Organ Projects: Marceau, Kent Lutheran, WA

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

Marceau Pipe Organ Builders, Inc., Seattle, Washington

Community United Methodist, Church, Coeur d’Alene, Idaho

Marceau Pipe Organbuilders, Inc., has completed its Opus 36 for Community United Methodist Church of Coeur d’Alene, Idaho. The organ is significantly influenced by its rather extensive history of over 100 years, incorporating vintage sounds blended with new windchests and a modern digital electrical system.

The original organ for this church was built by the Estey Organ Company of Brattleboro, Vermont, and installed in the congregation’s first sanctuary in downtown Coeur d’Alene. The first major renovation project took place in 1978 when M. P. Möller of Hagerstown, Maryland, added a new Great division along with a new two-manual drawknob console. When the church moved to a new location, the organ was brought along and installed in two chambers above the main floor. This new building, the first phase of a long-range set of plans, was to become the gymnasium with a new sanctuary planned for the second phase. Unfortunately, these goals were never realized, and Celebration Hall has continued to do double duty for over forty years.

Our first visit to the church took place in 1997 for service work. While the organ was in good playing condition, we noticed some early signs of age-related problems to the windchests. The organ utilized the original Estey and Möller windchests of 1978, and some home-built units that accommodated the unit stops. The electrical system was an electro-mechanical unit from 1978. During the next fifteen years, the problems became more frequent and expensive to repair. Going hand-in-hand with that was a tonal design that was unable to support and lead congregational singing.

It was at this point that the church approached us about some possible solutions to the status of the organ. After several meetings we were able to develop an overall plan to improve the capabilities of the organ that could be realized with the modest budget that was available.

We felt that the existing windchests took up too much floor space, making it impossible to contemplate any meaningful tonal changes or additions. New windchests were built in the Marceau shop that would fit in the limited floor space below an angled ceiling. With that change, the possibility of tonal additions was investigated. The 1978 Möller console was in good condition; the shell was retained with new keyboards, new drawknob units, and a Syndyne control system.

A look at the stoplist reveals two distinct principal choruses, one on the Great and the other on the Swell. The Great retains the Principal stops (Möller at 8′ and 4′) with the addition of a 2′ Super Octave and IV Mixture from Marceau inventory. The Swell retains the 8′ Violin Diapason (Estey) and the existing Great Mixture (Möller, recomposed for greater color and clarity), adding a 4′ Geigen Principal (Reuter). Also in the Great, an Open Diapason (Austin) was added for foundational support at 8′ pitch.

The flutes bring a variety of color and dynamic contrast. The Great retains the 8′ Rohrflute (Möller), adding a 4′ Spillflute from Marceau inventory. The Swell is a blending of Estey pipework  (8′ Holzgedeckt and 4′ Harmonic Flute) and Möller ranks (22⁄3′ Nasard, 2′ Blockflute, and 13⁄5′ Tierce—which was the 2′ Flute, repitched). The Pedal 16′ Subbass is from Marceau inventory, replacing the original Estey pipes that had experienced unsuccessful previous repairs from cracks in the wood.

The strings bring a varied set of colors and character. The Great 8′ Viol d’Amour (Estey) is relocated from the Swell. The Swell 8′ Salicional and 8′ Voix Celeste (Reuter) add an orchestral character that the previous instrument did not have.

The Swell Trumpet (Austin) is extended to play at 16′ in the Pedal. The 8′ Oboe (of unknown origin) was from the previous organ; this rank was thoroughly repaired and regulated to be the dynamic and character counterpart to the Trumpet.

The organ was dedicated on November 11, 2018. We are indebted to the leadership of Mark Habermann, whose presence and support helped to make this project a true success. He chaired the organ committee, coordinated all church help, and provided food and lodging during our on site visits.

—René A. Marceau, president and tonal director

Sean Haley, operations manager

Marceau Pipe Organ Builders, Inc.

Builder’s website:

www.marceaupipeorgans.com

Church website: www.cdaumc.org

GREAT (Manual I, unenclosed)

16′ Lieblich Gedeckt (Sw)

8′ Open Diapason 61 pipes

8′ Principal 61 pipes

8′ Rohrflute 61 pipes

8′ Viol d’Amore 61 pipes

4′ Octave 61 pipes

4′ Spillflute 61 pipes

2′ Super Octave 61 pipes

11⁄3′ Mixture IV 244 pipes

8′ Trumpet (Sw)

Chimes

SWELL (Manual II, enclosed)

16′ Lieblich Gedeckt (ext 8′)

8′ Violin Diapason 61 pipes

8′ Holzgedeckt 73 pipes

8′ Salicional 61 pipes

8′ Voix Celeste (TC) 49 pipes

4′ Geigen Principal 61 pipes

4′ Harmonic Flute 61 pipes

22⁄3′ Nasard 61 pipes

2′ Blockflute 61 pipes

13⁄5′ Tierce 61 pipes

2′ Mixture III 183 pipes

8′ Trumpet 61 pipes

8′ Oboe 61 pipes

Tremulant

PEDAL (Unenclosed)

32′ Resultant

16′ Subbass 32 pipes

16′ Lieblich Gedeckt (Sw)

8′ Diapason (Gt)

8′ Gedecktbass 32 pipes

8′ Holzgedeckt (Sw)

4′ Choralbass (Gt)

4′ Flute (Sw)

16′ Posaune (Sw)

8′ Trumpet (Sw)

4′ Clarion (Sw)

27 ranks, 1,589 pipes

Stephen Schnurr

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

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

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

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

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

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

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

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

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

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

1900 A. B. Felgemaker & Son Opus 723

GREAT (Manual I)

16′ Double Open Diapason 61 pipes (metal)

