Organ Projects

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.

This article is a continuation of a feature in the August 2015, June 2016, July 2017, and February 2018 issues 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.

 

This church traces its first meeting to May 30, 1886. On September 19 of that year, the congregation dedicated a building for worship and educational use on a parcel of what had been farmland owned by Louis Sieling. One week later, the congregation was formally organized. The Reverend John Strieter of Immanuel Lutheran Church, Proviso (now Hillside), commuted on Sunday afternoons to conduct services. Reverend Alex Ulrich was called as first resident pastor in 1893, remaining until his retirement forty-eight and a half years later.

In 1894, Saint John Church built a new edifice on the present property, across the street from the location of the first services. The frame building of Gothic influence cost $8,500, and was crowned with a bell tower and bell. Dedication occurred on September 30. In 1911, Saint John assisted in the formation of Immanuel Lutheran Church of Hodgkins, and Saint John’s original church building was moved there for the daughter congregation’s use. Services were conducted in German until 1928, when alternation of German and English became the practice. German was dropped in 1943.

On April 30, 1967, ground for the present church was broken and the cornerstone was laid, with dedication ceremonies occurring on Founders’ Day, September 26, 1968. The architect was Harold A. Stahl, a noted architect of Lutheran churches in the Chicago metropolitan area.

In 1940, the Wicks Organ Company of Highland, Illinois, installed a new organ in the 1894 church, part of a $20,000 remodeling project. The specification was dated April 6. The building and organ were dedicated on October 6, 1940. Opus 2138 was a two-manual organ of eleven ranks, 630 pipes. Wind pressure was four inches.

 

1940 Wicks Organ Company Opus 2138

GREAT (Manual I, Enclosed)

8′ Open Diapason (scale 42, 73 pipes)

8′ Claribel Flute (“regular,” 85 pipes)

8′ Violoncello (scale 54, 73 pipes)

8′ Dulciana (scale 56, 85 pipes)

4′ Octave (scale 56, 73 pipes)

4′ Flute (ext 8′ Claribel Flute)

4′ Dulcet (ext 8′ Dulciana)

22⁄3′ Dulciana Twelfth (ext 8′ Dulciana)

2′ Dulciana Fifteenth (ext 8′ Dulciana)

Tremolo

Chimes (Deagan, 13⁄4″, 21 tubes)

1 blank tablet

SWELL (Manual II, Enclosed)

16′ Lieblichbourdon (97 pipes)

8′ Violin Diapason (scale 47, 73 pipes)

8′ Stopped Flute (ext 16′ Lieblichbourdon)

8′ Salicional (scale 60, 85 pipes)

8′ Voix Celeste (TC, scale 60, 61 pipes)

4′ Violina (ext 8′ Salicional)

4′ Flute d’Amour (ext 16′ Lieblichbourdon)

8′ Cornopean (“must be smooth more like Horn,” 73 pipes)

8′ Oboe (synthetic)

8′ Vox Humana (“in separate box,” 61 pipes)

Tremolo

1 blank tablet

PEDAL

16′ Sub Bass (“extra large,” 44 pipes)

16′ Lieblichbourdon (fr Swell)

8′ Bass Flute (ext 16′ Sub Bass)

8′ Still Gedeckt (fr Swell 16′)

8′ Cello (fr Great 8′ Violoncello)

1 blank tablet

 

Couplers

Great to Pedal

Great to Pedal 4

Swell to Pedal

Swell to Pedal 4

Great to Great 16

Great Unison Silent

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell Unison Silent

Swell to Swell 4

 

Combination pistons

3 Master pistons (thumb and toe)

3 Great pistons and Cancel

3 Swell pistons and Cancel

3 Pedal pistons and Cancel

General Cancel

Pedal to Great pistons on/off

Pedal to Swell pistons on/off

 

Accessories

Great to Pedal reversible

Balanced Swell expression shoe

Balanced Great expression shoe

Balanced Crescendo shoe

Sforzando reversible (thumb and toe, with indicator)

Wind indicator

 

In 1968 and 1969, Wicks moved the organ to the present church, adding sixteen ranks, naming the project Opus 4862. The organ was first used on Easter Day, 1969. Ronald Hauser, then organist of Saint John Church, presented a dedicatory recital on September 28 of that year. New ranks are marked with an asterisk below.

