Organ Projects

David Chamberlin

Trinity Lutheran Seminary, 

Columbus, Ohio

Bigelow & Co., Inc., Organ Builders, American Fork, Utah

Bigelow & Co., with significant assistance from Oyster Pipe Works, Ltd. (Louisville, Ohio), has completed an extensive rebuild of the 1983 Steiner-Reck organ at Trinity Lutheran Seminary in Columbus, Ohio. Issues addressed include the following:

1. Metal pipes were collapsing.

2. Tracker action, though innovative, had proven to be unserviceable.

3. Stop action (slider solenoids) had become unreliable.

4. Manual keyboards were badly worn.

5. Swell pedal was very difficult to operate, and swell effect was poor.

6. Tuning access was difficult.

7. Sound was top-heavy and deficient in fundamental.

Two factors contributed to the collapsing and sagging of metal pipes: soft metal and insufficient racking. All pipe repairs were sub-contracted to Oyster Pipeworks, who removed the nearly 2,000 pipes to their shop in nearby Louisville, Ohio. All pipes were washed and straightened, and miters were repaired and reinforced. Three awkwardly mitered pipes were cut short and fitted with Haskell tubes. Pipes as short as 1′ had their toes reshaped, while heavy-duty cast toes were soldered onto over 300 of the largest pipes, including some in the 4′ range. Racking was improved by reinforcing existing rack boards, adding upper supports to many pipes, and adding bracing to existing upper supports. 

The mechanical key action was completely redesigned, incorporating carbon fiber trackers, conventional roller boards, and top-quality wooden tracker squares. A notable feature of the original action was the use of ultra-fine aircraft cable for trackers, which was not a bad idea in itself, but interfacing it with other components turned out to be problematic. Further, the layout of the original action involved multiple angles and layers, which made servicing the action, and other parts of the organ behind it, difficult if not impossible.

All 30 slider solenoids were replaced with new ones, which are less prone to sluggishness from exposure to dust. Power controls, which had previously been mounted to each solenoid, making some of them quite inaccessible, were centralized. Dust covers, which also offer protection from falling objects, were added.

The original natural keys were plated with padouk. They must have been visually stunning when new, but they did not withstand the test of time: middle C of the Hauptwerk manual was nearly worn through! New custom keyboards with ebony naturals and bone-plated ebony sharps were supplied by Heuss. Thumb pistons, also by Heuss, are black with white engraving—a marked improvement over the original ones, which were blank, identified only by illegible, adjacent labels.

Excessive friction in the swell shade action had been caused by a rack and pinion that had transferred the motion of the swell pedal to a cable connected to the swell shades. Because a simpler mechanical connection was not possible, an electric swell motor (Peterson) was connected to the cable. The new swell pedal operates smoothly and easily. Swell shades were carefully trimmed and felted to improve closure.

Tuning access in the Hauptwerk had been severely hampered by an elevated toeboard for the Scharfzimbel, which had stood between the back of the chest and all the other pipes except the reeds. Tonal revisions (see below) permitted the middle section of that toeboard to be removed, much to the relief of the local technicians. Tuning access in the Pedal division was improved simply by cutting a small door in the side of the case.

Tonal changes included:

1. Replacing the Scharfzimbel with a 2′ Super Octave, to make a complete principal chorus in the Hauptwerk

2. Replacing the quarter-length 16′ Englischhorn in the Schwellwerk with a new half-length 16′ Dulzian

3. Replacing the half-length resonators in the low octave of the Pedal 16′ Posaune with full-length resonators

4. Raising the wind pressure in the Schwellwerk

5. Raising cut-ups and opening toes of foundation ranks in all divisions

6. In the Schwellwerk, revoicing the original 4′ Viola as a Principal and the original 2′ Italian Principal as a Waldflöte. (Even before revoicing, both of these stops, in the majority of their compass, sounded more like their new names than their old ones.)

Additionally:

• The original dual memory combination action was replaced with a new 128-level system that included a piston sequencer and “stick drive” (USB port for backup and portable memory).

• Video cameras and monitors were added, and keydesk lighting was improved.

• Service lighting inside the case was improved.

• The blower was enclosed to reduce noise.

• Wiring was neatened and confined to raceways where practical.

