June 26 of that year with twenty-six founding members. The first church structure was built by Joseph Meeker at a location that is now the southwest corner of Lake and Clark Streets. It was a frame building measuring forty feet long and twenty-five feet wide, costing $600 and seating 200 persons. The Reverend Porter dedicated this building on January 4, 1834. He would leave Chicago the following year. By that time, the congregation was incorporated as the First Presbyterian Church of Chicago on February 6, 1835. During the two-year interim before a new pastor was called, the Reverend Isaac T. Hinton, pastor of First Baptist Church, also served 
the Presbyterians.¹

The “Brick Church”

On July 1, 1837, the Reverend John Blatchford was installed as the second pastor of First Presbyterian Church. Within the following year, the frame church was moved to property located at Clark Street and Calhoun Place. In May 1844, after the Reverend Flavel Bascom had become pastor, the church acquired adjacent property. Construction for a new church commenced in 1847, and in September 1849 the building known as the “Brick Church” was dedicated. The following year, the Reverend Harvey Curtis was installed as pastor. Before long, First Presbyterian began its first of several moves south, and the property was sold in October 1855. The church building continued to serve several uses, including Mechanics Institute Hall and as Smith & Nixon Hall, when it was utilized for concerts and lectures.

The 1857 church and the first pipe organ

First Church purchased property on Wabash Avenue near Congress Street and began construction of a new church building in 1856 to the designs of Boyington and Wheelock of Chicago. The new church of Gothic influence was dedicated on the evening of October 15, 1857, at a cost of $135,000.

The first organ known to have been owned by First Presbyterian Church was present at the dedication of the 1857 church, as it was played by W. H. Currie of Saint Paul (Universalist?) Church. According to Philo Adams Otis, the organ had three manuals, thirty-eight stops. It was placed in a gallery at the front of the auditorium. The Chicago Daily Press of Monday, October 19, noted:

The organ is a splendid instrument. The case, or screen, is executed in the same style of architecture as the other parts of the house, and was designed by the architect to fill the place arranged for it. It is a perfect model. The instrument is one of the largest first-class organs made by the well-known firm of Hall & Labagh, of New York City. The case of the organ has been grained to correspond with the pulpit and pews.²

The first organist of record for First Church was Adolph W. Dohn (1835–1901), who came from First Congregational Church to First Presbyterian Church when the Hall & Labagh organ was installed and remained until the winter of 1859–1860. In the spring of 1860 Horace Grant Bird (1837–1897) began service as organist, remaining until about 1868. Nicholas Cawthorne succeeded Bird, and others in quick succession were Frank T. Baird, Dr. Louis Falk, and Dr. J. E. Gilman.

In 1859 the Reverend Z. M. Humphrey was installed as pastor of First Presbyterian Church. During his tenure, the towers of the church were completed. This building burned in the Great Fire of October 1871. Nothing was salvaged save for church records, the communion service, and the “Sexton library.”

The merger with Calvary Presbyterian Church and the Indiana Avenue church

The homeless church again felt the need to move southward, as the area in which it was located had become commercial and many members had already moved in that direction. The decision was made to merge with Calvary Presbyterian Church, which had recently purchased property on South Indiana Avenue at Twenty-First Street and was in the process of building its new church home. The first worship service of the two congregations together was held on November 5, 1871, in Christ Reformed Episcopal Church. In February of the following year services were moved to Immanuel Baptist Church.

Calvary Presbyterian Church was formed on June 20, 1859. About one year later property was purchased on South Indiana Avenue between Ringgold Place (Twenty-Second Street) and Palo Alto Place (Twenty-Third Street), where the first frame church building was erected and completed in 1860. Two years later property extending to Ringgold Place was purchased, and the building was moved to the corner and expanded. The Reverend Daniel Lord, pastor of South Congregational Church of Bridgeport, Connecticut, was appointed fifth pastor of Calvary in 1869. Dr. Lord was the last pastor of Calvary Church, his term ending with its merger with First Church.

The growing Calvary congregation felt the need for more commodious accommodations; hence they sold their property and purchased the stone edifice that was built by Trinity Methodist Episcopal Church on South Indiana Avenue at Twenty-First Street. The Trinity building was demolished, and plans for a new church were drawn by John Crambie Cochrane, who also designed the Illinois and Iowa state capitols. The cornerstone was laid in November of 1870. The coming of winter practically halted progress, but by the Great Fire of October 1871, most of the exterior walls were complete. The church’s organ committee, comprising Philo Adams Otis, Henry Wood, and George F. Bacon, were finalizing plans with the E. & G. G. Hook & Hastings firm of Boston. These plans were to be completed after the merger with 
First Church.

The newly consolidated First Presbyterian Church occupied the lecture room of its new church by May of 1872; the church auditorium was dedicated on February 6, 1873. A debt of $70,000 remained on the church and was not paid until 1878. The quartet choir of Calvary Church was retained for First Church. The Reverend Dr. Arthur Mitchell, pastor of First Church since 1869, became pastor of the united church. During the summer of 1902 the interior of the nave was redecorated and the choir gallery was enlarged. On January 19, 1906, the funeral of Marshall Field, founder of the legendary department store bearing his name, was held in the sanctuary.

The contract for E. & G. G. Hook & Hastings Opus 649 for the Indiana Avenue church, mentioned above, was signed in the summer of 1872, with completion set for November of that year. The builders had the organ ready on time, yet the church was not ready to receive it, so it was placed in storage when it was shipped to Chicago. The cost was approximately $9,000. Pneumatic action was applied to I Manuale (Great).³ As with the Steere organ mentioned below, the nomenclature of the manuals is given here as found in the source, yet the order of manuals, bottom to top, would have been Choir, Great, and Swell. Installation was under the charge of George S. Hutchings, then superintendent of the builder’s factory, who would go on to establish his own firm in 1901.

1873 E. & G. G. Hook & Hastings Opus 649

I MANUALE (Great)

16′ Open Diapason

8′ Open Diapason

8′ Doppel Flote

8′ Viola de Gamba [sic]

8′ Viola d’Amour

4′ Flute Harmonique

4′ Flute Octave [sic]

3′ Twelfth

2′ Fifteenth

Mixture III

Acuta III

8′ Trumpet

II MANUALE (Swell, enclosed)

16′ Bourdon

8′ Open Diapason

8′ Viola

8′ Stop’d Diapason

8′ Quintadena

4′ Violina

4′ Flauto Traverso

2′ Flautino

Dulce Cornet III [sic]

8′ Cornopean

8′ Oboe with Bassoon

8′ Vox Humana

III MANUALE (Choir)

8′ Geigen Principal

8′ Dulciana

8′ Melodia

4′ Flute d’Amour

4′ Fugara

2′ Piccolo

8′ Clarinet

PEDALE

16′ Double Open Diapason

16′ Bourdon

12′ Violone [sic]

8′ Violoncello

16′ Trombone

Mechanical Registers

I Manuale to Pneumatic, Coupler

II Manuale to Pneumatic, Coupler (Swell to Great)

III Manuale to Pneumatic, Coupler (Choir to Great)

II to III Manuale, Coupler (Swell to Choir)

I Manuale to Pedale, Coupler (Great to Pedale)

II Manuale to Pedale, Coupler (Swell to Pedale)

III Manuale to Pedale, Coupler (Choir to Pedale)

Tremolo

Bellows Signal

Pedale Movements

Forte Combination Pedale, I Manuale

Mezzo Combination Pedale, I Manuale

Piano Combination Pedale, I Manuale

Forte Combination Pedale, II Manuale

Mezzo Combination Pedale, II Manuale

Piano Combination Pedale, II Manuale

Forte Combination Pedale, Pedale

Adjustable Swell Pedal

Reversible Pedal to operate Pedale Coupler for I Manuale (Great to Pedal)

 

The organ and church were dedicated on February 6, 1873, with a recital under the direction of G. C. Knopfel, the “western agent of the builders.” (Knopfel arrived in Chicago during the early 1860s and served as organist for Saint Paul Universalist Church, Trinity Episcopal Church, and Saint James Episcopal Church. After the Fire of 1871, he served Immanuel Baptist Church.) Other notable Chicago organists for this occasion included Louis Falk and I. V. Flagler (Plymouth Congregational Church). Another respected musician in the world of Chicago organbuilders was George W. Lyon, of Lyon & Healy, who played harp for the occasion.⁴ The program was as follows:

Part I.

