Organ Projects: Fabry, Inc., Elgin, Illinois

Stephen Schnurr

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

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

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

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

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

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

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

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

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

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

1900 A. B. Felgemaker & Son Opus 723

GREAT (Manual I)

16′ Double Open Diapason 61 pipes (metal)

8′ Open Diapason (metal) 61 pipes

8′ Doppel Floete (wood) 61 pipes

8′ Viola da Gamba (metal) 61 pipes

8′ Dulciana (metal) 61 pipes

4′ Octave (metal) 61 pipes

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

3′ Octave Quinte (metal) 61 pipes

2′ Super Octave (metal) 61 pipes

III Mixture (metal) 183 pipes

8′ Trumpet (metal) 61 pipes

SWELL (Manual II, enclosed)

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

8′ Open Diapason 61 pipes (wood & metal)

8′ Stopped Diapason (wood) 61 pipes

8′ Salicional (metal) 61 pipes

8′ Aeolina (metal) 61 pipes

4′ Gemshorn (metal) 61 pipes

4′ Flute Harmonique 61 pipes (metal)

2′ Flageolet (metal) 61 pipes

III Dolce Cornet (metal) 183 pipes

8′ Oboe & Bassoon (metal) 61 pipes

PEDAL

16′ Double Open Diapason 30 pipes (wood)

16′ Bourdon (wood) 30 pipes

8′ Violoncello (metal) 30 pipes

8′ Floete (wood) 30 pipes

Couplers

Great to Pedal

Swell to Pedal

Swell to Great in Sub-Octave

Swell to Great

Swell to Great in Super Octave

Accessories

Forte Combination Great and Pedal Stops

Piano Combination Great and Pedal Stops

Forte Combination Swell and Pedal Stops

Piano Combination Swell and Pedal Stops

Tremolo

Great to Pedal Reversible

Balanced Swell Pedal

Balanced Crescendo Pedal

Bellows Signal

Wind Indicator

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

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

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

GREAT (Manual II, enclosed?)

8′ First Open Diapason

8′ Second Open Diapason

8′ Gross Flute

8′ Doppel Flute

8′ Gamba

4′ Octave

4′ Harmonic Flute

2′ Octave

8′ Tuba

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Echo to Great 8

SWELL (Manual III, enclosed)

16′ Lieblich Gedeckt

8′ Open Diapason

8′ Stopped Flute (ext 16′ Lieb Ged)

8′ Salicional

8′ Voix Celeste

8′ Muted Viole

4′ Violina

4′ Flute

16′ Fagotto

8′ Cornopean

8′ Fagotto (ext 16′ Fagotto)

8′ Vox Humana

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Swell 8

CHOIR (Manual I, enclosed)

16′ Quintadena

8′ Violin Diapason

8′ Melodia

8′ Quintadena (ext 16′ Quintadena)

8′ Dulciana

4′ Flute d’Amore

2′ Piccolo

8′ Clarinet

Tremolo

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Echo to Choir 8

ECHO (Manual IV, enclosed)

16′ Bourdon

8′ Open Diapason

8′ Bourdon (ext 16′ Bourdon)

8′ String

8′ Celeste (TC)

4′ Flute

2′ Zart Flute (ext 4′ Flute)

8′ Vox Humana

Tremolo

Chimes

PEDAL

32′ Resultant

16′ Open Diapason (wood)

16′ Open Diapason (metal)

16′ Bourdon

16′ Lieblich Gedeckt (Sw 16′ Lieb Ged)

8′ Gamba (Gt 8′ Gamba)

8′ Bass Flute (ext 16′ Bourdon)

8′ Dolce Flute (Sw 16′ Lieb Ged)

16′ Trombone

16′ Fagotto (Sw 16′ Fagotto)

8′ Fagotto (Sw 16′ Fagotto)

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Echo to Pedal 8

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

MANUAL

8′ Principal

8′ Gamba

8′ Melodia

4′ Flute

2′ Open

PEDAL

16′ Subbass

Manual to Pedal Coupler

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

1996 Daniel Bogue and Associates organ

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

8′ Principal

8′ Flute (stopped)

4′ Octave (5 basses in façade)

4′ Flute (harmonic from middle C)

2′ Principal (ext 4′ Octave)

IV Fourniture (1′)

8′ Trompette (harmonic from B3)

4′ Clarion (ext 8′ Trompette)

2 blank tabs

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Echo to Great 8

SWELL (Manual III, enclosed, north side)

16′ Bourdon (wood)

8′ Principal

8′ Bourdon (ext 16′ Bourdon)

8′ Gamba

8′ Gamba Celeste (TC)

4′ Principal (ext 8′ Principal)

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

2-2⁄3′ Nazard

2′ Principal

1-3⁄5′ Tierce

IV Plein Jeu

16′ Fagotto (1–12 half-length)

8′ Trumpet

8′ Fagotto (ext 16′ Fagotto)

4′ Clarion (ext 8′ Trumpet)

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Swell 8

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

16′ Gemshorn (12 Quintaton basses)