8′ Open Diapason (metal) 61 pipes

8′ Doppel Floete (wood) 61 pipes

8′ Viola da Gamba (metal) 61 pipes

8′ Dulciana (metal) 61 pipes

4′ Octave (metal) 61 pipes

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

3′ Octave Quinte (metal) 61 pipes

2′ Super Octave (metal) 61 pipes

III Mixture (metal) 183 pipes

8′ Trumpet (metal) 61 pipes

SWELL (Manual II, enclosed)

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

8′ Open Diapason 61 pipes (wood & metal)

8′ Stopped Diapason (wood) 61 pipes

8′ Salicional (metal) 61 pipes

8′ Aeolina (metal) 61 pipes

4′ Gemshorn (metal) 61 pipes

4′ Flute Harmonique 61 pipes (metal)

2′ Flageolet (metal) 61 pipes

III Dolce Cornet (metal) 183 pipes

8′ Oboe & Bassoon (metal) 61 pipes

PEDAL

16′ Double Open Diapason 30 pipes (wood)

16′ Bourdon (wood) 30 pipes

8′ Violoncello (metal) 30 pipes

8′ Floete (wood) 30 pipes

Couplers

Great to Pedal

Swell to Pedal

Swell to Great in Sub-Octave

Swell to Great

Swell to Great in Super Octave

Accessories

Forte Combination Great and Pedal Stops

Piano Combination Great and Pedal Stops

Forte Combination Swell and Pedal Stops

Piano Combination Swell and Pedal Stops

Tremolo

Great to Pedal Reversible

Balanced Swell Pedal

Balanced Crescendo Pedal

Bellows Signal

Wind Indicator

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

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

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

GREAT (Manual II, enclosed?)

8′ First Open Diapason

8′ Second Open Diapason

8′ Gross Flute

8′ Doppel Flute

8′ Gamba

4′ Octave

4′ Harmonic Flute

2′ Octave

8′ Tuba

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Echo to Great 8

SWELL (Manual III, enclosed)

16′ Lieblich Gedeckt

8′ Open Diapason

8′ Stopped Flute (ext 16′ Lieb Ged)

8′ Salicional

8′ Voix Celeste

8′ Muted Viole

4′ Violina

4′ Flute

16′ Fagotto

8′ Cornopean

8′ Fagotto (ext 16′ Fagotto)

8′ Vox Humana

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Swell 8

CHOIR (Manual I, enclosed)

16′ Quintadena

8′ Violin Diapason

8′ Melodia

8′ Quintadena (ext 16′ Quintadena)

8′ Dulciana

4′ Flute d’Amore

2′ Piccolo

8′ Clarinet

Tremolo

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Echo to Choir 8

ECHO (Manual IV, enclosed)

16′ Bourdon

8′ Open Diapason

8′ Bourdon (ext 16′ Bourdon)

8′ String

8′ Celeste (TC)

4′ Flute

2′ Zart Flute (ext 4′ Flute)

8′ Vox Humana

Tremolo

Chimes

PEDAL

32′ Resultant

16′ Open Diapason (wood)

16′ Open Diapason (metal)

16′ Bourdon

16′ Lieblich Gedeckt (Sw 16′ Lieb Ged)

8′ Gamba (Gt 8′ Gamba)

8′ Bass Flute (ext 16′ Bourdon)

8′ Dolce Flute (Sw 16′ Lieb Ged)

16′ Trombone

16′ Fagotto (Sw 16′ Fagotto)

8′ Fagotto (Sw 16′ Fagotto)

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Echo to Pedal 8

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

MANUAL

8′ Principal

8′ Gamba

8′ Melodia

4′ Flute

2′ Open

PEDAL

16′ Subbass

Manual to Pedal Coupler

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

1996 Daniel Bogue and Associates organ

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

8′ Principal

8′ Flute (stopped)

4′ Octave (5 basses in façade)

4′ Flute (harmonic from middle C)

2′ Principal (ext 4′ Octave)

IV Fourniture (1′)

8′ Trompette (harmonic from B3)

4′ Clarion (ext 8′ Trompette)

2 blank tabs

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Echo to Great 8

SWELL (Manual III, enclosed, north side)

16′ Bourdon (wood)

8′ Principal

8′ Bourdon (ext 16′ Bourdon)

8′ Gamba

8′ Gamba Celeste (TC)

4′ Principal (ext 8′ Principal)

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

2-2⁄3′ Nazard

2′ Principal

1-3⁄5′ Tierce

IV Plein Jeu

16′ Fagotto (1–12 half-length)

8′ Trumpet

8′ Fagotto (ext 16′ Fagotto)

4′ Clarion (ext 8′ Trumpet)

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Swell 8

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

16′ Gemshorn (12 Quintaton basses)

8′ Violin Diapason

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

8′ Gemshorn (ext 16′ Gemshorn)

8′ Gemshorn Celeste (TC)

4′ Principal (ext 8′ Violin Diapason)

4′ Gedeckt (wood)

2′ Flute (harmonic from tenor C)

1-1⁄3′ Larigot (ext 4′ Gedeckt)

III Cymbel

8′ Cromorne

Tremolo

1 blank tab

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Echo to Choir 8

ECHO (Enclosed, floating)

8′ Bourdon

8′ String

8′ Celeste (TC)

4′ Flute (ext 8′ Bourdon)

2′ Flute (ext 8′ Bourdon)

8′ Vox Humana

1 blank tablet

Tremolo

Chimes

PEDAL

32′ Resultant (fr 16′ Bourdon)

16′ Double Open Diapason (wood, north side)

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

16′ Bourdon (north side)

16′ Lieblich Gedeckt (Sw 16′ Bourdon)

8′ Octave (ext 16′ Contra Bass)

8′ Bass Flute (ext 16′ Bourdon)

8′ Gedeckt (Sw 16′ Bourdon)

4′ Choral Bass (ext 16′ Contra Bass)

4′ Flute (Sw 16′ Bourdon)

2′ Octavin (ext 16′ Contra Bass)

