New Organs/Organ Projects

Russell Meyer & Associates, Lawrenceville, Georgia, Opus 14

First Presbyterian Church, Clarkesville, Georgia

Historic First Presbyterian Church of Clarkesville, Georgia, was built in 1848 by Jarvis Van Buren, a first cousin of President Martin Van Buren. The first pipe organ in the building was installed in the rear gallery by the Greenwood Pipe Organ Company in 1983.

The Atlanta Pipe Organ Sales & Service Company rebuilt and enlarged the Greenwood organ to seven ranks in 1989, retaining a set of twelve old 16′ Bourdon pipes, a 4′ Principal, a tenor-C Dulciana, a set of swell shades, a set of Maas-Rowe chimes, and a rebuilt two-manual drawknob console originally made by the Skinner Organ Company in 1926 for First Methodist Church of Hendersonville, North Carolina. The 1989 organ included a new organ case, five ranks of new pipes manufactured by the Wicks Organ Company, and entirely new electro-mechanical windchests with schwimmers. The Great division consisted of two unenclosed ranks—an 8′ Principal and a 4′/2′ unit Octave—plus numerous borrowed stops from the Swell division. The Swell comprised an 85-note unit Rohr Flute, a 4′ Principal, a 37-note, tenor-C Tierce, and a pair of 49-note, tenor-C dulcianas without common bass. Because the organ had only one flute rank of 8′ pitch with a 16′ extension, the soft 16′ pedal stop (activated by means of dual valves) differed from the loud 16′ stop only in its lowest octave. The organ possessed no reed tone.

Russell Meyer & Associates were contracted to rebuild and enlarge the organ in 2020. We added six ranks of pipes from M. P. Möller Opus 9739 (1962), originally installed in Saint Mary-in-the-Highlands Episcopal Church, Cold Spring, New York. To make the Great division more independent from the Swell, we added a III–IV rank mixture with its quints derived from a 49-note 1-1⁄3′ rank and its unisons from a 49-note 1′ rank. We also added a delightful 73-note wooden Gedeckt and moved the former 49-note Dulciana Celeste from the Swell along with twelve Haskell bass pipes added from our inventory. We also included a borrowed 16′ voice in the Great that produces a balanced level of gentle 16′ manual tone not achievable by the clumsier means of a suboctave coupler.

In the Swell division we replaced the previous dulcianas with a pair of moderately scaled violes. Because the unison Viole is full-compass, we were able to employ it as a common bass for a warmly singing 8′ extension of the existing 4′ Principal, a very useful stop indeed. Perhaps most significant in terms of tonal variety was our addition of an 85-note unit 16′ Trumpet conveniently playable in every division. This Trumpet performs beautifully as both a chorus reed and a solo stop.

Improvements to the Pedal division include a 32′ resultant and a gentle 16′ stop that retains a different character and softer volume from its louder sister throughout the entire compass of the pedalboard. The provision of cantus stops also adds to the versatility of the instrument. It is quite surprising how effectively the revised Pedal division undergirds the full ensemble, yet is able to do almost anything the organist asks of it, be it a quiet bass, a sweet melody, or a bold pedal solo.

To accommodate the added ranks, we expanded the organ case in matching appearance to double its previous size. We retained the existing console shell, bench, keyboards, and pedalboard but supplied all new thumb pistons, toe studs, drawknobs, tilting tablets, and a digital console clock. We manufactured new key slips, stop jambs, coupler rail, and music rack, and provided LED console lighting. We reconfigured the winding system and built new electro-mechanical windchests for five ranks, two additional schwimmers, and a seven-bell Zimbelstern of our own design. A new Opus-Two control system provides a 250-level combination action, piston sequencer, transposer, and built-in record/playback that operates totally on internal memory. We also installed a new 64-stage electric swell motor, as well as LED work lights inside the organ case.

I acknowledge and thank my colleagues and friends who worked with me on the construction, installation, and tonal finishing of this organ: Allen Colson, Joshua Crook, Tommy McCook, Michael Proscia, Corley Easterling, Bud Taylor, and Tom Wigley. John Thomas and Stephen McCarthy assisted with the removal of the Cold Spring instrument.

We are grateful to the church Session, the congregation, and the staff for entrusting us with this project. Reverend Matthew Henderson is the pastor, Areatha Ketch is music director, and Sandra Altman is organist.

—Russell Meyer, president

Builder’s website: rmeyerpipeorgans.com

Church website: fpccga.org

GREAT (Manual I, unenclosed)

16′ Dolce Bass (ext, common bass)

8′ Open Diapason 61 pipes   

8′ Gedeckt (wood) * 61 pipes   

8′ Dulciana (1–12 added *) 61 pipes   

4′ Octave 61 pipes

4′ Gedeckt Flute (ext 8′) * 12 pipes

2′ Super Octave  (ext 4′) 12 pipes   

III–IV Mixture (1-1⁄3′, derived) * 98 pipes   

8′ Trumpet (Sw)

4′ Clarion (Sw)

Chimes 21 tubes   

Zimbelstern * 7 bells

Swell to Great 16

Swell to Great

Swell to Great 4

SWELL (Manual II, enclosed)

8′ Violin Diapason (ext, common bass)

8′ Rohr Bourdon 61 pipes

8′ Viole * 61 pipes

8′ Viole Celeste (TC) * 49 pipes

4′ Principal 61 pipes

4′ Rohr Flute (ext 8′) 12 pipes

2-2⁄3′ Nazard (ext 8′ Rohr Flute)

2′ Block Flute (ext 8′) 12 pipes

1-3⁄5′ Tierce (TC) 37 pipes

1-1⁄3′ Larigot (ext 8′ Rohr Flute)

16′ Double Trumpet (ext 8′) * 12 pipes

8′ Trumpet * 61 pipes

4′ Clarion (ext 8′) * 12 pipes

Tremulant

Swell to Swell 16

Swell to Swell 4

PEDAL (unenclosed)

32′ Harmonic Bass (1–12 resultant)

16′ Subbass (wood, ext Sw) 12 pipes

16′ Lieblich Gedeckt (ext Gt, soft wind)

8′ Open Diapason (1–12 fr Gt Open Diapason; 13–32 fr Gt Octave)

8′ Gedeckt Bass (Gt)

4′ Choral Bass (Gt 4′ Octave)

4′ Gedeckt Flute (Gt 8′)

16′ Double Trumpet (Sw)

8′ Trumpet (Sw)

4′ Clarion (Sw)

Great to Pedal

Swell to Pedal

Swell to Pedal 4

* added pipes

12 ranks, 756 pipes

Roger Banks,

Oklahoma City, Oklahoma

Reuter Organ Company,

Lawrence, Kansas

First Presbyterian Church,

Oklahoma City, Oklahoma

From Roger Banks

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

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

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

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

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

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

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

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

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

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

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

—Roger Banks

Oklahoma City, Oklahoma

 

From Reuter Organ Company

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

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

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

—JR Neutel

Reuter Organ Company

 

From John L. Edwards

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

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

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

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

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

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

­—John L. Edwards, organist

First Presbyterian Church

Photo credit: Kathy Rangel, except where noted

 

GREAT (Manual II)  

16′ Geigen (ext 8′, 1–12 electronic)

16′ Quintadena 73 pipes

16′ Claribel Flute (Ch)

8′ Principal 61 pipes

8′ Geigen  73 pipes

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

8′ Quintade (ext)

51⁄3′ Quint (TC, fr 22⁄3′)

4′ Octave 61 pipes

4′ Koppelflöte 61 pipes

31⁄5′ Grossterz (TC, fr 13⁄5′)

22⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

2′ Flageolet 61 pipes

13⁄5′ Seventeenth 61 pipes

IV Fourniture 11⁄3′ 244 pipes

III Scharf 1′ 183 pipes

16′ Dulzian 73 pipes

8′ Bombarde (Ped)

8′ Dulzian (ext)

Tremolo

Great to Great 16

Great Unison Off

Great to Great 4

Chimes (G2 – G4, volume 0–5)

Carillon

SWELL (Manual III, expressive)

16′ Rohrbass 73 pipes

8′ Diapason 73 pipes

8′ Viola Pomposa 61 pipes

8′ Viola Céleste 61 pipes

8′ Rohrflöte (ext)