• Case surfaces were cleaned, and damaged wood was repaired, especially in the keydesk area.

• Stop jamb was refinished and laser-engraved, replacing original dry transfer lettering.

• Pipe shades were repaired.

• Stoppers of all 82 wooden pipes were refurbished.

• The motor-driven tremulant was replaced with a new, simpler solenoid-driven system.

Special thanks are due Fred Oyster of Oyster Pipe Works, Ltd., and his team. In addition to the items mentioned above, Fred regulated all the existing reed ranks, mitered the new reed rank, assisted with on-site reed voicing, and that still is not an exhaustive list. Lastly, we are grateful for the friendly support of Peebles-Herzog, Inc., local caretakers of this organ. Their willingness to loan us tools and equipment—often for lengthy periods of time—was extremely helpful and much appreciated. The job turned out to be much more involved than originally planned, and everyone at Bigelow is grateful for the extra patience and support of Prof. May Schwarz and everyone at Trinity. James Bobb, professor of organ and church music at St. Olaf College, played the first recital on the rebuilt instrument on June 6, 2017, to an enthusiastic audience.

­—David Chamberlin

Vice-president/Tonal director

Bigelow & Co., Inc.

 

HAUPTWERK

16′ Quintadena (electro-mechanical action, 1–12)

8′ Principal (1–8 fr Pedal 16′)

8′ Rohrflöte

4′ Octave

4′ Spitzflöte

22⁄3′ Nasat

2′ Super Octave (new)

2′ Flachflöte

13⁄5′ Terz 

IV-VI Mixtur

8′ Trompete

8′ Krummhorn

Schwellwerk to Hauptwerk

SCHWELLWERK (enclosed)

8′ Holzgedackt (1–8 fr Gemshorn)

8′ Gemshorn (1–8 capped metal, cone-shaped caps)

8′ Gemshorn Celeste (TC)

4′ Principal (formerly “Viola”)

4′ Traversflöte (formerly “Flöte”)

2′ Waldflöte (formerly “Ital. Principal”)

III Aliquot (22⁄3′, 13⁄5′, 11⁄7′)

11⁄3′ Quint

III–IV Scharff

16′ Dulzian (new)

8′ Oboe

Tremulant

PEDAL

16′ Principal (electro-mechanical action)

16′ Subbass (wood, electro-mechanical action)

8′ Octave

8′ Bordun (metal)

4′ Choralbass

IV Mixtur

16′ Posaune (1–12 new full-length copper resonators)

8′ Trompete

4′ Rohrschalmei (formerly “Schalmei”)

Hauptwerk to Pedal

Schwellwerk to Pedal

Zimbelstern

 

58/32 notes—AGO pedalboard.

Manual keys: ebony naturals, bone-plated ebony sharps.

Self-regulating mechanical key action, except as noted.

Slider chests with electric stop action.

128-level combination action with piston sequencer and USB port for backup and portable memory.

Electrically operated swell shades.

2 manuals, 45 ranks.

Quimby Pipe Organs, 

Warrensburg, Missouri

Two organs in North Carolina

In 2017, Quimby Pipe Organs (QPO) completed the installation of two small-to-medium sized instruments in North Carolina. Both projects incorporated pipework or mechanics from the churches’ preceding instruments, as the work would not have been feasible in either case given all-new construction. However, both projects resulted in organs that function mechanically as if they are all new, and both have entirely new tonal identities that align with modern QPO practice. Accordingly, both have been given QPO opus numbers, and each is, in its own way, an exploration of what should constitute a modern-day American multum in parvo organ, where comparatively few ranks of pipes yield surprising results: instruments that are flexible, musical, and artistically satisfying. Each organ plays with the authority of a much larger instrument than its size would suggest.

 

Opus 73

All Saints Episcopal Church

Southern Shores, North Carolina

We were invited to visit All Saints Episcopal Church by Organist and Director of Music Steve Blackstock because we had previously worked with him to relocate an 1878 Marshall Brothers organ, which was electrified and rebuilt by Ernest M. Skinner in 1912 and is now situated in a new case on QPO electro-pneumatic slider windchests at Holy Redeemer-by-the-Sea in Kitty Hawk, North Carolina.