 

1967 Wicks Organ Company Opus 4862

GREAT (Manual I)

8′ Principal (61 pipes)*

8′ Concert Flute (61 pipes)

8′ Gemshorn (61 pipes)*

8′ Dulciana (73 pipes)

4′ Octave (61 pipes)*

4′ Koppelflöte (61 pipes)*

4′ Dulcet (ext 8′ Dulciana)

22⁄3′ Twelfth (61 pipes)*

2′ Fifteenth (61 pipes)*

III Mixture (183 pipes)*

8′ Trompette (fr Sw, 8′)

Chimes (21 tubes)

SWELL (Manual II, Enclosed)

8′ Geigen Principal (61 pipes)

8′ Gedeckt (61 pipes)

8′ Salicional (73 pipes)

8′ Voix Celeste (TC, 49 pipes)

4′ Principal (61 pipes)*

4′ Violina (ext 8′ Salicional)

22⁄3′ Nasat (61 pipes)*

2′ Blockflöte (61 pipes)*

13⁄5′ Terz (TG, 37 pipes)*

8′ Trompette (73 pipes)*

8′ Oboe (61 pipes)*

4′ Clarion (ext, 8′ Trompette)*

Tremolo

PEDAL

16′ Diapason (44 pipes)*

16′ Subbass (56 pipes)

16′ Lieblich Gedeckt (44 pipes)

8′ Principal (ext 16′ Diapason)

8′ Bass Flute (ext 16′ Subbass)

8′ Still Gedeckt (ext 16′ Lieb Ged)

8′ Violoncello (44 pipes)

4′ Choralbass (44 pipes)

4′ Octavflote (ext 16′ Subbass)*

4′ Cello (ext 8′ Violoncello)

2′ Super Octave (ext 8′ Choralbass)

16′ Posaune (56 pipes)

8′ Trumpet (ext 16′ Posaune)

4′ Clarion (ext 16′ Posaune)

 

Couplers

Great to Pedal 8

Swell to Pedal 8

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

 

Combination pistons

5 General pistons

5 Great pistons and Cancel

5 Swell pistons and Cancel

5 Pedal pistons and Cancel

General Cancel

 

In autumn 2000, the church formed a committee to investigate updates and improvements to the 1969 organ. John Behnke was selected as consultant. In July 2001, the church authorized the Berghaus Organ Company of nearby Bellwood to rebuild the organ into a three-manual instrument with a new console. Some pipework was added, with some existing pipework repaired or replaced, beginning in autumn. Dedication ceremonies for the completed organ occurred on February 9, 2003. The organ now consists of forty-three ranks, fifty-seven stops, 2,562 pipes. Manual chests are of sixty-one notes. Later in 2003, Berghaus replaced the Great 8′ Principal and 4′ Octave with new pipes of 75% tin.

 

2002–2003 Berghaus Organ Company rebuild of 1969 Wicks Opus 4862

GREAT (Manual II)

16′ Gedackt (Sw)

8′ Principal (61 pipes)***

8′ Concert Flute (61 pipes)*

8′ Gemshorn (Sw)

8′ Gemshorn Celeste (Sw)

8′ Dulciana (61 pipes)*

4′ Octave (61 pipes)***

4′ Nachthorn (61 pipes)***

22⁄3′ Twelfth (61 pipes)**

2′ Fifteenth (61 pipes)**

III Mixture (11⁄3′, 183 pipes)**

8′ Trompete (new [17] and old [56] pipework, 73 pipes)

8′ Solo Trumpet (61 pipes)***

Chimes (tenor A through soprano F, 21 tubes)*

Zimbelstern

Swell to Great 16

Swell to Great 8

Swell to Great 4

Positiv to Great 8

MIDI 3

MIDI 4

SWELL (Manual III—Enclosed)

16′ Gedackt (73 pipes)*

8′ Geigen Principal (61 pipes)*

8′ Gedackt (ext 16′)

8′ Salicional (61 pipes)*

8′ Voix Celeste (TC, 49 pipes)*

8′ Gemshorn (61 pipes)**

8′ Gemshorn Celeste (TC, 44 pipes)***

4′ Principal (61 pipes)**

4′ Rohrflöte (61 pipes)**

22⁄3′ Nazard (61 pipes)**

2′ Blockflöte (61 pipes)**

13⁄5′ Tierce (TG, 37 pipes)**

III Plein Jeu (2′, 183 pipes)***

8′ Trompette (73 pipes)**

8′ Oboe (61 pipes)**

4′ Clarion (ext, 8′ Trompette)

Tremulant

8′ Solo Trumpet (Gt)

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

MIDI 1

MIDI 2

POSITIV (Manual I)

8′ Gedackt (61 pipes)***

8′ Gemshorn (Sw)

8′ Gemshorn Celeste (Sw)

4′ Principal (61 pipes)***

4′ Koppelflöte (61 pipes)***

2′ Hohlflöte (61 pipes)***

11⁄3′ Larigot (61 pipes)***

II Sesquialtera (122 pipes)***

III Scharf (1′, 183 pipes)***

8′ Krummhorn (61 pipes)***

Tremulant

8′ Solo Trumpet (Gt)

Swell to Positiv 16

Swell to Positiv 8

Swell to Positiv 4

MIDI 5

MIDI 6

PEDAL

32′ Resultant (Subbass at 16′ and 102⁄3′ pitches)

