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Berghaus Pipe Organ Builders, Bellwood, Illinois

1966 Aeolian-Skinner Organ Company Opus 1455

Church of the Holy Comforter, Kenilworth, Illinois 

Organ renovation projects are as diverse as the instruments themselves.  The decisions and processes that are undertaken by the owners and the curators of the pipe organs are varied, but the goal is always to breathe new life into the instrument. Sometimes the renovation is historically accurate, sometimes it completely changes the nature of the instrument. In the case of the 1966 Aeolian-Skinner Organ Company Opus 1455 at Church of the Holy Comforter, Kenilworth, Illinois, the organ was returned to its original glory as envisioned by George E. McClay, associate dean of the School of Music at Northwestern University, Evanston, Illinois, and organist-choirmaster at Trinity Episcopal Church, Highland Park, Illinois, who served as the consultant.

The Aeolian-Skinner replaced a two-manual, eight-rank Welte organ relocated in 1928 from the Wilmette Village Theatre (which had closed), which in turn had supplanted the 1907 Hook & Hastings Opus 2147 that was an identical replacement of the builder’s Opus 2106 that had been destroyed in a fire in October 1906. As the fourth organ at Holy Comforter, the instrument’s 50 years of faithful service and thousands of hours of beautiful music for Eucharists, baptisms, weddings, funerals, concerts, and special events made it an integral part of the life of the parish. It was finally decided in 2016 to raise the funds to undertake the complicated and sophisticated project of thoroughly renewing the instrument.

In June 2016, Berghaus Pipe Organ Builders began an extensive project to clean, rebuild, and refurbish the organ to as-new condition. All of the pipework except for some of the larger pipes from the Contra Bass in the Pedal were removed from the church and taken to the Berghaus shop for cleaning and repairs.  

While in the organ shop, a couple of ranks that had been altered over time were restored to original specifications. The 4 Flute Harmonique pipes were lengthened and the hole in the center section of each pipe that produces the harmonic sound was re-created. The Viole de Gamba and Viole Celeste pipework had mysteriously been replaced with pipes that did not properly blend with the rest of the instrument. Particular attention was paid to these two ranks during the revoicing process to duplicate vintage Aeolian-Skinner characteristics.  

The reservoirs were also removed for releathering. The empty chamber was then thoroughly cleaned and water-damaged areas repaired and replastered. The console was stripped and refinished, updated with new lighting and combination action, and keyboards and pedalboard rebuilt. The tonal finishing process, which took two weeks, brought the instrument back to its original tone and timbre as the organ’s wind pressures were returned to their original measurements. This offered an opportunity to prepare for a 8 Trompete on the Great that would be extended as a 16 Posaune in the Pedal. The organ was finished in mid-September in time to go back into service for a prominent wedding.

The organ was rededicated on Sunday, April 23, 2017, by the Reverend Dr. Jason Parkin followed by a recital given by director of music, Derek E. Nickels. Dr. Nickels’s program, which included works by Mendelssohn, Bach, Howells, Lafford, Callahan, and Dupré, very likely put each of the more than 1,300 pipes to work, and was enthusiastically received by the near-capacity crowd.

—Jean A. O’Brien

Berghaus Pipe Organ Builders

Derek E. Nickels

Church of the Holy Comforter

 

GREAT (Manual I, Exposed, 3 wind pressure)

16 Bourdon1

8 Principal 61 pipes

8 Bordun  61 pipes

8 Spitzflöte (Swell 8 Spitzflöte)

4 Octave  61 pipes

4 Spindleflute  61 pipes

223 Sesquialtera II  122 pipes

2 Blockflöte  61 pipes

II Rauschquint 122 pipes

8 Trompete (prepared)

Tremulant

Great 16

Great Unison Off

Great 4 

SWELL (Manual II, Enclosed, 3 wind pressure)

16 Spitzflöte (2003, TC, fr 8Spitzflöte)

8 Rohrflöte 61 pipes

8 Viola da Gamba2 61 pipes

8 Viola Celeste2 61 pipes

8 Spitzflöte 61 pipes

8 Flute Celeste (TC) 49 pipes

4 Spitzprincipal 61 pipes

4 Flûte Harmonique3 61 pipes

III–IV Plein Jeu 232 pipes

16 Hautbois 73 pipes

8 Trompette 61 pipes

8 Hautbois (ext)

4 Schalmei 61 pipes

Tremulant

Swell 16

Swell Unison Off

Swell 4 

PEDAL (334 wind pressure)

32 Resultant (2003, from 16 Bourdon)

16 Contra Bass 56 pipes

16 Bourdon 44 pipes

8 Octave (ext 16 Contra Bass)

8 Bourdon (ext 16 Bourdon)

8 Rohrflöte (Swell)

4 Choral Bass (ext 16 Contra Bass)

16 Posaune (ext Gt; prepared)

16 Hautbois (Swell)

8 Hautbois (Swell)

4 Hautbois (Swell)

 

1. Added 1992, 1–12 Pedal 16 Bourdon, 13–61 Swell 8 Rohrflöte.

2. Original pipework replaced in 1992, revoiced in 2016.

3. Reconstructed to factory specifications in 2016.

 

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

6 Great divisional thumb pistons

6 Swell divisional thumb pistons

6 Pedal divisional toe studs

5 General Pistons (thumb and toe)

Setter thumb piston

General Cancel thumb piston

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Swell to Great reversible (thumb piston)

Full Organ reversible (thumb and toe)

Memory Up thumb piston

Memory Down thumb piston

Swell Shoe

Crescendo Pedal

MIDI transposer, playback and record

Related Content

A History of Skinner Organ Company Opus 820 at the Cathedral of Our Lady, Queen of the Most Holy Rosary, Toledo, Ohio

Paul Monachino

Paul Monachino serves as director of music and organist at Our Lady, Queen of the Most Holy Rosary Cathedral in Toledo, Ohio, and also director of liturgical music for the Diocese of Toledo. He completed a Bachelor of Music degree at Heidelberg University in Tiffin, Ohio, and a Master of Music at Indiana University, Bloomington. He is a member of the American Guild of Organists, the Organ Historical Society, the National Association of Pastoral Musicians, and the Conference of Roman Catholic Cathedral Musicians.  

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On January 24, 1931, the first boxcar containing Skinner Organ Company Opus 820 left Boston en route to the new cathedral in Toledo, Ohio—Our Lady, Queen of the Most Holy Rosary. After many months of planning and developing the stoplist, the dream of installing an organ from the finest American builder of the early 20th century was soon to be a reality. Norbert Fox, the cathedral organist, kept a copy of the stoplist on a side table in his home and perused it daily, anticipating with great delight the beautiful and majestic sounds that would soon fill the cathedral.

Ground was broken for the unique Spanish Plateresque-style cathedral in 1924. In early 1929, with construction nearing completion, final negotiations with Ernest Skinner were in the works. The contract was prepared on June 13, 1929. An interesting change to the contract was requested by Skinner. He wished to move the English Horn from the Choir to the Solo division. It was to be replaced in the Choir by an Orchestral Oboe (changed to a Flügel Horn in 1933 at the request of Norbert Fox). In a letter dated January 30, 1930, Skinner writes, “The English Horn was commonly placed on the Choir organ until a short time ago where I greatly improved its quality by a modification of design, and the new form works better on the Solo (wind) pressure than on the Choir. . . .”1 In concluding the letter Skinner writes, “I look your scheme over every day with renewed satisfaction. It gives me every opportunity to fulfill the confidence you have given me in according the Skinner organization a perfect opportunity to build a great work of art.”2 And in a letter of September 27, 1930, Mr. Skinner states, “I honestly believe this organ is going to be one of the greatest in America.”3 History has confirmed his belief as Opus 820, located in an outstanding acoustical environment, has come to be regarded as one of his finest efforts.

Three days of musical events marked completion of the organ’s installation. The first of these was a solo organ recital on June 2, 1931, by Palmer Christian of the University of Michigan, Ann Arbor. The following day witnessed a choral and organ program presented by the Cathedral Chapel Choir, Reverend Ignatius Kelly, choirmaster, accompanied at the organ by Norbert Fox and John Gordon Seely of Toledo’s Trinity Episcopal Church. The events concluded on June 4 with a performance of Edward Elgar’s The Dream of Gerontius. The organ had been in the cathedral for nine years when the edifice was finally dedicated in 1940.

The Muller Pipe Organ Company of Toledo cared for the organ after it was installed. Family patriarch Joseph Muller and his son Henry previously worked for Skinner in Boston. After rising to the position of principal installation foreman in the Skinner company, in 1919 Henry established his own organ maintenance shop in Toledo, Ohio. The Skinner organ in Rosary Cathedral was integral to a lively liturgical music program: ordinations, weddings, funerals, and other festive celebrations. It regularly accompanied the 80-voice men and boys choir for Sunday Mass. It was also heard daily at Mass by the students of the Cathedral School. The Gregorian Institute of America, established in Toledo (now GIA Publications, Chicago), held weeklong summer workshops at neighboring Mary Manse College, and participants attended daily Mass at the cathedral. Private recordings of the organ were made in the 1950s by Claude Legacé (organist-choirmaster from 1954 until 1961) and Valerian Fox, son of Norbert Fox. In 1966, Maurice Duruflé and his wife Marie-Madeleine performed on the organ; the concert’s first half featured selected movements of the Requiem conducted by the composer. The Muller family was always on hand for major occasions to ensure that the organ was functioning at its best. But after over 40 years of daily use, the organ was beginning to show its age through various mechanical failures.

In September 1979, following the renovation of the cathedral to conform to liturgical directives of the Second Vatican Council, organist-choirmaster Dr. Hugh Murray requested that attention now be given to restoring the organ. The Standing Committee on Sacred Music was charged with preparing a recommendation for the restoration of the Skinner organ. After study, consultation, and consideration of several proposals submitted to the committee, the diocese awarded a contract to K & D Pipe Organ Service Co. (Ken and Dorothy Holden) of Ferndale (Detroit), Michigan. The concept of the restoration was conservative, with no proposal to alter the tonal or mechanical systems of the organ. In 1980 the console was moved to the chancel floor from the former choir gallery in keeping with the renovated liturgical space that called for the choir to be in a more accessible position. The console was thoroughly restored during the move. Following this project, a phased restoration began with the removal of the Choir division to the K & D shop.

The Holdens ran a modest shop, performing much of the restoration work themselves. Work progressed slowly and at times came to a standstill due to unforeseen personal circumstances. The cathedral authorities became impatient with the slow progress, and in 1983 a mutual release agreement was issued, bringing the restoration project to a halt. This led to years of debate about how to proceed that nearly imperiled the existence of this important pipe organ.

In the spring of 1983 all the components of the Choir division that had been in the K & D shop were returned, but not reinstalled. The pipework of this division was stored throughout the triforium walkway of the cathedral. Overall, a number of critical stops, such as the Great 4 Octave, were completely unplayable, and numerous dead notes riddled almost every stop of the organ. The organ was in a nearly useless condition.

In a desire to preserve momentum for the restoration project, Hugh Murray and the cathedral authorities engaged local organ builder Daniel Pilzecker as a consultant. He recommended a rather conservative scope of work that included a new console and some minor tonal alterations and additions, some of which had been already considered in the 1979 proposals. Among the many recommendations in those years, there was considerable agreement that a new console should be provided and that the chorus reeds should be brightened. A request for proposal based on Pilzecker’s observations was sent to five organ companies. Two responded with a bid: the Muller company and the Williams-Stevens Organ Company of Cincinnati, Ohio (Mark Lively).  

In August 1983, Fr. Robert Donnelly, diocesan chancellor (and soon to be auxiliary bishop of Toledo), requested that the Diocesan Liturgical Commission form an ad hoc “Cathedral Committee” to recommend action to the bishop concerning the restoration of the organ and a new sound system. The first meeting was held in August 1983. Soon afterward the committee retained Dr. Robert Noehren as organ consultant and arranged for him to visit Toledo in January 1984. 