Blackstock asked us to assess All Saints’ 1948 M. P. Möller organ, Opus 7721. Originally five unified ranks, the organ had grown to nine, enclosed in a freestanding case in the rear corner of the room. There were some pleasant sounds in the instrument—particularly the stopped wood flute—but the disposition of these voices at various pitches over two manuals and pedal was not entirely successful; there was a lack of flexible, contrasting ensembles.

Several options were investigated, including either the relocation of a mid-nineteenth-century Hook tracker or a mid-twentieth-century Austin. But the ideas that resonated most with Steve were those which Michael Quimby and I developed for the expansion and radical rebuilding of the existing Möller.  

The approach was straightforward: the existing enclosed mechanical chassis would become the Swell, and a new unenclosed Great division would be added on a new Quimby-Blackinton electro-pneumatic slider chest. The best of the existing pipework would be retained, and after careful restoration, rescaling, and revoicing, would find a place in the new tonal concept, though not always at the same pitches or divisions as before. One independent Pedal rank was added—a Pedal Octave that plays at 8′ and 4′.

Although the existing Möller unit windchests were retained in the new Swell, having been releathered recently, efforts were made to provide more of a “straight” ensemble in the Swell, with unification judiciously used for added color and flexibility, rather than to create ensemble.

Not one new pipe was constructed for the project. Rather, ranks were carefully selected from our extensive inventory of nineteenth- and twentieth-century American pipework for integration into the ensemble. The end result is not a patchwork of individual voices, as one might expect, but rather, a cohesive, flexible ensemble. This is not only due to the quality of the vintage pipework, but also to the unique facility of Michael Quimby to identify which ranks will work to achieve the intended result, and also to the ability of Head Voicer Eric Johnson and staff voicers Samantha Koch and Christopher Soer to carry out the work. Also essential is our fully functional pipe shop, where cleaning, restoration, modification, and repair can happen as required alongside construction of new pipes.

Several church members participated in passing pipes into the organ. One couple, key donors to the project, also assisted, and knowing that there were no new pipes in the organ, inquired as to the provenance of the pipes. In response, I told her that the pipe she had in her hand came from an organ formerly at a church in St. Louis, Missouri. She was stunned. She had attended there as a young lady, and it was, in fact, where she had met her husband, who was also helping to pass pipes. We quickly figured out that we were installing pipes that had played at the time that she would have heard the organ—a happy coincidence that added dramatically to the significance of the instrument for these two.

New casework was designed by QPO and constructed by members of the church to expand and complement the existing enclosure. The new casework is intentionally somewhat transparent, and the pipes of the Great division are visible at different times during the day when overhead light passes down from skylights overhead. The façade pipes are vintage zinc basses, here painted with pearlescent white bodies and rose gold mouths, which complement the open, light-filled character of the church. The existing console was rebuilt and placed on a moveable platform dolly.  

The existing 8′ Trumpet was extensively revoiced and extended to play at 16′ and 4′. It is at once brilliant and foundational and forms a grand underpinning for the full ensemble. A pair of early-twentieth-century strings yield characteristic, lush string tone in the Swell, and the unison rank extends down to 16′. The 16′ Contra Viola is surprisingly versatile: in addition to making an effective double to the new Great Diapason chorus, it is soft enough to serve as a whisper bass (with the Swell box closed) under the 8′ Dulciana, yet harmonically intense enough to combine with the 16′ Gedeckt and synthesize a 16′ Diapason.

The organ was completed in September 2017 and was dedicated on Sunday, October 1. On Sunday, October 15, Dorothy Papadakos accompanied the 1920 silent film, The Strange Case of Dr. Jekyll and Mr. Hyde.

 

Opus 74

Central United Methodist Church

Concord, North Carolina

Susan Renz Theodos, director of music at Central United Methodist Church in Concord, North Carolina, contacted us regarding a project for a possible new organ because of her previous experience playing our Opus 34, of three manuals and thirty-three ranks at St. Michael’s Episcopal Church, Litchfield, Connecticut (1992). Developed in tandem with then organist Thomas Brown, Opus 34 is a QPO multum in parvo instrument dating from before our work had shifted into the mature Quimby tonal style.  