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

16′ Contra Fagotto (Sw 16′ Fagotto)

8′ Trumpet (Gt 8′ Trompette)

4′ Clarion (Gt 8′ Trompette)

Great to Pedal 8

Swell to Pedal 8

Choir to Pedal 8

Echo to Pedal 8

ECHO PEDAL (enclosed with Echo)

16′ Bourdon (ext Echo 8′ Bourdon)

8′ Bourdon (fr Echo 8′ Bourdon)

Accessories

10 General Pistons (thumb)

6 Great Pistons and Cancel (thumb)

6 Swell Pistons and Cancel (thumb)

6 Choir Pistons and Cancel (thumb)

6 Echo Pistons and Cancel (thumb)

6 Pedal Pistons and Cancel (thumb)

General Cancel (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Balanced Swell expression shoe

Balanced Great/Choir expression shoe

Balanced Crescendo shoe (with indicator light)

Combination Lock (key)

Sforzando Reversible (thumb and toe, with indicator light)

Wind Indicator

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

2005 Oberlinger organ

MANUAL

8′ Traversflöte (tenor B, wood)

8′ Copula (stopped wood)

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

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

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

1–2f Cymbel (1⁄2′)

Accessory

H–C (transposer)

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

1991 Alfred Wild organ

MANUAL I

8′ Gedackt (wood)

4′ Chimney Flute

2′ Principal

MANUAL II

8′ Gedackt (fr Manual I 8′ Gedackt)

8′ Regal

Couplers

Manual I to Pedal

Manual II to Pedal

Manual II to Manual I

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

Specification of the Allyn Hoverland organ

MANUAL I

8′ Principal (B)

8′ Stopped Flute (A, 1–49; E, 50–61)

8′ Chimney Flute (A, 1–12; C, 13–61)

4′ Principal (B)

4′ Block Flute (A, 1–12; E, 13–61)

2-2⁄3′ Quinte (D)

2′ Block Flute (E)

III Mixture (D, F)

II Mixture (F)

MANUAL II

8′ Block Flute (A, 1–24; E, 25–61)

8′ Chimney Flute (A, 1–12; C, 13–61)

4′ Chimney Flute (C)

2′ Principal (B, 1–49; E, 50–61)

1-1⁄3′ Quinte (D)

PEDAL

16′ Bourdon (A, 1–24; C, 25–32)

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

8′ Principal (B)

8′ Chimney Flute (A, 1–12; C, 13–32)

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

4′ Principal (B)

4′ Chimney Flute (C)

2-2⁄3′ Quinte (D)

2′ Block Flute (E)

Mixture III [sic] (F)

Accessories

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

5 Manual I pistons (thumb and toe)

5 Manual II pistons (thumb)

General Cancel (thumb)

Analysis

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

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

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

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

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

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

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

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

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

1927 Wurlitzer Opus 1818

Analysis

8′ Tibia Clausa 85 pipes

16′ Bourdon/Concert Flute 97 pipes

16′ Diaphone/Diaphonic Diapason 85 pipes

8′ Trumpet 61 pipes

8′ Violin 73 pipes

8′ Violin Celeste 73 pipes

8′ Vox Humana 61 pipes

ACCOMPANIMENT (Manual I)

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Violin (Violin and Celeste)

8′ Concert Flute

8′ Vox Humana

4′ Octave

4′ Piccolo (Tibia Clausa)

4′ Viol (Violin and Celeste)

4′ Flute

4′ Vox Humana

2-2⁄3′ Twelfth (Bourdon)

2′ Piccolo (Bourdon)

Accompaniment Octave

Chrysoglott (G1–G5)

Snare Drum (reiterates)

Tambourine (reiterates)

Castanets (reiterates)

Chinese Block

Tom Tom

Jazz Cymbal

Triangle

Sleigh Bells

Accompaniment Second Touch

8′ Trumpet

8′ Open Diapason

8′ Tibia Clausa

4′ Piccolo (Tibia)

Chrysoglott

Glockenspiel

Cathedral Chimes

Accomp Traps

SOLO (Manual II)

16′ Trumpet (TC)

16′ Diaphone

16′ Tibia Clausa (TC)

16′ Violone (TC, two ranks)

16′ Bourdon

16′ Vox Humana (TC)

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Violin (Violin and Celeste)

8′ Concert Flute

8′ Vox Humana

5-1⁄3′ Fifth (Tibia Clausa)

4′ Octave

4′ Piccolo (Tibia Clausa)

4′ Viol (Violin and Celeste)

4′ Flute

2-2⁄3′ Twelfth (Tibia Clausa)

2′ Piccolo (Tibia Clausa)

2′ Fifteenth (Violin)

2′ Piccolo (Bourdon)

1-3⁄5′ Tierce (Tibia Clausa)

1′ Fife (Bourdon)

Solo Sub Octave

Solo Octave

Xylophone (C2–C5)

Glockenspiel (G2–C5)

Chrysoglott (G1–G5)

Sleigh Bells (C2–C4, tuned, reiterates)

Chimes (G2–C4) 18 tubes

PEDAL

16′ Diaphone

16′ Bourdon

8′ Trumpet

8′ Diaphonic Diapason

8′ Tibia Clausa

8′ Cello

8′ Flute

Accomp to Pedal

Bass Drum

Kettle Drum (reiterates)

Tap Cymbal

Crash Cymbal

Tremulants

Tibia Clausa Trem

Solo Tremulant

Main Tremulant

Vox Humana Trem

Accessories

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

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

Celestes Off

Accomp Perc/Pedal

Bell (right Accompaniment keycheeck)

Balanced Main expression shoe

Balanced Solo expression shoe

Balanced Crescendo shoe

Range

Set

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

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

1957 Casavant Opus 2403

GRAND ORGUE (Manual I)

16′ Bourdon 85 pipes

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

8′ Bourdon (ext 16′ Bourdon)