16′ Diapason (68 pipes)**

16′ Subbass (44 pipes)*

16′ Gedackt (Sw)

8′ Principal (ext 16′ Diapason)

8′ Bass Flute (ext 16′ Subbass)

8′ Violoncello (44 pipes)*

8′ Gedackt (fr Sw 16′)

4′ Choralbass (32 pipes)*

4′ Octavflöte (ext 16′ Subbass)

4′ Cello (ext 8′ Violoncello)

2′ Super Octave (ext 16′ Diapason)

16′ Posaune (ext Gt 8′ Trompete)

8′ Trompete (fr Gt 8′ Trompete)

4′ Trompete (fr Gt 8′ Trompete)

8′ Solo Trumpet (Gt)

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Positiv to Pedal 8

MIDI 7

MIDI 8

 

* 1940 Wicks pipework

** 1967 Wicks pipework

*** 2003 Berghaus pipework

 

Accessories

8 General pistons (thumb and toe)

5 Great pistons (thumb)

5 Swell pistons (thumb)

5 Positiv pistons (thumb)

5 Pedal pistons (thumb and toe)

Great to Pedal reversible (toe)

Swell to Pedal reversible (toe)

Positiv to Pedal reversible (toe)

Swell to Great reversible (thumb)

Positiv to Great reversible (thumb)

Swell to Positiv reversible (thumb)

General Cancel (thumb)

Full Organ (thumb and toe)

Up/Down (thumb)

Restore (thumb)

Setter button (thumb)

Zimbelstern reversible (toe)

Balanced Swell expression shoe

Balanced Crescendo shoe (16-stage indicator)

Crescendo selector

Zimbelstern delay (rotating dial)

Zimbelstern speed (rotating dial)

Zimbelstern volume (rotating dial)

Chimes volume (rotating dial)

MIDI tuning (rotating dial)

99-level memory

Wind (indicator light)

 

Right selector board, above Manual III:

Registration sequencer

Manual transfer

Positiv to Great Auto Solo

Positiv to Swell Auto Solo

Great to Positiv Auto Solo

Great to Swell Auto Solo

Solo to Positiv Auto Solo

Swell to Great Auto Solo

Solo tp Solo

PC Pedal Great

PC Pedal Swell

PC Pedal Positiv

 

Left selector board, above Manual III:

Memory Select

Multi Midi

Midi Reg Off

Midi Mem Off

Midi Mem 1

Midi Mem 2

Midi Mem 3

Midi Mem4

Transposer

Reg Seq

Recall

Setup

Alt

Kegg Pipe Organ Builders, Hartville, Ohio

Christ the King Chapel, 

St. John Vianney Theological Seminary, Denver, Colorado

Every new pipe organ project, large or small, has a unique sense of importance. Rarely are we afforded the opportunity to build an instrument that will inspire generations of clergy to high ideals. Our new organ at St. John Vianney Theological Seminary is a true honor for an organbuilder.

Each of our pipe organs is custom designed for the space it occupies and the musical task it must perform. During the design process, the organ evolves. Sometimes the stop list has additions made as funds become available, or unknown building impediments are discovered that require us to adjust. This new organ of course went through this process, but through it all, the goal we shared with associate professor of sacred music, Dr. Mark Lawlor, did not. The goal was to build an instrument suited primarily to the multiple daily Masses of the seminarians.

The failing electronic organ from 20 years ago had “replaced” the original 1931 Kilgen pipe organ. Heavily damaged first by modifications to the stop list with foreign pipes installed by lesser hands, then with loud speakers among and largely on the pipes, the original pipe organ was assumed destroyed. When Kegg sales representative Dwayne Short first crawled into the crowded, dark, and dirty space, he made his way into the furthest reaches where few had ventured in years, to discover that many of the Kilgen Swell stops had survived in reasonable condition. These, along with one Pedal stop and an orphan Great Clarinet, gave us some original pipes to consider retaining in the new organ.

Christ the King Chapel is a handsome room built in 1931. Beautiful to look at with masonry walls and terrazzo floors, it is a child of its time, apparent when one looks up. The coffered ceiling panels are beautifully painted acoustic tile, rendering only about one second of reverberation when the room is empty. The organ is at the rear of the room, in a shallow chamber over the main door. The robust all-male congregation is mostly at the front of the nave and in the crossing. All these elements dictate a rich, strong, and dark organ to meet the voices at their pitch and location. There is an Antiphonal division that is prepared in the console. Until it is installed, the main organ will have to fill the room from the rear with the singers up front.