1—Opening of the Organ,   Mr. G. C. Knopfel.

Agent for the Builders.

a. Selections

b. Offertoire, Op. 22 Batiste.

2—Benedic Anima, Buck.

Choir of First Presbyterian Church.

3—Angels, Ever Bright and Fair, Handel.

Mrs. O. L. Fox.

4—A Tear Shed at the Grave of Rossini, Ciardi.

Organ, Piano, Harp, Violoncello, Violin and Flute.

Messrs. Knopfel, Falk, Lyon, Bachmann, Sir [sic] and Bareither.

5—Volkslied, Krebs.

Choir of Second Presbyterian Church.

6—Variations on a Scotch Air, Buck.

Mr. Louis Falk.

7—The Message, Blumenthal.

Mrs. W. H. Aldrich.

 

Part II.

1—Gloria in Excelsis, Knopfel.

Performed by the Choirs of the First, Second, and Fourth Presbyterian Churches.

2—Grand Duo for Two Pianos and Organ Obligato, Lysberg.

Miss Eva Manierre and Messrs. Ledochowski and Knopfel.

3—Venite, Buck.

Choir of Second Presbyterian Church.

4—a. Transcription—Robin Adair, Flagler.

      b. Prelude in B Minor, Bach.

Mr. I. V. Flagler.

5—Trio, Lift Thine Eyes, Mendelssohn.

Mesdames Farwell, Fox, and Johnson.

6—Miserere, from Trovatore, Verdi.

For Piano, Organ, Violoncello, and Violin.

Messrs. Knopfel, Flagler, Bachmann, and Sir.

7—Festival March, Zundel.

Mr. G. C. Knopfel.

 

When the congregation moved to the Indiana Avenue church, George F. Bacon served as organist. Bacon, who had served Calvary Church since 1868, died in December of that year, and Henry Fuller succeeded him. Fuller would serve until his death in September of 1869. For a brief time, Benjamin Owen, who served Plymouth Congregational Church and Trinity Episcopal Church, served as organist, followed by Emil Liebling and William H. Cutler for brief terms. In October of 1874 Charles Arthur Havens began service to First Church. Havens had previously served Second Presbyterian Church and First Baptist Church. One year later he left for three months at Saint James Episcopal Church, before returning to First Presbyterian on January 1, 1876. (During his absence, a Mr. Dyer, Samuel C. Moore, and Frederick W. Root, served as organists.) Mr. Havens’s second term at First Presbyterian lasted three years.

On January 12, 1879, the world-renowned organist Hiram Clarence Eddy began his term as organist to First Church, a position he would retain until May 19, 1895. When Mr. Eddy was away for frequent recitals, substitute organists were drawn from a list of Who’s Who in Chicago’s musical circles: Harrison M. Wild, A. F. McCarrell, L. J. Henderson, Louis P. Hoyt (Saint Mark Episcopal Church, Chicago), A. W. Dohn, John A. West, Charles David Irwin, and Wilhelm Middelschulte. During the World’s Fair exhibition of 1893, Mr. Otis notes in his history of the church the visits of numerous church musicians to the congregation: S. B. Whitney of the Church of the Advent, Boston; R. Huntington Woodman of First Presbyterian Church of Brooklyn; W. C. Carl of the old First Presbyterian Church, New York City. On September 3, 1893, “M. Alexander Guilmant gave an informal organ recital, the congregation remaining seated at the request of Dr. Burrows.” When Eddy left First Church in 1895, his student, Charles David Irwin, became the congregation’s organist. Irwin remained until May 31, 1896, when he resigned.

After Irwin’s departure from First Church, Francis Silvey Moore, a member of First Church since his childhood and a student of Clarence Eddy, began a distinguished tenure as organist, serving some thirty years. With the removal of First Presbyterian Church to Woodlawn Park, Anne Pearson Maryott, organist for Woodlawn Presbyterian Church was appointed organist of the united church, a post she held until 1929. Organists in later years have included Willard J. Congreve and Barbara Dickerman.

The E. & G. G. Hook & Hastings organ remained under the care and maintenance of Ira Bassett until his death on December 19, 1895. A hydraulic motor was installed in 1896, paid for largely by Charles David Irwin. During the summer of 1906, it was noted that the organ was cleaned and that “the low or international pitch has been installed.”⁵ An 8′ Aeoline was placed in the Swell division, and the Choir manual was fitted with a combination pedal. It is not noted who carried out this work.

The merger with Forty-First Street Presbyterian Church and the move to Grand Boulevard

As early as 1895, the congregation found itself once again contemplating a move, as its membership continued to relocate to residences south of Thirty-Ninth Street. By 1897, decline in church receipts became noticeable. On June 7, 1912, a joint committee of First Presbyterian Church and Forty-First Street Presbyterian Church recommended a merger of the two congregations. (Another faction in the church had argued for construction of a new church in the Kenwood neighborhood. This group had gathered pledges nearing $83,000 for this effort, less than half that necessary for this plan to be acted upon.)

The merger was adopted at the annual meeting of First Church on December 2 of that year. A part of the action provided “that if found practical, all our memorial windows and tablets, upon consent of the donors, together with the furniture and organ, be moved to [Forty-First Street] church.” The last service in the Indiana Avenue church was held on Sunday, December 29,⁶ with the minister of Forty-First Street Church, the Reverend Dr. William Chalmers Covert, and his congregation present. The first service of the combined church in its new home was held on Monday, December 30. The congregations were officially merged on December 31, 1912, retaining the name of First Presbyterian Church and the property of Forty-First Street Presbyterian Church. The Reverend Covert became minister of the united congregation.

Forty-First Street Presbyterian Church was organized on February 14, 1875. Activities of the congregation began in 1869 under the auspices of First Presbyterian Church in a frame building located at Prairie Avenue and Forty-First Street. The Reverend Dr. Thomas Cuming Hall became the third pastor on November 4, 1886. During his pastorate, the building at the southwest corner of Grand Boulevard (now Dr. Martin Luther King, Jr., Drive) and East Forty-First Street was constructed at a cost of $115,000. The cornerstone was laid in October of 1889, and the building was dedicated on December 21, 1890. The architect of the Richardsonian Romanesque-style building seating 2,000 persons was Chicago’s Solon S. Beman, who designed numerous other churches, particularly Christian Science churches, as well as the entire town of Pullman, now annexed into Chicago. A debt of $50,000 remained at the time of dedication, which was paid in 1907. In 1926 the building was sold to Metropolitan Community Church, and today is home to the congregation of Metropolitan Apostolic Community Church.