8′ Violin Diapason

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

8′ Gemshorn (ext 16′ Gemshorn)

8′ Gemshorn Celeste (TC)

4′ Principal (ext 8′ Violin Diapason)

4′ Gedeckt (wood)

2′ Flute (harmonic from tenor C)

1-1⁄3′ Larigot (ext 4′ Gedeckt)

III Cymbel

8′ Cromorne

Tremolo

1 blank tab

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Echo to Choir 8

ECHO (Enclosed, floating)

8′ Bourdon

8′ String

8′ Celeste (TC)

4′ Flute (ext 8′ Bourdon)

2′ Flute (ext 8′ Bourdon)

8′ Vox Humana

1 blank tablet

Tremolo

Chimes

PEDAL

32′ Resultant (fr 16′ Bourdon)

16′ Double Open Diapason (wood, north side)

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

16′ Bourdon (north side)

16′ Lieblich Gedeckt (Sw 16′ Bourdon)

8′ Octave (ext 16′ Contra Bass)

8′ Bass Flute (ext 16′ Bourdon)

8′ Gedeckt (Sw 16′ Bourdon)

4′ Choral Bass (ext 16′ Contra Bass)

4′ Flute (Sw 16′ Bourdon)

2′ Octavin (ext 16′ Contra Bass)

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

16′ Contra Fagotto (Sw 16′ Fagotto)

8′ Trumpet (Gt 8′ Trompette)

4′ Clarion (Gt 8′ Trompette)

Great to Pedal 8

Swell to Pedal 8

Choir to Pedal 8

Echo to Pedal 8

ECHO PEDAL (enclosed with Echo)

16′ Bourdon (ext Echo 8′ Bourdon)

8′ Bourdon (fr Echo 8′ Bourdon)

Accessories

10 General Pistons (thumb)

6 Great Pistons and Cancel (thumb)

6 Swell Pistons and Cancel (thumb)

6 Choir Pistons and Cancel (thumb)

6 Echo Pistons and Cancel (thumb)

6 Pedal Pistons and Cancel (thumb)

General Cancel (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Balanced Swell expression shoe

Balanced Great/Choir expression shoe

Balanced Crescendo shoe (with indicator light)

Combination Lock (key)

Sforzando Reversible (thumb and toe, with indicator light)

Wind Indicator

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

2005 Oberlinger organ

MANUAL

8′ Traversflöte (tenor B, wood)

8′ Copula (stopped wood)

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

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

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

1–2f Cymbel (1⁄2′)

Accessory

H–C (transposer)

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

1991 Alfred Wild organ

MANUAL I

8′ Gedackt (wood)

4′ Chimney Flute

2′ Principal

MANUAL II

8′ Gedackt (fr Manual I 8′ Gedackt)

8′ Regal

Couplers

Manual I to Pedal

Manual II to Pedal

Manual II to Manual I

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

Specification of the Allyn Hoverland organ

MANUAL I

8′ Principal (B)

8′ Stopped Flute (A, 1–49; E, 50–61)

8′ Chimney Flute (A, 1–12; C, 13–61)

4′ Principal (B)

4′ Block Flute (A, 1–12; E, 13–61)

2-2⁄3′ Quinte (D)

2′ Block Flute (E)

III Mixture (D, F)

II Mixture (F)

MANUAL II

8′ Block Flute (A, 1–24; E, 25–61)

8′ Chimney Flute (A, 1–12; C, 13–61)

4′ Chimney Flute (C)

2′ Principal (B, 1–49; E, 50–61)

1-1⁄3′ Quinte (D)

PEDAL

16′ Bourdon (A, 1–24; C, 25–32)

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

8′ Principal (B)

8′ Chimney Flute (A, 1–12; C, 13–32)

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

4′ Principal (B)

4′ Chimney Flute (C)

2-2⁄3′ Quinte (D)

2′ Block Flute (E)

Mixture III [sic] (F)

Accessories

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

5 Manual I pistons (thumb and toe)

5 Manual II pistons (thumb)

General Cancel (thumb)

Analysis

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

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

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

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

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

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

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

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

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

1927 Wurlitzer Opus 1818

Analysis

8′ Tibia Clausa 85 pipes

16′ Bourdon/Concert Flute 97 pipes

16′ Diaphone/Diaphonic Diapason 85 pipes

8′ Trumpet 61 pipes

8′ Violin 73 pipes

8′ Violin Celeste 73 pipes

8′ Vox Humana 61 pipes

ACCOMPANIMENT (Manual I)

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Violin (Violin and Celeste)

8′ Concert Flute

8′ Vox Humana

4′ Octave

4′ Piccolo (Tibia Clausa)

4′ Viol (Violin and Celeste)

4′ Flute

4′ Vox Humana

2-2⁄3′ Twelfth (Bourdon)

2′ Piccolo (Bourdon)

Accompaniment Octave

Chrysoglott (G1–G5)

Snare Drum (reiterates)

Tambourine (reiterates)

Castanets (reiterates)