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

4′ Violina (ext 8′ Principal)

4′ Dulcet (ext 8′ Dulciane)

4′ Flute d’Amour (ext 16′ Bourdon)

2-2⁄3′ Nazard (ext 8′ Dulciane)

2′ Doublette (ext 8′ Dulciane)

Recit au Grand Orgue

RECIT (Manual II)

8′ Principal (G.O. 8′ Principal)

8′ Bourdon (G.O. 16′ Bourdon)

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

8′ Dulciane (G.O. 8′ Dulciane)

4′ Violina (G.O. 8′ Principal)

4′ Flute (G.O. 16′ Bourdon)

4′ Dulcet (G.O. 8′ Dulciane)

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

Tremolo

PEDALE

16′ Bourdon (G.O. 16′ Bourdon)

8′ Bourdon (G.O. 16′ Bourdon)

4′ Principal (G.O. 8′ Principal)

4′ Flute (G.O. 16′ Bourdon)

4′ Dulcet (G.O. 8′ Dulciane)

Gr. Orgue a la Pedale

Recit a la Pedale

Accessories

3 Grand Orgue and Pedale pistons (thumb)

3 Recit pistons (thumb)

Balanced expression shoe

Balanced Crescendo shoe (with rotating indicator dial)

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

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

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

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

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

1926 Casavant FrПres, Limitée, Opus 1130

GREAT (Manual II, 4-inch wind pressure)

16′ Double Open (metal) 73 pipes

8′ I Open Diapason (metal) 73 pipes

8′ II Open Diapason (metal) 73 pipes

8′ Doppelflöte 73 pipes (wood and metal)

8′ Gemshorn (metal) 73 pipes

4′ Octave (metal) 73 pipes

4′ Harmonic Flute (metal) 73 pipes

Mixture IV (metal) 244 pipes

8′ Trumpet (metal) 73 pipes

Chimes (from Echo)

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

16′ Bourdon (wood) 73 pipes

8′ Open Diapason (metal)* 73 pipes

8′ Violin Diapason (metal) 73 pipes

8′ Stopped Diapason 73 pipes (wood and metal)

8′ Salicional (metal) 73 pipes

8′ Viola di Gamba (metal) 73 pipes

8′ Aeoline (metal) 73 pipes

8′ II Voix Celeste (metal) 134 pipes

4′ Violina (metal) 73 pipes

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

2′ Piccolo (metal) 61 pipes

Dolce Cornet III (metal) 183 pipes

16′ Double Trumpet (metal)* 73 pipes

8′ Cornopean (metal)* 73 pipes

8′ Oboe (metal) 73 pipes

8′ Vox Humana (metal) 73 pipes

4′ Clarion (metal)* 73 pipes

Tremulant

Chimes (from Echo)

* 7-inch wind pressure

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

16′ Gamba (metal) 73 pipes

8′ Open Diapason (metal) 73 pipes

8′ Concert Flute 73 pipes (wood and metal)

8′ Dulciana (metal) 73 pipes

8′ Unda Maris (metal) 73 pipes

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

2-2⁄3′ Nazard (metal) 73 pipes

2′ Flageolet (metal) 61 pipes

8′ Clarinet (metal) 73 pipes

8′ Cor Anglais (metal) 73 pipes

Tremulant

Celesta 61 bars

Celesta Sub (from Celesta)

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

8′ Stentorphone (metal) 73 pipes

8′ Gross Flute 73 pipes (wood and metal)

8′ Viole d’Orchestre (metal) 73 pipes

8′ Viole Celeste (metal) 73 pipes

8′ Tuba (metal) 73 pipes

Tremulant

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

8′ Echo Diapason (metal) 73 pipes

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

4′ Fern Flöte (metal) 73 pipes

8′ Musette (metal) 73 pipes

Tremulant

Chimes (from tenor G) 25 tubes

PEDAL

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

16′ Open Diapason (wood) 44 pipes

16′ Bourdon (wood) 44 pipes

16′ Contra Gamba (Ch 16′ Con Gamba)

16′ Lieblich Gedeckt (Sw 16′ Bourdon)

8′ Flute (ext 16′ Open Diapason)

8′ Stopped Flute (ext 16′ Bourdon)

8′ Cello (metal) 32 pipes

16′ Trombone (metal) 32 pipes

Chimes (from Echo)

Couplers

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Solo to Pedal 8

Solo to Pedal 4

Echo to Pedal 8

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Solo to Great 16

Solo to Great 8

Solo to Great 4

Echo to Great 16

Echo to Great 8

Echo to Great 4

Echo On/Great Off

Choir to Choir 16

Choir to Choir 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 16

Solo to Choir 8

Solo to Choir 4

Swell to Swell 16

Swell to Swell 4

Solo to Swell 8

Solo to Solo 16

Solo to Solo 4

Great to Solo 8

Swell to Solo 8

Echo to Solo 16

Echo to Solo 8

Echo to Solo 4

Echo On/Solo Off

All Swells to Swell Pedal

Accessories

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

5 Great pistons (thumb)

7 Swell pistons (thumb)

5 Choir pistons (thumb)

3 Solo pistons (thumb)

3 Echo pistons (thumb)

5 Pedal pistons (thumb)

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

300 memory levels

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

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (toe)

Choir to Pedal reversible (thumb)

Solo to Pedal reversible (thumb)

Echo to Pedal reversible (thumb)

Swell to Great reversible (thumb)

Choir to Great reversible (thumb)

Solo to Great reversible (thumb)

Swell to Choir reversible (thumb)

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

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

General Cancellor (thumb)

Combination Adjustor (thumb)

Balanced Swell Expression Shoe

Balanced Choir Expression Shoe

Balanced Solo and Echo Expression Shoe

Balanced Crescendo Shoe (with indicator dial)

Full Organ Reversible (toe, with indicator)

Generator Indicator

Wind Indicator

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

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

§

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

Sources

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

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

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

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

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

For further information: cantius.org/sacredmusic

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 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.