Dr. Lawlor specifically requested that all manual divisions be enclosed to afford him and future musicians maximum musical flexibility. Most organists prefer a three-manual organ to two, which we frequently offer in organs of this size. The new organ is 19 stops and 25 ranks dispersed over three manuals and pedal. The only unenclosed stops are the Pedal 16′ Principal, from which the façade pipes are drawn, and the horizontal Pontifical Trumpet, in polished brass with flared bells. This last stop was also a specific request. Because the room is not excessively large, these pipes are placed as high as possible. The large scale, tapered shallots and 7-inch wind pressure give these pipes a round, Tuba-like quality that is commanding and attractive.

The Great/Choir and Swell are enclosed in separate expression boxes. The stop list is not unusual, but the execution of the Principal choruses is. Both choruses have Mixtures based at 2′. This allows them to couple to the Pedal without a noticeable pitch gap in the bottom octave sometimes heard with 11⁄3′ Mixtures. The breaks of these two Mixtures are different. The Swell Mixture breaks before the Great, bringing in the 22⁄3′ pitch early. This gives the Swell Mixture a rich texture, particularly helpful in choral work. Emphasis in finishing is on unison and octave pitches when present. The first break in the Great Mixture is at C#26 and from C#14 is one pitch higher than the Swell, making it relatively normal. For the Great Mixture, the upper pitches are given more prominence during finishing. The two choruses complement and contrast well in this intimate space, without excessive brightness.

Many of the flutes and strings were retained from the original Kilgen organ. With some attention in the voicing room, these work well within the Kegg tonal family. Having heard other examples of our work, there was a keen desire by Dr. Lawlor for a new Kegg Harmonic Flute. To make this happen within the budget and space available, we used an existing wood Kilgen 8′ Concert Flute for notes 1–32. At note 33, this stop changes to new Kegg harmonic pipes. The stop increases in volume dramatically as it ascends the scale. Available at 8′ and 4′ on both the Great and Choir manuals, the 8′ stop is nicely textured and mezzo-forte. The treble of the 4′ morphs into a soaring forte voice, made even more alluring by the tremulant.

With the exception of the Clarinet, all reeds are new Kegg stops and typical of our work. The Trumpet has a bright treble and a darker, larger bass extending into the Pedal at 16′. The Oboe is capped and modeled after a Skinner Flügelhorn. The lovely Kilgen Clarinet fits nicely into the Kegg design.

The Pedal has the foundation needed for the organ. The 16′ Principal unit of 56 pipes provides stops at 16′, 8′, and 4′. This is the only flue stop that is not under expression. It grows in volume as you ascend the scale and does so more than its manual counterparts. Because of this, it is easy to have the Pedal be independent and prominent when needed for polyphonic music. This stop joins the Great Principal and Octave, all playing at 8′ pitch, to make the 8′ Solo Diapason III, a Kegg exclusive. With three 8′ diapasons at one time, it is similar in effect to a First Open for both solo and chorus work where a firm 8′ line is required.

The console provides all the features expected in a first-class instrument today including unlimited combination memory, multiple Next/Previous pistons, bone and rosewood keys and, of course, the Kegg signature pencil drawer and cup holder. 

The original 1931 organ was covered by a gray painted wood and cloth grill. The new organ façade design was inspired by the building age and funds, but mostly by the significant stone door that dominates the rear wall. This is not a formal case, but it is more than a simple fence row. The stone door is massive and will always be visually dominating, so it is natural to acknowledge it and build from it. The center façade section pipe toes sit atop the lintel with the tops dipping down to mirror the brick arch above, making space for the Pontifical Trumpet to seemingly float. The center section sits 5 inches behind the side bass sections, giving more depth to the visual effect. Viewing the façade from any angle other than head-on, it becomes sculptural.  

This was an exceptionally exciting and enjoyable project for us. The enthusiasm, interest, and complete cooperation from the seminarians and staff were a daily spiritual boost for the entire Kegg team. This organ was installed in nine days, ready to be voiced, due largely to the excellent working conditions. Many thanks to James Cardinal Stafford, Archbishop Samuel J. Aquila, Dr. Mark Lawlor, and all our new friends at St. John Vianney.

—Charles Kegg

President and Artistic Director

 

The Kegg team:

Philip Brown

Michael Carden

Cameron Couch

Joyce Harper

Charles Kegg  

Philip Laakso 

Bruce Schutrum

Ben Schreckengost

Dwayne Short

 

GREAT (manual II, enclosed)

8′ Solo Diapason III (fr Gt 8′, 4′, Ped 8′)

8′ Principal (61 pipes)

8′ Concert Flute (1–32 existing, 33–73 

    new pipes)

8′ Dulciana (61 existing pipes)

8′ Unda Maris (TC, 49 pipes)

4′ Octave (73 pipes)

4′ Harmonic Flute (ext 8′)

2′ Fifteenth (ext 4′ Octave)

IV Mixture (2′, 244 pipes)

8′ Clarinet (61 existing pipes)