In working together with Susan after her visit to a more recent project at St. John’s Episcopal Church in Roanoke, Virginia (Opus 66, 2010), we developed a proposal for an equally effective three-manual organ, slightly expanded, which would have the same versatility and nuance as Opus 34, but expressed according to a more Romantic approach: with heroically scaled chorus work and characteristic, harmonically developed individual voices that lock together into seamless, coherent ensembles.

The resulting instrument makes use of select existing pipework from the church’s former 1973 Casavant (Opus 3179), new pipework constructed by Quimby, and select vintage ranks from QPO inventory. New electro-pneumatic slider windchests were constructed for all straight manual ranks and electro-pneumatic unit ranks for all pedal and extended ranks. The winding system and interior structure of the organ are all new. In order to help make the project more cost-effective, we refurbished and rebuilt a three-manual console, constructed by another builder in 2000, for an organ that is now redundant. With new mahogany interior, console lid, and bench top, the refinished console is a splendid match for the church’s neo-Classical interior.

The use of existing Casavant pipework in combination with our own inventory was attractive to the church, not only because it was fiscally responsible, but because they understood it to be environmentally responsible when compared with new construction, and therefore, good stewardship in several senses. The transformation to the carefully selected principals, flutes, strings, and mutations is stunning; none of the reused ranks bears any resemblance to what existed before. The previous instrument was weak in the unison range, and top-heavy with piercing upperwork. Individual foundation voices were bland and blended poorly, with little support for choral accompaniment or even congregational song. The transformed ranks, having been recomposed, rescaled, and radically revoiced, now form colorful, expressive Diapason ensembles at a wide range of dynamic levels.  

Our approach to rescaling and revoicing old ranks of pipes that came from the church’s previous organ is conceptually similar to the practice of Aristide Cavaillé-Coll in nineteenth-century France. His organs at Notre Dame de Paris and Saint-Sulpice incorporate significant percentages of eighteenth-century Clicquot pipework, but those old ranks of pipes were successfully transformed to contribute to a new tonal aesthetic by Cavaillé-Coll.  

New and vintage reeds were provided, custom voiced in-house; these range from the throaty Cromorne in the Solo-Choir, to the lyrical Oboe and fiery Trumpet in the Swell, to the brilliant Harmonic Trumpet in the Solo-Choir, and finally, the dominating, spectacular Tuba in the Great. The Harmonic Trumpet, available at 16′, 8′, and 4′ on manuals and pedal, can serve in the Great as chorus reeds with the box closed, as a soft or loud 16′ reed in the Pedal, and with the box open as an exciting climax to full organ at all three pitches. The Tuba is intended strictly for solo use and is voiced on 12 inches wind pressure so that individual notes can be heard over full organ.

Also of note are the variety of 8′ and 4′ flutes, several of which are vintage, and which contrast and combine with each other effectively. The Swell strings are revoiced Casavant pipework and contrast a more broadly voiced Viola Pomposa and Celeste in the Solo-Choir.  Together with the Swell Spitzflute and Celeste, a wide range of undulants is provided, which can be combined in surprising ways.

The organ was completed in November 2017 and was dedicated by Bradley Hunter Welch on Sunday morning, April 15, 2018, with a recital following the same afternoon.

—T. Daniel Hancock, A.I.A., President

Quimby Pipe Organs, Inc.

 

Quimby Pipe Organs, Opus 73

GREAT (unenclosed)

16′ Contra Viola (Swell)

8′ Open Diapason, 49 pipes, 1–12 common with Pedal 8′ Octave

8′ Hohl Flute, 55 pipes, 1–6 common with Swell 8′ Gedeckt

8′ Gedeckt (Swell)

8′ Viola (Swell)

8′ Dulciana, 61 pipes

4′ Octave, 61 pipes

4′ Spitzflute (Swell), 1–12 Swell 8' Gedeckt; 13–61 2′ Flageolet

2′ Fifteenth, 61 pipes

11⁄3′ Mixture III, 183 pipes

16′ Contra Trumpet (Swell)

8′ Trumpet (Swell)

8′ Oboe (Swell)

Zimbelstern

SWELL (enclosed)

16′ Gedeckt, 97 pipes

8′ Gedeckt (ext)

8′ Viola, 85 pipes

8′ Voix Celeste, TC, 49 pipes

4′ Principal, 73 pipes

4′ Stopped Flute (ext)

4′ Viola (ext)