This article is the final installment of a series in the August 2015, June 2016, July 2017, February 2018, June 2018, March 2021, and May 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.

Grace Lutheran Church of La Grange was organized on April 14, 1887, as the Swedish Lutheran Church, the sixth congregation founded in the village. The lot at the southeast corner of Ogden and South Kensington Avenues was purchased the next month for $600. In June, an architect’s plan for a church measuring twenty feet by fifty feet was accepted, and ground was broken. The basement portion of the church was dedicated on September 25, 1887. The remainder of the structure was completed for dedication on October 8, 1895. This church was served by a reed organ.

Reverend Alfred Ostrom was called as first resident pastor in 1897 at a salary of $600 per year, plus a Christmas Day collection. A musician, he served as an editor of the first English hymnal of the Augustana Synod in 1901. In 1904, the congregation took the name Swedish Evangelical Lutheran Emmaus Church of La Grange. Reflecting the change of language for services from Swedish to English, the congregation became known as Emmaus Evangelical Lutheran Church in 1922.

In 1926, a committee was formed to plan for much-needed larger facilities, to be built on newly acquired property across Ogden Avenue. That year, the congregation became known as Grace English Lutheran Church, though “English” was dropped in 1927.

On the church’s fortieth anniversary in April 1927, a campaign was announced for the new structure. Ground was broken in October 1928, with the cornerstone laid the following month for a redbrick Gothic edifice with stone trim. Architects were Harry K. Culver and Walter C. Eden, the latter a member of the church. The nave seated 350 persons, and sliding doors to the adjoining hall provided overflow for an additional 125. Dedication occurred on June 2, 1929, with three services. Additions were made to the building in 1950 and 1966. The sanctuary was renovated to its present configuration in preparation for the congregation’s 125th anniversary celebration in 2012.

The original church still stands and was for some time home to another congregation, Grace and Truth Gospel Chapel. It has since been converted into a private residence.

For the present sanctuary, M. P. Möller of Hagerstown, Maryland, provided its opus 5522 costing $4,200. The contract was dated January 30, 1929, with completion set for June 1 of that year. An addition was typed onto the standard Möller contract stating that the builder “guarantees the workmanship, material, and tone qualities of this organ to be equal or superior to any organ built.” Wind pressure was five inches. The Echo division, never installed, was to be in a chamber provided near the rear of the nave, at second-floor level. A second tonal opening was located in the ceiling of an adjoining dining room. The organ was dedicated in service on June 4, 1929, two days after the church itself.

1929 M. P. Möller Opus 5522

GREAT (Manual I, enclosed)

8′ Open Diapason 73 pipes (scale 40, wood bass)

8′ Concert Flute 73 pipes

8′ Dulciana (scale 56) 73 pipes

4′ Solo Flute (ext 8′ Concert Flute)

4′ Dulcet (ext 8′ Dulciana)

Tremulant

Chimes (“Silent stop”)

SWELL (Manual II, enclosed)

16′ Bourdon 97 pipes

8′ Stopped Diapason (ext 16′ Bourdon)

8′ Salicional (scale 60) 73 pipes

8′ Voix Celeste (TC, scale 62) 61 pipes

4′ Flute d’Amour (ext 16′ Bourdon)

4′ Violina (ext 8′ Salicional)

2-2⁄3′ Nazard (ext 16′ Bourdon)

8′ Cornopean (“Small scale”) 73 pipes

8′ Vox Humana 61 pipes (scale 40, wood bass)

Tremulant

ECHO (Manual I, prepared at console)

8′ Echo Flute 73 pipes

8′ Muted Viole 61 pipes

8′ Vox Angelica 61 pipes

4′ Wahl [sic] Flute (ext 8′ Echo Flute)

Tremulant

PEDAL

16′ Sub Bass 44 pipes

16′ Lieblich Gedeckt (Swell, 16′ Bdn.)

8′ Bass Flute (ext 16′ Sub Bass)

Couplers

Great to Pedal

Swell to Pedal

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Echo to Great

Echo On/Great Off

Adjustable Combinations

3 Full Organ

4 Great and Pedal and Cancel

4 Swell and Pedal and Cancel

3 Echo Organ

Accessories

Great to Pedal reversible (toe)

Balanced Swell expression shoe

Balanced Great expression shoe

Balanced Crescendo shoe (with indicator light)

Sforzando reversible (toe)

The congregation began to consider rebuilding and enlarging the organ or replacing it entirely in early 1957. A committee focused on proposals from the Aeolian-Skinner Organ Co., Casavant Frères, Limitée, and M. P. Möller, Inc. The initial concept was to expand the existing organ chambers to either side of the chancel, involving small additions to the building. An initial proposal from Möller, June 7, 1957, called for a modest instrument with Great, Swell I, Swell II, Antiphonal, Pedal, and Antiphonal Pedal divisions, showing the influence of Ernest White’s tonal direction. The Aeolian-Skinner, Casavant, and Möller proposals were sent (without builder identification) to several Chicago area organ experts, with opinions and comparisons received from Edward Eigenschenk (American Conservatory and Second Presbyterian Church), Heinrich Fleischer (University of Chicago and DePaul University), Austin Lovelace (First Methodist Church and Northwestern University, Evanston), and Stanley Martin (Emmanuel Episcopal Church, La Grange, and the Chicago Sunday Evening Club). The overwhelming response was in favor of the Möller proposal, though several had caveats.

A revised Möller proposal dated February 24, 1958, abandons the divided Swell plan and enlarged the Antiphonal division, so that it would be more useful in leading the congregation from the rear of the nave. An 8′ Principal was also added to the Great specification. By May of that year, Grace Church was contemplating placing most of the organ in the rear gallery. With this change of focus, the chambers in the chancel would be reused for an antiphonal organ for the gallery instrument.