Forty-First Street Presbyterian Church was served by the following organists from 1874 until its consolidation with First Church in 1912: Elizabeth Lamson, Charlotte Dodd, Anna Carhart, Henry Howenstein, Mary Pierce, Frank Hazen, Victor Garwood, Allen B. Benedict, and C. H. Demorest. The only pipe organ known to have been owned by this congregation was built for the Grand Boulevard church by J. W. Steere & Sons of Massachusetts as their Opus 331. The contract, copied from company ledger books now located in the Organ Historical Society Library and Archives in Villanova, Pennsylvania, was signed on September 7, 1891, and the three-manual organ was to be completed by May 1, 1892. The contract price was $5,700.00. The compass of manuals was 61 notes (C–C); pedal compass was 30 notes (C–F). “Bassett’s Patent Pneumatic Motor” was to be used for the Great division and “its couplings.” When the congregation merged with First Church in 1912, the Steere organ was removed in the summer of 1913 and replaced with the altered E. & G. G. Hook & Hastings from the 1873 church, the latter rebuilt and electrified by the Coburn & Taylor (or Coburn Organ) Company of Chicago for its new home behind the Steere façade. The Steere organ was offered for sale, though its ultimate fate is unknown.⁷

While manual designations are copied from the contract ledger book,⁸ presumably the order of manuals, bottom to top, was Solo, Great, and Swell.

1892 J. W. Steere & Sons Opus 331

FIRST MANUALE—Great Organ (* enclosed with Solo)

16 ft. Double Open Diapason (metal—61 pipes) 

8 " Open Diapason (metal—61 pipes)

8 " Doppel Flote (wood—61 pipes)

8 " Viola da Gamba (metal—61 pipes)

4 " Octave (metal—61 pipes)

4 " Flauto Traverso (wood—61 pipes)

2 2⁄3 " Twelfth (metal—61 pipes)*

2 " Fifteenth (metal—61 pipes)*

Mixture (4 rank, metal—244 pipes)*

8 " Trumpet (Reed, metal—61 pipes)*

SECOND MANUALE—Swell Organ

16 ft. Bourdon Treble/Bass (wood—61 pipes)

8 " Open Diapason (metal—61 pipes)

8 " Stopped Diapason (wood—61 pipes)

8 " Salicional (metal—61 pipes)

8 " Æoline (metal—61 pipes)

4 " Violina (metal—61 pipes)

4 " Flute Harmonique (wood and metal—61 pipes)

2 " Flautino (metal—61 pipes)

Dolce Cornet (3 rank, metal—183 pipes)

8 " Cornopean (Reed, metal—61 pipes)

8 " Oboe and Bassoon (metal—61 pipes)

8 " Vox Humana (metal—61 pipes)

THIRD MANUALE—Solo Organ (enclosed in a separate swell box)

8 ft. Geigen Principal (metal—61 pipes)

8 " Melodia (wood—61 pipes)

8 " Dulciana (metal—61 pipes)

4 " Fugara (metal—61 pipes)

4 " Flute d’Amour (wood—61 pipes)

2 " Piccolo (metal—61 pipes)

8 " Clarinet (Reed, metal—61 pipes)

PEDALE ORGAN

16 ft. Open Diapason (wood—30 pipes)

16 " Bourdon (wood—30 pipes)

8 " Violoncello (metal—30 pipes)

16 " Trombone (metal—30 pipes)

Mechanical Registers

Great to Pedal

Swell to Pedal

Solo to Pedal

Great to Pneumatic, Coupler

Swell to Pneumatic, Coupler

Solo to Pneumatic, Coupler

Swell to Solo

Tremolo to Swell

Tremolo to Solo

Blowers Signal

Wind Indicator over Manuals

Pedale Movements

Forte, Great Organ and Pedal

Mezzo, Great Organ and Pedal

Piano, Great Organ and Pedal

Forte, Swell Organ

Piano, Swell Organ

Reversible Pedal to operate Great to Pedal

Balanced Swell Pedal—Swell Organ

Balanced Swell Pedal—Solo Organ

Pedal Check
 

Recapitulation

Great Organ 10 Stops 793 Pipes

Swell Organ 13     " 839    "

Solo Organ   7     " 427    "

Pedal Organ   4     " 120    "

Mechanicals 10     "

Total 44 Stops 2,179 Pipes

The First Church organ was replaced in 1922 by Opus 348 of the Skinner Organ Company of Boston, Massachusetts. Philo Adams Otis, chair of the church’s music committee since 1875, was chair of the organ committee for this project. The contract with Skinner was signed in the last week of July 1921.⁹ The specification, printed in the September 1, 1921, issue of The Diapason,¹⁰ was drawn by Francis S. Moore.¹¹ The Solo 8′ Stentorphone was originally to be prepared, but correspondence dated March 6, 1922, provided for the rank to be installed.

The Steere façade was again retained and brought forward for the new organ. The E. & G. G. Hook & Hastings organ was listed for sale in the September 1, 1921, issue of The Diapason¹² and was eventually relocated and rebuilt in 1925 by Casavant Frères of Saint-Hyacinthe, Québec, Canada, as a four-manual instrument, their Opus 1106, for H. R. Austin of Beach Bluff, Massachusetts. In 1937 this organ was again relocated and altered for Saint Matthew Catholic Church of Central Falls, Rhode Island, where it was still extant in 2018. The church is now Holy Spirit Parish.

The Skinner organ was opened with a great fanfare of recitals in November of 1922. Eric DeLamarter, organist of Fourth Presbyterian Church, presented the inaugural recital on Wednesday, November 1. Ernest M. Skinner presented an “illustrated lecture on modern organ design.” DeLamarter’s program was as follows: Chant de Printemps and Angelus du Soir, Bonnet; Chorale [sic] in A Minor, Franck; “Scherzo,” Sonata V, Guilmant; Reverie Pathetique, Godfrey; Fantasia on Scottish Airs, Mansfield; Scherzo, Rousseau; Carillon, DeLamarter; “Final,” Symphony VI, Widor.

The following evening featured a program by Herbert E. Hyde of Saint Luke’s Episcopal Church, Evanston, and a lecture by Frederick A. Stock of the Chicago Symphony Orchestra. Mr. Hyde’s program: Toccata and Fugue in D Minor, Bach; Cradle Song, Grieg; Vision, Rheinberger; Chromatic Fantasie, Thiele; Romance sans Paroles, Bonnet; Bourree [sic], Bach; Menuet a l’Antico, Seeboeck-Hyde; and Caprice Héroïque, Bonnet. Friday’s (November 3) program focused on a lecture on music in the church by Dr. William Pierson Merrill of the Brick Presbyterian Church of New York City (and of the former Sixth Presbyterian Church of Chicago) in the presence of the pastors of First Church since 1893. Frances Anne Cook, organist of the former Sixth Church, played a brief program preceding the lecture. Her program: Marche Russe, Schminke; Autumn Sketch, Brewer; Angelus du Soir, Bonnet; Toccata, Frysinger. On Sunday, November 5, the organ was dedicated in service, and that evening Helen W. Ross, assistant organist to the church, gave a recital. Francis Moore was rather ill through all the celebrations and therefore unable to participate actively.¹³

The church interior and organ were pictured in the February 1, 1923, issue of The Diapason,¹⁴ wherein the same issue a series of three organ recitals was announced for the upcoming months.¹⁵ On February 23 William Zeuch, formerly of Chicago and then in Boston as an employee of Skinner, performed. Mr. Zeuch’s program included: “Allegro maestoso,” from Symphonie VI, Widor; Cantabile, Jongen; Rigaudon, Rameau; Prelude and Fugue in B Major, Dupré; Within a Chinese Garden, Stoughton; Scherzo Pastorale, Federlein; Serenade, Rachmaninoff; Marche Marocaine, de Meyer; Gesu Bambino and Minuet Antico, Yon; Liebestod and Ride of the Valkyries, Wagner.¹⁶ On March 10 Marcel Dupré performed. His program included “Allegretto” and “Toccata” from Symphonie V, Widor; Final in B-flat, Franck; and an improvisation for the second half on themes submitted by Adolf Weidig, Francis Moore, Philo Otis (Adeste Fideles), and the Reverend William Chalmers Covert (Saint Anne), pastor.¹⁷ The series concluded on April 10 with a program by Mr. Moore.