22⁄3′ Nazard, 49 pipes, 1–12 common with Swell 8′ Gedeckt

2′ Octave (ext)

2′ Flageolet, 61 pipes

13⁄5′ Tierce, TC, 37 pipes, top octave repeats

16′ Contra Oboe, TC, 61 pipes

8′ Trumpet, 85 pipes

8′ Oboe (ext)

4′ Clarion (ext)

Tremulant

PEDAL

32′ Resultant (fr 16′ Bourdon)

16′ Bourdon (Swell) 

16′ Contra Viola (ext Swell 8′ Viola) 

8′ Octave, 44 pipes, 1–17 in façade

8′ Gedeckt (Swell) 

8′ Viola (Swell)

4′ Super Octave (ext)

16′ Trombone (Swell)

8′ Trumpet (Swell) 

8′ Oboe (Swell)

4′ Clarion (Swell) 

4′ Oboe Clarion (Swell)

 

Two manuals, 18 ranks, 1,111 pipes

Builder’s website: 

https://quimbypipeorgans.com

Church website: http://allsaintsobx.org

 

Quimby Pipe Organs, Opus 74

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)

22⁄3′ 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)

22⁄3′ Gedeckt (ext Gt 8′ Gedeckt)

2′ Gedeckt (ext Gt 8′ Gedeckt)

13⁄5′ Viola (ext Gt 8′ Viola)

11⁄3′ 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)

51⁄3′ 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)

22⁄3′ Twelfth (68 pipes)

22⁄3′ Gemshorn (ext 8′ Gemshorn)

2′ Fifteenth (68 pipes)

2′ Gemshorn (ext 8′ Gemshorn)

13⁄5′ 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)

22⁄3′ 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)

51⁄3′ 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

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

Muller Pipe Organ Company, Croton, Ohio

Saint Paul the Apostle Parish, Westerville, Ohio

The highlight of Muller Pipe Organ Company’s ninety-fifth anniversary year was the completion of the new pipe organ for Saint Paul the Apostle Parish of Westerville, Ohio, the largest congregation in the Catholic Diocese of Columbus. Our relationship with the parish began as the new building was being designed, and we enjoyed working collaboratively to create a space that would be effective for both worship and music. The result is a handsome brick edifice seating approximately 1,500 parishioners in an acoustically reverberant and visually arresting space. 

John Bryan, music director at St. Paul, and Paul Thornock, then diocesan organ consultant, worked with us as tonal ideas were developed. These conversations produced an eclectic instrument that supports the diverse liturgies of the parish, boldly leads major diocesan events, and accommodates a wide variety of organ repertoire.

Saint Paul boasts an active choral program to match the size of the parish and space. To ensure ample room for these singers, we placed the Positive on the railing, where it is reminiscent of a Rückpositv both in location and sound. The other divisions are in the large main case at the back of the spacious gallery.

Our tonal philosophy dictates a broad, warm sound for the Great division; this was readily accomplished at Saint Paul by a location in the main case. This division’s broadly scaled and boldly voiced principal chorus is the cornerstone of the entire instrument. The smaller-scaled Violone was designed primarily as a 16′ stop, but plays at 8′ pitch and functions as the secondary principal, being both brighter and more articulate. The Tromba is the darkest of the manual trumpets and employs English shallots and harmonic resonators beginning in the middle octave. Because the division is expressive, the Great includes ranks that would be expected in a Choir division: a throaty Clarinet and a pair of tapered Gemshorns.

The Swell is the workhorse of the organ and balances the Great division. A secondary principal chorus with a low-pitched mixture, an independent flute chorus, and broadly scaled Viole strings provide a solid platform for choral accompaniment. The Trompette and Clairon create a fiery French effect. The Hautbois, with its open shallots, also has a bright French quality or nasality. 

The Positive contains the most articulate and colorful stops of the organ. Its location on the gallery rail allowed us to contrast its voice with the Great by means of smaller scaling, lower wind pressure, and gentler voicing. The somewhat unconventional Quintadena provides a lovely solo voice and offers an alternative to the eloquent Gedeckt. The Positive Trompet is a median between the Great and Swell trumpets. These shallots were designed for effective tone on light wind pressure, providing plenty of power with ample fundamental tone.   