A contract dated September 11, 1958, was signed for Möller Opus 9325, in the amount of $45,400, with completion set for December 1, 1959. Perhaps recalling a certain condition of the 1929 contract, this one stated, “The organ shall be a distinctive work of the builder, a product of his factory, and in no way an assembled instrument.” A three-manual gallery organ was provided, and the old organ was rebuilt as a two-manual chancel instrument, played from the gallery console. The church’s choirs moved from the chancel to the gallery. For the gallery organ, wind pressures were three-and-a-half inches for the Great, four inches for the Swell, Choir, and Pedal.

1959 M. P. Möler opus 9325

GREAT (Manual II)

16′ Quintade 73 pipes (scale 46, 24 zinc basses, remainder spotted metal)

8′ Principal 61 pipes (scale 46, 24 zinc basses, remainder spotted metal)

8′ Holzgedackt 61 pipes (“Reg. Stopped Flute Bass & Treble,” wood and metal)

8′ Quintaton (ext 16′ Quintade)

4′ Octave 61 pipes (scale 58, spotted metal)

2′ Waldflöte 61 pipes (scale 68, 3⁄4 taper, spotted metal)

III Rks. Fourniture 183 pipes (spotted metal)

Tremolo

Chimes 20 tubes (“present Antiphonal,” from tenor A)

SWELL (Manual III, enclosed)

8′ Rohrpfeife 61 pipes (scale 56, 12 zinc basses, remainder spotted metal)

8′ Viola 61 pipes (scale 52, 12 zinc basses, remainder spotted metal)

8′ Viola Celeste 54 pipes (from low G, scale 54, 5 zinc basses, remainder spotted metal)

4′ Suavial 61 pipes (scale 60, spotted metal)

2′ Zauberflöte 61 pipes (scale 62, spotted metal)

III Rks. Plein Jeu 183 pipes (spotted metal)

16′ Cor Anglais 61 pipes (half length, 4″ scale, “English Horn Pattern”)

8′ Trompette 61 pipes (12 basses half length)

4′ Hautbois 61 pipes (3″ scale, “Reg. Oboe Full Length”)

Tremolo

CHOIR (Manual I, enclosed)

16′ Gemshorn 73 pipes (scale 40, 1⁄3 taper, 24 zinc basses, remainder spotted metal)

8′ Bordon 61 pipes (scale 56, 12 zinc basses, remainder spotted metal)

8′ Gemshorn (ext 16′ Gemshorn)

4′ Koppelflöte 61 pipes (scale 64, spotted metal)

2′ Doublette 61 pipes (scale 72, spotted metal)

II Rks. Sesquialtera 122 pipes (spotted metal)

8′ Krummhorn 61 pipes (1″ scale, “Brass Treble”)

Tremolo

PEDAL

16′ Sub Bass  32 pipes (“Large Pedal Bdn., Low Lip, Large Ears”)

16′ Quintade (Great, 16′ Quintade)

16′ Gemshorn (Choir, 16′ Gemshorn)

8′ Geigen 44 pipes (scale 45, 17 zinc basses, remainder spotted metal)

8′ Quintaton (Great, 16′ Quintaton)

8′ Gemshorn (Choir, 16′ Gemshorn)

4′ Oktav (ext 8′ Geigen)

4′ Quintaton (Great 16′ Quintaton)

II Rks. Grave Mixture 88 pipes (5 zinc basses, remainder spotted metal)

II Rks. Rauschquinte (ext II Rks. Grave Mixture)

CHANCEL GREAT (Enclosed)

8′ Harfenprinzipal 73 pipes (new pipes, old action, scale 50, 12 zinc basses, remainder spotted metal)

8′ Concert Flute 73 pipes (old pipes and action, “Reg. Concert FLT,” wood and metal)

4′ Octave (ext 8′ Harfenprinzipal)

4′ Flute (ext 8′ Concert Flute)

III Rks. Mixture 183 pipes (new pipes, old Diapason action, spotted metal)

CHANCEL SWELL (Enclosed)

16′ Gedeckt 85 pipes (old pipes and action, “Reg. Man. Bdn.”)

8′ Gedeckt (ext 16′ Gedeckt)

8′ Salicional 61 pipes (old pipes and action, scale 60, 12 zinc basses, remainder spotted metal)

4′ Spitzprinzipal 73 pipes (new pipes, old action, scale 60, 3⁄4 taper, spotted metal)

4′ Gedeckt (ext 16′ Gedeckt)

2′ Octavin (ext 4′ Spitzprinzipal)

1-1⁄3′ Nasat 61 pipes (new pipes, old Vox Humana action, scale 80, 2⁄3 taper, spotted metal)

8′ Fagotto 61 pipes (new pipes, old Cornopean action, 2-1⁄4′′ scale, half length, “Open Oboe”)

Tremolo

CHANCEL PEDAL

16′ Bourdon 44 pipes (old pipes and action, “Reg. Ped. Bdn.”)

16′ Gedeckt (Chancel Swell, 16′ Gedeckt)

8′ Bourdon (ext 16′ Bourdon)

8′ Gedeckt (Chancel Swell, 16′ Gedeckt)

4′ Gedeckt (Chancel Swell, 16′ Gedeckt)

Couplers

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Chancel Great to Pedal 8

Chancel Swell to Pedal 8

Chancel Swell to Pedal 4

Great Unison Off

Swell to Great 8

Swell to Great 4

Choir to Great 8

Choir to Great 4

Chancel Swell to Great 8

Chancel Swell to Great 4

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

Great to Choir 8

Swell to Choir 8

Swell to Choir 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

Chancel Swell Unison Off

Chancel Swell 4 to Swell 4

Adjustable Combinations

8 General pistons (thumb, 5–8 toe)

6 Great Organ pistons (thumb)

3 Chancel Great Organ pistons (thumb)

6 Swell Organ pistons (thumb)

3 Chancel Swell Organ pistons (thumb)

6 Choir Organ pistons (thumb)

6 Pedal and Chancel Pedal pistons (toe)

General Cancel (thumb)