1922 Skinner Organ Company Opus 348

GREAT (Manual II)

16′ Bourdon 61 pipes

8′ First Diapason 61 pipes

8′ Second Diapason 61 pipes

8′ Claribel Flute 61 pipes

8′ Erzähler 61 pipes

4′ Octave 61 pipes

2 2⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

8′ Tromba 61 pipes (enclosed with Choir)

Chimes (from Echo)

2 blank knobs

SWELL (Manual III, enclosed)

16′ Bourdon 73 pipes

8′ Diapason 73 pipes

8′ Gedeckt 73 pipes

8′ Salicional 73 pipes

8′ Voix Celeste 73 pipes

8′ Aeoline 73 pipes

8′ Unda Maris (TC) 61 pipes

4′ Flute 61 pipes

2′ Flautino 61 pipes

Mixture III 183 pipes

8′ Cornopean 73 pipes

8′ Flugel Horn 73 pipes

8′ Vox Humana 73 pipes

Tremolo

CHOIR (Manual I, enclosed)

8′ Diapason 61 pipes

8′ Concert Flute 61 pipes

8′ Dulciana 61 pipes

4′ Flute 61 pipes

2′ Piccolo 61 pipes

8′ Clarinet 61 pipes

8′ Orchestral Oboe 61 pipes

Tremolo

3 blank knobs

SOLO (Manual IV, enclosed)

8′ Stentorphone 73 pipes

8′ Gamba 73 pipes

8′ Gamba Celeste 73 pipes

8′ French Horn 61 pipes

8′ Tuba Mirabilis 73 pipes

Tremolo

1 blank knob

ECHO (Manual IV, enclosed)

8′ Cor de Nuit 61 pipes

8′ Vox Humana 61 pipes

Tremolo

Chimes 30 tubes

2 blank knobs

PEDAL

32′ Diapason (fr 16′ Diapason, resultant in bottom octave)

16′ Diapason 44 pipes

16′ Bourdon (fr Great)

16′ Echo Bourdon (fr Swell)

8′ Octave (ext 16′ Diapason)

8′ Gedeckt (fr 16′ Bourdon)

8′ Still Gedeckt (fr Swell 16′)

4′ Flute (ext 16′ Bourdon)

16′ Trombone 44 pipes

8′ Tromba (ext 16′ Trombone)

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

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

Choir to Choir 16

Choir to Choir 4

Swell to Choir 8

Solo to Choir 8

Swell to Swell 16

Swell to Swell 4

Solo to Solo 16

Solo to Solo 4

Great to Solo 8

Accessories

6 Great Pistons (thumb)

6 Swell Pistons (thumb)

5 Choir Pistons (thumb)

5 Echo and Solo Pistons (thumb)

6 Pedal Pistons (toe)

General Cancel (thumb)

Combination Setter (thumb)

Pedal to Great Combination On/Off (thumb)

Pedal to Swell Combination On/Off (thumb)

Great to Pedal Reversible (toe)

Solo to Great Reversible (toe)

Swell Expression Shoe

Choir Expression Shoe

Solo and Echo Expression Shoe

Crescendo Shoe

Sforzando Reversible (toe)

The Swell, Great, Choir, Solo, and Pedal divisions are located behind the Steere façade (Great at lower left; Choir at upper left; Pedal at center; Solo at lower right; Swell at upper right). The Echo division is located in a room off the second-floor rear balcony.

The merger with Woodlawn Park Presbyterian Church and the construction of the present church

First Church did not remain on Grand Boulevard for very long. By the mid-1920s, demographics of church membership prompted plans for another move south. In October of 1924 negotiations began toward merger with Woodlawn Presbyterian Church, then located at South Kimbark Avenue and East Sixty-Fourth Street. On January 27, 1926, a committee recommended merger with Woodlawn Church, or, if this did not work, a merger with Hyde Park Presbyterian Church. The merger with Woodlawn Church occurred on October 20, 1926, at which time the Grand Boulevard property was sold to Metropolitan Community Church.

Woodlawn Presbyterian Church was formally organized January 19, 1885, a mission of Hyde Park Presbyterian Church (now United Church of Hyde Park), with a membership of thirty-nine. Early activities can be traced to 1865, with sponsorship by Methodist, Baptist, and Presbyterian churches. After organization, it was initially known as First Presbyterian Church and Society of Woodlawn Park. A small building was erected at a cost of $3,000. Under the third pastor, the Reverend Edward Harvey Curtis, a brick church was constructed at a cost of $25,000. In 1924 the Reverend William Henry Boddy became pastor of Woodlawn Church, remaining until the merger with First Church and beyond as pastor of the united congregation.

The congregation then numbered 1,400 persons and had begun plans for building a new church, having raised $300,000 for this purpose. The plans were redrawn on a larger scale for the union of the congregations. The 1900 church building, which was demolished when the present First Church was constructed, contained a two-manual organ of tubular-pneumatic action, built by W. W. Kimball of Chicago. From a letter by George W. Ford, Chicago representative of M. P. Möller, to the factory, dated October 23, 1934, we learn that the organ had approximately eighteen ranks.¹⁸ For several months after the merger, worship was held in the 1900 Woodlawn building. The last service there was held on May 1, 1927. Until the present church was completed, worship occurred at the Wadsworth School at University Avenue and Sixty-Fourth Street. Midweek services were held in conjunction with Woodlawn Park Methodist Episcopal Church, virtually across the street at the northeast corner of South Woodlawn Avenue and East Sixty-Fourth Street. Sunday Vesper services were held at Immanuel Lutheran Church, two blocks east on Sixty-Fourth Street at Kenwood Avenue. (The Methodist and Lutheran churches have been demolished.)

The cornerstone of the present building was laid on September 25, 1927. John Knox Hall was occupied and used for services beginning on December 18 of that year. On April 22, 1928, the first services were held in the new church.

The present Gothic building of Indiana limestone was designed by Tallmadge & Watson of Chicago. Construction cost was $750,000. The great tower stands 125-feet high and is surmounted by representations of the four archangels. Within the tower, a set of Deagan chimes were in place at the dedication, a memorial to Ina Law Robertson. The nave of the church measures ninety-five feet long, sixty-two feet wide, and forty-nine feet high, and originally seated 1,200 persons. It has a stone in the center floor from the Basilica of Saint John Lateran, Rome; another stone within the walls came from the Temple of Karnak, Egypt. The floor of the nave at the front has a stone from the Church of the Waldensians, Chabas. The reredos behind the altar rises forty feet high. Windows near the top of the reredos were executed by the Willet Studios of Philadelphia, Pennsylvania. The windows of the nave, featuring events in the life of Christ, were completed by R. Toland Wright of Cleveland, Ohio. The desk of the pulpit was retained from the Indiana Avenue church. The church was dedicated on Sunday, October 14, 1928, with celebrations continuing for the week following.

The chapel is named for Lafayette McWilliams and Mary Goodman McWilliams, given by their children. The room features fascinating quarter-sawn white oak paneling, accomplished by the American Seating Company of Chicago, and an ornamental plaster ceiling. It has a stone in the floor from the Basilica of Saint Peter, Vatican City. The windows of this room were executed by Willet. The exterior walls along the nave facing the central courtyard include stones from First Church (Indiana Avenue); Forty-First Street Church; Sixth Church; Woodlawn Park Church; Reims Cathedral, France; Chester Cathedral and Westminster Abbey, England; Saint Andrew Church, Toronto, Ontario, Canada; Saint Olave Church, London, England; Saint Peter Church, Geneva, Switzerland; Solomon’s Quarries of Jerusalem; Bethlehem; Nazareth; and Old Rehoboth, Maryland.