During this visit, Noehren met with the committee, surveyed the Skinner organ, and visited several other pipe organs in the Toledo area. A committee meeting including Noehren was arranged with Bishop James Hoffman. From the archival notes of these meetings it becomes clear that the committee was now wrestling with the decision of whether to restore the Skinner or replace it. One of the recorded comments (all anonymous) from the meeting is quite startling: “The Cathedral Skinner organ is not a great instrument and it never was one. It is not famous, and it never was.”4 The Organ Historical Society thought differently in awarding Opus 820 a Historic Organ Citation in 2006! A great deal of credit for the fame of this organ must go to Joseph Vitacco and his project to record landmark Skinner and Aeolian-Skinner organs throughout the United States. Four recordings of the Rosary Cathedral organ were produced by JAV Recordings, disseminating its artistic merit throughout the world.

Three proposals were recommended by Robert Noehren in a letter dated January 16, 1984. The first, and preferred, was to provide two new organs: a small choir organ in the sanctuary and a large “Great Organ” in the gallery. The Skinner organ would be sold, as a whole or parted out. If the cathedral were sentimentally attached to the Skinner organ a restoration could be accomplished but conversion to a direct-electric action was encouraged along with a new or rebuilt console and some tonal alterations. Noehren did note that the Skinner would be worthy of preservation as was the Hill Auditorium Skinner at the University of Michigan where he taught for many years. A third proposal for one free-standing organ in the apse was included although considered less than ideal. The committee had much to consider.

On January 30, 1984, a message was received from Sam Koontz of the Tellers Organ Company, stating that he would be passing through Toledo and would like to assess the cathedral organ. At a committee meeting the next day, Hugh Murray reported concerning Koontz that, “this item . . . is of no validity and need concern us no longer.” But time would bear out that this initial contact from Sam Koontz might very well be what preserved Opus 820. Koontz would follow up with a proposal to complete all unfinished releathering in the currently dismantled Choir division and reinstallation, address some console issues, repair dead stops in the Great and Solo divisions, and tune the organ. 

On February 11, 1984, Hugh Murray wrote a letter of memorandum to the cathedral committee concerning his reaction to Noehren’s recommendations that would become his guiding vision for the project. Murray reflected on the many years of study and discussion concerning the organ. He concludes, “I would love to hear and play again the fully restored Skinner Organ with all of its voices resounding throughout our magnificent, acoustically alive Toledo Cathedral.”

In March, the cathedral committee drafted a proposal for the bishop to “mothball” the Skinner organ and construct a new, freestanding organ in the apse. One must appreciate the perspective of the committee concerning Opus 820. Restored components and pipes lay scattered about the triforium, and most of the organ did not play. By some it was viewed as beyond revival. But for those who were able to see beyond its current condition, the vision of a completely restored instrument remained strong. As consultant, Noehren continued to be updated on the discussions and had undertaken more research on the various options. In light of the committee’s proposal to locate one new organ in the apse, rather than a new organ at either end of the cathedral, Noehren writes, “Since you have decided to have the organ in the sanctuary, I suggest you re-consider the possibility of restoring your present organ.”5 He mentions that he has identified several firms that could carry out this work, and that “for now it seems that the costs for doing so may be far below our earlier estimates.”6 And further, “The present organ is indeed a very good instrument.”7 Despite this suggestion, by a vote of six to one, the committee’s proposal to mothball the Skinner and construct a new organ in the apse was sent to the bishop on June 4, 1984. The bishop approved the proposal as a working document to be shared with various leadership groups in the diocese. 

In September 1984, Sam Koontz wrote a four-page letter to the cathedral committee responding to the proposal sent to the bishop. While he feared the die had been cast to abandon the Skinner organ, he felt compelled to rectify what he felt was “gross inaccuracy in factual information presented to the Committee by the consultant”8 and contained in the proposal. He deemed the work done by K & D to be of the highest quality and regretted the health issues that plagued the Holdens at that time. Concerning the “large parts of the organ that are disconnected” he mentions that the restoration work on the Choir division was complete and only in need of reassembly. The console restoration that was labeled “botched” was far from it and required final adjustments that were not carried out due to the termination agreement. He also questions the committee’s choice of Noehren as a consultant for a restoration of the Skinner organ, which was the original intent of the cathedral committee. It was well known that Noehren’s ideals of organbuilding were very far from those of Ernest Skinner. Koontz also debunks the fears of continued maintenance of the leather actions and a number of other issues. Relative to a new organ, he writes, “The Skinner organ possesses a quantity and quality of material which would not be possible to reproduce today, at any cost. No more refined reed tones have ever been produced, than those of the Skinner Organ Company.”9 Koontz proposed that he would complete the restoration of the organ for a price not to exceed $90,000.00 within three years.

Koontz concludes by urging the restoration of the organ: “If restoration of the Skinner organ does indeed prove to be prophetic, this is the greatest legacy the Committee could hope to leave to future generations in the Diocese of Toledo.”10  On October 25, 1984, after reviewing the letter, the committee invited Sam Koontz to attend a meeting and speak in more detail about his proposal.

Convinced of his abilities to revive the Skinner organ, the diocese initially awarded a contract to Koontz to re-install the Choir division and carry out some other work to complete the work the Holdens had begun. Subsequently, an additional contract was signed that culminated in thorough repairs and releathering of the organ by 1992. A celebratory rededication recital was presented by Todd Wilson on March 31, 1993. In the recital program Hugh Murray wrote, “(The late Sam Koontz) was a talented craftsman with strong convictions about restoring versus rebuilding/enlarging old organs. The Cathedral Skinner is a monument to his principles and dedication to his art as a restorer.” Opus 820 was now completely functional after over a decade of virtual silence. 

The work of Sam Koontz was admirable in preserving this magnificent instrument.  Since the work authorized by the diocese did not constitute a thorough restoration, in the years immediately following, numerous dead notes and other malfunctions continued to plague the organ. At the time it was decided to retain all of the original mechanisms with little intervention. Significant mechanicals—swell engines, tremolos, combination action—were not restored at all since they were functioning well at the time. Many of these unrestored items are now beginning to show signs of wear. The pipework is still in excellent shape, but many of the reed stops are in need of restoration of tuning scrolls and brass tongues. 

In 2009–2010 a survey of the organ was carried out by Jeff Weiler confirming that a thorough restoration of the organ was in order. 

 

To the casual listener, the  Cathedral  Skinner retains its general majesty and suave elegance. Upon closer inspection—certainly to organists and other musicians—the organ will sound tired. Beautiful tone is still unquestionably present, but not a single stop is even in tone or volume throughout its compass.

Fully restored, the organ would handily address any task that might be put before it. It has the potential to lead an assembly with great delicacy and sophistication. Still, it will be a revelation to even its most dedicated admirers just how much more polished, alive, and beautiful the sound will be once the pipes are fully cleaned and reconditioned.11

Requests for proposals were sent out to a select number of organ companies. In 2012 the proposal of the J. W. Muller Co. of Croton, Ohio, was accepted. Now the challenging work of funding the project begins. While there has been interest from several charitable foundations, neither the Diocese of Toledo nor the cathedral parish can financially contribute a significant amount to the project at this time. If the reader is interested in showing support for this project through a donation of any amount, visit the parish website at: http://rosarycathedral.org/donate/.

The goal is to provide a thorough restoration of the organ. This would include preservation of the original console while providing a new console with the latest technological controls for the organist.  As originally envisioned for the cathedral, a small antiphonal division created from vintage pipework will be installed to support congregational singing at the back of the nave. The successful completion of this project will allow the organ to function reliably for many years and preserve this pristine example of early twentieth century American organ building.

 

Notes

1. Letter from Ernest Skinner to Msgr. Anthony J. Dean, cathedral rector, January 30, 1930.

2. Ibid. 

3. Letter from Skinner to Msgr. Dean, September 27, 1930.

4. Minutes of the cathedral committee meeting, January 10, 1984, page 5, item 20.

5. Letter from Robert Noehren to Rev. Robert Doppler, chairman/director of the Toledo Diocesan Liturgical Committee, March 13, 1984.

6. Ibid.

7. Ibid.

8. Letter from Samuel Koontz to the cathedral committee, September 17, 1984, page 1.

9. Ibid, page 3.

10. Ibid, page 4.

11. Survey of Skinner Opus 820, Jeff Weiler & Associates, LLC, March 24, 2011, page 25.

 

Skinner Organ Company

Opus 820

GREAT (Manual II, 6 wind pressure)

16 Double Diapason 61

8 First Diapason 61

8 Second Diapason 61

8 Third Diapason* 61

8 Viola* 61

8 Harmonic Flute 61

8 Gedeckt* 61

8 Erzähler 61

4 Octave 61

4 Flute* 61

223 Twelfth 61

2 Fifteenth** 61

IV Chorus Mixture (15-19-22-26)** 244

IV Harmonics (17-19-flat 21-22)** 244

16 Trumpet** 61

8 Tromba** 61

4 Clarion** 61

Solo Reeds to Great

 

* Enclosed

** 10  wind pressure

SWELL (Manual III, enclosed,
6
wind pressure)

16 Melodia (open to low G) 73

8 Diapason** 73

8 Rohrflöte 73

8 Flute Celeste II 134

8 Salicional 73

8 Voix Celeste 73

8 Echo Gamba 73

4 Octave** 73

4 Flute Triangulaire 73

2 Flautino** 61

V Mixture (15-19-22-26-29)** 305

16 Waldhorn** 73

8 Trumpet** 73

8 Oboe d’Amore 73

8 Vox Humana 73

4 Clarion** 73

Tremolo

Swell 16

Swell 4

Harp (Choir)

Celeste (Choir)

 

**10″  wind pressure

CHOIR (Manual I, enclosed,
6
wind pressure)

16 Gamba 73

8 Diapason 73

8 Concert Flute 73

8 Gamba 73

8 Kleine Erzähler 73

8 Kleine Celeste (TC) 61

4 Gemshorn 73

4 Flute 73

223 Nazard 61

2 Piccolo 61

III Carillon (12-17-22) 183

16 Fagotto 73

8 Flügel Horn 73

8 Clarinet 73

Tremolo

Harp (TC, from Celesta)

Celesta 61 bars

Choir 16

Choir 4

SOLO (Manual IV, enclosed,
10
wind pressure)

8 Flauto Mirabilis 73

8 Gamba 73

8 Gamba Celeste 73

4 Orchestral Flute 73

16 Corno di Bassetto 85

8 Corno di Bassetto (ext)

8 English Horn 73

Tremolo

8 French Horn*** 73

8 Tuba Mirabilis*** 73

Solo 16

Solo 4

 

*** 20 wind pressure

PEDAL (6 wind pressure)

32 Major Bass 56

16 Diapason 44

16 Contra Bass 56

16 Metal Diapason (Great)

16 Bourdon (ext, 32 Major Bass)

16 Melodia (Swell)

16 Gamba (Choir)

16 Dulciana 32

8 Octave (ext, 16 Diapason)

8 ‘Cello (ext., 16 Contra Bass)

8 Gedeckt (ext, 32 Major Bass)

8 Still Gedeckt (Swell, 16 Melodia)

4 Super Octave (ext, 16 Contra Bass)

IV Mixture 128

32 Fagotto (ext Ch, 16 Fagotto)**** 12

16 Trombone**** 44

16 Waldhorn (Swell)

16 Fagotto (Choir)

8 Tromba (ext, 16 Trombone)****

 

**** 15 wind pressure

 

Couplers

Great to Pedal

Swell to Pedal

Swell to Pedal 4

Choir to Pedal

Choir to Pedal 4

Solo to Pedal

Solo to Pedal 4

Swell to Great

Choir to Great

Solo to Great

Swell to Choir

Solo to Choir

Solo to Swell

Great to Solo

Swell to Great 16

Swell to Great 4

Swell to Choir 16

Swell to Choir 4

Choir to Great 16

Choir to Great 4

Solo to Great 16

Solo to Great 4

 

Accessories

6 General pistons (thumb and toe)

10 Great pistons and Cancel (thumb)

10 Swell pistons and Cancel (thumb)

10 Choir pistons and Cancel (thumb)

5 Solo pistons and Cancel (thumb)

8 Pedal pistons and Cancel (toe)

General Cancel (thumb)

Set (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb)

Solo to Pedal reversible (thumb)

Choir to Great reversible (thumb)

Solo to Great reversible (thumb)

Swell to Choir reversible (thumb)

Solo to Choir reversible (thumb)

Manual Stops 16 on/off (thumb)

Pedal Stops 32 on/off (thumb)

All Couplers on Cresc. on/off (thumb)

All Swells to Swell on/off (thumb)

Balanced Swell expression shoe

Balanced Choir expression shoe

Balanced Solo expression shoe

Balanced Crescendo shoe (with indicators)

Sforz. reversible (thumb and toe, with indicator)

Organ Projects

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Fabry Inc. Pipe Organ Builders,

Antioch, Illinois

First Church of Christ, Scientist,

Libertyville, Illinois

Fabry, Inc., was contracted to rebuild and install this instrument in the very small balcony of this church nave. The organ was built by M. P. Möller as their Opus 8685 for a small church outside Madison, Wisconsin. The project included installing a Peterson Duo Set Single Board combination action, a diode matrix relay, electric shutter action, furnishing a totally new finished cabinet enclosure with shutters on the front and side, and replacing all cloth-covered wiring. This instrument originally contained three ranks; however, the church decided to add an 8 Trompette, bringing the instrument to a total of four ranks. The original Möller instrument never had the 12 bass pipes of its 8 Principal rank. Due to space limitations, the bottom octave of the 8 Principal was supplied by a Peterson digital voice. The project was headed by Adrienne Tindall.