8′ Flûte Céleste II 110 pipes

4′ Octave Diapason (ext)

4′ Praestant 61 pipes

4′ Flûte Harmonique 61 pipes

22⁄3′ Nazard 61 pipes

2′ Flachflöte 61 pipes

13⁄5′ Tierce 61 pipes

IV Plein Jeu 11⁄3′ 244 pipes

III Cymbal 1′ 183 pipes

32′ Contra Fagotto (TC, fr 16′)

16′ Fagotto 73 pipes

8′ Trompette 61 pipes

8′ Fagotto Oboe (ext)

8′ Vox Humana 61 pipes

4′ Clairon 61 pipes

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

CHOIR (Manual I, expressive)

16′ Erzähler 73 pipes

8′ Spitz Principal 61 pipes

8′ Salicional (Bomb)

8′ Voix Céleste (Bomb)

8′ Erzähler (ext)

8′ Erzähler Céleste (TC) 49 pipes

8′ Claribel Flute 85 pipes    

4′ Gemshorn Principal 61 pipes

4′ Flauto d’Amore 61 pipes

2′ Claribel Fife (ext)

III–IV Mixture 2′ 190 pipes

8′ Clarinet 61 pipes

8′ Cromorne (Pos)

8′ Hautbois 61 pipes

Tremolo

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

POSITIV (floating)

16′ Quintadena (Gt)

16′ Claribel Flute (Ch)

8′ Geigen (Gt)

8′ Holz Bordun 61 pipes

4′ Geigen (Gt)

4′ Rohrflöte 61 pipes

22⁄3′ Nazat 61 pipes

2′ Prinzipal 61 pipes

13⁄5′ Terz (GG) 54 pipes

11⁄3′ Quinte 61 pipes

1′ Sifflöte 61 pipes

III Zymbel 1⁄4′ 183 pipes

16′ Dulzian (Gt)

8′ Cromorne 61 pipes

4′ Rohr Schalmei 61 pipes

Tremolo

BOMBARDE (Manual IV, expressive)

8′ Salicional Céleste II 122 pipes

8′ Orchestral Flute (TC, fr 4′)

4′ Salicet Céleste II (ext)

4′ Orchestral Flute 61 pipes

4′ Claribel Flute (Ch)

IV Harmonics 13⁄5′ 244 pipes

16′ Bombarde (TC, fr 8′)

8′ Bombarde 61 pipes

8′ Clarinet (Ch)

8′ Dulzian (Gt)

8′ English Horn 61 pipes

4′ Clairon 61 pipes

Tremolo

8′ Hooded Tuba (unenclosed) 73 pipes

4′ Tuba Clarion (ext)

Bombarde to Bombarde 16

Bombarde Unison Off

Bombarde to Bombarde 4

Chimes

HÉROÏQUE (floating, en chamade)

16′ Trompette Héroïque (TC, fr 8′)

8′ Trompette Héroïque 61 pipes

4′ Trompette Héroïque (ext)

PEDAL

64′ Gravissima (Bourdon resultant)

32′ Violone (electronic)

32′ Contre Bourdon 44 pipes

16′ Principal 32 pipes

16′ Geigen (Gt)

16′ Subbass (ext)

16′ Quintadena (Gt)

16′ Rohrbass (Sw)

16′ Erzähler (Ch)

102⁄3′ Bourdon Sub Quint (ext)

8′ Diapason 32 pipes

8′ Octave 44 pipes

8′ Geigen (Gt)

8′ Flûte Harmonique (Gt)

8′ Rohr Pommer 32 pipes

8′ Quintade (Gt)

8′ Rohrflöte (Sw)

8′ Erzähler (Ch)

51⁄3′ Bourdon Quint (ext)

4′ Choralbass (ext)

4′ Geigen (Gt)

4′ Nachthorn 44 pipes

2′ Geigen (Gt)

2′ Nachthorn (ext)

III Cornet 51⁄3′ 96 pipes

IV Rauschbass 21⁄3′ 128 pipes

32′ Contre Bombarde 85 pipes

16′ Bombarde (ext)

16′ Fagotto (Sw)

16′ Dulzian (Gt)

8′ Hooded Tuba (Bomb)

8′ Bombarde (ext)

8′ Fagotto (Sw)

8′ Dulzian (Gt)

4′ Clairon (ext)

4′ Fagotto Oboe (Sw)

4′ Rohr Schalmei (Pos)

4′ Cromorne (Pos)

2′ Clairon Doublette (ext)

2′ Rohr Schalmei (Pos)

Chimes

Carillon

Pedal Unison Off

Pedal to Pedal 4

BELLS

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

Zimbelstern = fast/slow

COUPLERS

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir to Pedal 8, 4

Bombarde to Pedal 8, 4

Positiv to Pedal 8, 4

Héroïque to Pedal (drawknob)

Pedal Continuo to Great 8

Swell to Great 16, 8, 4

Choir to Great 16, 8, 4

Bombarde to Great 16, 8, 4

Positiv to Great 16, 8, 4

Héroïque to Great (drawknob)

Swell to Choir 16, 8, 4

Bombarde to Choir 16, 8, 4

Positiv to Choir 16, 8, 4

Héroïque to Choir (drawknob)

Choir to Swell 16, 8, 4

Bombarde to Swell 16, 8, 4

Positiv to Swell 16, 8, 4

Héroïque to Swell (drawknob)

Great to Bombarde 16, 8, 4

Positiv to Bombarde 16, 8, 4

Héroïque to Bombarde (drawknob)

REVERSIBLES

Great to Pedal (thumb and toe)

Swell to Pedal (thumb and toe)

Choir to Pedal (thumb and toe)

Bombarde to Pedal (thumb)

Positiv to Pedal (toe)

Tutti (thumb and toe)

Glockenstern (toe)

Zimbelstern  (toe)

32′ Contre Bourdon (toe)

32′ Violone (toe)   

32′ Contre Bombarde (toe)

COMBINATIONS (99 memory levels)

Generals: 1–10 (thumb and toe)

Generals: 11–20 (toe)

Great: 1–8 (thumb)

Swell: 1–8 (thumb)

Choir: 1–8 (thumb)

Positiv: 1–3 (thumb)

Bombarde: 1–5 (thumb)

Pedal: 1–3 (toe); 4–8 (thumb)

Combination Setter Button (thumb)

General Cancel (thumb)

ACCESSORIES

Drawknob console (movable)   

Swell/Choir/Bombarde expression pedals

Crescendo pedal (four crescendo sequences)

Tutti (programmable)

All Swells to Swell

Bombarde to Choir Expression (drawknob)

Tuba Non-Coupling On/Off (drawknob)

Great/Choir Transfer

Peterson Operating System and Piston Sequencer

Next/Previous Pistons (thumb and toe)

Héroïque Power On/Off (toggle switch)

Adjustable Bench, in memory of Wanda L. Bass

4 manuals, 91 ranks

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

Great 1,195 pipes

Swell 1,366 pipes

Choir 702 pipes

Positiv 725 pipes

Bombarde 683 pipes

Heroïque 61 pipes

Pedal 537 pipes

Total: 5,269 pipes

Church website: https://fpcokc.org.