At that time the Grand Boulevard church was sold to the Metropolitan Community Church, the First Congregational Church of Evanston considered purchasing the Skinner organ from the Presbyterian church. The Congregational church had by that time signed a contract with Skinner for a new instrument and would have broken this contract. The Congregational church went through with the purchase of Skinner Opus 616, and Opus 348 remained in the Grand Boulevard church. Curiously, it appears that the Presbyterian congregation did not consider moving the Skinner organ, less than a decade old, to its Woodlawn building. The building is now Metropolitan Apostolic Community Church, and the Skinner organ is extant, though unplayable.

The organ in the present sanctuary was built in 1928 by M. P. Möller of Hagerstown, Maryland, as their Opus 5001, a four-manual, electro-pneumatic-action instrument. The contract, signed by Oscar E. Aleshire, chairman of the First Church building committee, was drawn on April 27, 1927, and received in Hagerstown on May 3. The price was $22,050.00, plus the Kimball organ in the former Woodlawn Presbyterian Church, which was junked. (Fifty dollars was for the connection between the organ and the tower chimes system.) One-half the price was due upon completion of the organ, with one-quarter due after each of one and two years, at six percent interest, though the congregation could pay off the debt earlier at its convenience.¹⁹ (With the Great Depression beginning one year after completion of the church and organ, the church was unable to honor this debt for a number of additional years.) The organ was to be delivered by November 1 of that year, although it would be an additional eleven months before it was actually finished.

Möller announced the contract in its full-page advertisement in the June 1, 1927, issue of The Diapason, including a rendering of the exterior of the new edifice. The specification was printed in the October 1, 1927, issue.²⁰ Before the organ was completed, some changes were made in the specification, which were requested by the church organist, Anne P. Maryott, in consultation with William H. Barnes, noted organ architect. (Barnes included the church in a list of his clients in his advertisement in the February 1, 1928, issue of The Diapason.) Installation of the church and chapel organs was carried out under the supervision of D. S. Wentz of Chicago.

The Möller organ in the church was dedicated in recital by Palmer Christian, formerly organist for the nearby Kenwood Evangelical Church, on Sunday, October 21, 1928.²¹ (Palmer was responsible for the installation of the Skinner organ there, the first Skinner contract in the state of Illinois.²²) A letter from Ford & Reynolds, the Chicago representative for Möller, dated October 11, 1928, sums up the importance of the event for the company:

. . . and we certainly want to make an impression on Palmer Christian as he has great influence in this territory, and this is the first Moller [sic] Organ of a respecitible [sic] size that he has ever played.

He is a Skinner man, and Skinner just installed a new $50,000 organ in the College where he is located [University of Michigan, Ann Arbor]. I understand, however, that he is not satisfied with the organ, so we hope to have our organ in the best of shape to see if we can’t win him over to a Moller.

. . . This is important enough that Mr. Moller should make a special effort to be here. It would be a nice thing for him to get here the day before if possible so as to meet Dr. Boddy [pastor] and get acquainted.²³

The organ was dedicated during an entire week of festivities for the congregation and its new building. The period began with dedication of the church itself on Sunday, October 14.²⁴ That afternoon, the chapel was also dedicated. Other events followed during the week. The following Sunday, the organ of the main church was dedicated. The program follows:

The Processional—No. 166

“Crown Him With Many Crowns” The Choir

The Invocation

Organ Group—Toccata, Adagio, and Fugue in C Bach

An Anthem—“Praise the Lord, O Jerusalem” Maunder

Organ Group—Prelude on an Ancient Flemish Theme Gilson

     Allegro con spiritu (Sonata III), Borowski

     Impression, Karg-Elert

An Address—“The Place of Music in Worship” Reverend Harold L. Bowman, d.d.

Organ Group—

     Up the Saguenay (St. Lawrence Sketches) Russell

     Scherzo Rousseau

     Pilgrims Chorus (Tannhauser)* Wagner

     Ave Maria Schubert

     Rhapsody Catalane Bonnet

*—By request.

That afternoon, the Ina Law Robertson Memorial tower chimes were dedicated.²⁵

D. S. Wentz corresponded with the Möller office regarding the events:

The recital at the First Presby. Church here was a very big success, as everything went off in “tip-top” shape and we had no troubles at all. There was a big turn-out of organists from around town—some that play big Skinners and Cassavants [sic], and I heard nothing but praise everywhere. In fact, Mr. Christian remarked that it was a very good toned church organ, and Miss Tina Mae Haines, who plays the big Cassavant in St. James M. E. Church here, said: “There is one organ you do not have to make any excuses for.”

Sunday morning about five minutes of eleven—(just five minutes before services began) one of our men whom I had at the church called me and said they could not get the motor started and could not find the fuses that was [sic] burned out. I rushed over and we finally located the trouble and got the motor going, altho they had to hold up the services about five minutes. They had electricians there Saturday afternoon and evening to fix this starter as it caused trouble before, and they were the last men to be at church, so the church people did not blame us at all for it.

Yesterday morning when we went over to the church and started to work, we blew at least six fuses before we got the motor started. We are going to have the Century Motor people come and tear out the motor as it is either the motor or ground jumping over somewhere cause the trouble, as we have fuses twice the size as ordinarily supposed to be used.

At any rate, just wanted to let you know that everything went along fine at the recital.²⁶

Mr. Möller had not attended the program.

The tops of the façade pipes are decorated in hand-wrought sheet lead furnished by National Lead Company, which also made Hoyt metal for organ pipes. The lead sheets were fashioned into the decorative patterns by H. R. Bonnewitz of Van Wert, Ohio. (The façade pipes of the 1926 Casavant organ at Saint James Methodist Episcopal Church, Chicago, designed by the same architect, Talmadge & Watson, were treated with similar decoration.)²⁷ The Presbyterian façade was pictured in the June 1931 issue of The American Organist with a brief article about the process. Bonnewitz remarked:

Lead, being neutral in color, blends into any surroundings and does not clash 
wherever you use it. Owing to the nature of the material it is susceptible to feeling and on account of its rapid oxidation it takes on a beautiful effect that is impossible in any other medium, and it grows more beautiful with years.

In the Chicago example the caps are 27′′ high and 9′′ wide, and there are two designs that alternate. They were all cut by hand, bent around the pipes, and laced on the back by means of studs and soft copper wire. The weight is carried by small clips over the top of the pipe. The lead used weighs five pounds to the square foot.²⁸

Several sets of pipes proved unsatisfactory and were shipped back or replaced. These included the Great 8′ Trumpet, found to be “entirely too thin” and replaced during installation with a new set with Tuba quality. Several years later, the Solo Tibia pipes were shipped back to the factory for further work. The diapasons would also prove problematic. In an August 26, 1931, letter from W. H. Strock in the Chicago office of Möller, we learn:

Referring to the Diapason pipes in the large four manual organ, First Presbyterian Church, Chicago.

They certainly are a mess. We could boost them up a little more and make them louder, but that will not enrich the tones. Guest organists have voiced their complaints about them, and Mr. Ford advises that every prospect he has had over there seems to like the organ, but voices disapproval about the Diapasons. Even our competitors know about this, and when they demonstrate to a prospect they tell them to take particular note to their Diapasons—and then listen attentively to those in the Presbyterian Church.

I believe there remains only one thing to do—and that is to replace the Diapasons.

Please let me hear from you.²⁹

It is unclear from the builder’s records what happened regarding this issue.