Chinese Block

Tom Tom

Jazz Cymbal

Triangle

Sleigh Bells

Accompaniment Second Touch

8′ Trumpet

8′ Open Diapason

8′ Tibia Clausa

4′ Piccolo (Tibia)

Chrysoglott

Glockenspiel

Cathedral Chimes

Accomp Traps

SOLO (Manual II)

16′ Trumpet (TC)

16′ Diaphone

16′ Tibia Clausa (TC)

16′ Violone (TC, two ranks)

16′ Bourdon

16′ Vox Humana (TC)

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Violin (Violin and Celeste)

8′ Concert Flute

8′ Vox Humana

5-1⁄3′ Fifth (Tibia Clausa)

4′ Octave

4′ Piccolo (Tibia Clausa)

4′ Viol (Violin and Celeste)

4′ Flute

2-2⁄3′ Twelfth (Tibia Clausa)

2′ Piccolo (Tibia Clausa)

2′ Fifteenth (Violin)

2′ Piccolo (Bourdon)

1-3⁄5′ Tierce (Tibia Clausa)

1′ Fife (Bourdon)

Solo Sub Octave

Solo Octave

Xylophone (C2–C5)

Glockenspiel (G2–C5)

Chrysoglott (G1–G5)

Sleigh Bells (C2–C4, tuned, reiterates)

Chimes (G2–C4) 18 tubes

PEDAL

16′ Diaphone

16′ Bourdon

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Cello

8′ Flute

Accomp to Pedal

Bass Drum

Kettle Drum (reiterates)

Tap Cymbal

Crash Cymbal

Tremulants

Tibia Clausa Trem

Solo Tremulant

Main Tremulant

Vox Humana Trem

Accessories

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

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

Celestes Off

Accomp Perc/Pedal

Bell (right Accompaniment keycheeck)

Balanced Main expression shoe

Balanced Solo expression shoe

Balanced Crescendo shoe

Range

Set

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

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

1957 Casavant Opus 2403

GRAND ORGUE (Manual I)

16′ Bourdon 85 pipes

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

8′ Bourdon (ext 16′ Bourdon)

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

4′ Violina (ext 8′ Principal)

4′ Dulcet (ext 8′ Dulciane)

4′ Flute d’Amour (ext 16′ Bourdon)

2-2⁄3′ Nazard (ext 8′ Dulciane)

2′ Doublette (ext 8′ Dulciane)

Recit au Grand Orgue

RECIT (Manual II)

8′ Principal (G.O. 8′ Principal)

8′ Bourdon (G.O. 16′ Bourdon)

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

8′ Dulciane (G.O. 8′ Dulciane)

4′ Violina (G.O. 8′ Principal)

4′ Flute (G.O. 16′ Bourdon)

4′ Dulcet (G.O. 8′ Dulciane)

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

Tremolo

PEDALE

16′ Bourdon (G.O. 16′ Bourdon)

8′ Bourdon (G.O. 16′ Bourdon)

4′ Principal (G.O. 8′ Principal)

4′ Flute (G.O. 16′ Bourdon)

4′ Dulcet (G.O. 8′ Dulciane)

Gr. Orgue a la Pedale

Recit a la Pedale

Accessories

3 Grand Orgue and Pedale pistons (thumb)

3 Recit pistons (thumb)

Balanced expression shoe

Balanced Crescendo shoe (with rotating indicator dial)

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

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

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

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

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

1926 Casavant FrПres, Limitée, Opus 1130

GREAT (Manual II, 4-inch wind pressure)

16′ Double Open (metal) 73 pipes

8′ I Open Diapason (metal) 73 pipes

8′ II Open Diapason (metal) 73 pipes

8′ Doppelflöte 73 pipes (wood and metal)

8′ Gemshorn (metal) 73 pipes

4′ Octave (metal) 73 pipes

4′ Harmonic Flute (metal) 73 pipes

Mixture IV (metal) 244 pipes

8′ Trumpet (metal) 73 pipes

Chimes (from Echo)

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

16′ Bourdon (wood) 73 pipes

8′ Open Diapason (metal)* 73 pipes

8′ Violin Diapason (metal) 73 pipes

8′ Stopped Diapason 73 pipes (wood and metal)

8′ Salicional (metal) 73 pipes

8′ Viola di Gamba (metal) 73 pipes

8′ Aeoline (metal) 73 pipes

8′ II Voix Celeste (metal) 134 pipes

4′ Violina (metal) 73 pipes

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

2′ Piccolo (metal) 61 pipes

Dolce Cornet III (metal) 183 pipes

16′ Double Trumpet (metal)* 73 pipes

8′ Cornopean (metal)* 73 pipes

8′ Oboe (metal) 73 pipes

8′ Vox Humana (metal) 73 pipes

4′ Clarion (metal)* 73 pipes

Tremulant

Chimes (from Echo)

* 7-inch wind pressure

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

16′ Gamba (metal) 73 pipes

8′ Open Diapason (metal) 73 pipes

8′ Concert Flute 73 pipes (wood and metal)