Tremulant

8′ Trumpet (Sw)

8′ Pontifical Trumpet (TC, 39 pipes, 

    C13–D51, polished brass, flared 

    bells, high pressure)

Chimes (console preparation)

Great 16

Great Unison Off

Great 4

8 stops, 11 ranks, 661 pipes

SWELL (manual III, enclosed)

16′ Gedeckt (73 existing pipes)

8′ Diapason (73 existing pipes)

8′ Gedeckt (ext 8′)

8′ Salicional (61 existing pipes)

8′ Voix Céleste (TC, 49 existing pipes)

4′ Principal (ext 8′)

4′ Harmonic Flute (73 existing pipes)

22⁄3′ Nazard (TC, 49 existing pipes)

2′ Flute (ext 4′)

13⁄5′ Tierce (TC, console preparation)

11⁄3′ Larigot (fr 22⁄3′)

IV Mixture (244 pipes)

16′ Trumpet (85 pipes)

8′ Trumpet (ext 16′)

8′ Oboe (61 pipes)

4′ Clarion (ext 16′)

Tremulant

Swell 16

Swell Unison Off

Swell 4

9 stops, 12 ranks, 768 pipes

CHOIR (manual I, enclosed with Great)

8′ Concert Flute (Gt)

8′ Dulciana (Gt)

8′ Unda Maris (TC, Gt)

4′ Principal (Gt 4′)

4′ Flute (fr Gt 8′)

2′ Octave (fr Gt 4′ Octave)

8′ Oboe (Sw)

8′ Clarinet (Gt)

Tremulant

8′ Pontifical Trumpet (Gt)

Choir 16

Choir Unison Off

Choir 4

PEDAL

32′ Resultant (derived)

16′ Principal (56 pipes)

16′ Subbass (44 existing pipes)

16′ Gedeckt (Sw)

8′ Octave (ext 16′)

8′ Subbass (ext 16′)

8′ Gedeckt (Sw)

4′ Choral Bass (ext 16′)

32′ Harmonics (derived)

16′ Trumpet (Sw)

8′ Trumpet (Sw)

4′ Clarinet (Gt)

2 stops, 2 ranks, 100 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

Great/Choir Transfer

 

ADJUSTABLE COMBINATIONS

14 General pistons (1–14 thumb, 1–10 toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Choir pistons (thumb)

4 Pedal pistons (toe)

General Cancel (thumb)

Set (thumb)

Range (thumb)

Undo (thumb)

Clear (thumb)

Next (General piston sequencer, 4 thumb, 1 toe)

Previous (2 thumb)

30 memories per User, unlimited Users

 

REVERSIBLES

Great to Pedal (thumb and toe)

Swell to Pedal (thumb)

Choir to Pedal (thumb)

Full Organ (thumb and toe)

32′ Harmonics (toe)

 

ACCESSORIES

Balanced Swell expression pedal

Balanced Great/Choir expression pedal

Balanced Crescendo pedal (2 memory adjustable, with numeric indicator)

Full Organ indicator

Transposer

Concave and radiating pedal clavier

Adjustable bench

 

TONAL RESOURCES

19 Stops, 25 Ranks, 1,529 Pipes

 

Organbuilder website: www.keggorgan.com

 

Seminary website: http://sjvdenver.edu

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.

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 4′ Clarion may have been installed as a Clarinet. The Swell 4′ Oboe 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.)

 

 

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

22⁄3′ 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 8′ Spitzflöte)

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 (33⁄4″ 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

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.  

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

22⁄3′ 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

22⁄3′ 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)

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia

The First Baptist Church of Christ, Macon, Georgia

“Nurture. Love. Serve. ALL.” is the succinct version of the vision statement of the First Baptist Church of Christ, Macon, Georgia. For a congregation whose ministry spans nearly two centuries, including all of God’s children in ministry and leadership is a natural outgrowth of its character and a testament to its commitment to following the leading of God’s Spirit. The First Baptist Church of Christ has a history of committing itself to including all, in worship, discipleship, and service, from including women on the pastoral staff in the 1950s to ordaining women as deacons and Gospel ministers in the 1980s. This commitment is a reflection of the members of the congregation but also of the church’s connection to Mercer University, a leading and growing research and service-oriented institution of higher education.

One of the deep connections between Mercer University and First Baptist is the relationship of Mercer’s leadership to the congregation. From Mercer’s founding in 1833, First Baptist has been an ardent supporter of the school and, since the university moved to Macon in 1871, every president of Mercer except one has been an active member of First Baptist. The longest-tenured president of Mercer, R. Kirby Godsey, is no exception. Dr. Godsey and his family joined First Baptist in the late 1970s when he came to Mercer, and they have been a constant presence in the pew, on committees, leading in worship, and actively supporting the church since. Dr. Godsey’s wife Joan is an accomplished and recognized musician who has served as organist, choirmaster, Sunday School teacher, and deacon. Her deep devotion to the music ministry of First Baptist, combined with her encouragement of music and music education throughout the Macon community, is one of many reasons that her family’s generous gift of the A. E. Schlueter organ is dedicated in her honor. With the proximity of the church to Mercer University and the historic ties that it has had with the school, it is anticipated that the organ will be used regularly by the university and its students.