The four-manual console of stopknob control is situated within the chancel to the left (south) of the altar. Manual compass is the standard 61 notes (C–C); pedal compass (concave, radiating pedalboard) is 32 notes (C–G). The instrument was powered by a fifteen-horsepower Spencer Orgoblo. The Great and Choir divisions are located at the front of the chancel to the left (south) of the altar; the Swell and Solo divisions are located to the right (north) of the altar. The Choir is located above the Great; the Swell is located above the Solo. The Echo division is located at the rear of the nave in a chamber at the southwest corner of the gallery.

1928 M. P. Möller Opus 5001

GREAT ORGAN (Manual II, enclosed with Choir, 7-inch wind pressure)

16′ Open Diapason 85 pipes (scale 44, 24 wood basses, 61 metal trebles)

8′ First Open Diapason 73 pipes (scale 40, 12 wood basses, 61 metal trebles)

8′ Second Open Diapason 73 pipes (scale 42, 12 wood basses, 61 metal trebles)

8′ Doppel Flute 73 pipes (61 wood basses, 12 metal trebles)

8′ Clarabella 73 pipes (49 wood basses, 24 metal trebles)

8′ Gemshorn 73 pipes (tapered, 12 zinc basses)

4′ Octave (ext 16′ Open Diapason)

4′ Flute (ext 8′ Clarabella)

2 2⁄3′ Twelfth 61 pipes (originally to be 4′ Flute Harmonic, metal)

2′ Fifteenth (metal) 61 pipes

8′ Trumpet (metal) 73 pipes

Tremulant

Chimes (originally to have played Choir Harp, from Echo)

Tower Chimes (not effected by combination action)

SWELL ORGAN (Manual III, enclosed, 7-inch wind pressure)

16′ Lieblich Gedeckt 97 pipes (wood, at side of chamber)

8′ First Open Diapason 73 pipes (lower front chest, scale 40, 12 wood basses, 61 metal trebles)

8′ Second Open Diapason 73 pipes (lower front chest, scale 44, 12 wood basses, 61 metal trebles)

8′ Stopped Diapason (ext 16′ Lieblich)

8′ Salicional (metal) 73 pipes

8′ Viole d’Orchestre 73 pipes (lower front chest, scale 64, tin)

8′ Viole Celeste 73 pipes (lower front chest, scale 62, tin)

4′ Fugara 61 pipes (addition to contract, metal)

4′ Flute d’Amour (ext 16′ Lieblich)

2 2⁄3′ Nazard (addition to original specification, ext 16′ Lieblich)

2′ Flautina (ext 16′ Lieblich Gedeckt)

Dolce Cornet IV Rks 292 pipes (elevated at front of chamber, 12^th, 15^th, 17^th, 19^th, metal)

16′ Posaune 73 pipes (lower front chest, metal)

8′ Cornopean (metal) 73 pipes

8′ Oboe (metal) 73 pipes

8′ Vox Humana 73 pipes (“SSB,” metal)

4′ Clarion 61 pipes (addition to original contract, metal)

Tremulant

CHOIR ORGAN (Manual I, enclosed, 7-inch wind pressure)

8′ English Diapason 73 pipes (scale 46, zinc bass, metal)

8′ Concert Flute (wood) 73 pipes

8′ Gamba (metal) 73 pipes

8′ Dulciana (metal) 73 pipes

8′ Unda Maris 61 pipes (TC, draws 8′ Dulciana, metal)

4′ Flute (extension, 8′ Concert Flute)

4′ Dulcet (addition to original specification, ext 8′ Dulciana)

2′ Piccolo 61 pipes (“Harmonic,” metal)

8′ Clarinet (metal) 73 pipes

8′ French Horn (metal) 73 pipes

Tremulant

Harp (Deagan, TC) 49 bars

SOLO ORGAN (Manual IV, enclosed, 15-inch wind pressure)

8′ Stentorphone 73 pipes (38 scale, “Heavy,” wood bass, metal trebles)

8′ Tibia Plena 73 pipes (originally to have been on the Great, “Leathered Lip,” wood)

8′ Gross Gamba 73 pipes (scale 56, metal)

8′ Gamba Celeste 73 pipes (scale 56, metal)

16′ Ophicleide 85 pipes (10′′ scale, metal)

8′ Tuba (extension, 16′ Ophicleide)

8′ Orchestral Oboe 73 pipes (originally to have been a 4′ Suave Flute, metal)

4′ Clarion (extension, 16′ Ophicleide)

Tremulant

ECHO ORGAN (Manual IV, enclosed, 5-inch wind pressure)

8′ Spitz Flute 73 pipes (originally to have been an 8′ Viole Celeste, metal)

8′ Flute Celeste 61 pipes (TC, metal, originally to have been 16′ Bourdon, playable in Pedal)

8′ Echo Flute 73 pipes (“concert scale,” wood)

8′ Muted Viole 61 pipes (tapered, scale 68, metal)

4′ Forest Flute (ext 8′ Echo Flute)

8′ Vox Humana 61 pipes (“S.S.B.,” metal)

Tremulant

Chimes 25 tubes (Deagan, Class A, fr TG)

PEDAL ORGAN

32′ Resultant

32′ Contra Bourdon (wood) 68 pipes

16′ First Open Diapason 44 pipes (wood)

16′ Second Open Diapason 32 pipes (scale 32, metal)

16′ Bourdon (ext 32′ Contra Bourdon)

16′ Lieblich Gedeckt (fr Sw 16′ Lieb.)

8′ Octave Bass (ext 16′ First Open)

8′ Cello (from Solo, 8′ Gross Gamba)

8′ Bass Flute (ext 32′ Contra Bourdon)

4′ Flute (ext 32′ Contra Bourdon)

16′ Ophicleide (fr Solo, 16′ Ophicleide)

16′ Posaune (fr Swell, 16′ Posaune)

8′ Tuba (fr Solo, 16′ Ophicleide)

4′ Clarion (fr Solo, 16′ Ophicleide)

1 blank knob (to have been a 16′ Small Diapason)

Couplers (by tablets above Manual IV)

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

Great to Great 16

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

Choir to Choir 16

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

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

Choir to Solo 8

Echo On/Solo Off

Echo to Solo 8

Accessories

5 Full Organ pistons and Cancel (thumb and toe)

7 Great pistons and Cancel (thumb)

7 Swell pistons and Cancel (thumb)

7 Choir pistons and Cancel (thumb)

7 Solo pistons and Cancel (thumb)

7 Pedal pistons and Cancel (thumb)

4 Echo pistons and Cancel (thumb)

Coupler Cancel (thumb, below Manual IV)

Key operated combination setter above Manual IV

Pedal to Great Manual pistons on/off (in left keycheek)

Pedal to Swell Manual pistons on/off (in left keycheek)

Pedal to Choir Manual pistons on/off (in left keycheek)

Pedal to Solo Manual pistons on/off (in left keycheek)

Great Unison On/Off (in right keycheek)

Swell Unison On/Off (in right keycheek)

Choir Unison On/Off (in right keycheek)

Solo Unison On/Off (in right keycheek)

Great to Pedal Reversible (toe)

Swell to Pedal Reversible (toe)

Solo to Pedal Reversible (toe)

All Swells to Swell reversible (thumb, with indicator light, below Manual II)

Great and Choir Expression Shoe

Swell Expression Shoe

Solo Expression Shoe

Echo Expression Shoe

“Grand” Crescendo Shoe (with indicator bar: p/mf/ff)

Tower Chimes Start/Stop

Sforzando reversible (thumb and toe, with indicator light, below Manual III)

The chapel contains a two-manual, seven-rank organ of electro-pneumatic action, built in 1928 by M. P. Möller, Opus 5175. The contract for the organ, signed by Oscar E. Aleshire on behalf of First Church, was drawn on December 6, 1927, and was received signed in Hagerstown on December 31. The instrument was to be delivered on or before April 1, 1928. (The organ was actually shipped from the factory in early June.) The cost was $3,100.00, with one-half the amount due in cash upon completion of the organ and the balance due within the next two years.30 As with the organ in the main church, the Great Depression made it impossible to pay the balance of the cost until much later. The organ was placed on five-inch wind pressure. The instrument is enclosed in one expression chamber behind grillework at the rear of the chapel. Manual compass is 61 notes (C–C); pedal compass is 32 notes (C–G). Stop control is by stopkeys. Pitch is A=440 Hz. The pedalboard is concave and radiating.