8′ Dulciana (metal) 73 pipes

8′ Unda Maris (metal) 73 pipes

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

2-2⁄3′ Nazard (metal) 73 pipes

2′ Flageolet (metal) 61 pipes

8′ Clarinet (metal) 73 pipes

8′ Cor Anglais (metal) 73 pipes

Tremulant

Celesta 61 bars

Celesta Sub (from Celesta)

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

8′ Stentorphone (metal) 73 pipes

8′ Gross Flute 73 pipes (wood and metal)

8′ Viole d’Orchestre (metal) 73 pipes

8′ Viole Celeste (metal) 73 pipes

8′ Tuba (metal) 73 pipes

Tremulant

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

8′ Echo Diapason (metal) 73 pipes

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

4′ Fern Flöte (metal) 73 pipes

8′ Musette (metal) 73 pipes

Tremulant

Chimes (from tenor G) 25 tubes

PEDAL

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

16′ Open Diapason (wood) 44 pipes

16′ Bourdon (wood) 44 pipes

16′ Contra Gamba (Ch 16′ Con Gamba)

16′ Lieblich Gedeckt (Sw 16′ Bourdon)

8′ Flute (ext 16′ Open Diapason)

8′ Stopped Flute (ext 16′ Bourdon)

8′ Cello (metal) 32 pipes

16′ Trombone (metal) 32 pipes

Chimes (from Echo)

Couplers

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Solo to Pedal 8

Solo to Pedal 4

Echo to Pedal 8

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Solo to Great 16

Solo to Great 8

Solo to Great 4

Echo to Great 16

Echo to Great 8

Echo to Great 4

Echo On/Great Off

Choir to Choir 16

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 16

Solo to Choir 8

Solo to Choir 4

Swell to Swell 16

Swell to Swell 4

Solo to Swell 8

Solo to Solo 16

Solo to Solo 4

Great to Solo 8

Swell to Solo 8

Echo to Solo 16

Echo to Solo 8

Echo to Solo 4

Echo On/Solo Off

All Swells to Swell Pedal

Accessories

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

5 Great pistons (thumb)

7 Swell pistons (thumb)

5 Choir pistons (thumb)

3 Solo pistons (thumb)

3 Echo pistons (thumb)

5 Pedal pistons (thumb)

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

300 memory levels

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

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (toe)

Choir to Pedal reversible (thumb)

Solo to Pedal reversible (thumb)

Echo to Pedal reversible (thumb)

Swell to Great reversible (thumb)

Choir to Great reversible (thumb)

Solo to Great reversible (thumb)

Swell to Choir reversible (thumb)

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

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

General Cancellor (thumb)

Combination Adjustor (thumb)

Balanced Swell Expression Shoe

Balanced Choir Expression Shoe

Balanced Solo and Echo Expression Shoe

Balanced Crescendo Shoe (with indicator dial)

Full Organ Reversible (toe, with indicator)

Generator Indicator

Wind Indicator

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

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

§

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

Sources

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

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

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

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

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

For further information: cantius.org/sacredmusic

Marceau Pipe Organ Builders, Seattle, Washington

Kent Lutheran Church, Kent, Washington

The gallery organ, completed in December 2022, represents the first substantive milestone toward the completion of the “Kent Grand Organ” project. This instrument comprises twenty-one ranks, 1,290 pipes, and one tuned percussion (Wurlitzer Chysoglott). The symphonic tonal inclination, a rarity in the Pacific Northwest, is an extension of the tonal fabric of the main organ still in progress that will sit in the front of the church. The gallery organ possesses a full principal chorus including independent mixture, a secondary Spitz Principal beginning at 16′, independent mutations, stopped and harmonic flutes, Trompette en chamade, Fagotto, and eight varied ranks of strings and celestes, from hushed tapered Muted Violes to the assertive Oboe Gamba and Celeste. The entire organ is enclosed except for the 16′ Spitz Principal extension, the first octave of the 8′ Principal, and the Festival Trumpet.

The mechanical framework honors the legacy of the eminent Seattle-area firm, Balcom & Vaughan, with the reuse of rebuilt windchests and pipework from many nineteenth- and twentieth-century organ builders in the many colorful sounds available. New windchests were constructed for offset bass notes under expression and added exposed pipework of the 8′ Spitz Principal and Festival Trumpet. A console originally constructed by G. Harold Kieffer for a practice instrument at the University of Washington was completely rebuilt and reconfigured from a tilting tab design to drawknob control and retains the original ivory keyboards. The gallery organ will be a floating division represented as selected stops at the three-manual and pedal master console to be installed in the chancel in 2024.