This project came about when I was approached by the Godsey family to discuss the existing organ and how we could improve the music for worship at the First Baptist Church of Christ. This instrument had been built in the 1980s and followed the general stoplist design and tonal style of the majority of the instruments that were built by American builders at that time. It retained the 1949 console and several sets of pipes from the older instrument. It had 35 ranks of pipework, and, while it was a good, basic service instrument, it did not have the depth of resources to fully support the music program as it has evolved at the church.

Our discussions led to the design of a new instrument that would follow the precepts of American eclectic tonal design. We wanted to support some of the great organ works by luminaries such as Widor, Vierne, Bach, Buxtehude, and Scheidt, while also celebrating the offering of a Lemare orchestral transcription with equal aplomb. Admittedly this is a heady task and one that can be fraught with the danger of an instrument that is too focused for one style or lacking any focus at all. We steadfastly worked to avoid this trap.

Early in our discussions I recommended, where possible, reuse of pipework from the existing instrument. The pipework was generally well scaled and had low cut-ups and little nicking. This meant it was highly malleable for revoicing in the new instrument with the requisite rescaling and repitching and still allowing us a blank canvas with which to work. This reuse of resources along with the changes we have made to these pipes have allowed us to reuse material from the previous instrument in a positive, cohesive manner and still create an instrument that stands under our name and within our tonal design.

To house the organ, we planned a new case situated forward of the chamber. The design of the new case pays homage to the architecture of the 1887 sanctuary. With the baptistry offset to the right and the organ chamber centered above the choir, it allowed consideration for a classical organ case design on the central axis of the room. The case is built of white oak and finished to match the church furnishings. The case and pipes rise over 30 feet from the raised choir loft for a commanding visual and tonal location in this worship space. The case is a rich brocade of carvings and custom moldings that harken to other ecclesiastical elements within the church. We designed open grilles into the organ case side returns to allow more diffusion of sound for the pipework behind the façade, along with a freer exchange of air for tuning stability. 

The new casework is a blending of old world and new world technologies. The case drawing was conceived by hand and then drawn to dimension with Computer Assisted Design (CAD). We then rendered it in 3-D to allow the organ to be viewed in the sanctuary prior to its building. This level of visualization was unknown years ago and allows the design of the organ to be fine-tuned for the worship space. 

Technology found its place in the design of the carvings, which were designed by hand, redrawn in the computer, and converted into machine code to begin the initial process of carving with our computer numeric controlled (CNC) router in oak blanks. These were finished by hand. This resulted in carvings and pipe shades that maintain strict, repeatable tolerances but still have the look and feel of the work executed solely by traditional hand carving. The use of modern drawing and building techniques made it possible to build this type of casement at a reasonable cost quotient without having to rob stops from the specification to lower costs, as is often necessary to provide this level of carving and molding.

The façade pipes of polished aluminum are taken from the Great and Pedal divisions. In addition to the beauty provided by the polished metal, we find that this material has speech characteristics that are very favorable and rival some other traditional pipe building materials for certain voicing styles. The added rigidity of the material and its resistance to surface oxidation made it an ideal choice for this installation. The polished surfaces reflect and refract light in such a way that the façade takes on the natural lighting in soft, even hues. 

The new instrument contains 51 ranks of windblown pipes divided over three manual divisions and pedal. It is an instrument conceived first and foremost to solidly support the choir and congregation in worship while also allowing the varied repertoire that has been written for the organ across the span of time to flourish. 

The organ is designed with a solid 8′ tonal center with independent Principal choruses in each division that, while separate, are relatable and act as a foil one to another. The upperwork in the organ is designed to fold within and reinforce the chorus and not to sit above it. We very much wanted the chorus registration to be a hand-in-glove fit.

The pipework makes use of varied scales, a mix of shapes (open, slotted, tapered, harmonic, stoppered, chimneys), and materials to influence the color and weight differences in the organ flue stops. We were also careful in the placement of ranks in the chamber so that they had the best advantage for speech.

As with most of the instruments we have built, we consider the strings and their companion celestes important for their sheer beauty and emotive quotient (and yes . . . there should be more than one set!). This organ has sets of string ranks divided between the Swell and Choir divisions that can be compounded via couplers. Along with the color reeds, these stops support the romantic sound qualities that were designed into this instrument. 