When this instrument was installed, construction details and operations caused several items of controversy between the congregation and the builder. The console was agreed to be finished as the one in the main church. However, when this console arrived, it did not match the woodwork of the chapel. The congregation insisted that the console be refinished to match the lighter fumed oak of the chapel. In addition, some nails were mysteriously driven into the woodwork surrounding the organ chamber openings, and arguments pursued as to who was responsible, the organ builder or the building contractor. In the end, Möller ended up paying for both these items, as they clearly wanted these two installations (as well as their 1925 three-manual Opus 4210 in Saint Clara Catholic Church, immediately behind First Presbyterian) to be showcase organs for the Chicago area.

The First Presbyterian and Saint Clara organs were important enough to Möller that they took a full-page photo advertisement in the June 1, 1927, issue of The Diapason, trumpeting that some fifty-seven Möller organs were to be found in Chicago alone, of which thirty-two were of three or four manuals in size.

1928 M. P. MЪller Opus 5175

GREAT ORGAN (Manual I, enclosed)

8′ Open Diapason 61 pipes (44 scale, wood bass, metal trebles)

8′ Stopped Diapason (wood) 73 pipes

8′ Dulciana (56 scale, metal) 61 pipes

4′ Flute d’Amour (ext 8′ St Diap)

SWELL ORGAN (Manual II, enclosed with Great)

8′ Flute (fr Great 8′ St Diap)

8′ Salicional 61 pipes (60 scale, metal, now 4′)

8′ Dolce (fr Great 8′ Dulciana)

4′ Flute (fr Great 8′ St Diap)

8′ Oboe (metal) 61 pipes

8′ Vox Humana 61 pipes

PEDAL ORGAN

16′ Bourdon 32 pipes

16′ Lieblich Gedeckt (fr 16′ Bourdon)

Couplers

Great to Pedal 8

Swell to Pedal 8

Great to Great 16

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell to Swell 4

Accessories

3 Great and Pedal pistons (thumb)

3 Swell and Pedal pistons (thumb)

Setter bar for combinations

Great to Pedal Reversible (toe)

Tremulant (entire organ, with Swell stops)

Balanced Swell expression shoe

“Grand” Crescendo shoe with indicator bar (5 grades—pp/mf/ff)

Test light

The congregation celebrated its centennial from June 25 through July 2 of 1933. Former First Church organists Francis S. Moore and Clarence Eddy participated in services on Monday, June 26.

In less than twenty years, First Church once again found itself in a neighborhood that was quickly changing. This time, under the Reverend Bowman’s leadership, the congregation stayed and racially integrated. While membership is a shadow of the 2,200 persons on the rolls in 1949, the congregation has experienced some growth in recent years, and redevelopment in the Woodlawn area raises hope for continued renewal. The unaltered Möller organs remain in the church, though mute, also awaiting renewal.

Notes

1. The early history of the First Presbyterian Church, and much of Chicago as well, is chronicled in The First Presbyterian Church: A History of the Oldest Organization in Chicago With Biographical Sketches of the Pastors and Copious Extracts from the Choir Records, by Philo Adams Otis, published in 1900 by Clayton F. Summy Co. of Chicago. A “second and revised edition” was published in 1913 by Fleming H. Revell Co. of Chicago. Both editions contain a wealth of information regarding organ and church music in Chicago in the nineteenth century.

2. The First Presbyterian Church: A History of the Oldest Organization in Chicago With Biographical Sketches of the Pastors and Copious Extracts from the Choir Records (1900), pages 25–26.

3. Ibid. (1900), pages 49–51.

4. Ibid., pages 51–52.

5. The First Presbyterian Church: A History of the Oldest Organization in Chicago With Biographical Sketches of the Pastors and Copious Extracts from the Choir Records (1913), pages 146–147.

6. “Frances Moore’s Church Closed,” The Diapason, volume 4, number 2, January 1, 1913, page 10.

7. “Takes Organist and Organ: New First Presbyterian Church of Chicago Has Moving Plan,” The Diapason, volume 4, number 3, February 1, 1913, page 1.

8. Organ specification from contract ledger book in the Organ Historical Society Library and Archives, Villanova, Pennsylvania.

9. “Four-Manual for Chicago,” The Diapason, volume 12, number 9, August 1, 1921, page 17.

10. “Organ of 45 Stops for First Presbyterian,” The Diapason, volume 12, number 10, September 1, 1921, page 2.

11. “First Presbyterian to Open Its New Organ,” The Diapason, volume 13, number 12, November 1, 1922, page 1.

12. Ibid.

13. “Week of Exercises for New Chicago Organ,” The Diapason, volume 14, number 1, December 1, 1922, page 3.

14. “New Organ in First Presbyterian Church, Chicago,” The Diapason, volume 14, number 3, February 1, 1923, page 2.

15. “Series of Three in Chicago: Zeuch, Dupré and Moore to Play at First Presbyterian Church,” The Diapason, volume 14, number 3, February 1, 1923, page 1.

16. “Good Start by Zeuch; Dupre [sic] Will Play Next: Series in Chicago Church,” The Diapason, volume 14, number 4, March 1, 1923, page 22.

17. “Moore will close series: To Play at First Presbyterian April 10—Dupre [sic] Draws Crowd,” The Diapason, volume 14, number 5, April 1, 1923, page 7.

18. Correspondence in the Organ Historical Society Library and Archives, Villanova, Pennsylvania.

19. Organ contract in the Organ Historical Society Library and Archives, Villanova, Pennsylvania.

20. “First Presbyterian Orders Large Organ,” The Diapason, volume 18, number 11, October 1, 1927, page 11.

21. “Chicago Organ Is Opened,” The Diapason, volume 19, number 12, November 1, 1928, page 8.

22. Stephen Schnurr, “Ernest M. Skinner in Chicago: The first contracts,” The Diapason, volume 112, number 4, whole number 1337 (April 2021), pages 14–20.

23. Letter from Ford & Reynolds to M. P. Möller Company, October 11, 1928, in the Organ Historical Society Library and Archives, Villanova, Pennsylvania.

24. “To Open Chicago Church,” The Diapason, volume 19, number 11, October 1, 1928, page 41.

25. “Dedication Services: The First Presbyterian Church of Chicago, Illinois,” published by the church, October 1928, Chicago, Illinois.

26. Letter from D. S. Wentz to E. O. Shulenberger, M. P. Möller Company, October 23, 1928, in the Organ Historical Society Library and Archives, Villanova, Pennsylvania.

27. For more on the Casavant organ, see “A history of the organs of Saint John Cantius Catholic Church, Chicago, Illinois,” by the author, in The Diapason, January 2022, pages 12–19.

28. “Pipe Ornamentation: Hand-Wrought Lead Caps for New Effect in Case-Work,” The American Organist, June 1931, volume 14, number 6, pages 350–351.

29. Letter from W. H. Strock to M. P. Möller, Jr., August 26, 1931, in the Organ Historical Society Library and Archives, Villanova, Pennsylvania.