Scott Smith Pipe Organs, Lansing, Michigan

Grace Lutheran Church, Auburn, Michigan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos by Joe Granger

GREAT (Manual I)

16′ Bourdon Doux (Sw 16′ Bourdon)

8′ Diapason 61 pipes

8′ Bourdon 73 pipes

8′ Viole (Sw 8′ Viole)

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

4′ Octave 61 pipes

4′ Flute (ext 8′ Bourdon)

2′ Principal Conique 61 pipes

III Mixture (22⁄3′) 183 pipes

III Cymbale (11⁄3′) (fr III Mixture)

II Grave Mixture (fr Sw 8′ Viole)

16′ Contre Trompette (Sw 16′ C Trom)

8′ Trompette (Sw 16′ Contre Tromp)

8′ Clarinet 61 pipes

Chimes 21 tubes

Great 16

Great Unison Off

Great 4

Zimbelstern

SWELL (Manual II, enclosed)

16′ Bourdon 97 pipes

8′ Bourdon (ext 16′ Bourdon)

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

8′ Viole 85 pipes

8′ Viole Celeste (TC) 49 pipes

4′ Flute Harmonique 61 pipes

4′ Flute Conique 61 pipes

4′ Viole (ext 8′ Viole)

2-2⁄3′ Nasard (ext 16′ Bourdon)

2′ Flute (ext 16′ Bourdon)

1-3⁄5′ Tierce (fr 16′ Bourdon)

1-1⁄3′ Larigot (fr 8′ Viole)

III Plein Jeu (2′)(fr 8′ Viole)

16′ Contre Trompette 85 pipes

8′ Trompette (ext 16′ Contre Tromp)

4′ Clarion (ext 16′ Contre Tromp)

Swell 16

Swell Unison Off

Swell 4

Tremolo

PEDAL

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

16′ Soubasse 44 pipes

16′ Bourdon (Sw 16′ Bourdon)

8′ Flute (ext 16′ Soubasse)

8′ Bourdon (Sw 16′ Bourdon)

8′ Diapason (Gt 8′ Diapason)

4′ Flute (Sw 16′ Bourdon)

4′ Octave (Gt 4′ Octave)

16′ Contre Trompette (Sw 16′ C Trom)

8′ Trompette (Sw 16′ Contre Tromp)

COUPLERS

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

ACCESSORIES

10 General pistons (thumb and toe)

5 Great pistons (thumb)

5 Swell pistons (thumb)

3 Pedal pistons (toe)

General Cancel (thumb)

Setter (thumb) 

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Swell to Great reversible (thumb and toe)

Sforzando (thumb and toe)

Combination level, up or down (thumb)

Transposer (up/down, thumb)

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia; Saint Andrew’s Episcopal Church, Fort Pierce, Florida

As I contemplated writing this article about the new pipe organ for Saint Andrew’s Episcopal Church in Fort Pierce, Florida, many things came to mind, several of them cathartic and all of them personally important. Fort Pierce is a location where, as they say, I have “roots.” I was born in the Fort Pierce area in 1967, and was baptized at the First United Methodist Church. In the ensuing years, my family would continue to come back to this community to visit, to rest, and for recreation. It was an important enough location to me that when I got married in the early 1990s, I brought my young wife to one of the barrier islands near Fort Pierce for our honeymoon. This area was special to me, and I wanted to share it.

Moving forward to 2022 and a country still in the grip of Covid, I am glad that, in light of the pandemic, the building of this instrument occurred at a time and place that is familiar, and that I was working for a congregation and clergy that are some of the finest people on this planet. One cannot have endured the last couple of years without considering the pandemic and its effects on the world, our houses of worship, and on many of us personally. This church and its people buoyed us. They have offered unyielding prayer, support, and an unbridled excitement for the completion of this project.

The commission to build this instrument started out in a world that was Covid-free. By the time we were taking out the old organ, we were in masks, with travel and work restrictions and navigating a brave new world. In the meantime, we continued our work with a myriad of social, business, and personal interaction changes.

Along with the personal challenges (and losses) that have been endured, we also have had to deal with supply chain and vendor issues. There have been several suppliers and major vendors that were not able to weather this disruptive period and ceased operations. We have been fortunate with our depth of resources, the excellence of our staff, and full order books, that we have been able to navigate this period in a way that not all have been able to do. This is and has been a very real blessing. As I write this, I am hoping that we are in the waning period of the pandemic, but we are still in masks, and there are still many in the hospital from this malady.

How it started

When we were approached to evaluate the original organ at Saint Andrew’s, we arrived to find an instrument that was in a failing condition. We made a detailed study of the entire instrument with its mechanical condition, scaling, and tonality, balanced with the church’s musical needs. We also looked at the organ layout, the chamber spaces, and the acoustics.

The former organ was an electric-action, open-toe instrument that was built in the late 1970s. The organ did have some nice moments and some good materials, but, as a whole, with its stoplist and tonal design, it was not well suited to support the choral and congregational needs of this Episcopal church. In its later years, the organ had been damaged in a hurricane and endured some unfortunate attempts by others to repair, augment, and change it. The organ had a number of older relay components along with a console that had been rebuilt by others with a used solid-state combination system of various ages of materials. Its condition had been further exacerbated by lightning strikes to its systems. The console and relays were not reliable and could not be made so without heroic work that simply could not be justified.

The layout of the original instrument caused multiple tuning and tonal issues. This was due to a Choir division that was double stacked with the main air return of the church in front of this division, the Great division located four feet above the choir loft floor, directly behind the choristers and below a stained-glass window, and the Swell division in a freestanding box in an organ chamber fronted with a fabric grille. All of this conspired to create major tuning issues inter- and intra-divisionally, as well as a lack of tonal focus.

Our plan

We proposed to work with a clean sheet in design that would fully support worship along with a new façade and case to provide visual enhancements to the chancel. With the proximity of the church to the coastline, we chose a façade design that was evocative of the billowed boat sails that one sees in the waters around the church. The center of the case includes quatrefoils and moulding details found in the stained-glass windows from the original church building. The center case features an open top to allow the central window to be seen with minimal occlusion. The façade pipes are built of polished aluminum and include 16′ and 8′ bass pipes of the Pedal and Great divisions.

The design of the new organ moved the divisions and the return ducts, placed a roof over the center division to mitigate the effects of the central stained-glass window, and generally has placed the pipework on a similar thermocline. There are openings behind the façade pipes to allow a free exchange of heat and air to the chamber spaces.

The church and its contractor must be commended for their revisioning of the chancel and renovation of the worship center of the church. Notably, this included the removal of carpet and the installation of marble in the altar area. The choir area was finished with custom tile and individual chairs replacing fixed pews. Not only is the area more functional, it is visually beautiful and aurally supportive to the organ and the choir. This church acoustic gives back to the listener, and it has gotten even better.

The new stoplist was envisioned first and foremost to support the musical needs of this church and its English choral tradition. There has always been a hope to use the music ministry for community outreach, so while focused on the choral and congregational worship needs of the organ, the stoplist is purposely eclectic in design, allowing it to support many different schools of organ and choral music.

As we designed the new organ, we did look at some of the existing pipes. The pipework contained in the old organ was generally of high quality with low cut-ups and an absence of nicks and other voicing techniques that were permanent to the pipes. It was, in a way, raw media waiting to be voiced. As a company, we have never shied away from evaluation of extant pipework for consideration. Equally important is that one should never—I emphasize, never—design an organ around the pipes that are present with this being the only consideration. It was clear to us that some of the pipework, for purposes of stewardship, could and should be considered for reuse as long as it did not compromise the overall tonal design. It was also clear that some pipework would not, and indeed should not, find a home in the new instrument. Our approach was to design the specification and scaling that should be at the church, and only then did we look afresh at the existing pipework to see if it could be recast. The pipes that were reused were revoiced, rescaled, and/or repitched for their new role. Many of these allowed the fiduciary luxury of additional pedal resources and mutations.

The specification is designed around a Great division with a well-developed, leading principal chorus. The design includes a second 8′ Geigen Principal to allow a differing root structure in the chorus or doubling of the 8′ pitch line. The flutes are designed to fold hand in glove with the chorus while maintaining an individual identity and voice for melodic solo lines. The reeds of the Choir-Positiv and Swell are duplexed to the Great.

The Great division is located at the cantilevered façade level of the organ case, which allows the sound to bloom forward of the choir. To help focus the Great division, the Bourdon chest and upper walkboard act as a canopy above the Great to project this division.

The Choir-Positiv division sits in the former central location of the old Great division, and was conceived as a diminutive, dual-natured division. Its design supports text painting under the choir while also supporting the literature bias of an unenclosed Positiv division. With a secondary principal chorus rooted with the 8′ Holzgedeckt and 8′ Erzahler, it acts as a counter chorus voice to the Great and Swell divisions. The 2′ Schweigel and 1-1⁄3′ Quint allow the chorus to have “mixture texture” that is unweighted and some of the first upperwork available in building the organ to its full voice.

The 8′ Erzahler was chosen because it allows a voice that is at one time a diminutive string while at another time a soft accompanimental voice that can be broadened with the 8′ flute line. It is given an 8′ celeste of similar scale and construction, and becomes one of the voices in the ether of the church acoustics.