Marceau Pipe Organ Builders

Sean Haley

René Marceau 

Randy Pettigrew

Derek Tilton

Jim van Horn

GREAT (Manual I, enclosed)

16′ Spitz Principal (ext 8′) 12 pipes

8′ Principal 61 pipes

8′ Spitz Principal 61 pipes

8′ Harmonic Flute (Sw)

8′ Oboe Gamba 61 pipes

8′ Gamba Celeste 61 pipes

8′ Muted Violes (Sw)

4′ Octave 61 pipes

4′ Flute d’Amour 12 pipes (ext Sw 8′ Cor de Nuit)

2-2⁄3′ Nasat (Sw)

2′ Fifteenth (ext 4′) 12 pipes

1-1⁄3′ Mixture III–IV 232 pipes

8′ Fagotto (Sw)

Swell to Great 16

Swell to Great 8

SWELL (Manual II, enclosed)

16′ Bourdon (ext 8′ Cor) 12 pipes

8′ Harmonic Flute 49 pipes (1–12 fr 8′ Cor/8′ Muted Viole)

8′ Cor de Nuit 61 pipes

8′ Flute Celeste (GG) 54 pipes

8′ Gamba 61 pipes

8′ Voix Celeste 1 (#) (TC) 49 pipes

8′ Voix Celeste 2 (##) (GG) 54 pipes

8′ Muted Viole 61 pipes

8′ Muted Celeste  61 pipes

4′ Harmonic Flute (ext 8′) 12 pipes

4′ Muted Viole (ext 8′) 12 pipes

2-2⁄3′ Nasard 61 pipes

2′ Flautino (ext 8′ Harm Fl) 12 pipes

1-3⁄5′ Tierce 61 pipes

8′ Fagotto 61 pipes

8′ Festival Trumpet 61 pipes

PEDAL

32′ Resultant

16′ Spitz Principal (Gt)

16′ Bourdon (Sw)

8′ Principal (Gt)

8′ Spitz Principal (Gt)

8′ Cor de Nuit (Sw)

8′ Gamba (Sw)

4′ Octave (Gt 8′ Principal)

4′ Flute (Sw 8′ Cor de Nuit)

16′ Contra Fagotto (ext Sw) 12 pipes

8′ Fagotto (Sw)

 —21 ranks, 1,327 pipes

Marceau Pipe Organ Builders, Seattle, Washington

Saint Mary Magdalene Catholic Church, Everett, Washington

Marceau Pipe Organs has completed phase one of a new pipe organ for this Catholic parish. The church’s original instrument, built by Balcom & Vaughan of Seattle, had only six stops. During a major renovation of the nave, it was decided to invest in an instrument that would better serve the musical and liturgical needs for the many and varied services. Marceau Pipe Organ Builders was contracted to build this instrument.

In a time when the availability of good quality pipe organs is high, this presented an opportunity to explore those options. One such option came from Wenatchee, Washington, where a pipe organ from the First Presbyterian Church was available. The organ, originally built by M. P. Möller and augmented and enlarged by Balcom & Vaughan, was a good fit. The organ was transported to Everett where it became the basis for this project.

After a thorough examination of all the components, it was decided to utilize all the exposed Great pipes along with selected stops from the Swell. A recent addition to the Marceau inventory was a modest Balcom & Vaughan pipe organ, originally built for First Church of Christ, Scientist, on Mercer Island, Washington. The Swell division from that organ became the new Swell for Saint Mary Magdalene. Thus, the Swell utilizes windchests and much of the pipework from the B&V organ of Mercer Island, with three stops from the Möller. Given the physical layout of the organ, an enclosed Great was a natural choice, with the principal chorus of the Great in the center of the instrument.

The casework, consisting of two massive chambers, was milled and fabricated by Frans Bosman. Prior to the in-shop assembly, Bosman retired and returned to his homeland of the Netherlands. A recent addition to the Marceau staff was Randy Pettigrew, an experienced and multi-talented woodworker who oversaw the in-shop assembly and was present for the onsite installation. This was the first major casework project to come out of the shop in over twenty years. 

The Pedal 16′ Subbass was chosen for the façade. The lowest twelve pipes are made of Philippine mahogany and the rest of the rank is of sugar pine. These two wood varieties provide a contrast to the red oak casework.

Tonally, the organ is designed to provide the musical resources for accompanying the church’s choir as well as supporting congregational singing. In the Swell, a complete flute chorus is provided that includes mutation stops at 22⁄3′ and 13⁄5′ pitches. The strings are reused from the Möller instrument and provide a sheen and shimmer befitting their orchestral flavor. The 8′ Hautbois is both assertive as a solo stop and demure enough to blend when a reed tone is needed. The 4′ Principal provides a much needed tuning stop and brings a cohesive blend to the Swell chorus.  

The unenclosed Great of four stops comprises the 8′ Principal, 4′ Octave, 2′ Super Octave, and 11⁄3′ Mixture IV. This is the workhorse for congregational singing, providing a colorful and present sound throughout the entire nave. The façade for this division includes the low twelve pipes in flamed copper with the center section in polished tin. The flamed copper pipes were originally built by the Reuter Organ Company and were available during the early stages of this project. They provide a colorful focus to the center section of the organ case. The enclosed Great is prepared for future addition. It consists of two flutes (8′ Rohrflute and 4′ Spillflute), two strings (16′/8′ Dulciana and 8′ Dulciana Celeste), one principal (4′ Geigen), and one reed (16′/8′ Trumpet). The result is a tonal design that can provide two expressive divisions with color and contrast in the overall design.