30. Organ contract in the Organ Historical Society Library and Archives, Villanova, Pennsylvania.
 

First Presbyterian Church website

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

Part 6: Saint Francis Xavier Catholic Church

Stephen Schnurr

Stephen Schnurr, a resident of Gary, Indiana, is editorial director and publisher of The Diapason, director of music for Saint Paul Catholic Church, Valparaiso, Indiana, and adjunct instructor of organ for Valparaiso University. His most recent book, Organs of Oberlin, was published in 2013 by Chauncey Park Press. He has authored several other books and numerous journal articles, principally on pipe organ history in the Great Lakes region.

Part 6: Saint Francis Xavier Catholic Church

This article is a continuation of a series in the August 2015, June 2016, July 2017, February 2018, and June 2018 issues of The Diapason. The information was delivered as a lecture for the Midwinter Pipe Organ Conclave on January 19, 2015, in La Grange, Illinois. The research for this project provides a history of a number of pipe organs in the village, but not all. For instance, organs in residences and theaters are not surveyed.

The mother church of Catholic parishes in La Grange, Saint Francis Xavier, was founded in 1890. The first Mass was said on All Saints’ Day, November 1. Franklin Dwight Cossitt, the real estate developer who founded La Grange, donated property for the new congregation. A frame Gothic church, designed by Chicago architect Alphonse Druiding, was built at a cost of $10,000. The church was dedicated on September 5, 1892.

The cornerstone of the present church was laid on June 1, 1930. Dedication of this edifice in the Italian Renaissance style of Bedford stone and designed by Joe W. McCarthy of Chicago occurred on June 14, 1931. Italian marble was used for the altars, pulpit, altar railing, and sanctuary flooring. The mosaic Stations of the Cross were crafted in Venice. The cost of the building was $400,000, and a considerable debt was carried by the congregation. In 1936, the debt still stood at $350,000, finally paid in 1946.

Geo. Kilgen & Son of Saint Louis, Missouri, supplied its Opus 4524 for the new church, a three-manual, fifteen-rank, electro-pneumatic-action organ installed in chambers above the loft at the rear of the nave. The stop-tongue console was situated in the center of the gallery.

1930 Geo. Kilgen & Sons Opus 4524

GREAT (Manual II, enclosed with Choir)

16′ Contra Gamba 73 pipes

8′ Open Diapason 61 pipes

8′ Melodia 97 pipes

8′ Doppel Flute 73 pipes

8′ Gamba (ext 16′ Contra Gamba)

8′ Dulciana 85 pipes

4′ Octave 61 pipes

4′ Flute (ext 8′ Melodia)

8′ Tuba Harmonic 61 pipes

Chimes

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

SWELL (Manual III, enclosed)

16′ Bourdon 97 pipes

8′ Violin Diapason 73 pipes

8′ Stopped Diapason (ext 16′ Bourdon)

8′ Quintadena (synthetic, 16′ Bourdon at 8′ and 2-2⁄3′ pitches)

8′ Salicional 85 pipes

8′ Voix Celeste 73 pipes

4′ Flute d’Amour (ext 16′ Bourdon)

4′ Salicet (ext 8′ Salicional)

2′ Flautino (ext 16′ Bourdon)

8′ Cornopean 73 pipes

8′ Vox Humana 73 pipes

Tremolo

Harp (prepared)

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

CHOIR (Manual I, enclosed with Great)

16′ Dulciana (ext Gt 8′ Dulciana)

8′ Violoncello (fr Gt 8′ Gamba)

8′ Melodia (fr Gt 8′ Melodia)

8′ Dolce (fr Gt 8′ Dulciana)

4′ Flute (fr Gt 8′ Melodia)

4′ Dulcet (ext Gt 8′ Dulciana)

2′ Piccolo (ext Gt 8′ Melodia)

8′ Clarinet (61 pipes)

8′ Orchestral Oboe (synthetic)

Tremolo

Choir to Choir 16 

Choir Unison Off

Choir to Choir 4

Swell to Choir 8

PEDAL

32′ Resultant (16′ Subbass with 16′ Bourdon at 10-2⁄3′ pitch)

16′ Subbass 32 pipes

16′ Bourdon (ext Gt 8′ Doppel Flute)

16′ Lieblich Gedeckt (fr Sw 16′ Bdn)

8′ Cello (fr Gt 8′ Gamba)

8′ Flauto Dolce (fr Sw 16′ Bourdon)

Great to Pedal 8

Swell to Pedal 8

Choir to Pedal 8

ACCESSORIES

4 General pistons (thumb, above Manual III)

4 Great and Pedal pistons (thumb)

4 Swell and Pedal pistons (thumb)

4 Choir and Pedal pistons (thumb)

Great to Pedal reversible (toe)

Balanced Swell expression shoe

Balanced Great and Choir expression shoe

Balanced Crescendo shoe (indicator light)

Sforzando reversible (toe, indicator light)

Wind and Current indicator light

 

This instrument was replaced in 2003 by a new organ from the Berghaus Organ Company of Bellwood, Illinois.  The two-manual instrument is housed in a free-standing case in the gallery. Key action is electric-slider; stop action is electro-pneumatic. Manual key coverings are bone for naturals, ebony for sharps; pedal coverings are maple for naturals, rosewood for sharps.

2003 Berghaus Organ Company Opus 215

GREAT (Manual I)

16′ Bourdon (61 pipes) 61 pipes

8′ Principal (façade, 75% tin) 61 pipes

8′ Gamba 61 pipes

8′ Rohrflöte 61 pipes

4′ Octave 61 pipes

4′ Koppelflöte 61 pipes

2-2⁄3′ Quinte 61 pipes

2′ Octave 61 pipes

1-3⁄5′ Tierce 61 pipes

IV Mixture (draws 2′ Octave) 183 pipes

8′ Trompette 61 pipes

16′ Trompette Royale (TC, prepared)

8′ Trompette Royale (fr 16′ Trompette)

Tremulant

Swell to Great 16

Swell to Great 8

Swell to Great 4

Chimes (Deagan, Class M) 21 tubes

Zimbelstern

MIDI

SWELL (Manual II, enclosed)

8′ Metal Gedackt 61 pipes

8′ Salicional 61 pipes

8′ Voix Céleste (TC) 49 pipes

4′ Principal 61 pipes

4′ Waldflöte 61 pipes

2′ Hohlflöte 61 pipes

1-1⁄3′ Larigot 61 pipes

IV Scharff 244 pipes

16′ Dulzian 61 pipes

8′ Hautbois 61 pipes

16′ Trompette Royale (fr Gt 16′ Tromp)

8′ Trompette Royale (fr Gt 16′ Tromp)

Tremulant

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

MIDI

PEDAL

16′ Principal 32 pipes

16′ Subbass 32 pipes

8′ Octave (in façade, 75% tin) 32 pipes

8′ Gemshorn 32 pipes

4′ Octave 32 pipes

III Rauschpfeife (added 2019) 96 pipes

16′ Bombarde 32 pipes

4′ Clarion (added 2019) 32 pipes

8′ Trompette Royale (fr Gt 16′ Tromp)

4′ Trompette Royale (fr Gt 16′ Tromp)

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

MIDI

ACCESSORIES

8 General pistons (thumb and toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Pedal pistons (toe)

General Cancel (thumb)

Combination Set (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Swell to Great reversible (thumb)

Zimbelstern reversible (thumb and toe)

8′ Trompette Royale (Gt) reversible (thumb)

Balanced Swell expression shoe

Balanced Trompette Royale expression shoe

Balanced Crescendo shoe (indicator light)

Tutti reversible (thumb and toe, indicator light)

Wind indicator light

Photo caption: 2003 Berghaus Organ Company Opus 215