GREAT (enclosed)

  8 Principal (digital 1–12, 73 pipes)

8 Gedeckt (97 pipes) 8 Viola (73 pipes) 4 Principal (ext 8 Principal)

4 Gedeckt (extension 8 Gedeckt)

4 Viola (ext 8 Viola)

223 Principal (ext 8 Principal)

2 Principal (ext 8 Principal)

8 Trompette (73 pipes)

4 Trompette (ext 8 Trompette)

Swell to Great

Pedal to Great

SWELL (enclosed)

8 Gedeckt (fr Gt 8 Gedeckt)

8 Viola (fr Gt 8 Viola)

4 Gedeckt (fr Gt 8 Gedeckt)

4 Viola (fr Gt 8 Viola)

223 Gedeckt (ext Gt 8 Gedeckt)

2 Gedeckt (ext Gt 8 Gedeckt)

135 Viola (ext Gt 8 Viola)

113 Larigot (ext Gt 8 Viola)

8 Trompette (fr Gt 8 Trompette)

4 Trompette (fr Gt 8 Trompette)

Tremolo

PEDAL (enclosed)

32 Resultant (wired fr Gt 8 Gedeckt)

16 Gedeckt (ext Gt 8 Gedeckt)

8 Gedeckt (fr Gt 8 Gedeckt)

8 Viola (fr Gt 8 Viola)

513 Gedeckt (fr Gt 8 Gedeckt)

4 Principal (fr Gt 8 Principal)

4 Gedeckt (ext Gt 8 Gedeckt)

16 Trompette (wired resultant)

8 Trompette (fr Gt 8 Trompette)

4 Clarion (fr Gt 8 Trompette) 

 

10 General pistons (thumb and toe)

General Cancel (thumb)

Combination adjuster (thumb)

Tutti (thumb and toe, with indicator)

Balanced expression shoe

Balanced Crescendo shoe (with indicator)

 

St. Paul’s Lutheran Church

Union Grove, Wisconsin

This instrument was built by the Wicks Organ Company of Highland, Illinois, as a “Convention Portable Organ.” Many of the instrument’s original case panels were hinged for easy disassembly, and the chassis was placed on wheels. In December 1958, the instrument with its drawknob console was sold to and installed at Zoar Lutheran Church, Elmwood Park, Illinois, as the builder’s Opus 3873.  

When the Elmwood Park church closed, St. Paul’s Lutheran Church of Union Grove, Wisconsin, acquired the instrument and contracted Fabry, Inc., to remove the 14-rank instrument and move it to its new home. We transported some parts of it to the church and other parts to the Fabry factory to be rebuilt and re-engineered. All new Peterson solid state equipment was installed. We constructed a new swell box enclosure with a new electric shade action, and added new casework for the new installation. The balcony required a small amount of remodeling to allow sufficient space for the instrument. 

The project was headed on behalf of the church by Pastor David Ramirez, Dan Hirsh, treasurer, and Paul Hrupka, president. Fabry thanks everyone for their cooperation during this project.

 

GREAT

8 Principal (68 pipes)

8 Nason Flute (80 pipes)

8 Gemshorn (97 pipes)

8 Dolcan (73 pipes)

4 Prestant (68 pipes)

4 Gemshorn (ext 8 Gemshorn)

4 Flute (ext 8 Nason Flute)

4 Dolcan (ext 8 Dolcan)

223 Twelfth (68 pipes)

223 Gemshorn (ext 8 Gemshorn)

2 Fifteenth (68 pipes)

2 Gemshorn (ext 8 Gemshorn)

135 Gemshorn (ext 8 Gemshorn)

  Tremolo (electric unit)

  Chimes (25 bars, electric action)

Great 16

Great Unison Off

Great 4

SWELL (enclosed)

8 Stopped Flute (92 pipes)

8 Salicional (80 pipes)

8 Voix Celeste (TC, 56 pipes)

4 Flauto Traverso (68 pipes)

4 Violina (ext 8 Salicional)

223 Nazard (ext 4 Flauto Traverso)

2 Harmonic Piccolo (ext 4 Fl. Trav.)

8 Trompette (80 pipes)

8 Schalmei (68 pipes)

4 Clarion (ext 8 Trompette)

Tremolo

Swell 16

Swell Unison Off

Swell 4

PEDAL

32 Lieblich Gedeckt (resultant)

16 Diapason (44 pipes)

16 Bourdon (ext Sw 8 Stopped Flute)

8 Principal (ext 16 Diapason)

8 Flute (fr Gt 8 Nason Flute)

8’ Gemshorn (fr Gt 8 Gemshorn)

8 Gedeckt (fr Sw 8 Stopped Flute)

8 Dolcan (fr Gt 8 Dolcan)

513 Quint (fr Sw 8 Stopped Flute)

4 Choral Bass (fr Gt 4 Prestant)

4 Gedeckt (fr Sw 8 Stopped Flute)

III Mixture (collective)      

16 Trumpet (wired ext. 8 Trompette)

8 Trumpet (fr Sw 8 Trompette)

4 Clarion (fr Sw 8 Trompette)

Zimbelstern

 

Inter-divisional couplers (tilting tablets)

Great to Pedal 8 Great to Pedal 4 Swell to Pedal 8 Swell to Pedal 4 MIDI to Pedal Swell to Great 16 Swell to Great 8

Swell to Great 4 Pedal to Great MIDI to Great Pedal to Swell MIDI to Swell

Accessories

10 General pistons (thumb and toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

4 Pedal pistons (toe)

Set (thumb)

General Cancel (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reveresible (thumb and toe)

Pedal to Great reversible (thumb)

Pedal to Swell reversible (thumb)

Tutti (thumb and toe, with indicator)

32 Lieblich reversible (toe)

Zimbelstern reversible (thumb and toe)

Balanced Swell expression shoe

Balanced Crescendo shoe (with indicator)

Wind indicator

—Phil Spressart

 

Builder’s website: www.fabryinc.com

First Church of Christ, Scientist, website: www.christiansciencelibertyville.com

St. Paul’s Lutheran Church website: http://www.stpaulsug.org

The 1864 William A. Johnson Opus 161, Piru Community United Methodist Church Piru, California, Part 1: A virtually complete documentation and tonal analysis derived from the data, drawings, and photographs from the restoration of 1976

Michael McNeil

Michael McNeil has designed, constructed, and researched pipe organs since 1973. He was also a research engineer in the disk drive industry with 27 patents. He has authored four hardbound books, among them The Sound of Pipe Organs, several e-publications, and many journal articles.

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Preface

Good documentation of organs with enough pipe measurements to permit an analysis of both scaling and voicing is extremely rare. Pipe diameters, mouth widths, and mouth heights (cutups) may be sometimes found, but toe diameters and especially flueway depths are rare. Rarer still are wind system data, allowing a full analysis of wind flow and wind dynamics, parameters that have an enormous impact on the sound of an organ. The reader will find all of this in the following essay on William A. Johnson’s Opus 161.

Good documentation is important for several reasons. We can make useful comparisons with other organs to learn how a specific sound is achieved. And perhaps most importantly, we can document the organ for posterity; while organs are consumed in wars and fires, they are most often replaced or modified with the changing tastes of time. They never survive restorations without changes. Comprehensive documentation may also serve to deter future interventions that intend to “modernize” an organ. Lastly, future restorations of important organs will be more historically accurate if they are based on good documentation.

The mid-nineteenth-century scaling and voicing of William A. Johnson is very similar to the late-eighteenth-century work of the English organbuilder Samuel Green, as evidenced by the data from Johnson’s Opus 16 and Opus 161. Stephen Bicknell provides us with detailed descriptions of Green’s work.1 Johnson’s scaling is utterly unlike the work of E. & G. G. Hook, whose 1843 Opus 50 for the Methodist Church of Westfield, Massachusetts, set Johnson on a career in organbuilding when he helped the Hooks with its installation.2 In this essay we will explore Johnson’s Opus 161 in detail and contrast it with the Opus 322 of the Hooks, both of which were constructed within a year of each other.3 While the Hooks used a Germanic constant scale in their pipe construction, Johnson significantly reduced the scale of his upperwork stops, much in the manner of Samuel Green and classical French builders.

The question arises as to whether Johnson came to his design theory by way of a process of convergent evolution (i.e., independently), or whether he was exposed to the organ Samuel Green shipped to the Battle Square Church in Boston in 1792, and which “was played virtually unaltered for a century,” according to Barbara Owen.4 The author suggested to Owen that the Green organ may have had a strong influence on Johnson, but she thought it unlikely that Johnson would have made the long trip from Westfield, far to the west of Boston. 

Travel would indeed have been much more difficult in 1843 when Johnson was exposed to the Hook organ at Westfield. But of some significance was the extension of the Western Railroad from Boston to Westfield in 1843. This new railroad may have been the means by which the Hook organ was shipped to Westfield. Elsworth (see endnote 2) clearly makes the case that Johnson was intoxicated by organbuilding with his exposure to the Hook organ. It is easy to imagine that he would have made a pilgrimage to Boston, at the time a mecca of American organbuilding, perhaps invited by the Hooks to accompany them after finishing their installation in Westfield.5

The author was engaged in 1976 by Mrs. Gene Davis, the organist of the Piru Community United Methodist Church, to evaluate the organ at that church. The identity of the organ was in question as no nameplate was in evidence on the console, the organ was barely playable, and its sound was greatly muted by the crude placement of panels in front of the Great division to make it expressive by forcing its sound through the shades of the Swell division above it. An inspection showed that nearly all of the pipework was intact, and a contract was signed to restore the organ to playable condition. The organ was cleaned, the pipes repaired, the few missing pipes replaced, and much of the action repaired by Michael McNeil and David Sedlak.

The church office files produced an undated, typed document that stated: 

 

The pipe organ in the Methodist Church of Piru was built by William Johnson, of Westfield, Mass., in the early 1860s, making it probably the oldest operating pipe organ in California. It was a second-hand organ when transported by sailing ship 17,000 miles around Cape Horn before 1900, and installed in a Roman Catholic Church in San Francisco. After the earthquake and fire of 1906, the organ was moved to another church and probably at this time parts damaged in the quake were replaced. After many more years of service it was retired and put into storage until, in 1935, Mr. Hugh Warring was persuaded to purchase it for the Piru church. It was purchased for the storage cost of $280.