Marceau Pipe Organ Builders

René Marceau 

Sean Haley

Jim van Horn

Frans Bosman

Randy Pettigrew

GREAT (Manual I, partially enclosed)

16′ Dulciana (ext 8′)*⁴ 12 pipes

8′ Principal (15 in façade)⁴ 61 pipes

8′ Rohrflute*³ 61 pipes

8′ Dulciana*⁴ 61 pipes

8′ Dulciana Celeste (TC)*⁴ 49 pipes

4′ Octave³ 61 pipes

4′ Geigen*⁴ 61 pipes

4′ Spillflute*³ 61 pipes

2′ Super Octave³ 61 pipes

1-1⁄3′ Mixture III–IV³ 232 pipes

8′ Trumpet*⁴ 61 pipes

16′ Swell to Great

8′ Swell to Great

* enclosed

SWELL (Manual II, enclosed)

16′ Gedecktbass (ext 8′)¹ 12 pipes

8′ Holzgedeckt¹ 61 pipes

8′ Gambe¹ 61 pipes

8′ Gambe Celeste (GG)¹ 54 pipes

4′ Principal² 61 pipes

4′ Koppelflute² 61 pipes

4′ Gambe (ext 8′)¹ 12 pipes

4′ Gambe Celeste (ext 8′)¹ 7 pipes

2-2⁄3′ Nasat² 61 pipes

2′ Octave (ext 4′)² 12 pipes

2′ Blockflute² 61 pipes

1-3⁄5′ Tierce² 61 pipes

1-1⁄3′ Quintflute (ext 2-2⁄3′)² 12 pipes

8′ Hautbois¹ 61 pipes

8′ Trumpet (Gt)⁴

Tremulant

16′ Swell to Swell

PEDAL

32′ Resultant (fr 16′ Subbass)

16′ Subbass² 32 pipes

16′ Gedecktbass (Sw 16′)¹

16′ Dulciana (Gt 16′)⁴

8′ Principal (Gt 8′)⁴

8′ Rohrflute (Gt 8′)³

8′ Dulciana (Gt 8′)⁴

4′ Principal (Gt 8′)⁴

4′ Spillflute (Gt 4′)³

16′ Posaune (ext Gt 8′)⁴ 12 pipes

8′ Trumpet (Gt 8′)⁴

4′ Clarion (Gt 8′)⁴

8′ Great to Pedal

8′ Swell to Pedal

20 stops, 24 ranks, 1,403 pipes

¹ – 1952 M. P. Möller Opus 8315

² – 1977 Balcom & Vaughan Opus 827

³ – 1984 Balcom & Vaughan Opus 861

⁴ – 2022 Marceau Opus 41

Fabry Inc. Pipe Organ Builders,

Antioch, Illinois

Gregory Gyllsdorff residence,

Rockford, Illinois

The 2½ rank all-exposed instrument was built in 1970 by M. P. Möller of Hagerstown, Maryland, as their Opus 10708 and installed at the DeKoven Episcopal Foundation of Racine, Wisconsin. When the Episcopal Foundation closed its doors, the instrument was sold. During the next several years Fabry, Inc., added a swell box and five additional ranks, bringing this instrument to a total of 7½ ranks, a set of chimes, and a Zimbelstern handbell unit. Fabry, Inc., also converted the DC relay system to a Peterson diode matrix system and added a Peterson Single Board Duo-Set combination action.

In 2017, Fabry, Inc., re-engineered the instrument to fit into Gregory Gyllsdorff’s music room, and to save space, installed the blower, wind supply reservoir, and the chamber’s solid state relay on the front wall of the garage. This isolated the equipment and allowed for an air intake from the home for tempered air.

On August 28, 2017, Gyllsdorff entertained the Rockford Chapter of the American Guild of Organists at his home where a blessing was given for the home and the pipe organ.

GREAT

8′ Principal (unenclosed, 61 pipes)

8′ Rohrflute (enclosed, 97 pipes)

4′ Principal (enclosed, 73 pipes)

4′ Rohrflute (ext 8′)

22⁄3′ Twelfth (ext, 4′ Principal)

2′ Rohrflute (ext 8′)

8′ Schalmei (enclosed, 61 pipes)

4′ Schalmei (fr 8′, top octave repeats)

Chimes (21 tubes)

Zimbelstern (5 handbell unit)

Swell to Great

Pedal to Great

MIDI to Great

SWELL

8′ Principal (Gt)

8′ Rohrflute (Gt)

8′ Erzahler (unenclosed, 61 pipes)

8′ Erzahler Celeste (unenclosed, TC,

    49 pipes)

4′ Principal (Gt 4′)

4′ Rohrflute (Gt)

22⁄3′ Nazard

2′ Principal (ext Gt 4′)

11⁄3′ Larigot (enclosed, TG, 42 pipes)

8′ Schalmei (Gt)

4′ Schalmei (Gt)

Tremolo (entire organ)

MIDI to Swell

PEDAL

32′ Resultant (Gt 8′ Rohrflute)