The flutes of the Choir-Positiv include the 8′ Holzgedeckt and 4′ Gedeckt-Pommer that are voiced to retain a degree of chiff and puckishness while still folding in with their string and principal neighbors. The Choir-Positiv mutations and 2′ Schweigel are stops that walk the line between principal and flute. As hybrid voices, the 2-2⁄3′ Nasat, 2′ Schweigel, 1-3⁄5′ Terz, and 1-1⁄3′ Quint allow for a great deal of color, building of multiple solo stops, and upperwork support for chorus registers.

The color reed in the Choir-Positiv is an 8′ Cromorne with parallel shallots and lift lids. It supports a generous vowel cavity that allows it to be a chameleon stop: it can be a piquant solo voice that easily is broadened into the woodwind timbre of a Clarinet when compounded with the Holzgedeckt or drawn into the Great as a weightless ensemble reed to add color and complexity to the principal chorus.

The Swell division is designed with a secondary principal chorus that is harmonically rich and complements the leading voices of the Great. The Swell Mixture III is pitched at 2′ to allow for the logical completion of its principal chorus. As a lower-pitch enclosed mixture, it is the first mixture that can be drawn in building a seamless crescendo. As with the Choir-Positiv, the Swell was designed with a flute chorus of differing voices that allows color and a multiplicity of compound registers.

The Swell reeds have English shallots and are unified to develop the 16′-8′-8′-4′ reed chorus. For the desired color and tuning stability, all of the reeds are on an individual winding system to allow higher pressures and tremolos separate from the flue voices.

The Pedal division is grounded with an independent 16′-8′-4′ principal chorus and independent and duplex flute registers at multiple pitches. The Pedal reed is an independent 16′ Posaune that can be combined with the duplex registers of the Swell and Choir-Positiv reeds.

To provide 32′ weight in the Pedal we included the discrete use of some custom digital voices to allow for this pitch register where there was not space to accommodate the pipes. With the “genie out of the bottle” we opted to also include the color of several additional companion strings and celestes along with the ubiquitous 8′ Vox Humana to allow the building of a string organ within the Swell division. Please note that we have allowed the physical space in the Swell chamber for these pipe additions, minimizing the compromise.

The 8′ Festival Trumpet is one of several stops gifted from the Schlueter family to the church. This particular stop is given in honor of my wife, Stephanie Schlueter, whom I brought to Florida for our honeymoon so many years ago and who has personally supported me in the building of instruments for over thirty years. It is located in the Choir-Positiv expression box and includes console controls to allow it to independently float to all manual divisions and the Pedal. Being enclosed in the box provides for wide dynamic control that allows this reed to be used as an ensemble voice with the expression box closed. It is my hope that this signature stop is used often in the coming years to support weddings and festive occasions with church worship.

Much of the emotive quality of an instrument is not only the quality of the voices but also how they project from the organ chamber and their reaction to enclosure in an expression box. The expression boxes were carefully designed to be as sonically transparent as possible when open and to fully contain the divisions when closed. We also functionally use the expression shades to direct sound when they are open. In the Choir-Positiv we used horizontal expression shades on the front and on top of the expression box to direct the pipe speech up and forward of the choristers and, importantly, out to the congregation. In a like but disparate fashion, the Swell division with its off-axis location was designed with a very large two-story shade front that opens bi-directionally. This evenly focuses the voices of the Swell to the choir and congregation along the center core of the church.

The windchests on the organ are electro-pneumatic slider and electro-pneumatic unit action. The winding system is our normal combination of spring and weighted reservoirs with independent concussion bellows on the windchests. This church’s generous acoustic allowed us to use moderate wind pressures on the organ ranging from 2½ to 4 inches.

To control the instrument, we built a three-manual console with terraced drawknobs. It was constructed of sapele mahogany with drawknobs custom turned from African blackwood. With its low profile, it allows excellent sightlines to the choristers, and the inbuilt castors permit it to be moved as needed. For a control system, the console features the Syndyne 8400 system, which supports a large number of functions.

As I started this article, I mentioned that building this instrument was a cathartic exercise. One year prior to this, I was at Saint Simons Island Presbyterian Church finishing an instrument and received the imposition of ashes on my forehead for Ash Wednesday. At that time, I was still recovering from a bout of Covid that saw me hospitalized just prior to that installation. I was well reminded about my mortality. One year later, I was in Fort Pierce working on the completion of this instrument—again, on Ash Wednesday. When one is an organ builder, it is invariable that the church becomes the worksite. It was therefore my good fortune to have an opportunity for worship where I entered the church as a congregant. I was able to sit contemplatively in the church and see an image of Christ in the center window framed and focused by the new organ façade. I heard the music of the church. I heard the recitations of the members of the church mixed with my own voice. Again, I received the imposition of ashes on my forehead from a congregation that has adopted me as their own. This was followed by the communion and the bounty of grace it represents. On this day the instrument’s voice began to come alive to support the worship of this ministry. As pipe organ builders, the work that all of us do is to design and build instruments that will outlive us as they support worship and praise in the church. On this particular Ash Wednesday, it was personally brought home to me how welcome it is to see the sign of the Cross on my forehead and realize how truly fortunate I am as a father, husband, organ builder, and a Christian.

As always there are too many people to thank with a project like this one. First and foremost I would like to thank the Reverend Canon Ellis E. Brust, rector; Mr. Peter Charles and Mr. Andrew Hemmer, senior wardens; Mrs. Karen Kozac and Mr. Chris Kasten, organ committee chairs; Mr. Larry Clancey and Mr. Richard Stable, treasurers; Dr. Jerry Davidson, organist/choir director; and Kirk Carlson, general contractor.

I would also like to extend a thank you to our staff: Arthur E. Schlueter, Jr., Arthur E. Schlueter III, John Tanner, Marc Conley, Patrick Hodges, Jeremiah Hodges, Marshall Foxworthy, Peter Duys, Kerry Bunn, Shan Dalton-Bowen, Michael DeSimone, Al Schroer, Dallas Wood, Josse Davis, Bob Weaver, Preston Wilson, Clifton Frierson, Kelvin Cheatham, Ruth Lopez, Elio Lopez, Chad Sartin, Sara Cruz, Ruth Gomez, Yolanda Sandoval, Kymoni Colbourne, Juan Hardin, Demitrius Hardin, Rico Hardin, and Angie Lindsey.

Visit www.pipe-organ.com for more information or to contact A. E. Schlueter Pipe Organ Company.

—Arthur E. Schlueter III, Visual and Tonal Direction, A. E. Schlueter Pipe Organ Co.

 

GREAT (manual II)

16′ Sub Principal (1–12 Ped 16′ Sub Princ, 13–61 Gt 8′ Geigen Princ)

8′ Principal 61 pipes

8′ Geigen Principal 49 pipes (1–12 Ped 8′ Octave)

8′ Bourdon 61 pipes

4′ Octave 61 pipes

4′ Hohlflöte 61 pipes

2′ Super Octave 61 pipes

V Cornet TC*

1-1⁄3′ Mixture IV 244 pipes

16′ Contra Oboe (Sw)

8′ Trumpet (Sw)

8′ Oboe (Sw)

8′ Cromorne (Ch)

CHOIR-POSITIV (manual I, enclosed)

8′ Holzgedeckt 61 pipes

8′ Erzahler 61 pipes

8′ Erzahler Celeste (TC) 49 pipes

8′ Schwebung II*

4′ Prinzipal 61 pipes

4′ Gedeckt Pommer 61 pipes

2-2⁄3′ Nasat (from G1) 54 pipes

2′ Schweigel 61 pipes

1-3⁄5′ Terz (from G1) 54 pipes

1-1⁄3′ Quint 61 pipes

8′ Cromorne 61 pipes

Tremolo

Zimbelstern (multiple bells)

Chimes

SWELL (manual III, enclosed)

16′ Lieblich Gedeckt 12 pipes (ext 8′ Rohr Flute)

16′ Flauto Dolce*

8′ Viola Pomposa 61 pipes

8′ Viola Celeste II 49 pipes (draws Viola Pomposa)