Evidence of a different and more likely provenance was discovered during the removal of pipework and the cleaning of the organ. Three labels were found glued to the bottom of the reservoir (perhaps as patches for leaks). Two labels read: “Geo. Putnam ‘Janitor’ Stockton California July 1 ’99.” A third label read: “From the Periodical Department, Presbyterian Board of Publication, and Sabbath = Schoolwork, Witherspoon Bldg, 1319 Walnut St., Phila. PA.” At a much later time Reverend Thomas Carroll, SJ, noticed that the clues of Stockton, California, and the Presbyterian church correlated to an entry in the opus list of Johnson organs, compiled in Elsworth’s 1984 book, The Johnson Organs. Opus 161 was shipped in 1864 to the “Presbyterian Church, Stockton, Cal. The church is Eastside Presbyterian.” The organ was listed as having two manuals and 22 stops.6 At this time such features as couplers and tremulants were counted as “stops,” and this roughly fit the description of the Piru organ. The façade of the Piru organ is also consistent with the architecture of organs built by Johnson in the 1864 time frame. Elsworth’s illustrations include a console layout of Opus 200 (1866) virtually identical to the Piru organ layout; Opus 134 (1862) exhibits the impost, stiles, and Gothic ornamentation of the Piru organ; Opus 183 (1865) has similar pipe flats and also the console layout of the Piru organ.7 Many other details verified the Johnson pedigree, among them the inscription “H. T. Levi” on the reed pipes. Barbara Owen pointed out that Levi was Johnson’s reed voicer during the time of manufacture of Opus 161.8 The pieces of evidence fell together when Jim Lewis discovered a newspaper photo of Opus 161 in the Eastside Presbyterian Church of Stockton that matched the façade of the Piru organ. The most likely scenario is that Johnson shipped Opus 161 directly to that church. The Gothic architecture of the Johnson façade also reflects the architecture of the Eastside Presbyterian Church façade. A handwritten note on the Piru church document stated: “Pipe organ and art glass memorial windows dedication June 2, 1935 per Fillmore Herald May 31, 1935, a gift of Hugh Warring.”

It is possible that the organ went from the Presbyterian church into storage, and was later moved to its present location in the 1934–1935 time frame. Even so, we can say with nearly absolute certainty that this organ is William A. Johnson’s Opus 161.

 

Tonal design overview

It is obvious from even a casual glance at Elsworth’s study of Johnson organs that the Johnson tonal style was based on a classical principal chorus that included mixtures in all but the more modest instruments. But the voicing style is gentle and refined, and bears great similarity to the late-eighteenth-century English work of Samuel Green, whose meantone organ at Armitage in Staffordshire is an excellent surviving example.9 Tuned in meantone, Johnson Opus 161 would easily pass muster as the work of Green. The tonal contrast between Green and Hook is stark, and the Hook data serve as an excellent counterpoint to the data from the Johnson organ. Green was the organbuilder favored by the organizers of the Handel Commemoration Festival of 1784, who went so far as to have one of Green’s organs temporarily installed in Westminster Abbey for that occasion. King George III paid Samuel Green to build an organ for Saint George’s Chapel at Windsor.

Stephen Bicknell’s The History of the English Organ relates important details of Samuel Green’s work that we find in Johnson’s Opus 161. “. . . Green’s voicing broke new ground . . . . Delicacy was achieved partly by reducing the size of the pipe foot and by increasing the amount of nicking. The loss of grandeur in the chorus was made up for by increasing the scales of the extreme basses.”10 And “Where Snetzler provided a chorus of startling boldness and with all the open metal ranks of equal power, Green introduced refinement and delicacy and modified the power of the off-unison ranks to secure a new kind of blend.”11 The Hooks, like Snetzler, used a constant scale where all of the pipes in the principal chorus at a given pitch had about the same scale and power.

The most basic data set for describing power balances and voicing must include, at a minimum, pipe diameters, widths of mouths, heights of mouths (“cutup”), diameters of foot toe holes, and depths of mouth flueways. The data in this essay are presented in normalized scales for inside pipe diameters, mouth widths, and mouth heights. Tables showing how raw data are converted into normalized scales may be found in the article on the E. & G. G. Hook Opus 322 published in The Diapason, July 2017. The full set of Johnson data and the Excel spreadsheet used to analyze them may be obtained at no charge by emailing the author.12 Also available is the book The Sound of Pipe Organs, which describes in detail the theory and derivation of the models used in this essay.13

 

Pitch, wind pressure, and general notes

The current pitch of the Johnson and Hook organs is dissimilar and should be taken into consideration when observing the scaling charts. The Hook organ is now pitched at A=435.3 Hz at 74 degrees Fahrenheit, while the Johnson organ is now pitched at 440 Hz. The original pitch of the Hook organ was 450 Hz; new low C pipes were added when the pitch was changed to 435 Hz, and the original pipework was moved up a halftone, widening its scales by a halftone. The original pitch of the Johnson organ was approximately 450 Hz; the pipes were lengthened to achieve a lower pitch.14 The Hook and Johnson organs are both tuned in equal temperament. The wind pressure, water column, of the Hook is 76 mm (3 inches); the Johnson organ was measured at 76 mm static and 70 mm under full flow on the Great division. The pressure was reduced during the restoration to 63 mm static. This allowed the pitch of the pipes to drop, making the adjustment to 440 Hz with fewer changes to the pipe lengths; most of the pipes that were originally cut to length had been crudely pinched at the top to lower their pitch. With the reduction in pressure the ears of the 4 Flute à Cheminée, with its soldered tops, achieved a more normal position. 

The Piru room acoustic was reasonably efficient, and while the Johnson voicing is very restrained, it was adequate to fill this room on the reduced pressure. The Piru church seats 109, has plastered walls, wood and carpet flooring, and a peaked ceiling about 30 feet high; the reverberation, empty, as heard with normal ears, is well under one second (this is not the measurement used by architects that erroneously reports much longer reverberation). Elsworth relates that “the wind pressure which Johnson used during this period was generally between 212 and 234 inches [63.5 and 70 mm], and, in rare examples, nearly 3 inches [76 mm].”15 The photograph of the original Eastside Presbyterian Church for which the Johnson was designed implies a larger acoustical space than that of the Piru church.

The compass of the Johnson organ is 56 notes in the manuals, C to g′′′, and 27 notes in the pedal, C to d.

 

Stoplist

The Johnson console was found in poor condition, missing the builder’s nameplate and many of its stop knob faces. Correct stop names were derived from the markings on the pipes and the missing faces were replaced. The original stoplist is reconstructed as follows (Johnson did not use pitch designations):

GREAT

8 Open Diapason

8 Keraulophon

8 Clarabella

4 Principal

4 Flute à Cheminée (TC)

223 Twelfth

2 Fifteenth

8 Trumpet

SWELL

16 Bourdon (TC)

8 Open Diapason

8 Stopped Diapason

8 Viol d’Amour (TF)

4 Principal

8 Hautboy (TF)

Tremolo

PEDAL

16 Double Open Diapason

 

Couplers

Great to Pedal

Swell to Pedal

Swell to Great

 

Blower signal

The above list adds up to 20 controls. The Johnson company opus list describes Opus 161 as having 22 “stops.” This may have reflected the original intention to supply the organ with stops having split basses, which are commonly found in Johnson specifications. The sliders for the Keraulophon and the Trumpet were found with separate bass sections from C to B, professionally screwed together with the sections from tenor C to d′′′. The two additional bass stops would account for a total of 22 “stops.” There are no extra holes in the stop jambs to indicate the deleted split bass stop actions. The extant stopjambs are apparently a later modification from the time of the installation at Piru or before. Elsworth noted that all Johnson organs of this period were constructed with square stop shanks.16 The current shanks are round where they pass through the stopjambs and are square where they connect to the stop action.

Several stop knobs were switched during the 1935 installation at Piru; e. g., the Viole d’Amour in the pre-restoration photo of the right jamb belongs in the position noted on the left jamb with the black plastic label “Bell Gamba,” which indeed is how this stop was constructed. The Swell Stopped Diapason was operated by a knob labeled “Principal” [sic]. The illustrations of the left stopjamb and right stopjamb diagrams provide the correct nomenclature as restored in the correct positions, with the incorrect 1935 nomenclature in parentheses ( ) and the correct pitches in brackets [ ].

 

The wind system

The wind system can be modeled from two viewpoints: the restriction of flow from the wind trunks, pallets, channels, and pipe toes; and the dynamics of the wind. Wind dynamics are fully explained in The Sound of Pipe Organs and are a very important aspect of an organ’s ability to sustain a fast tempo with stability or conversely to enhance the grand cadences of historic literature. The data set on the Johnson allows us to model all of these characteristics. Figure 1 shows the Johnson wind flow model.

In Figure 1 we see a table of the pipe toe diameters and their calculated areas; values in red font are calculations or interpolations from the data (e.g., wood pipe toes are difficult to measure when they have wooden wedges to restrict flow). These areas are measured for a single note in each octave of the compass.

A model for the total required wind flow of the full plenum of the organ assumes a maximum of ten pallets (a ten-fingered chord), as described in the table, and the flow is multiplied by the number of the pallets played for each octave in the compass. The sum of the toe areas of all ten manual pallets in the tutti is 5,057 mm2. The total area of the manual wind trunks is 38,872 mm2, and we see that the wind trunks afford 7.7 times more wind than the tutti requires, so much in fact that the trunks do not at all function as an effective resistance in the system.

Interestingly, the Isnard organ at St. Maximin, France, used the main wind trunk as a strong resistor to dampen Helmholtz resonances in the wind system, and that organ has ratios of wind trunk area to a plenum toe area of only 1.07 for the coupled principal chorus of the Grand-Orgue and Positif, but with no reeds, flutes, or mutations. Helmholtz resonances are the source of what is normally called wind shake, and we would expect some mild wind shake with the Johnson’s large wind ducts and low damping resistance. The author’s notes from 1976 state: “Very little sustained shake . . . a considerable fluctuation in pitch when playing moderately fast legato scales, which stabilizes very rapidly . . . this imparts a shimmer . . . .”

In Figure 1 we also see dimensions of the key channels, pallet openings, and the pallet pull length (estimated from the ratios in the action). These allow us to calculate the relative wind flow of the channels and pallets. We find that there are robust margins in wind flow from the channels to the pipe toes (244% at low C to 737% at high C on the Great). This accounts for the small drop in static pressure at 76 mm to a full flow pressure of 70 mm with all stops drawn. Pallet openings are less robust and flow about 100% of the channel area for the first three octaves and 190% in the high treble.

The underlying dynamics of a wind system are the result of the mass of its bellows plate and the volume of air in the system. These factors produce a natural resonance that can enhance the grand cadences of literature with a long surge in the wind, or it can produce a nervous shake if it is too fast. A grand surge in the wind is characterized by a resonant frequency of less than 2 Hz (cycles per second), and it is most often produced by a weighted bellows. A nervous shake results from a sprung bellows. We correct the latter condition with small concussion bellows in modern organs, but the Johnson organ does not have such devices; instead, it features only a large, weighted, double-rise bellows. 

We can model the dynamic response of an organ by using its wind pressure, the area of the bellows plates, and the combined internal volume of its bellows, wind trunks, and pallet boxes. The model in Figure 2 shows the dynamic response of the current Johnson wind system at a relaxed 1.61 Hz. This low resonant frequency drops further to 1.47 Hz when the pressure is raised to its original value of 76 mm. The author’s notes from 1976 state: “Light ‘give’ on full organ; relatively fast buildup to full flow.” That “light give” is the result of the low resonant frequency of the system. The resonant frequency of the Hook organ was modeled at 1.23 Hz, a value lower than the Johnson, and the Hook chorus does indeed exhibit a slower and grander surge on full organ. Figure 3 shows the modeled resonant frequency at the original pressure of 76 mm for the Johnson organ. The equation for modeling the resonant frequency of a wind system along with a worked example on the 1774 Isnard organ at St. Maximin may be found in The Sound of Pipe Organs, pages 99–113.