16′ Bourdon (ext Gt 8’ Rohrflute)

8′ Principal (Gt)

8′ Rohrflute (Gt)

4′ Choral Bass (Gt 8′ Principal)

32′ Contra Fagotto (wired fr 16′)

16′ Fagotto (32 pipes)

8′ Schalmei (Gt)

4′ Schalmei (Gt)

Great to Pedal 8

Swell to Pedal 8

MIDI to Pedal

Accessories

12 General pistons (thumb and toe)

General Cancel (thumb)

Set (thumb)

Swell to Pedal reversible (thumb and toe)

Great to Pedal reversible (thumb and toe)

Swell to Great reversible (thumb)

Pedal to Great reversible (thumb)

32′ Resultant reversible (toe)

32′ Fagotto reversible (toe)

Zimbelstern reversible (thumb and toe)

Tutti reversible (thumb and toe)

Balanced Swell shoe

Balanced Crescendo shoe

Indicator Lights: Power, Crescendo, Tutti

Chime Volume Control

Russell Meyer & Associates, Lawrenceville, Georgia, Opus 14

First Presbyterian Church, Clarkesville, Georgia

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

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

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

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

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

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

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

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

—Russell Meyer, president

Builder’s website: rmeyerpipeorgans.com

Church website: fpccga.org

GREAT (Manual I, unenclosed)

16′ Dolce Bass (ext, common bass)

8′ Open Diapason 61 pipes   

8′ Gedeckt (wood) * 61 pipes   

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

4′ Octave 61 pipes

4′ Gedeckt Flute (ext 8′) * 12 pipes

2′ Super Octave  (ext 4′) 12 pipes   

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

8′ Trumpet (Sw)

4′ Clarion (Sw)

Chimes 21 tubes   

Zimbelstern * 7 bells

Swell to Great 16

Swell to Great

Swell to Great 4

SWELL (Manual II, enclosed)

8′ Violin Diapason (ext, common bass)

8′ Rohr Bourdon 61 pipes

8′ Viole * 61 pipes

8′ Viole Celeste (TC) * 49 pipes

4′ Principal 61 pipes

4′ Rohr Flute (ext 8′) 12 pipes

2-2⁄3′ Nazard (ext 8′ Rohr Flute)

2′ Block Flute (ext 8′) 12 pipes

1-3⁄5′ Tierce (TC) 37 pipes

1-1⁄3′ Larigot (ext 8′ Rohr Flute)

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

8′ Trumpet * 61 pipes

4′ Clarion (ext 8′) * 12 pipes

Tremulant

Swell to Swell 16

Swell to Swell 4

PEDAL (unenclosed)

32′ Harmonic Bass (1–12 resultant)

16′ Subbass (wood, ext Sw) 12 pipes

16′ Lieblich Gedeckt (ext Gt, soft wind)

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

8′ Gedeckt Bass (Gt)

4′ Choral Bass (Gt 4′ Octave)

4′ Gedeckt Flute (Gt 8′)

16′ Double Trumpet (Sw)

8′ Trumpet (Sw)

4′ Clarion (Sw)

Great to Pedal

Swell to Pedal

Swell to Pedal 4

* added pipes

12 ranks, 756 pipes

Stephen Schnurr

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

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

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

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

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

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

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

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

 

1929 Estey Organ Company Opus 2798

GREAT (Manual II)

8′ Open Diapason (scale 43) 73 pipes

8′ Melodia 73 pipes

8′ Dulciana (scale 58) 73 pipes

4′ Octave (ext 8′ Open Diapason)

4′ Flute (ext 8′ Melodia)

2′ Fifteenth (fr 8′ Dulciana)

8′ Trumpet (by Gottfried) 73 pipes

Harp* 49 bars

SWELL (Manual III, Enclosed)

16′ Bourdon 97 pipes

8′ Open Diapason (Gt)

8′ Stopped Diapason (ext, 16′ Bourdon)

8′ Melodia (Gt)

8′ Viol Celeste (TC)* 49 pipes

8′ Salicional 73 pipes

8′ Dulciana (Gt)

8′ Aeoline* 61 pipes

4′ Flute (fr Gt 8′ Melodia)

4′ Flute d’Amour (ext 16′ Bourdon)

4′ Salicet (ext 8′ Salicional)

2-2⁄3′ Twelfth (fr Gt 8′ Dulciana)

2′ Piccolo (fr Gt 8′ Melodia)

III Dulciana Mixture (fr Gt 8′ Dulciana)

8′ Oboe* 61 pipes

8′ Vox Humana* 61 pipes

Tremolo

Chimes* 20 tubes

CHOIR (Manual I, Enclosed)

8′ Open Diapason (scale 41)* 61 pipes

8′ Clarabella* 61 pipes

8′ Unda Maris (TC)* 49 pipes

8′ Viol d’Orchestre* 61 pipes

8′ Viol d’Amour (scale 56)* 61 pipes

4′ Flauto Traverso* 61 pipes

8′ Saxophone* 61 pipes

8′ Clarinet* 61 pipes

Tremolo

PEDAL

16′ Open Diapason* 30 pipes

16′ Bourdon* 30 pipes

16′ Lieblich Gedeckt* 44 pipes

16′ Bass Viol 30 pipes

8′ Dolce Flute (ext 16′ Lieb)

* retained from Estey Opus 2151.