8′ Muted Violes II*

8′ Aeoline Celeste II*

8′ Rohr Flute 61 pipes

4′ Principal 61 pipes

4′ Spindle Flute 61 pipes

4′ Unda Maris II*

2-2⁄3′ Nazard (TC) 49 pipes

2′ Flageolet (ext 8′ Rohr Fl) 24 pipes

1-3⁄5′ Tierce (TC) 49 pipes

2′ Mixture III 183 pipes

16′ Contra Oboe (TC, from 8′)

8′ Trumpet 61 pipes

8′ Oboe 61 pipes

4′ Oboe (ext 8′ Oboe) 12 pipes

8′ Vox Humana*

Tremolo (Vox)

Tremolo (Main)

FANFARE (floating division)

16′ Festival Trumpet (TC) 49 notes

8′ Festival Trumpet 61 pipes

4′ Festival Trumpet 49 notes

Fanfare On Pedal

Fanfare On Great

Fanfare On Swell

Fanfare Off Choir-Positiv

PEDAL

32′ Untersatz*

16′ Sub Principal 32 pipes

16′ Bourdon 32 pipes

16′ Lieblich Gedeckt (Sw)

8′ Octave 32 pipes

8′ Bourdon 32 pipes

8′ Gedeckt (Sw)

4′ Choral Bass (Gt)

4′ Gedeckt (Sw)

2′ Gedeckt (Sw)

32′ Bombarde*

16′ Posaune 32 pipes

8′ Trumpet (Sw)

4′ Oboe Clarion (Sw)

* Digital stop/prepared for pipe additions

Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir-Positiv to Pedal 8

Choir-Positiv to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir-Positiv to Great 16

Choir-Positiv to Great 8

Choir-Positiv to Great 4

Choir-Positiv to Choir-Positiv 16

Choir-Positiv Unison Off

Choir-Positiv to Choir-Positiv 4

Swell to Choir-Positiv 16

Swell to Choir-Positiv 8

Swell to Choir-Positiv 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

MIDI (as preset stops)

MIDI on Pedal

MIDI on Great

MIDI on Swell

MIDI on Choir-Positiv

60 stops, 38 ranks, 2,147 pipes

Builder’s website: www.pipe-organ.com

Church’s website: www.mystandrews.org/

 

Cover photo: Arthur E. Schlueter III; article photos contributed by the Reverend Canon Ellis E. Brust and the staff of A. E. Schlueter Pipe Organ Company

A. E. Schlueter Pipe Organ Co., Lithonia, Georgia; St. Simons Island Presbyterian Church, St. Simons Island, Georgia

Arthur E. Schlueter, III, Visual and Tonal Direction, A. E. Schlueter Pipe Organ Co.

St. Simons Island is a coastal community with roots that include coastal Indian tribes, the Spanish occupation, pre-Revolutionary War America as part of the original American colonies, and John and Charles Wesley preaching on this island under the majestic oak trees. In more recent years it has developed into a coastal retreat that is known colloquially as part of the Golden Isles. As a point of reference, this part of Georgia has been a place of retreat and reflection for the Schlueter family for years.

It is in this setting that our work with St. Simons Island Presbyterian Church began several years ago. The original organ, built in 1984, was a modest 23 ranks in size divided up into a three-manual specification. It was prepared for a number of additions that had not been completed. Unfortunately, the environment of an island location can prove difficult on mechanical systems, and the console was failing. With its condition and reliability in question, the church sent out a query about replacing it with a new console and replacement of its electrical system and relays.

As we met with the church about the organ, we discussed their current needs as well as future plans and aspirations. Central to their planning was a major architectural change and enlargement of the church. While this would possibly be years in the offing, we knew that future needs had to be framed into our design of a replacement console.

We built a three-manual terraced console that would be able to control the then-present specification but also would be prepared for a new future instrument and enhanced specification. Its low profile allowed an easy sightline to the choir and congregation, which the former console never had, and portability with inbuilt castors. The console was built of mahogany with oblique drawknobs turned out of African blackwood. The control system we used allowed us to support the former specification, and could easily be programmed to support a larger and differing specification in the future.

It would be several years between the installation of the new console and the rebuilding of the church, but with the passage of time this became a reality. Our staff worked with the church architect to redesign the center organ space for a larger, more complete instrument.

When the church moved forward to renovate and enlarge their sanctuary, the future plans that we considered when the new console was built proved fruitful as a guide to the design of the new organ in its specification and space requirements.

The design of the new church sanctuary sought to use the basic shell and core of the church while providing a much more expansive chancel and wider transepts. This was achieved with additional seating while keeping a worship space that feels intimate.

The former instrument did not have any visible pipes and was behind a grille. Early on it was decided that there would be a visual element in the new organ with the inclusion of speaking façade pipes.

The visual design of the organ was two-fold; the lower portion of the organ case was to act as a rear wall to focus the choir, the upper portion of the case has a cantilever that not only breaks up the flat planes of the organ case but allows us a slight shelf to sonically project the organ forward of the choir, clergy, and cele-brants. The people in the chancel can hear the organ, but importantly do not have to take the brunt of the organ during large congregational registrations.

The ceiling height in the church did not allow for 16′ pipes. We designed the pipes to be overlength and back-slotted to give the 8′ Principal and 8′ Octave more loft than the façade otherwise would have had. The organ case pipes are built of polished aluminum and follow the fall of the ceiling. The varying-length toes of the façade pipes provide a gentle reinforcement to the other arcs in the sanctuary. The polished pipes do not act like mirrors; rather, they take on and subtly reinforce the natural lighting hues of the church. The end result of design is a pipe façade and case that not only is acoustically functional for the organ but also one that forms an elegant visual backdrop for the suspended cross.

To support tuning stability, the interior layout of the organ was designed to place the majority of the pipework on the same thermocline. The divisions’ orientation has the Swell on the left, the Great in the center with the Choir behind it, and the Pedal on the right. The expression boxes were designed to allow the organist to hear the entire range of degrees of expression through bi-directional use of the expression shades with multiple expression motors. This allows the organist to hear the organ in the same fashion it is heard by the congregant in the pews.

The new specification we designed was to have more tonal resources for choral and congregational accompaniment, more specification weight around an 8′ pitch center, and additional palettes of color. For use with choir and soloist, we envisioned an instrument with a large number of resources under expression. This allows even large registrations to be fully contained when text painting under the choir.

We knew that the church would use the instrument in outreach through public concerts with choir and organ. While the organ is fundamentally designed to support the music needs of the church service, the island that this church sits on supports a population with a rich arts community. In addition to the sacred use of the organ, we sought an enhanced ability to support a wider body of organ repertoire of many different periods and styles.

The new organ incorporates pipes from the previous instrument. This is an important consideration that we give gravity to in all of our work. Consider the gifts required to build an instrument. The generous people who give these gifts should have every hope and wish that their gifts continue to be honored. We cannot say it enough, stewardship is important.

Accordingly, in studying the previous instrument, we found that through divisional shifting of resources, along with revoicing, repitching, and/or rescaling, that much of the pipework could and should be retained. In all about one-third of the resources in the previous organ were able to find a home in the new instrument. The final specification is 38 ranks with resources and colors that eclipse the previous instrument.

The Great division was designed with a well-developed principal chorus with the 8′ and 4′ flute registers as thickening agents. The 4′ Hohlflöte in the Great is a chameleon that can take its place in the ensemble or be very effective as a solo device with the appropriate treble ascendance. The reeds of the Great are duplexed from the Swell. In this acoustic we chose English shallots with their “ah” vowel cavity that proves very friendly in this acoustic. The Swell division features side opening shades into the Great to provide equanimity of speech between the Great chorus and added reeds when used together. The Great has a second 8′ principal (Geigen Principal) that can be added for larger registrations to support robust congregational singing.

An unusual feature in the organ is the number of mutations. As discussed previously, we knew color to be important. The rich 2-2⁄3′, 1-3⁄5′, and 1-1⁄3′ pitches allow the large number of registers differing accents and solo devices with their use. Importantly, the parallel borrows of the 1-1⁄3′ pitches from the 2-2⁄3′ in the Swell and Choir provide the building of “mixture texture” in the Swell and Choir without aggression. The ability to fold in unweighted treble ascendance prior to registering the chorus mixtures allows a more seamless buildup of the organ crescendo.