 

The wind system in pictures

See the accompanying pictures: Notebook sketch 1, Great windchest, Toeboard, Notebook sketch 2, Notebook sketch 3, Notebook sketch 4, Great pallet box, Pallet springs, Notebook sketch 5.

 

The layout in pictures

“Green’s organs stand on an independent building frame with the case erected around it, rather than being supported by the structure of the case itself.”17 Bicknell’s description of a Samuel Green organ applies equally well to this Johnson organ. The casework is built entirely of black walnut, a wood mentioned by Elsworth in reference to Johnson cases. The organ is situated within the front wall of the church. The original black walnut side panels (typical of early Johnson organs) were found crudely cut up and nailed behind the façade in an effort to make the whole organ expressive through the Swell shades. This had the effect of making the Great division sound like a diminutive Echo division. The typical layout of a Johnson organ is well described by Elsworth: “The framework was arranged to carry the chests of the Great organ and the supporting framework for the Swell, which was usually above the Great organ and slightly to the rear.”18 Such layouts, shown in Figure 4, are common in nineteenth-century American organbuilding. The walkway behind the Great allowed access to the pipes and pallets placed at the rear of that chest, and the rollerboard to the Swell division was normally placed just behind this walkway, allowing access to the Swell pallets that were placed at the front of the Swell windchest. Opus 161 was installed in an opening in the Piru church that was far too shallow to allow the depth of a rearward placement of the Swell division. 

As a result, there is evidence that the Swell windchest may have been reversed, placing its pallets to the back of the windchest, and the chest brought forward over the Great division. Note the lack of clearance between the 4Principal pipe and the bottom of the Swell chest in Figure 5. The internal framework shows signs of crude saw cuts; the order of the notes on the Swell chest is the same as the Great, but it is reversed; the Swell rollerboard appears to have been likewise reversed and now faces toward the walkway where the action and rollers are exposed to damage. 

To say that the Piru layout was cramped would be an understatement; no one weighing over 150 pounds would gain access to the pipes for tuning or to the action for adjustment without damaging the pipework or the key action. The author weighed less (at the time) and was barely able to navigate inside the organ. The current layout is shown in Figure 6

It is also possible that the current layout reflects the original layout by Johnson, but that the Swell was simply lowered to fit the height of the Piru church and brought forward to fit the limited depth available, reducing the depth of the walkway.

Notes and credits

All photos, drawings, tables, and illustrations are courtesy of the author’s collection if not otherwise noted. Most of the color photos were unfortunately taken by the author with an inferior camera in low resolution. David Sedlak used a high quality camera, lenses, and film to produce the high-resolution color photos of the church and its architectural details; these are all attributed to Sedlak.

1. Stephen Bicknell, The History of the English Organ, Cambridge University Press, 1996, Cambridge, pp. 185–187, 190–191, 207.

2. John Van Varick Elsworth, The Johnson Organs, The Boston Organ Club, 1984, Harrisville, p. 18.

3. A detailed study of the E. & G. G. Hook Opus 322 may be found in The Diapason, July, August, and September issues, 2017.

4. Barbara Owen, The Organ in New England, The Sunbury Press, 1979, Raleigh, pp. 18–19.

5. see: en.wikipedia.org/wiki/Boston_and_Albany_Railroad.

6. The Johnson Organs, p. 100.

7. Ibid, pp. 23, 50, 57, respectively.

8. The Organ in New England, p. 275.

9. 5 Organ Concertos, 1984, Archiv D 150066, Simon Preston, Trevor Pinnock, The English Concert.

10. The History of the English Organ, p. 185.

11. Ibid, p. 207.

12. McNeil, Michael. Johnson_161_170807, an Excel file containing all of the raw data and the models used to analyze the Johnson Opus 161, 2017, available by emailing the author at [email protected].

13. McNeil, Michael. The Sound of Pipe Organs, CC&A, Mead, 2012, 191 pp., Amazon.com.

14. The Organ in New England, p. 75.

15. The Johnson Organs, p. 25.

16. Ibid, p. 23.

17. The History of the English Organ, p. 187.

18. The Johnson Organs, p. 23.

 

To be continued.

1863 E. & G. G. Hook Opus 322 Church of the Immaculate Conception Boston, Massachusetts, Part 2

Michael McNeil

Michael McNeil has designed, constructed, and researched pipe organs since 1973. He was also a research engineer in the disk drive industry with 27 patents. He has authored four hardbound books, among them The Sound of Pipe Organs, several e-publications, and many journal articles.

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Editor’s note: Part I of this article was published in the July issue of The Diapason, pages 17–19.

 

Mouth heights 

Mouth height, or “cutup,” as it is more commonly called by voicers, is the primary means of adjusting the timbre of a pipe. Low cutups will create a brighter tone with many harmonics, while high cutups will produce smoother tone with fewer harmonic overtones. For interested readers, see The Sound of Pipe Organs, pp. 68–80. In older organs, it is not uncommon to find flute pipe mouths cut twelve half tones higher than principal chorus pipes.

In the Normal Scale of mouth heights, a higher cutup value on the vertical scale will result in smoother tone. Cutups may be adjusted higher for one or both of two reasons: 1) the voicer wants a smoother timbre, or 2) the voicer wants more power at the same timbre. More power means more wind, and this means a larger toe and/or flueway to admit more wind at the mouth. More wind at the mouth will always produce a brighter tone, so the voicer can make a pipe louder and preserve its original timbre by opening the toe and raising the cutup until the timbre is restored.

Now we can understand the graphs. In Figure 6 we see that the Hook principal chorus has high cutups and that they do not significantly vary from bass to treble. Hook pushes pipes to higher power with much more open toes (Figure 8), and the voicer raises the cutups to avoid a strident timbre at the increased power. The timbres are relatively constant from bass to treble. Note the lower mouth heights of the William A. Johnson Cymbal VII, which makes its timbre brighter than the Hook voicing (also note that the Cymbal’s toes are winded as robustly as the Hook pipes in Figure 8).

In contrast, the Isnard chorus in Figure 7 shows much lower cutups in the bass and mid-range, and much higher cutups in the highest treble. We will see in the data for toe diameters in Figure 9 that Isnard is restraining his pipes for less power and voicing for an ascending treble.

 

Pipe toe “C” values

Pipe toe diameters can be normalized to the diameter of the pipe, the width of the mouth, and a normalized depth of the flueway. For interested readers, the derivation of this normalization is explained in detail in The Sound of Pipe Organs, pp. 43–47. Higher “C” values mean the toe is larger and flows more wind relative to its mouth width and flueway depth. This is a primary voicing tool for regulating power.

The contrast in the toe diameters of these two organs is striking in many ways. The Hook toes in Figure 8 are much wider overall than the Isnard toes in Figure 9, demonstrating the primary source of the power of the Hook. This power would normally encourage chiff in the pipe speech, but this is suppressed in the Hook by the use of very deep and regular nicking of the languids of the pipes. Ninety percent of the Isnard pipes are free of nicks, and when nicks are found, there are typically only two or three very fine, shallow nicks on a languid. Contrast this with the treatment of the 16 Open Diapason of the Hook: 22 fine nicks at C1, 20 nicks at c13, 29 nicks at c25, 24 medium nicks at c37, and 19 medium nicks at c49, all of the pipes having their nicks cut very deeply into the languid. There is no discernible “chiff” to the speech, but this is desirable for the interpretation of Romantic music. Interested readers can refer to The Sound of Pipe Organs, pp. 94–96, for a graphic illustration of the effects of such nicking on speech transients.

Figure 8 demonstrates another key element of the Romantic tradition—large toes supplying more wind and power to the bass and mid-range. In contrast, the toe constants of the Isnard are much smaller, more constant across the compass, more constant for all stops of the chorus, and exhibit a subtle rise to support an ascending treble. 

 

Flueway depths 

Like the pipe toe, the flueway depth also controls the flow of wind and strongly correlates to the power of the pipe. Interested readers can refer to The Sound of Pipe Organs, pp. 50–63 and 77–82. 

In Figure 10 we see another essential characteristic of Romantic voicing—a very deep flueway. Much of the Romantic voicing tradition grew out of the French Classical voicing style, which maintained deep flueways and controlled the power of a pipe by restricting its toe, much as we see in Figure 9. The restorer of the Isnard organ, Yves Cabourdin, noted that the flueways of the Isnard organ seen in Figure 11 are “closed up” relative to normal French Classic practice, yet the flueways of the Isnard are very deep relative to the common North German practice of regulating power by closing down the flueways while maintaining open toes. For interested readers, some examples of historical practice in flueway depths may be found in The Sound of Pipe Organs, pp. 50–51.

The extremely deep flueways of the Hook organ are consistent with Romantic voicing in general, along with more generous toe diameters and the nicking required to suppress chiffing in the pipe speech at the greatly increased power levels of this style. 

The flueways of the Hook organ appeared in general to be very well preserved and were very consistent. The anomalous lower value of the flueway in Figure 10 for the Hook 16 Open Diapason at c25 (4 pitch) may have been the result of handling damage to that pipe or modifications when the pitch was changed. The robust flueway depth of the Hook 16 low C pipe is literally off the chart at 4.8 mm.

 

Ratios of toe and flueway areas

The flow of wind and power balances are controlled by the voicer at the toe and flueway of a pipe. The ratio of the area of the toe to the area of the flueway is important. If the area of the toe is less than the area of the flueway, which is a ratio less than 1:1, it will cause a significant drop in the pressure at the mouth, and what is more important, the speech will be noticeably slower. When the area of the toe and flueway are equal, the ratio is exactly 1:1, and this is the lower limit for pipes with faster speech. Interested readers can refer to The Sound of Pipe Organs, pp. 56–63 and 114–116 for a discussion of this very important musical characteristic and its effect on the cohesion of a chorus. (A well-knit chorus may contain slower pipes or faster pipes, but never both.)

The Hook ratios in Figure 12 never descend below a ratio of 1:1 and typically ascend to extremely high values in the treble. It is this technique with which Hook obtains an ascending treble.

The Isnard ratios in Figure 13 reside at a value of 1:1 for the bass and mid-range and ascend to much higher values at the highest pitches. Like the Hooks, the Isnards achieved an ascending treble with this technique, but unlike the Hooks, the Isnards crafted the bass and mid-range ratios to values of almost exactly 1:1. The Isnard pipe speech has a lovely “bloom,” which is a direct result of these very carefully crafted ratios; the term “bloom” refers to a slower buildup of power in the initial speech of a pipe. The Hook organ also exhibits a distinct bloom, but this bloom has no speech transients, and it derives from the low resonant frequency of the wind system when it is working hard to supply wind.

 

The wind system 

The design of the wind system plays a large role in the dynamics of the wind and the musicality of the organ. Dry acoustics favor faster wind systems, which support faster tempos; live acoustics fill dramatic pauses with a halo of reverberation and encourage slower tempos. Wind systems can be designed to enhance the grand cadences of historic literature written for live acoustics, and such wind systems will have a slower response. For interested readers, this response can be described as the resonant frequency of the wind system, and it is fully described in The Sound of Pipe Organs, pp. 99–113, using the Isnard organ as a worked example.

Documentation of the wind system is probably the most overlooked feature in descriptions of pipe organs. The Hook’s wind system was measured in some detail, but not completely due to the constraints of time.

The wind of the Hook organ has no perceptible shake. The tutti does not noticeably sag in pitch. The speech onset of the full Hook plenum is characterized by a dramatic surge, the result of weighted bellows and large system capacitances. The current wind system shows some modification of the 1863 design, largely as a result of the 1902 addition of the Solo Division. 

The static wind pressure of the Great was measured to be 75 mm water column at c(25) of the 4 Clarion, the last stop on the back of the chest. The static wind pressure at a′′′(58) of the 16 Open Diapason was measured to be 76 mm; drawing all of the stops reduced that pressure to 67 mm.

All divisions in the organ are fed with ducts that have cross sections many times what is necessary to wind the tutti. These ducts are also very long, with the result that they are calculated to have Helmholtz resonances in the very low range of about 4 Hz; this frequency is not audible when the organ is played, suggesting that the damping of the wind system is considerable (some concussion bellows are present). The main ducts have about 0.56 m3 of volume.