The large solo reed in the organ is the 8′ Tromba Heroique. It is on high pressure and located in the Choir expression box to allow control of this powerful sound. As it relates to the pipework, the expression fronts are carried the full width and height of the expression boxes and can fully open to 90 degrees. Our expression boxes are built extra thick and feature overlapping felted edges. This treatment allows focus of a division’s resources when fully open and full containment and taming of the resources when closed. Even the commanding solo reed can be used as an ensemble voice when the box is closed.

The organ’s main manual windchests are electro-pneumatic slider chests. They are patterned after the Blackinton-style chests and include double pallets with independent primaries to provide more wind supply to the bass registers in the chest. The duplex stops and large bass pipes utilize electro-pneumatic action. The façade pipes are remotely fed with transmission tubes from electro-pneumatic blow box actions. 

The winding system makes use of a combination traditional spring and weight ribbed regulators along with floating lid reservoirs where appropriate. The tremulants are electro-mechanical to provide a quiet, gentle, even undulation to the wind when engaged. The reeds are placed on their own reservoirs to allow differential wind pressures and independent tremulants.

To ameliorate tuning issues, all of the manual and pedal divisions are located on the same elevation to allow a common thermocline. We engineered air returns in the Swell and Choir divisions to assist in drawing the ambient air in the sanctuary into the organ space. The Great is positioned forward of the enclosed divisions but is shielded by the façade and case to minimize rapid changes in temperature as the air and heat cycles in the room. We also enclosed the blower room in the basement, which previously did not have any environmental controls, and provided it with a return air intake to take it off the untempered basement air.

The traditional drawknob console is built of oak with an interior paneled in mahogany and ebony. The keycheeks and piston slips are of ebonized mahogany. The thumb pistons are in the Skinner style. The manual key surfaces are of faux bone and ebony and are fitted with tracker touch via toggle springs. To assist the ergonomics of playing, the organ bench is adjustable, as is the music rack (in/out and up/down).

The combination system and relays are the Syndyne 8400 system. All of the features that one comes to expect on a modern console control system are present and include multiple memories, programmable crescendos, programmable sforzandos, blind checks, transposer, etc. One can use an external USB drive to save or import combination memories. This provides infinite options to the performer. 

The system allows a single centralized control for the combination system, playback/record, and MIDI into a single integrated touch screen. This same screen and USB interface allows testing, system configuration, and upgrades for the builder without the need for an external computer.

From a personal standpoint, I was humbled and honored to work with the church and the Godsey family in the design of the new instrument. Many of these discussions were ably led by Hunter Godsey, who with never-failing grace discussed the myriad of details that go into an organ design both tonally and visually. Not only is he an accomplished organist, he was a continuous champion for the instrument we were designing, and I value him and his family as friends.

As a way of saying thank you for this commission, several stops in the instrument were donated from the Schlueter family to the church. These included several sets of strings and the woodwind class reeds including the orchestral Skinner Bell Clarinet we restored for this instrument.

When my wife and I attended Mercer University, the president of the university was Kirby Godsey. I did not know at that time that, 30 years later, I would be able to have a “homecoming” and an opportunity to build a new instrument for this venerable church. When we were chosen to build the new instrument, you could not imagine how honored I was to be speaking to the same man who nearly three decades ago handed me my diploma and told me to go out and do my part to make the world a more beautiful place. It was a great pleasure in telling this kind man that I had taken what he told me to heart, that it is what I had sought to do, and, importantly, I was able to thank him for his governance of the university that had such an impact on who I am today. In a wonderful turn of the page, just as a new instrument was being installed in the First Baptist Church of Christ as I moved to Macon to start college, my eldest daughter has now started studies at my alma mater and will able to be part of the new organ installation and history.

I thank the church’s ministerial staff including:

Rev. Scott Dickison, pastor

Rev. Julie W. Long, associate pastor, minister of children and families

Dr. Stanley L. Roberts, minister of music

Dr. Jody Long, minister of missions and students

Anne Armstrong, organist

Joe Johnson, church administrator

The building of any instrument demands the efforts of a talented and dedicated team. Our team includes the efforts of: Arthur E. Schlueter, Jr., Arthur E. Schlueter, III, Mary Schlueter, Sarah Schlueter, John Tanner, Marc Conley, Patrick Hodges, Rob Black, Jeremiah Hodges, Peter Duys, James (Bud) Taylor, Jr., Bob Weaver, Kerry Bunn, Al Schroer, Shan Dalton-Bowen, Barbara Sedlacek, Michael DeSimone, Dallas Wood, Clifton Frierson, Ruth Lopez, Kelvin Cheatham, James Sowell, Tim Brown, Marshal Foxworthy, and Carl Morawetz.

A. E. Schlueter Pipe Organ Company can be reached at [email protected] or by writing P. O. Box 838, Lithonia, Georgia 30058.