The strings in the Swell and the Choir individually provide the necessary ether when required and when coupled together and drawing in the 8′ Muted Violes and the 8′ Vox Humana make an effective enclosed string organ. Again, in tipping our hat to a duality in stop design, the scale of the strings in both divisions allows them to act as small anchoring principals to the enclosed division choruses when drawn and thickened with the 8′ flute registers.

The Pedal has several independent registers to support the independent contrapuntal voice. We also provided a number of manual-to-pedal duplexes to provide additional grounding to the pedal. Because of space requirements, we utilized custom digital voices for 1–12 of the 32′ registers and for 1–12 of the 16′ Principal. These digital stops are voiced to seamlessly fold into the pipe resources.

While we did save some pipework, our experience with the organ, guided by the current organ curator, convinced us that a new chassis should be considered. The church sits on an island with extremes of humidity, and there had been seasonal problems with the organ chassis in conjunction with the regular environmental changes. The new chassis included all new electro-pneumatic slider windchests, new unit windchests, a new winding system, new support structure, and new expression boxes and swell shades. The aforementioned console and relays built by our firm were recast for the new specification.

Just as we prepared for growth when we built a new console years ago, there are plans for additional growth. The console has controls for a Fanfare division that will provide additional foundation for congregational support and allow the addition of a solo reed. While not only visually dramatic, the solo reed, when added, will provide the appropriate “sending” for the numerous weddings hosted at this church.

The organ was built and installed during the pandemic. I know that all of us have differing trials that occurred during this period of time. We were fortunate to have such a supportive church to work with along with supportive family and staff. We simply could not have accomplished the building and installation of this instrument without the help of so many. Their thoughts, prayers, and aspirations sustained and supported us. In the midst of the organ installation we were onsite during Ash Wednesday. With the fresh imposition of ashes on our foreheads, we were reminded that we come from dust and to dust we will return. It was comforting to know that as we take our place in history, our work will outlive us and continue to support the ministry, music, and worship at this church.

The members of this community of faith are to be commended for their dedicated and hard work. They sought to both preserve a worship space that was known while recasting it into a fundamentally new church. They diligently worked to provide a space that acoustically supports music and spoken word. In their work they excelled brilliantly. Accordingly, in addition to my family and staff, I want to single out: Rev. Alan Dyer, pastor; Rhonda Hambright, director of music; Amy Bishop, organist; James Freeman, instrument curator; Tom Baltzell, chair, building committee; Matt Hodgdon, building committee; Karen Schmidt, building committee; Robert Ussery, Ussery-Rule Architects; Cory Rule, Ussery-Rule Architects; Joe Combs, project manager, Ussery-Rule Architects; Tracy Morelan, design architect, Ussery-Rule Architects; Dee Davis, decorator; Ryan and Rand Tyson, owners, Tyson Construction Company; Chuck Miller, superintendent, Tyson Construction Company; members and friends of St. Simons Island Presbyterian Church.

The building of any instrument demands the efforts of a talented and dedicated team. Our team includes: Arthur E. Schlueter, Jr., Arthur E. Schlueter, III, John Tanner, Marc Conley, Patrick Hodges, Jeremiah Hodges, Marshall Foxworthy, Peter Duys, Bob Weaver, Kerry Bunn, Al Schroer, Shan Dalton-Bowen, Michael DeSimone, Dallas Wood, Josey Davis, Preston Wilson, Clifton Frierson, Kelvin Cheatham, Ruth Lopez, Sara Cruz, Ruth Gomez, and Yolanda Sandoval.

Visit www.pipe-organ.com for more information or to contact A. E. Schlueter Pipe Organ Company.

Photo credit: Harlan Hambright

GREAT (Manual II)

16′ Pommer (Choir)

8′ Principal 61 pipes

8′ Geigen Principal 49 pipes (1–12 Pedal Principal)

8′ Bourdon 61 pipes

4′ Octave 61 pipes

4′ Hohlflöte 61 pipes

2-2⁄3′ Twelfth (TC) 49 pipes

2′ Super Octave 61 pipes

1-3⁄5′ Seventeenth (TC) 49 pipes

1-1⁄3′ Mixture III–V 281 pipes

Tremulant

16′ Contra Fagotto (Swell)

8′ Trumpet (Swell)

Chimes (Choir)

Zimbelstern

CHOIR (Manual I, enclosed)

16′ Pommer 61 pipes

8′ Holzgedeckt 61 pipes

8′ Erzahler 61 pipes

8′ Erzahler Celeste (TC) 49 pipes

4′ Weit Principal 61 pipes

4′ Gedeckt Pommer (ext 16′) 24 pipes

2-2⁄3′ Nasat (TC) 49 pipes

2′ Klein Octave 61 pipes

1-3⁄5′ Terz (TC) 49 pipes

1-1⁄3′ Quint (ext Nasat) 12 pipes

1′ Sifflöte (ext 16′ Pommer 12 pipes (top octave repeats)

II Carillon (from 1-1⁄3′ and 1-3⁄5′)

8′ Krummhorn 61 pipes

Tremulant

SWELL (Manual III, enclosed)

16′ Contra Viola (TC, from 8′ Viola)

8′ Viola da Gamba 61 pipes

8′ Viola Celeste (TC) 49 pipes

8′ Muted Violes II (digital)

8′ Rohrflöte 61 pipes

4′ Principal 61 pipes

4′ Koppelflöte 61 pipes

4′ Unda Maris II (digital)

2-2⁄3′ Nazard (TC) 49 pipes

2′ Flageolet 61 pipes

1-3⁄5′ Tierce 61 pipes

1-1⁄3′ Quint (ext Nazard) 12 pipes

2′ Plein Jeu III–IV 232 pipes

16′ Fagotto 61 pipes

8′ Trumpet 61 pipes

8′ Fagotto (ext 16′ Fagotto) 12 pipes

4′ Fagotto Clarion (ext 16′) 12 pipes

8′ Vox Humana (digital)

Tremulant

FANFARE (digital, prepared for pipes)

8′ Principal

8′ Flute Celeste II

4′ Octave

2′ Doublette

8′ Trompette en Chamade

Fanfare On Great

Fanfare Off Choir

PEDAL

32′ Untersatz (digital)

16′ Principal (digital)

16′ Subbass 32 pipes

16′ Pommer (Choir)

8′ Principal 32 pipes

8′ Subbass (ext 16′ Subbass) 12 pipes

4′ Choral Bass (ext 8′ Princ) 12 pipes

4′ Gedeckt Pommer (Choir)

32′ Contra Fagotto (digital)

16′ Posaune (ext, Sw 8′ Tpt) 12 pipes

16′ Fagotto (Swell)

8′ Trumpet (Swell)

4′ Clarion (Swell)

4′ Fagotto Clarion (Swell)

Couplers

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 Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Choir to Swell 8

MIDI to Pedal

MIDI to Great

MIDI to Swell

MIDI to Choir

38 ranks, 2,248 pipes

Stephen Schnurr

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

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

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

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

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

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

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

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

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

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

1900 A. B. Felgemaker & Son Opus 723

GREAT (Manual I)

16′ Double Open Diapason 61 pipes (metal)

8′ Open Diapason (metal) 61 pipes

8′ Doppel Floete (wood) 61 pipes

8′ Viola da Gamba (metal) 61 pipes

8′ Dulciana (metal) 61 pipes

4′ Octave (metal) 61 pipes

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

3′ Octave Quinte (metal) 61 pipes

2′ Super Octave (metal) 61 pipes

III Mixture (metal) 183 pipes

8′ Trumpet (metal) 61 pipes

SWELL (Manual II, enclosed)

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

8′ Open Diapason 61 pipes (wood & metal)

8′ Stopped Diapason (wood) 61 pipes

8′ Salicional (metal) 61 pipes

8′ Aeolina (metal) 61 pipes

4′ Gemshorn (metal) 61 pipes

4′ Flute Harmonique 61 pipes (metal)

2′ Flageolet (metal) 61 pipes

III Dolce Cornet (metal) 183 pipes

8′ Oboe & Bassoon (metal) 61 pipes

PEDAL

16′ Double Open Diapason 30 pipes (wood)

16′ Bourdon (wood) 30 pipes

8′ Violoncello (metal) 30 pipes

8′ Floete (wood) 30 pipes

Couplers

Great to Pedal

Swell to Pedal

Swell to Great in Sub-Octave

Swell to Great

Swell to Great in Super Octave

Accessories

Forte Combination Great and Pedal Stops

Piano Combination Great and Pedal Stops

Forte Combination Swell and Pedal Stops

Piano Combination Swell and Pedal Stops

Tremolo

Great to Pedal Reversible

Balanced Swell Pedal

Balanced Crescendo Pedal

Bellows Signal

Wind Indicator

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

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

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

GREAT (Manual II, enclosed?)