The two bellows that together feed the Great and Choir (and originally also the Swell), are massive with 8.4 m3 of volume, having two inward folds and one outward fold. The resonant frequency of the two bellows, two pallet boxes of the Great division, and wind ducts as a function of their mass and volume is calculated to be 1.23 Hz. Such a low resonant frequency is the primary source of the grand surge in the tutti of this instrument. It is a musical wind with grand drama, exhibiting none of the nervousness of organs with sprung bellows. Both the mass and volume of this wind system compare favorably with the Isnard organ. And although the Hook organ features double-rise bellows and the Isnard features wedge bellows, they have very similar and low resonant frequencies at 1.23 Hz and 1.20 Hz, respectively. Figure 14 is a table showing the measurements of the wind system and its calculated resonance. 

Another important characteristic of a wind system is its wind flow and damping. The total demand on a wind system is equal to the areas of all of the toes of all of the pipes that can be played at the same time on full organ. We then look to see if the key channels can flow sufficient wind to those toes, if the pallets can flow sufficient wind to the key channels, and if the wind ducts can flow sufficient wind to all of the pallets. This analysis was performed on the Isnard organ (see The Sound of Pipe Organs, pp. 120–127), with the interesting result that the Isnard wind trunk just barely flows adequate wind for the coupled principal choruses of the Grand Orgue and Positif, but it is wholly inadequate for any form of tutti. This sort of restriction is not uncommon in older organs, and it performs the function of adding significant resistance to the wind flow, which in turn dampens Helmholtz resonances in the cavities of the wind system, e.g., wind shake from the wind trunks and pallet boxes. We do not have enough data for all of the stops of the Hook to perform this analysis, but the very large cross-section of the wind trunk suggests that it has much more winding than the Isnard, and that would be consistent with a Romantic organ and the requirement that it support a full tutti. The table in Figure 15 shows the data for wind flow in the windchests of the Great division.

 

The Great division 

There are two windchests for the Great division, split diatonically C and C# with the bass notes at the outer ends and a walkboard in the middle. Figure 16 shows the pipes on the C side windchest from the 8 Open Diapason Forte at the left (front of the chest) to the treble end of the III Mixture at the right. The order of stops is:

 

8 Open Diapason Forte

8 Clarabella

16 Open Diapason

8 Viola da Gamba

8 Open Diapason Mezzo

4 Octave

4 Flute Harmonique

3 Twelfth

2 Fifteenth

III Mixture

V Mixture

VII Cymbal (Johnson, 1870)

16 Trumpet

8 Trumpet

4 Clarion

 

Figure 17 shows the treble end of the mixtures on the C side. The toeboard on the left contains both the III Mixture and V Mixture. From left to right, we see the III Mixture, V Mixture, and on the right toe board, the later addition of the VII Cymbal (red arrow).

Most of the treble pipes are cone tuned and exhibit almost no damage. This is a tribute to the tuning skills of the Lahaise family. Few organs of this age have survived with such intact mixture pipes. The pre-restoration photos of the Isnard organ at St. Maximin show the more typical fate of such pipes.

All of the tin-lead pipes in this organ are constructed of spotted metal, with the notable exception of the Cymbal (added by Johnson in 1870), which is planed metal. This accounts for the obvious difference in the construction of the rackboard for this stop. The VII Cymbal (red arrows) includes a third-sounding rank, and in the style of Johnson it is silvery (lower cutups) and restrained in power (very narrow pipe diameters and mouth scales). Although no records exist, there must have been a fascinating story behind the inclusion of a competitor’s mixture in this organ.

Figure 18 shows the back of the C side Great chest. The order of reed stops, from left to right, is: 16 Trumpet, 8 Trumpet, and 4 Clarion. Note that the 4 Clarion is cut dead length in all pipes except the newer, slotted low C pipe added at the time of repitching the organ. Trebles of the 16 and 8 ranks are also cut dead length without slots. The intent here is obvious: don’t tune these reeds on the scrolls, tune them on the wire.

 

General observations

 

16 Open Diapason

All of the pipes of the 16 Open Diapason from the mid-range downward into the deep bass exhibit very bright harmonic content. The reason for this becomes apparent with a close examination of the middle D pipe. When the organ was repitched from A=450 to A=435 Hz, a new low C pipe was made for many of the stops and the original pipes were moved up one half step. The tuning distance between 435 Hz and 450 Hz is less than a half step, with the result that the pipes were now much too flat. The scrolls were then rolled down to bring the pipes into tune at 435 Hz. We can see from Figure 19 that to achieve correct tuning on the middle D pipe, the tin-lead scroll was completely removed and the zinc resonator was crudely cut and broken to make the slot deeper.

This was apparently not sufficient to bring this pipe into tune. Figure 20 shows that the toe of this pipe was crudely opened and flared outward without the benefit of a normal toe reamer or toe chamfering tool. This is very informative because it explains the much brighter timbre of this pipe relative to its treble or other foundations. The opening of the toe increased the pitch and brought the pipe into tune, but at the expense of more power and a much brighter timbre relative to the original voicing. Even with this increased power it would have been possible to have preserved the original timbre by slightly raising the cutup. Inspection of the upper lips indicates that this was not done; the upper lips of all pipes are slightly skived to about one half of the metal thickness, and this was still intact on all pipes. Note that the crudely damaged toe shows bright metal; there was no bright metal on the upper lips, indicating original cutups but modified toes. This voicing damage is typical throughout the bass of this stop. 

Figure 21 shows the back of the low D façade pipe. Note that the tin-lead scroll is completely missing, the zinc is rolled back at the bottom of the slot, and the tin-lead adjacent to the top of the slot is bent outwards on both sides. The author verified that the wind to the toe was likely altered as well; the wooden slides in the toeboard that regulate wind flow were completely open. The façade pipes were all speaking on maximum wind. Figure 22 illustrates the condition of the scrolls in the back of the façade for 16 c, 16 G#, 8 C, 8 D, 8 E, and 8 F#, going from left to right in the figure.

 

8 Open Diapason Forte

The cutups appear original, the toes were crudely opened, and this stop indeed sounds too loud and too bright relative to any other 8 stop. In fact, this stop obliterates the sense of chorus when using it in the traditional French fonds. One would normally expect the 8 Forte to be slightly more powerful, but less bright, than the 8 Open Diapason Mezzo; they would then combine as a fine chorus. In fact, this stop is much more powerful than the Open Diapason Mezzo and also brighter. This rank shows the same tuning modification seen in Figure 19, and the toes of this rank were opened in the same crude manner seen in Figure 20

While there is some evidence of selective toe adjustment in other stops, no other ranks show such crude treatment and excessive opening of the toes. They have normal chamfers and round bores. Lending further evidence to the hypothesis that this was damage inflicted at the time of repitching the organ, it was seen that the same crude method of opening the toes was applied to all of the new low C pipes in all of the ranks.

We are fortunate in at least one respect. The workmanship during the repitching was very crude, and this allows us to better understand the order of events and the anomalous tonal balances.

 

III Mixture

The mixture pipes were all moved up one half step when the organ was repitched, widening the scales by a half step and moving the breaks up by the same amount. The new pipes added at low C were crudely matched in diameters, mouth widths, and toes. The width scales of the fifths are about two half tones narrower than the 4Octave, similar to the scaling of the Twelfth. The octaves are as wide as the foundations. The current breaks are:

 

C1 2 113 1

c#26 4 223 2

 

V Mixture

Although not measured, the flueways were visually consistent with other Hook stops. This mixture is scaled about 3 to 5 half tones narrower than the foundations. The current breaks are:

 

C1 2 113 1 23 12

c#14 223 2 113 1 23

c#26 4 223 2 113 1

c#38 8 4 223 2 113

c#50 8 513 4 223 2

 

VII Cymbal (Johnson, 1870)4

Although not measured, the flueways were visually consistent with the other Hook pipework. This mixture, designed and built by William A. Johnson and installed in 1870, is 6 to 7 half tones narrower than the foundations. It has similar robust winding in its toes and flueways to the Hook work, but it is cut up relatively lower than the Hook mixtures, giving the Johnson mixture a more silvery timbre. It is a magnificent sound and provides a scintillating crown to the principal chorus of the Hook. Unlike the spotted metal of the Hook pipework, these Johnson pipes are all made of planed metal, probably containing Johnson’s typical alloy of 33% tin.5 This stop includes a third-sounding rank; its current breaks are:

C1 135 113 1 23 12 13 14

c#14 2 135 113 1 23 12 13

g20 223 2 135 113 1 23 12

c#26 4 223 2 135 113 1 23

g32 513 4 223 2 135 113 1

d#40 8 513 4 223 2 135 113

c#50 16 8 513 4 315 223 2 ν

Notes and Credits

All photographs, tables, graphs, and data are by the author except as noted.

4. Huntington, Scot L., Barbara Owen, Stephen L. Pinel, Martin R. Walsh, Johnson Organs 1844–1898, OHS Press, Richmond, Virginia, pp. 17–18.

5. Elsworth, John Van Varick. The Johnson Organs, The Boston Organ Club Chapter of the Organ Historical Society, Harrisville, New Hampshire, 1984, p. 45.

To be continued.

Pipe Organs of La Grange, Illinois, and the Architectural Edifices That House Them

Part 3: Cossitt Avenue Elementary School and First Baptist Church

Stephen Schnurr

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

Default

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

 

Cossitt Avenue Elementary School

Named for Franklin Cossitt, a founder of La Grange, the first school building was constructed in 1883 of native stone on the present property. The present edifice of brick with stone trim with Gothic influence dates from 1921. This building featured a tiled swimming pool and a kindergarten with a fountain, fireplace, and birds in cages. An auditorium was equipped with opera seating chairs, stage lighting, a projector and screen, elaborate decorative ceiling tiles, and, of course, a pipe organ.

The Skinner Organ Company of Boston, Massachusetts, was commissioned to install its Opus 405, a three-manual, 24-rank organ in chambers in the auditorium in 1923. This was an era when there was a nationwide effort to install pipe organs in public school auditoriums.

The organ was sold and removed in the 1980s and was eventually installed in Sacred Heart Catholic Church of Whiting, Indiana. There, the organ was doubled in size with pipework of various sources.

The contract for Opus 405 was signed on March 7, 1923, by the donor, Mrs. Ross H. (May B.) Kidston of La Grange, at a cost of $15,765. An addendum to the contract provided for installation of the Chimes and Harp at a cost of $1,760 ($800 for the Harp, $960 for the Chimes). Construction of the organ commenced on May 7, and pipework was completed on May 11. Of eight Skinner organs installed in public schools, this was the only one in an elementary school.