The pipes of the Pedal division are divided into C and C-sharp sections on either side of the main case. It boasts a powerful Trombone as well as a reclaimed 16′ Open Wood Diapason. Like each manual division, the Pedal has a complete and independent principal chorus, culminating with a four-rank mixture. To provide flexibility, the Pedal division includes judicious borrowing from the manual divisions.  

The visually and aurally commanding Pontifical Trumpet is mounted horizontally on the main case and is constructed of brass with flared resonators. This stop is powerful enough to speak over fuller combinations, yet does so with a refined, even tone.  

The cases were conceived to visually harmonize with the Romanesque features of the building. From the choir seating in the balcony, the outline of the Positive pipework mirrors the architecture of the ceiling and mural while drawing one’s focus directly to the liturgy at the front of the church. The casework and the console were fabricated by craftsmen at the Muller shop. The cases of quarter-sawn red oak were handcrafted using traditional joinery, as was the raised panel console. The console is movable and features interior accents of solid walnut with inlays of ebony and maple. 

We are especially grateful for the support of A. R. Schopp’s Sons, Inc., David R. Beck, Paul Thornock, and countless others in the industry for their counsel and wisdom. However, the instrument would not exist without the heroic efforts of John Bryan, the Reverend Charles Klinger, pastor, and the parishioners of Saint Paul the Apostle. We thank them all for honoring us with the opportunity to build this lasting testimony to their faithfulness.

—Luke Tegtmeier, Tonal Associate

Muller Pipe Organ Company

 

GREAT - Main case, enclosed

16′ Violone 73 

8′ Principal 61

8′ Violone (ext 16′)

8′ Rohrflöte 61

8′ Gemshorn 61

8′ Gemshorn Celeste (TC) 49

4′ Octave 61

4′ Koppelflöte 61

2′ Super Octave 61

11⁄3′ Fourniture IV 244

16′ Bass Clarinet (ext 8 ′)

8′ Trompet (Pos)

8′ Tromba 61

8′ Clarinet 73

8′ Pontifical Trumpet 61

Tremolo

SWELL – Main case, enclosed

16′ Bourdon 73

8′ Principal 61

8′ Bourdon (ext 16′)

8′ Viole 61

8′ Viole Celéste  61

4′ Octave 61

4′ Harmonic Flute 61

22⁄3′ Nazard 61

2′ Blockflöte 61

13⁄5′ Tierce 61

2′ Plein Jeu IV 244

16′ Basson-Hautbois 73

8′ Trompette 61

8′ Hautbois (ext 16′)

4′ Clairon 61

Tremolo 

8′ Pontifical Trumpet (Gt)

POSITIVE – Railing, unenclosed

8′ Principal 61

8′ Holz Gedeckt 61

8′ Quintadena 61

4′ Octave 61

4′ Waldflöte 61

22⁄3′ Quint 61

2′ Super Octave 61

2′ Flautina 61

13⁄5′ Tierce 61

11⁄3′ Larigot 61

1′ Mixture III 183

8′ Trompet 61

Tremolo

8′ Clarinet (Gt)

8′ Tromba (Gt)

8′ Pontifical Trumpet (Gt)

PEDAL – Main case, unenclosed

32′ Diapason (resultant, 16′ Open)

32′ Bourdon (resultant, 16′ Subbass)  

16′ Open Wood Diapason 32

16′ Violone (Gt)

16′ Subbass 56

16′ Bourdon (Sw)

8′ Octave 32

8′ Subbass (ext 16′)

8′ Bourdon (Sw)

4′ Choral Bass 32

4′ Subbass (ext 16′)

22⁄3′ Mixture IV 128

32′ Trombone 56

16′ Trombone (ext 32′)

16′ Basson-Hautbois (Sw)

16′ Bass Clarinet (Gt)

8′ Trombone (ext 32′)

8′ Hautbois (Sw)

4′ Clarinet (Gt)

8′ Pontifical Trumpet (Gt)

 

Wind pressures

Great – 51⁄2″

Swell and Pedal – 5″

Swell reeds – 41⁄2″

Positive – 3″

Pontifical Trumpet – 6″

32′ Trombone (1–24) – 8″

 

Full complement of couplers

Electro-pneumatic pitman chest action

Peterson ICS 4000

 

Three manuals, 54 ranks, 3,117 pipes

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