8′ First Open Diapason

8′ Second Open Diapason

8′ Gross Flute

8′ Doppel Flute

8′ Gamba

4′ Octave

4′ Harmonic Flute

2′ Octave

8′ Tuba

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Echo to Great 8

SWELL (Manual III, enclosed)

16′ Lieblich Gedeckt

8′ Open Diapason

8′ Stopped Flute (ext 16′ Lieb Ged)

8′ Salicional

8′ Voix Celeste

8′ Muted Viole

4′ Violina

4′ Flute

16′ Fagotto

8′ Cornopean

8′ Fagotto (ext 16′ Fagotto)

8′ Vox Humana

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Swell 8

CHOIR (Manual I, enclosed)

16′ Quintadena

8′ Violin Diapason

8′ Melodia

8′ Quintadena (ext 16′ Quintadena)

8′ Dulciana

4′ Flute d’Amore

2′ Piccolo

8′ Clarinet

Tremolo

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Echo to Choir 8

ECHO (Manual IV, enclosed)

16′ Bourdon

8′ Open Diapason

8′ Bourdon (ext 16′ Bourdon)

8′ String

8′ Celeste (TC)

4′ Flute

2′ Zart Flute (ext 4′ Flute)

8′ Vox Humana

Tremolo

Chimes

PEDAL

32′ Resultant

16′ Open Diapason (wood)

16′ Open Diapason (metal)

16′ Bourdon

16′ Lieblich Gedeckt (Sw 16′ Lieb Ged)

8′ Gamba (Gt 8′ Gamba)

8′ Bass Flute (ext 16′ Bourdon)

8′ Dolce Flute (Sw 16′ Lieb Ged)

16′ Trombone

16′ Fagotto (Sw 16′ Fagotto)

8′ Fagotto (Sw 16′ Fagotto)

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Echo to Pedal 8

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

MANUAL

8′ Principal

8′ Gamba

8′ Melodia

4′ Flute

2′ Open

PEDAL

16′ Subbass

Manual to Pedal Coupler

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

1996 Daniel Bogue and Associates organ

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

8′ Principal

8′ Flute (stopped)

4′ Octave (5 basses in façade)

4′ Flute (harmonic from middle C)

2′ Principal (ext 4′ Octave)

IV Fourniture (1′)

8′ Trompette (harmonic from B3)

4′ Clarion (ext 8′ Trompette)

2 blank tabs

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Echo to Great 8

SWELL (Manual III, enclosed, north side)

16′ Bourdon (wood)

8′ Principal

8′ Bourdon (ext 16′ Bourdon)

8′ Gamba

8′ Gamba Celeste (TC)

4′ Principal (ext 8′ Principal)

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

2-2⁄3′ Nazard

2′ Principal

1-3⁄5′ Tierce

IV Plein Jeu

16′ Fagotto (1–12 half-length)

8′ Trumpet

8′ Fagotto (ext 16′ Fagotto)

4′ Clarion (ext 8′ Trumpet)

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Swell 8

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

16′ Gemshorn (12 Quintaton basses)

8′ Violin Diapason

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

8′ Gemshorn (ext 16′ Gemshorn)

8′ Gemshorn Celeste (TC)

4′ Principal (ext 8′ Violin Diapason)

4′ Gedeckt (wood)

2′ Flute (harmonic from tenor C)

1-1⁄3′ Larigot (ext 4′ Gedeckt)

III Cymbel

8′ Cromorne

Tremolo

1 blank tab

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Echo to Choir 8

ECHO (Enclosed, floating)

8′ Bourdon

8′ String

8′ Celeste (TC)

4′ Flute (ext 8′ Bourdon)

2′ Flute (ext 8′ Bourdon)

8′ Vox Humana

1 blank tablet

Tremolo

Chimes

PEDAL

32′ Resultant (fr 16′ Bourdon)

16′ Double Open Diapason (wood, north side)

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

16′ Bourdon (north side)

16′ Lieblich Gedeckt (Sw 16′ Bourdon)

8′ Octave (ext 16′ Contra Bass)

8′ Bass Flute (ext 16′ Bourdon)

8′ Gedeckt (Sw 16′ Bourdon)

4′ Choral Bass (ext 16′ Contra Bass)

4′ Flute (Sw 16′ Bourdon)

2′ Octavin (ext 16′ Contra Bass)

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

16′ Contra Fagotto (Sw 16′ Fagotto)

8′ Trumpet (Gt 8′ Trompette)

4′ Clarion (Gt 8′ Trompette)

Great to Pedal 8

Swell to Pedal 8

Choir to Pedal 8

Echo to Pedal 8

ECHO PEDAL (enclosed with Echo)

16′ Bourdon (ext Echo 8′ Bourdon)

8′ Bourdon (fr Echo 8′ Bourdon)

Accessories

10 General Pistons (thumb)

6 Great Pistons and Cancel (thumb)

6 Swell Pistons and Cancel (thumb)

6 Choir Pistons and Cancel (thumb)

6 Echo Pistons and Cancel (thumb)

6 Pedal Pistons and Cancel (thumb)

General Cancel (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Balanced Swell expression shoe

Balanced Great/Choir expression shoe

Balanced Crescendo shoe (with indicator light)

Combination Lock (key)

Sforzando Reversible (thumb and toe, with indicator light)

Wind Indicator

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

2005 Oberlinger organ

MANUAL

8′ Traversflöte (tenor B, wood)

8′ Copula (stopped wood)

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

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

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

1–2f Cymbel (1⁄2′)

Accessory

H–C (transposer)

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

1991 Alfred Wild organ

MANUAL I

8′ Gedackt (wood)

4′ Chimney Flute

2′ Principal

MANUAL II

8′ Gedackt (fr Manual I 8′ Gedackt)

8′ Regal

Couplers

Manual I to Pedal

Manual II to Pedal

Manual II to Manual I

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

Specification of the Allyn Hoverland organ

MANUAL I

8′ Principal (B)

8′ Stopped Flute (A, 1–49; E, 50–61)

8′ Chimney Flute (A, 1–12; C, 13–61)

4′ Principal (B)

4′ Block Flute (A, 1–12; E, 13–61)

2-2⁄3′ Quinte (D)

2′ Block Flute (E)

III Mixture (D, F)

II Mixture (F)

MANUAL II

8′ Block Flute (A, 1–24; E, 25–61)

8′ Chimney Flute (A, 1–12; C, 13–61)

4′ Chimney Flute (C)

2′ Principal (B, 1–49; E, 50–61)

1-1⁄3′ Quinte (D)

PEDAL

16′ Bourdon (A, 1–24; C, 25–32)

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

8′ Principal (B)

8′ Chimney Flute (A, 1–12; C, 13–32)

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

4′ Principal (B)

4′ Chimney Flute (C)

2-2⁄3′ Quinte (D)

2′ Block Flute (E)

Mixture III [sic] (F)

Accessories

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

5 Manual I pistons (thumb and toe)

5 Manual II pistons (thumb)

General Cancel (thumb)

Analysis

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

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

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

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

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

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

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

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

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

1927 Wurlitzer Opus 1818

Analysis

8′ Tibia Clausa 85 pipes

16′ Bourdon/Concert Flute 97 pipes

16′ Diaphone/Diaphonic Diapason 85 pipes

8′ Trumpet 61 pipes

8′ Violin 73 pipes

8′ Violin Celeste 73 pipes

8′ Vox Humana 61 pipes

ACCOMPANIMENT (Manual I)

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Violin (Violin and Celeste)

8′ Concert Flute

8′ Vox Humana

4′ Octave

4′ Piccolo (Tibia Clausa)

4′ Viol (Violin and Celeste)