—Arthur E. Schlueter, III

Visual and Tonal Direction

A. E. Schlueter Pipe Organ Company

 

GREAT – Manual II

16′ Violone*

16′ Lieblich Gedeckt (Sw)

8′ Diapason (ext Ped) 29 pipes 

8′ Principal 61 pipes

8′ Violone 61 pipes

8′ Harmonic Flute 49 pipes 

    (1–12 common bass)

8′ Bourdon 61 pipes

8′ Erzahler Celeste II (Ch)

4′ Octave 61 pipes

4′ Rohr Flute 61 pipes

22⁄3′ Twelfth (TC) 49 pipes

2′ Super Octave 61 pipes

13⁄5′ Seventeenth (TC) 49 pipes

IV Fourniture 244 pipes

8′ Trumpet 61 pipes

Tremulant

16′ Contre Trompette (Sw)

8′ Bell Clarinet (Ch)

8′ English Horn (Ch)

Great to Great 4

8′ Tromba Heroique (Ch, non-coupling)

CHOIR – Manual I (enclosed) 

16′ Erzahler*

8′ Weit Principal 61 pipes

8′ Holzgedeckt 61 pipes

8′ Erzahler 61 pipes

8′ Erzahler Celeste  (TC) 49 pipes

4′ Principal 61 pipes

4′ Nachthorn 61 pipes

4′ Erzahler Celeste II (ext) 24 pipes

22⁄3′ Nasat (TC) 49 pipes

2′ Schweigel (ext Erzahler) 12 pipes 

13⁄5′ Terz (TC) 49 pipes

11⁄3′ Quint (ext 22⁄3′) 12 pipes

1′ Sifflote (from Erzahler)

II Carillon (from mutations)

III Klein Mixture 183 pipes

16′ English Horn (TC, fr 8′)

8′ Bell Clarinet 61 pipes

8′ English Horn 61 pipes 

4′ Regal (ext 8′ Eng Horn) 12 pipes

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

8′ Tromba Heroique 61 pipes 

    (non-coupling)

Tremulant

SWELL – Manual III (enclosed)

16′ Lieblich Gedeckt (ext 8′) 12 pipes

8′ Diapason 61 pipes

8′ Rohr Flute 61 pipes

8′ Viole de Gambe 61 pipes

8′ Viole Celeste (TC) 49 pipes

8′ Muted Violes II 110 pipes

4′ Principal 61 pipes

4′ Spindle Flute 61 pipes

22⁄3′ Nazard (TC) 49 pipes

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

13⁄5′ Tierce (TC) 49 pipes

11⁄3′ Quint (ext 22⁄3′) 12 pipes

IV Plein Jeu 244 pipes

16′ Basson-Hautbois* 

8′ Trompette 61 pipes

8′ Hautbois 61 pipes

4′ Clairon (ext 8′) 12 pipes

8′ Vox Humana 61 pipes

Tremulant

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

PEDAL

32′ Violone*

32′ Bourdon*

16′ Sub Principal 32 pipes

16′ Contra Bass*

16′ Violone (Gt)

16′ Erzahler (Ch)

16′ Bourdon 32 pipes

16′ Lieblich Gedeckt (Sw)

8′ Diapason 32 pipes

8′ Principal 32 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Rohr Flute (Sw)

4′ Choral Bass 32 pipes

4′ Cantus Flute (Gt 8′ Har Fl)

III Mixture (wired)

32′ Posaune*

32′ Harmonics (wired Cornet series)

16′ Trombone 32 pipes

16′ Contre Trompette (ext Sw) 12 pipes

16′ Basson-Hautbois (Sw)

8′ Trumpet (Gt)

4′ Clarion (Gt)

4′ Bell Clarinet (Ch)

8′ Tromba (Ch)

 

* Indicates digital extension

 

 

Percussion

Chimes 32 notes (Pedal)

Chimes 32 notes (Great)

Harp 49 notes (Choir)

Zimbelstern (multiple bells)

 

MIDI (available as preset stops)

MIDI on Pedal

MIDI on Great

MIDI on Choir

MIDI on Swell 

 

Coupler Rail

Great to Pedal 8

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

 

Great/Choir Transfer

 

COMBINATION SYSTEM

Syndyne 8400 with 5,000 levels of memory

10 General pistons (thumb and toe)

5 pistons affecting Great (thumb)

5 pistons affecting Swell (thumb)

5 pistons affecting Choir (thumb)

5 pistons affecting Pedal (toe)

General Cancel (thumb)

Next and Previous (thumb and toe, piston sequencer)

Set piston (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Sforzando (thumb and toe, programmable)

32′ Reversibles (thumb and toe)

Crescendo Pedal (programmable)

 

Three manuals, 51 ranks

 

Organbuilder’s website:

http://pipe-organ.com

 

Church website:

www.fbcxmacon.org