Combination adjustor (thumb)

Accessories

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Balanced Swell and Chancel Swell expression shoe

Balanced Choir expression shoe

Balanced Chancel Great expression shoe

Balanced Crescendo shoe (with 3 indicator lights)

Gallery-Both-Chancel thumb pistons

Chancel Swell to Chancel Great expression shoe reversible (with indicator light)

Tutti reversible (thumb and toe, with indicator light)

Cancel tabs over stop groups

In 1993, the Möller organ was thoroughly rebuilt by Dan Vaughan of Phoenix, Arizona. The organ’s action was converted to all-electric. Much of the Möller pipework was retained for the new instrument. In 2001, Ericksen, Christian, and Associates of Glen Ellyn, Illinois, replaced the Great 8′ Principal, 4′ Octave, and 2′ Fifteenth with new pipes supplied by Rieger-Kloss of the Czech Republic.

1993 Dan Vaughan organ

GREAT (Manual II)

16′ Quintaten 61 pipes

8′ Principal 61 pipes

8′ Holz Gedeckt 73 pipes

4′ Octave 61 pipes

4′ Gedeckt (ext 8′ Holz Gedeckt)

2′ Fifteenth 61 pipes

III Fourniture 183 pipes

8′ Trompette 61 pipes

Chimes (tenor A) 21 tubes

Zimbelstern

SWELL (Manual III, enclosed)

8′ Principal 61 pipes

8′ Rohr Flute 73 pipes

8′ Viola 61 pipes

8′ Viole Celeste (low G) 54 pipes

4′ Octave 61 pipes

4′ Rohr Gedeckt (ext 8′ Rohr Flute)

2′ Flautina 61 pipes

III Plein Jeu 183 pipes

16′ Cor Anglais 73 pipes

8′ Trumpet 61 pipes

8′ Trompette (Great, 8′ Trompette)

8′ Hautbois (ext 16′ Cor Anglais)

4′ Clarion 61 pipes

Tremolo

CHOIR (Manual I, enclosed)

8′ Bourdon 61 pipes

8′ Gemshorn 61 pipes

4′ Koppelflote 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Principal 61 pipes

1-3⁄5′ Tierce 61 pipes

1′ Twenty-Second (fr 2′ Principal)

8′ Krummhorn 61 pipes

Tremolo

Choir Unison

Choir to Choir 4

PEDAL

32′ Resultant (fr 16′ Bourdon)

16′ Principal 56 pipes

16′ Sub Bass 32 pipes

16′ Bourdon 12 pipes (ext Choir 8′ Bourdon)

16′ Gedeckt (Chancel Swell, 16′ Bourdon)

16′ Gemshorn 12 pipes (ext Choir 8′ Gemshorn)

8′ Principal (ext 16′ Principal)

8′ Bourdon (Choir 8′ Bourdon)

8′ Gedeckt (Chancel Sw 16′ Gedeckt)

4′ Octave (ext 16′ Principal)

4′ Bourdon (Choir 4′ Koppel Flote)

2′ Super Octave (fr Great 4′ Octave)

III Cornet 96 pipes

16′ Bombarde (Swell 16′ Trumpet)

8′ Trumpet (Swell, 8′ Trumpet)

4′ Hautbois (Swell, 8′ Hautbois)

CHANCEL GREAT (Manual II)

8′ Bauerflote 85 pipes

4′ Lieblich Flote (ext 8′ Bauerflote)

2′ Bauerflote (ext 8′ Bauerflote)

1′ Lieblich Flote (fr 8′ Bauerflote)

III Cymbal 183 pipes

CHANCEL SWELL (Manual III, enclosed)

16′ Gedeckt 97 pipes

8′ Gedeckt (ext 16′ Gedeckt)

8′ Salicional 61 pipes

4′ Spitz Principal 73 pipes

4′ Gedeckt (ext 16′ Gedeckt)

2-2⁄3′ Nazard (ext 16′ Gedeckt)

2′ Flute (ext 16′ Gedeckt)

1-1⁄3′ Larigot (ext 4′ Spitz Principal)

8′ Fagotto 61 pipes

Tremolo

Swell to Swell 4

Inter-divisional Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Accessories

8 Full Organ pistons (thumb), 1–4 and 8 (toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Choir pistons (thumb)

3 Chancel Great pistons (thumb)

3 Chancel Swell pistons (thumb)

2 Pedal pistons (toe)

General Cancel (thumb)

Comb. Adjuster (thumb)

Midi 1–8

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb and toe)

Gallery/Chancel/Both (thumb)

Balanced Swell expression shoe

Balanced Choir expression shoe

Balanced Chancel Swell expression shoe

Balanced Crescendo shoe (with three green indicator lights)

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

Wind indicator (white)

Memory Level/Show/Player/Gt.-Ch. Rev./Transp. Up/Transp. Down (thumb)

Jack Bethards

Schoenstein & Co., Benicia, California; Basilica of the National Shrine of Mary, Queen of the Universe,  Orlando, Florida

This modern basilica is based on the size and shape of the fourth-century Saint Peter’s Basilica in Rome. It seats 2,000 and is a place of pilgrimage for the millions of international tourists who visit Orlando each year. The extensive music program with professional choir is directed by William F. Picher. The shrine has a busy calendar of Masses, numerous special celebrations, and regular concerts. Dr. Picher envisioned an instrument of extremely broad tonal flexibility, something like the one we built for the Conference Center in Salt Lake City.

The organ had to be large enough to match the acoustic of this huge building. Its size is illustrated by the 32′ pipes in display. Behind the pipes on the left are the Great, Swell, and Choir divisions. On the right are Solo and Pedal. The console and singers are to the left of the sanctuary along with a small Positive division to provide an intimate sense of pitch and rhythm. The Gallery division is at the west end. Casework was designed in cooperation with Cameron Bird of Jackson & Ryan Architects and built by New Holland Church Furniture.