 

1923 Skinner Organ Company Opus 405

Great (Manual II)

8 Diapason (scale 42, leathered, metal—73 pipes)

8 Clarabella (73 pipes)

8 Erzähler (“usual,” metal—73 pipes)

4 Octave (“medium,” scale 58, metal—73 pipes)

8 French Horn (“#2,” in Swell, metal—61 pipes)

Chimes (in Swell, 20 tubes)

Swell (Manual III, Enclosed)

16 Bourdon (“common,” wood—73 pipes)

8 Diapason (“big,” scale 43, metal—73 pipes)

8 Gedeckt (“common,” wood—73 pipes)

8 Salicional (“common,” scale 64, metal—73 pipes)

8 Voix Celeste (“common,” scale 64, metal—73 pipes)

8 Aeoline (scale 60, metal—73 pipes)

4 Flute (“common,” harmonic from tenor C, metal—73 pipes)

III Mixture (mounted, metal, 15-19-22—183 pipes) 

8 Cornopean (5 scale, metal—73 pipes)

8 Flügel Horn (“common,” metal—73 pipes)

8 Vox Humana (“common,” mounted, metal—61 pipes)

Tremolo

Choir (Manual I, Enclosed)

8 Concert Flute (“#1,” wood and metal—61 pipes)

8 Dulciana (“little more stringy in treble,” scale 56, metal—61 pipes)

4 Flute Harmonique (“common,” metal—61 pipes)

8 Clarinet (“common,” metal—61 pipes)

Tremolo

Harp (TC—61 tubes)

Celesta (Harp)

Pedal

16 Diapason (wood—44 pipes)

16 Bourdon (“common,” wood—44 pipes)

16 Echo Bourdon (Swell, 16 Bourdon)

8 Octave (extension, 16 Diapason)

8 Bourdon (extension, 16 Bourdon)

8 Still Gedeckt (Swell, 16 Bourdon)

Chimes (Great, Chimes)

 

Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir 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

Choir to Choir 16

Choir to Choir 4

Swell to Choir 8

Swell to Swell 16

Swell to Swell 4

 

Accessories

4 Great pistons (thumb)

6 Swell pistons (thumb)

3 Choir pistons (thumb)

4 Pedal pistons (toe)

General Cancel (thumb)

Pedal to Great Manual Combination on/off (thumb)

Pedal to Swell Manual Combination on/off (thumb)

Pedal to Choir Manual Combination on/off (thumb)

Great to Pedal reversible (toe)

Balanced Swell expression shoe

Balanced Choir expression shoe

Balanced Crescendo shoe (with indicator light)

Sforzando reversible (toe, with indicator light)

 

First Baptist Church

The First Baptist Church of La Grange was founded in 1884 during a meeting in the residence of Myron T. Baldwin. The first pastor was the Reverend Joshua E. Ambrose. The cornerstone of the first frame church was laid in 1886. Additions were made to the building in 1893 and 1906.

The congregation laid the cornerstone for its present edifice in 1924. The building is of Greendale brick with Bedford stone trim of English Gothic influence. Construction cost was about $60,000. In 1947, a stained glass window was installed above the chancel, called the “Laborers with Christ” window. It is now framed by sections of the present pipe organ.

The original church was outfitted for other uses and retained until it was demolished in 1948 to make way for a 1950 addition that featured a chapel, fellowship hall, classrooms, and kitchen, at a cost of $125,000. The present education and administration building was dedicated in 1964.

The origins of the first pipe organ for this congregation are not known. It may have been a second-hand instrument by M. P. Möller of Hagerstown, Maryland. At some point, likely in the 1960s, some alterations were made to the instrument, including addition of a Positiv division. By 1973, the instrument, cobbled together of many disparate parts, was practically unplayable.

The present instrument was built by the Berghaus Organ Company of Bellwood, Illinois, between 1976 and 1978, retaining the Möller console, the Positiv division, two ranks in the Pedal division, the blower, and a few other parts. New slider chests were provided for the Swell, Great, and Pedal divisions. The Great, Positiv, and Pedal divisions are visible above the chancel floor, with the Great to the left, the Positiv in the center, and the Pedal to the right. The Swell division is in a chamber to the right. Wind pressure is 214 inches. The completed organ was dedicated in service on Sunday, November 19, 1978. In 2006, the combination action was replaced by a Peterson ICS-4000 system.

 

Berghaus Organ Company

Great (Manual II)

8 Principal (5 zinc basses, remainder 50% tin—61 pipes)

8 Gedackt (wood—61 pipes)

4 Octave (5 zinc basses, remainder spotted metal—61 pipes)

4 Waldflöte (5 zinc basses, remainder spotted metal—61 pipes)

2 Spitzflöte (spotted metal—61 pipes)

IV Mixture (spotted metal—244 pipes)

8 Trumpet (spotted metal—61 pipes)

Great 16

Great Unison Off

Great 4

8 Solo Trumpet (prepared)

Chimes (from tenor A—21 tubes)

Positiv (Manual I)

8 Holz Gedackt (wood—61 pipes)

4 Koppelflöte (spotted metal—61 pipes)

2 Klein Principal (spotted metal—61 pipes)

113 Quinte (from 2 Klein Principal)

1 Octave (from 2 Klein Principal)

8 Holzregal (mahogany—61 pipes)

Tremolo

Positiv 16

Positiv Unison Off

Positiv 4

8 Solo Trumpet (prepared)

Zimbelstern

Swell (Manual III, enclosed)

8 Rohrflöte (12 zinc basses, remainder spotted metal—61 pipes)

8 Gemshorn (12 zinc basses, remainder spotted metal—61 pipes)

8 Celeste (from tenor C, spotted metal—49 pipes)

4 Principal (5 zinc basses, remainder spotted metal—61 pipes)

4 Spillflöte (5 zinc basses, remainder spotted metal—61 pipes)

223 Nasat (spotted metal—61 pipes)

2 Blockflöte (spotted metal—61 pipes)

135 Terz (breaks at C#5, spotted metal—61 pipes)

IV Scharf (spotted metal—244 pipes)

16 Holzdulzian (mahogany—61 pipes)

8 Schalmei (spotted metal—61 pipes)

Tremolo

Swell 16

Swell Unison Off

Swell 4

8 Solo Trumpet (prepared)

Choir (Manual I, prepared)

8 Holzflöte

8 Viole

8 Viole Celeste

4 Fugara

4 Traversflöte

2 Zauberflöte

II Sesquialtera

8 Trumpet

8 Vox Humana

Tremolo

Echo (prepared)

8 Metalgedackt

4 Flachflöte

2 Klein Principal

II Rauschquinte

Pedal

32 Resultant (from 16 Subbass)

16 Principal (prepared)

16 Subbass (wood—32 pipes)

8 Octave (12 zinc basses, remainder spotted metal—32 pipes)

8 Gedackt (wood—32 pipes)

4 Choralbass (5 zinc basses, remainder spotted metal—32 pipes)

III Mixture (spotted metal—96 pipes)

16 Fagott (7 zinc basses, remainder spotted metal—32 pipes)

4 Rohrschalmei (brass and spotted metal—32 pipes)

 

Inter-divisional Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Positiv to Pedal 8

Choir to Pedal 8

Choir to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Positiv to Great 16

Positiv to Great 8

Positiv to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Echo to Great 8

Swell to Positiv 16

Swell to Positiv 8

Swell to Positiv 4

Echo to Positiv 8

Echo to Swell 8

 

Accessories

12 General pistons (thumb and toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Positiv and Choir pistons (thumb)

3 Echo pistons (thumb)

4 Pedal pistons (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb)

Choir to Pedal reversible (thumb)

Cancel (thumb)

Set (thumb)

Chimes dial (5 volumes and off)

Zimbelstern dials: Delay, Speed, Volume

Auto Pedal (thumb)

Auto Solo (thumb)

Balanced Swell expression shoe

Balanced Choir expression shoe

Balanced Echo expression shoe

Balanced Crescendo shoe (green indicator light)

Sfz. Reversible (thumb and toe, with red indicator light)

Wind indicator (yellow light)

Pipe Organs of La Grange, Illinois, and the Architectural Edifices That House Them

Part 2: First United Methodist Church & First Congregational Church

Stephen Schnurr is director of music for St. Paul Catholic Church, Valparaiso, Indiana, and editor-at-large for The Diapason. His most recent book, Organs of Oberlin, was published in 2013 by Chauncey Park Press (www.organsofoberlin.com). He has authored several other books and journal articles, principally on pipe organ history in the Great Lakes states.

Default

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

 

First United Methodist Church

The Methodists were first organized in La Grange in 1872, served by clergy who also shepherded congregations at Cass and Lyonsville. Franklin Cossitt, founder of La Grange, donated land for the church. Before construction began, several active persons in the congregation moved away, and the property reverted back to Cossitt. This land was eventually the site of the First Congregational Church.

The Methodists reorganized in 1884. In the first year, church expenses were $216 for the pastor, $52 for hall rental for services, and $10 for missions. A frame school, used by the earlier Methodists, was purchased for $2,000, located on the present site, along with two lots. The renovated structure was dedicated for worship on November 28, 1886. Electric lighting was installed at a cost of $75 in 1892.

Plans for a new church were begun in 1890. In 1892, E. R. Turnock was retained as architect. The earlier church was demolished and work commenced on a new edifice in May of 1893. A portion of the stone Romanesque building was completed for use in November.

The completed sanctuary was dedicated in three services on Sunday, January 6, 1895. The congregation begins its pipe organ history in 1907 with acquisition of Henry Pilcher’s Sons Opus 577, a two-manual, thirteen-rank, nineteen-stop instrument completed in March of that year at a cost of $2,300. Pilcher took the church’s Vocalion organ in partial trade. An addition was made to the building the following year, and another in 1917.

Planning for the present church building began in 1948. The cornerstone of the church of Gothic influence in stone was laid in 1950. Dedication occurred on September 25, 1952. With membership at over 1,550 persons, the congregation added a second Sunday service. A new education building was erected between 1961 and 1963, including a chapel. The sanctuary was renovated to its present configuration in 2012.

For the church’s present edifice,
M. P. Möller of Hagerstown, Maryland, supplied its Opus 8261, a three-manual, electro-pneumatic action organ. The contract was dated August 7, 1950, with completion set for eleven months, at a cost of $20,096. Henry Beard was the representative for the builder. The organ was dedicated with the church in 1952. Beard’s wife, Maud, sang soprano during the church consecration service. The pipework is installed in a chamber above and to the left of the chancel. Around 1960, the Möller firm added the exposed Positiv division, divided on either side of the chancel. (See First Methodist Church stoplist, page 21.)

 

First Congregational Church

The First Congregational Church was organized on March 18, 1881. A frame church was erected the following year. Franklin Cossitt, a founder of La Grange, was active in this church as well as Emmanuel Episcopal Church.

The cornerstone of the present building was laid September 10, 1892, for a stone edifice of Romanesque influence. Dedication occurred May 1893. This portion of the building is now known as the Founders’ Room and is the oldest church building in the village. The present sanctuary adjoining the 1893 church was built in 1907. In 1937, this sanctuary was remodeled with the addition of a chancel and a new organ. In 1951, the education building was constructed, which includes the Chapel of the Beatitudes.

The first organ in the church was built by the Verney Organ Company of Mason City, Iowa, and was likely installed around 1907. A contract dated April 24, 1937, was signed by the church for a new organ from
the Votteler-Holtkamp-Sparling Organ Company of Cleveland, Ohio. Job number 1600 for the builder was to cost $10,000, and parts of the Verney organ were to be reused in the new instrument. The Great and part of the Pedal divisions were located on the right side of the chancel in chambers, the Swell and remainder of the Pedal divisions were located on the left side. The Positiv division was positioned on the rear wall of the chancel, some fifteen feet from the floor. The organ was to be completed by October 1. On July 1 $2,500 was due, and another $2,500 on October 1.

The June 1937 issue of The Diapason had this to say about the unique and forward-thinking planning for this organ:

 

According to the builders, the design of the organ will do much to solve the problem of divided organs. The chambers are to be located on both sides and above the choir. Both chambers are to be opened up to the nave as well as to the chancel, and to such an extent that the chambers as such will cease to exist. A positiv of eight stops will be placed on the back wall of the chancel, midway between the two chambers. This will take the place of the choir. The pipework of the positiv is to be unenclosed, although it will be hidden from sight of the congregation.

The organ is to be entirely “straight” except for the great quintaton 16 ft., and Posaune, 16’ ft., which are also to be used in the pedal. Four stops of the great and the harp and chimes are to be in a swell-box. The typical great stops will be unenclosed. To augment the regular adjustable combination action, a ventil system is included. This consists of ventil pedals 1-2-3, stop release and cancel. The specification was developed by Cecil Smith, organist and director.

The importance of this organ in the Chicago area may never have been realized. This was one of very few organs by Walter Holtkamp, Sr., in the metropolitan area, perhaps his largest, and an early statement of his forward-thinking work. (See Votteler-Holtkamp-Sparling stoplist, page 21.)

In 1957, Frank J. Sauter of Alsip, Illinois, replaced the console with a new one from the Reuter Organ Company of Lawrence, Kansas. In 1977, the organ was sold for $12,500 to Immaculate Conception Catholic Church, Chicago, for relocation there. There have been some tonal alterations to the organ. Also, it is possible that some slight changes were made to the organ’s specification when under construction at Holtkamp. Perhaps the Pedal 4Clarion may have been installed as a Clarinet. The Swell 4Oboe Clarion may have always been an 8 Oboe. Further records are not available in the builder’s archives.