4′ Flute

4′ Vox Humana

2-2⁄3′ Twelfth (Bourdon)

2′ Piccolo (Bourdon)

Accompaniment Octave

Chrysoglott (G1–G5)

Snare Drum (reiterates)

Tambourine (reiterates)

Castanets (reiterates)

Chinese Block

Tom Tom

Jazz Cymbal

Triangle

Sleigh Bells

Accompaniment Second Touch

8′ Trumpet

8′ Open Diapason

8′ Tibia Clausa

4′ Piccolo (Tibia)

Chrysoglott

Glockenspiel

Cathedral Chimes

Accomp Traps

SOLO (Manual II)

16′ Trumpet (TC)

16′ Diaphone

16′ Tibia Clausa (TC)

16′ Violone (TC, two ranks)

16′ Bourdon

16′ Vox Humana (TC)

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Violin (Violin and Celeste)

8′ Concert Flute

8′ Vox Humana

5-1⁄3′ Fifth (Tibia Clausa)

4′ Octave

4′ Piccolo (Tibia Clausa)

4′ Viol (Violin and Celeste)

4′ Flute

2-2⁄3′ Twelfth (Tibia Clausa)

2′ Piccolo (Tibia Clausa)

2′ Fifteenth (Violin)

2′ Piccolo (Bourdon)

1-3⁄5′ Tierce (Tibia Clausa)

1′ Fife (Bourdon)

Solo Sub Octave

Solo Octave

Xylophone (C2–C5)

Glockenspiel (G2–C5)

Chrysoglott (G1–G5)

Sleigh Bells (C2–C4, tuned, reiterates)

Chimes (G2–C4) 18 tubes

PEDAL

16′ Diaphone

16′ Bourdon

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Cello

8′ Flute

Accomp to Pedal

Bass Drum

Kettle Drum (reiterates)

Tap Cymbal

Crash Cymbal

Tremulants

Tibia Clausa Trem

Solo Tremulant

Main Tremulant

Vox Humana Trem

Accessories

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

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

Celestes Off

Accomp Perc/Pedal

Bell (right Accompaniment keycheeck)

Balanced Main expression shoe

Balanced Solo expression shoe

Balanced Crescendo shoe

Range

Set

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

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

1957 Casavant Opus 2403

GRAND ORGUE (Manual I)

16′ Bourdon 85 pipes

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

8′ Bourdon (ext 16′ Bourdon)

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

4′ Violina (ext 8′ Principal)

4′ Dulcet (ext 8′ Dulciane)

4′ Flute d’Amour (ext 16′ Bourdon)

2-2⁄3′ Nazard (ext 8′ Dulciane)

2′ Doublette (ext 8′ Dulciane)

Recit au Grand Orgue

RECIT (Manual II)

8′ Principal (G.O. 8′ Principal)

8′ Bourdon (G.O. 16′ Bourdon)

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

8′ Dulciane (G.O. 8′ Dulciane)

4′ Violina (G.O. 8′ Principal)

4′ Flute (G.O. 16′ Bourdon)

4′ Dulcet (G.O. 8′ Dulciane)

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

Tremolo

PEDALE

16′ Bourdon (G.O. 16′ Bourdon)

8′ Bourdon (G.O. 16′ Bourdon)

4′ Principal (G.O. 8′ Principal)

4′ Flute (G.O. 16′ Bourdon)

4′ Dulcet (G.O. 8′ Dulciane)

Gr. Orgue a la Pedale

Recit a la Pedale

Accessories

3 Grand Orgue and Pedale pistons (thumb)

3 Recit pistons (thumb)

Balanced expression shoe

Balanced Crescendo shoe (with rotating indicator dial)

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

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

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

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

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

1926 Casavant FrПres, Limitée, Opus 1130

GREAT (Manual II, 4-inch wind pressure)

16′ Double Open (metal) 73 pipes

8′ I Open Diapason (metal) 73 pipes

8′ II Open Diapason (metal) 73 pipes

8′ Doppelflöte 73 pipes (wood and metal)

8′ Gemshorn (metal) 73 pipes

4′ Octave (metal) 73 pipes

4′ Harmonic Flute (metal) 73 pipes

Mixture IV (metal) 244 pipes

8′ Trumpet (metal) 73 pipes

Chimes (from Echo)

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

16′ Bourdon (wood) 73 pipes

8′ Open Diapason (metal)* 73 pipes

8′ Violin Diapason (metal) 73 pipes

8′ Stopped Diapason 73 pipes (wood and metal)

8′ Salicional (metal) 73 pipes

8′ Viola di Gamba (metal) 73 pipes

8′ Aeoline (metal) 73 pipes

8′ II Voix Celeste (metal) 134 pipes

4′ Violina (metal) 73 pipes

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

2′ Piccolo (metal) 61 pipes

Dolce Cornet III (metal) 183 pipes

16′ Double Trumpet (metal)* 73 pipes

8′ Cornopean (metal)* 73 pipes

8′ Oboe (metal) 73 pipes

8′ Vox Humana (metal) 73 pipes

4′ Clarion (metal)* 73 pipes

Tremulant

Chimes (from Echo)

* 7-inch wind pressure

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

16′ Gamba (metal) 73 pipes

8′ Open Diapason (metal) 73 pipes

8′ Concert Flute 73 pipes (wood and metal)

8′ Dulciana (metal) 73 pipes

8′ Unda Maris (metal) 73 pipes

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

2-2⁄3′ Nazard (metal) 73 pipes

2′ Flageolet (metal) 61 pipes

8′ Clarinet (metal) 73 pipes

8′ Cor Anglais (metal) 73 pipes

Tremulant

Celesta 61 bars

Celesta Sub (from Celesta)

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

8′ Stentorphone (metal) 73 pipes

8′ Gross Flute 73 pipes (wood and metal)

8′ Viole d’Orchestre (metal) 73 pipes

8′ Viole Celeste (metal) 73 pipes

8′ Tuba (metal) 73 pipes

Tremulant

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

8′ Echo Diapason (metal) 73 pipes

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

4′ Fern Flöte (metal) 73 pipes

8′ Musette (metal) 73 pipes

Tremulant

Chimes (from tenor G) 25 tubes

PEDAL

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

16′ Open Diapason (wood) 44 pipes

16′ Bourdon (wood) 44 pipes

16′ Contra Gamba (Ch 16′ Con Gamba)

16′ Lieblich Gedeckt (Sw 16′ Bourdon)

8′ Flute (ext 16′ Open Diapason)

8′ Stopped Flute (ext 16′ Bourdon)

8′ Cello (metal) 32 pipes

16′ Trombone (metal) 32 pipes

Chimes (from Echo)

Couplers

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Solo to Pedal 8

Solo to Pedal 4

Echo to Pedal 8

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Solo to Great 16

Solo to Great 8

Solo to Great 4

Echo to Great 16

Echo to Great 8

Echo to Great 4

Echo On/Great Off

Choir to Choir 16

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 16

Solo to Choir 8

Solo to Choir 4

Swell to Swell 16

Swell to Swell 4

Solo to Swell 8

Solo to Solo 16

Solo to Solo 4

Great to Solo 8

Swell to Solo 8

Echo to Solo 16

Echo to Solo 8

Echo to Solo 4

Echo On/Solo Off

All Swells to Swell Pedal

Accessories

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

5 Great pistons (thumb)

7 Swell pistons (thumb)

5 Choir pistons (thumb)

3 Solo pistons (thumb)

3 Echo pistons (thumb)

5 Pedal pistons (thumb)

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

300 memory levels

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

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (toe)

Choir to Pedal reversible (thumb)

Solo to Pedal reversible (thumb)

Echo to Pedal reversible (thumb)

Swell to Great reversible (thumb)

Choir to Great reversible (thumb)

Solo to Great reversible (thumb)

Swell to Choir reversible (thumb)

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

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

General Cancellor (thumb)

Combination Adjustor (thumb)

Balanced Swell Expression Shoe

Balanced Choir Expression Shoe

Balanced Solo and Echo Expression Shoe

Balanced Crescendo Shoe (with indicator dial)

Full Organ Reversible (toe, with indicator)

Generator Indicator

Wind Indicator

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

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

§

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

Sources

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

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

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

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

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

For further information: cantius.org/sacredmusic