COUPLERS

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Great to Great 16

Gt. Uni. Sep.

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Choir to Choir 16

Choir Uni. Sep.

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Swell to Swell 16

Sw. Uni. Sep.

Swell to Swell 4

ACCESORIES

6 Universal pistons

6 Great and Pedal pistons

6 Swell pistons

6 Choir pistons

4 Pedal pistons

Great to Pedal reversible

Swell to Pedal reversible

Balanced Expression I

Balanced Expression II

Balanced Crescendo shoe (with indicator)

Sforzando reversible (with indicator)

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

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

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

O How Blessed Are Ye, Johannes Brahms

Pilgrim’s Chorus (Tannhauser), R. Wagner

Mr. Seder

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

The Mighty God Hath Spoken, Lincoln Case

Mrs. Burditt

Suite from Water Music, G. F. Handel

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

Mr. Seder

Offertory—Improvisation of a Well-known Hymn Tune

Prayer (Tristan and Isolde), R. Wagner

Mrs. Burditt

Canyon Walls (Mountain Sketches), Joseph W. Clokey

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

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

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

Carillon-Sortie, Henri Mulet

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

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

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

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

1962 Aeolian-Skinner Opus 1390

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

16′ Quintatön (metal) 61 pipes

8′ Principal (metal) 61 pipes

8′ Bourdon (metal) 61 pipes

8′ Erzähler (prepared, blank knob)

4′ Octave (metal) 61 pipes

4′ Waldflöte (metal) 61 pipes

2′ Fifteenth (metal) 61 pipes

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

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

Swell to Great 16

Swell to Great 8

Swell to Great 4

Positiv to Great 16

Positiv to Great 8

Chancel to Great 8

Chancel to Great 4

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

16′ Rohrbordun (metal) 80 pipes

8′ Viola (metal) 68 pipes

8′ Viola Celeste (metal) 68 pipes

8′ Rohrflöte (ext 16′)

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

4′ Spitz Principal (metal) 68 pipes

4′ Zauberflöte (prepared, blank knob)

2-2⁄3′ Nazard (metal) 61 pipes

2′ Blockflöte (metal) 61 pipes

IV Plein Jeu (metal) 244 pipes

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

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

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

Tremulant

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

POSITIV (2″ wind pressure)

8′ Nasonflöte (wood) 61 pipes

8′ Flute Celeste (Sw)

4′ Koppelflöte (metal) 61 pipes

4′ Flute Celeste (Sw 8′)

2′ Prinzipal (metal) 61 pipes

1-3⁄5′ Terz (metal) 61 pipes

1-1⁄3′ Quinte (metal) 61 pipes

1′ Spillflöte (metal) 61 pipes

II Zimbel (metal) 122 pipes

8′ Krummhorn (prepared, blank knob)

Tremulant

Positiv to Positiv 16

Swell to Positiv 16

Swell to Positiv 8

Swell to Positiv 4

PEDAL (3-1/4″ wind pressure)

16′ Contra Basse (metal) 32 pipes

16′ Quintatön (Gt)

16′ Rohrbordun (Sw)

8′ Spitz Principal (metal) 44 pipes

8′ Quintatön (Gt 16′)

8′ Rohrflöte (Sw 16′)

4′ Choralbass (ext 8′ Spitz Principal)

4′ Rohrflöte (Sw 16′)

III Rauschquinte (metal) 96 pipes

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

16′ Fagotto (Sw)

8′ Fagotto (Sw 16′)

4′ Fagotto (Sw 16′)

1 blank knob

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Positiv to Pedal 8

CHANCEL

8′ Gedeckt (Estey 8′ Melodia)

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

8′ Gemshorn Celeste (prepared, TC)

4′ Montre (newer pipes)

2′ Principal (newer pipes)

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

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

1 blank knob

Chancel to Chancel 4

CHANCEL PEDAL

16′ Gedeckt (ext Chancel 8′ Gedeckt)

8′ Montre (ext Chancel 4′ Montre)

4′ Choralbass (fr Chancel 4′ Montre)

Chancel to Pedal 8

ACCESSORIES

6 General pistons (thumb and toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Positiv pistons (thumb)

4 Chancel pistons (thumb)

6 Pedal pistons (toe)

General Cancel (thumb)

Setter button (thumb)

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

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

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

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Positiv to Pedal reversible (thumb)

Swell to Great reversible (thumb)

Swell to Positiv reversible (thumb)

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

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

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

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

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

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

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

Balanced Swell expression shoe

Balanced Chancel expression shoe

Balanced Crescendo shoe (with five green indicator lights)

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

Narthex signal button and light

Sacristy signal button and light

Choir Room signal button and light

Electric clock

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

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

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

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

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

1981 Brunzema Opus 3

MANUAL

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

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

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

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