In 1965, the Reuter Organ Company installed an organ in the Chapel of the Beatitudes. The contract for Opus 1477 was dated September 12, 1963, for a two-manual, eight-rank, electro-pneumatic action organ, enclosed except for the Principal and Mixture ranks. The chapel organ was dedicated in recital by Clyde Holloway on March 1, 1965. (See Reuter Opus 1477 stoplist, page 22.)

In August of 1978, The Diapason announced that the church had contracted for a new, two-manual, 32-stop, 47-rank mechanical-action organ from Jan Van Daalen of Minneapolis, Minnesota. The organ was to be installed at the front of the church in a free-standing case and to be completed by December. The console is detached and reversed. After the organ was finished, the Brustwerk 8 Musette was replaced with an 8 Celeste. (See Van Daalen stoplist, page 22.)

 

 

GREAT (Manual II, Enclosed with Choir, 4 wind pressure)

8 Diapason (scale 45, 12 zinc basses, remainder spotted metal, 73 pipes)

8 Bourdon (scale 46, 12 zinc basses, remainder common metal, 85 pipes)

8 Spitzflöte (from Choir, 8 Spitzflöte)

4 Octave (scale 58, spotted metal, 85 pipes)

4 Bourdon (ext, 8 Bourdon)

III Mixture (“3A,” spotted metal, 183 pipes)

8 English Horn (from Choir, 8 English Horn)

Tremolo

Great 16

Great Unison Off (now Positiv to Great)

Great 4

Chimes (from Pilcher organ, from tenor A, 21 tubes)

SWELL (Manual III, Enclosed, 412 wind pressure)

16 Rohrbourdon (common metal, 97 pipes)

8 Geigen Diapason (scale 47, 12 zinc basses, remainder spotted metal, 85 pipes)

8 Chimney Flute (ext, 16 Bourdon)

8 Viole de Gambe (scale 54, 12 zinc basses, remainder spotted metal, 73 pipes)

8 Viole Celeste (TC, scale 56, spotted metal, 61 pipes)

4 Geigen Octave (ext, 8 Geigen Diapason)

4 Rohrflöte (ext, 16 Rohrbourdon)

223 Nazard (ext, 16 Rohrbourdon)

2 Flautino (ext, 16 Rohrbourdon)

III Plein Jeu (“3-R-2,” spotted metal, 183 pipes)

16 Contra Fagotto (TC, from 8 Fagotto)

8 Trompette (312 scale, 85 pipes)

8 Fagotto (312 scale, 73 pipes)

8 Vox Humana (prepared, 4 Trichter Regal installed c. 1960, 61 pipes)

4 Clarion (ext, 8 Trompette)

Tremolo

Swell 16

Swell Unison Off

Swell 4

CHOIR (Manual I, Enclosed with Great, 4 wind pressure)

8 Principal (ext, Great, 4 Octave)

8 Spitzflöte (scale 46, 2/3 taper, 12 zinc basses, remainder common metal, 73 pipes)

8 Erzähler (scale 52, 1/4 taper, 12 zinc basses, remainder spotted metal, 85 pipes)

8 Erzähler Celeste (TC, scale 52, 1/4 taper, spotted metal, 61 pipes)

4 Nachthorn (scale 60, capped, common metal, 73 pipes)

4 Erzähler (ext, 8 Erzähler)

223 Nasat (ext, 4 Nachthorn)

8 English Horn (4 scale, 73 pipes)

Tremolo

Choir 16

Choir Unison Off (now Positiv to Choir)

Choir 4

Positiv (floating)

8 Gedeckt (61 pipes)

4 Koppelflöte (61 pipes)

2 Prinzipal (61 pipes)

113 Larigot (61 pipes)

III Zimbel (183 pipes)

PEDAL (4 and 5* wind pressures)

16 Subbass (“Large Ped. Bdn.,” 32 pipes)*

16 Spitzflöte (scale 34, 2/3 taper, ext, Choir, 8 Spitzflöte, 12 pipes)

16 Rohrbourdon (from Swell, 16 Rohrbourdon)

1023 Spitzquinte (from 16 Spitzflöte)

8 Octave (scale 40, 17 zinc basses, remainder common metal, 44 pipes)

8 Spitzflöte (from Choir, 8 Spitzflöte)

         8 Rohrgedeckt (from Swell, 16 Rohrbourdon)

4 Super Octave (ext, 8 Octave)

4 Rohrflöte (from Swell, 16 Rohrbourdon)

16 Double Trumpet (6 to 312 scale, ext, Swell, 8 Trompette, 12 pipes)*

 

Inter-divisional Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Swell to Choir 16

Swell to Choir 8 

Swell to Choir 4

 

Accessories

5 General pistons (thumb and toe)

5 Great pistons (thumb)

6 Swell pistons (thumb)

5 Choir pistons (thumb)

4 Pedal pistons (toe)

General Cancel (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Deagan Chimes dial (off and five volumes)

Balanced Swell expression shoe

Balanced Great and Choir expression shoe

Balanced Crescendo shoe (5 green indicator lights)

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

Generator (white light)

 

 

GREAT (Manual II–*enclosed stops)

16 Quintaton (61 pipes)

8 Principal (61 pipes)

8 Hohl Floete (61 pipes)*

8 Salicional (61 pipes)*

4 Octave (61 pipes)

4 Fugara (61 pipes)*

2 Doublette (61 pipes)*

V Plein Jeu (305 pipes)

16 Posaune (61 pipes)

Harp*

Chimes*

SWELL (Manual III, Enclosed)

8 Bourdon (73 pipes)

8 Harmonic Flute (73 pipes)

8 Gambe (73 pipes)

8 Voix Celeste (61 pipes)

8 Ludwigtone (122 pipes) [sic]

4 Flute Octaviante (61 pipes)

2 Piccolo (61 pipes)

III Dolce Cornet (183 pipes)

IV Mixture (244 pipes)

8 Trompette (73 pipes)

8 Vox Humana (73 pipes)

4 Oboe Clarion (61 pipes)

Tremolo

POSITIV (Manual I)

8 Quintaton (68 pipes)

8 Gemshorn (68 pipes)

4 Prestant (copper, 68 pipes)

4 Rohr Floete (68 pipes) 

223 Nazard (61 pipes)

135 Tierce (61 pipes)

III–IV Cymbal (200 pipes)

8 Cromorne (68 pipes)

Harp (from Great, Harp)

PEDAL

16 Contra Bass (32 pipes)

16 Soubasse (32 pipes)

16 Quintaton (from Gt, 16 Quintaton)

8 Violoncello (32 pipes)

8 Flute (32 pipes)

4 Choral Bass (32 pipes)

2 Nachthorn (32 pipes)

16 Bombarde (32 pipes)

16 Posaune (from Great, 16 Posaune)

8 Fagotto (32 pipes)

4 Clarion (32 pipes)

 

Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Positiv to Pedal 8

Positiv to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Positiv to Great 16

Positiv to Great 8

Positiv to Great 4

Swell to Positiv 16

Swell to Positiv 8

Swell to Positiv 4

Swell to Swell 4

 

Accessories

6 General pistons

4 Great pistons

6 Swell pistons

4 Positiv pistons

5 Pedal pistons

General Cancel

3 Ventils, Stop Release, Cancel, with indicators

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Positiv to Pedal reversible (thumb and toe)

Swell to Great reversible (thumb and toe)

Positiv to Great reversible (thumb and toe)

Swell to Positiv reversible (thumb)

Balanced Swell expression shoe

Balanced Great expression shoe

Balanced Crescendo shoe (with indicator light)

Sforzando reversible (with indicator light)

 

GREAT (Manual I)

16 Dolcan (TC, from 8’ Dolcan)

8 Principal (85 pipes)

8 Gedeckt (97 pipes)

8 Dolcan (85 pipes)

8 Dolcan Celeste (TC, 61 pipes)

4 Octave (ext, 8 Principal)

4 Gedeckt (ext, 8 Gedeckt)

223 Dolcan Twelfth (ext, 8 Dolcan)

2 Fifteenth (ext, 8 Principal)

III Fourniture (15-19-22, 219 pipes)

16 Contra Hautbois (85 pipes)

8 Hautbois (ext, 16 C. H.)

4 Hautbois Clarion (ext, 16 C. H.)

Chimes (prepared)

SWELL (Manual II, Enclosed)

8 Gedeckt (from Great, 8 Gedeckt)

8 Dolcan (from Great, 8 Dolcan)

8 Dolcan Celeste (from Great, 8 

    Dolcan Celeste)

4 Principal (from Great, 8 Prin.)

4 Gedeckt (from Great, 8 Gedeckt)

4 Dolcan (from Great, 8 Dolcan)

4 Dolcan Celeste (ext, 8 D. C.)

223 Gedeckt Quint (ext, 8 Gedeckt)

2 Gedeckt (ext, 8 Gedeckt)

135 Dolcan Tierce (from 8 Dolcan)

III Scharf (22-26-29, from Great, III 

    Fourniture)

8 Hautbois (from Great, 8 Haut.)

4 Hautbois Clarion (from 8 Haut.)

Tremolo

PEDAL

16 Bourdon (ext, Great, 8 Bourdon)

16 Dolcan Bass (12 basses from 16 

    Bourdon, low pressure)

8 Octave (from Great, 8 Principal)

8 Gedeckt (from Great, 8 Gedeckt)

8 Dolcan (from Great, 8 Dolcan)

4 Super Octave (from Great, 8 

    Principal)

4 Gedeckt (from Great, 8 Gedeckt)

III Mixture (from Great, III)

16 Contra Hautbois (from Great, 

    16 Contra Hautbois)

8 Hautbois (from Great, 16 C. H.)

4 Hautbois Clarion (from 16 C. H.)

 

Accessories

4 General pistons (toe and thumb)

Balanced expression shoe

Balanced Crescendo shoe (with indicator light)

Current indicator light

 

GREAT (Manual I)

16 Prestant (56 pipes)

8 Prestant (56 pipes)

8 Rohrflöte (56 pipes)

4 Octave (56 pipes)

4 Koppelflöte (56 pipes)

4 Quintadena (56 pipes)

223 Spitzquint (56 pipes)

2 Principal (56 pipes)

2 Blockflöte (56 pipes)

III Cornet (from tenor C, 223, 135

    113, 132 pipes)

V Mixture (113, 280 pipes)

III Cymbal (14, 168 pipes)

8 Trompette (56 pipes)

Tremolo

BRUSTWERK (Manual II,
Enclosed)

8 Gedackt (56 pipes)

8 Viola Pomposa (56 pipes)

8 Vox Celeste (replaced 8 Musette, 

    from tenor C, 44 pipes)

4 Principal (56 pipes)

4 Spillflöte (56 pipes)

2 Octave (56 pipes)

113 Quint (56 pipes)

II Sesquialtera (112 pipes)

IV Mixture (113, 224 pipes)

16 Fagotto (56 pipes)

Tremolo

PEDAL

16 Prestant (from Great, 16 Prestant)

16 Bourdon (32 pipes)

8 Prestant (32 pipes)

8 Gedackt (32 pipes)

4 Choralbass (32 pipes)

III Mixture (2, 96 pipes)

16 Posaune (32 pipes)

8 Trompette (32 pipes)

4 Trechter Schalmey (32 pipes)

 

Couplers

Great to Pedal

Brustwerk to Pedal

Brustwerk to Great

 

Accessories

10 General pistons (thumb and toe)

8 Great pistons (thumb)

8 Brustwerk pistons (thumb)

8 Pedal pistons (thumb)

General Cancel (thumb)

Combination setter button (thumb)

32-level solid-state combination action

Great to Pedal reversible (thumb and toe)

Brustwerk to Pedal reversible (thumb and toe)

Brustwerk to Great reversible (thumb and toe)

Zimbelstern reversible (toe)

Balanced Brustwerk expression pedal

 

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