The acoustic of the Basilica maintains clarity throughout the space and is especially sensitive to subtle tonal color differences among the stops. This, along with five divisions under expression plus double expression in the Swell allows a kaleidoscopic color and dynamic range. Among the special features is a string division in the Gallery, which is designed to create a celestial atmosphere as worshippers enter for Mass. There are two powerful solo reeds, both under expression—Tuba Magna in the main organ and Grand Harmonic Trumpet in the Gallery. The Solo includes six genuine Wurlitzer stops. As in our Salt Lake City organ, these were selected to broaden the tonal palette. Each of these six stops is used in the ensemble the same way any other attractive tone would be.

This grand organ is the largest we have built for a Roman Catholic church in our 143-year history. It has very special meaning for our firm and our founding family. Surely our founder, Felix F. Schoenstein, a devout Catholic who dedicated two children and two grandchildren to Catholic religious orders and built his very first organ for a Marian church, would be pleased. Having emigrated from Germany, he would be especially honored to know the organ will be serving an international assembly from among the 75 million who visit Orlando yearly.

Four manuals, 70 voices, 86 ranks

Electric-pneumatic action

GREAT (II) 5′′ wind

32′ Lieblich Gedeckt (TC – Sw)

16′ Double Open Diapason 61 pipes

8′ Phonon Diapason (Solo)

8′ Open Diapason 61 pipes

8′ Small Open Diapason (ext) 12 pipes

8′ Gallery Diapasons (II)

8′ Harmonic Flute 61 pipes

8′ Gallery Strings (VIII)

8′ Aeoline (Choir)

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Spire Flute 61 pipes

2′ Fifteenth 61 pipes

2′ Mixture mf (III) 167 pipes

2′ Mixture f (IV) 201 pipes

8′ Trumpet 61 pipes

8′ Tuba Magna (Solo)

8′ Tuba Chorus †

8′ Grand Harmonic Trumpet (Gallery)

Gallery on Great

Positive on Great

† Tuba Magna at 16′, 8′, 4′

SWELL (III–enclosed) 5½′′ wind

16′ Lieblich Bourdon 12 pipes (ext Stopped Diapason)

8′ Open Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Viole de gambe 61 pipes

8′ Voix céleste 61 pipes

8′ Gallery Strings (VIII)

4′ Principal 61 pipes

4′ Harmonic Flute 61 pipes

2′ Harmonic Piccolo 61 pipes

2-2⁄3′ Cornet (III) 176 pipes

8′ Oboe 61 pipes

Tremulant

Stops under double expression, 10′′ wind

8′ Erzähler 61 pipes

8′ Erzähler Celeste (TC) 49 pipes

2′ Mixture ff (IV) 215 pipes

16′ Posaune 61 pipes

8′ Cornopean 61 pipes

4′ Clarion 61 pipes

8′ Vox Humana (Solo)

Swell 16′

Swell Unison Off

Swell 4′

Gallery on Swell

Positive on Swell

CHOIR (I – enclosed) 5½′′ wind

16′ Aeoline (ext) 12 pipes

8′ Open Diapason 61 pipes

8′ Chimney Flute 61 pipes

8′ Gallery Strings (VIII)

8′ Aeoline 61 pipes

8′ Unda Maris (TC) 49 pipes

4′ Fugara 61 pipes

4′ Silver Flute 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Blockflöte 61 pipes

1-3⁄5′ Tierce 54 pipes

2′ Mixture mf (IV–V) 285 pipes

16′ Bass Horn (ext Fl Horn) 12 pipes

8′ Trumpet 61 pipes

8′ Flügel Horn 61 pipes

8′ English Horn 61 pipes

8′ Clarinet 61 pipes

Tremulant

Choir 16′

Choir Unison Off

Choir 4′

8′ Tuba Magna (Solo)

Gallery on Choir

Positive on Choir

SOLO (IV–enclosed) 10′′ wind

16′ Tibia Clausa 85 pipes (1–12 Pedal Bourdon)

8′ Phonon Diapason 73 pipes

8′ Symphonic Flute 61 pipes

8′ Tibia Clausa (ext)

8′ Concert Flute 73 pipes

8′ Gamba 85 pipes

8′ Gamba Celeste 61 pipes

8′ Viol d’Orchestre 73 pipes

8′ Viol Celeste 73 pipes

8′ Gallery Strings (VIII)

4′ Octave (ext 8′ Phonon Diapason)

4′ Piccolo (ext Tibia)

4′ Flute (ext Concert Flute)

4′ Gambette (ext Gamba)

4′ Viol Celeste (II – Violes)

2-2⁄3′ Twelfth (ext Tibia)

2′ Fifteenth (ext Gamba)

2′ Piccolo (ext Tibia)

1-3⁄5′ Tierce (ext Tibia)

16′ Corno di Bassetto 73 pipes

8′ Tuba Horn 61 pipes

8′ French Horn 61 pipes

8′ Corno di Bassetto (ext)

8′ Vox Humana † 61 pipes

8′ Tuben (III – Swell)

Tremulant

Variable Tremulant

Solo 16′

Solo Unison Off

Solo 4′

8′ Tuba Magna (15′′ wind) 61 pipes

8′ Grand Harmonic Trumpet (Gallery)

Gallery on Solo

Positive on Solo

† Separate Tremulant – slow p/fast f

POSITIVE (unenclosed–floating) 4′′ wind

8′ Salicional 61 pipes

8′ Lieblich Gedeckt 61 pipes

4′ Salicet (ext) 12 pipes

4′ Lieblich Flute (ext) 12 pipes

2′ Fifteenth (ext) 12 pipes

GALLERY (floating) 5′′ wind

Unenclosed Stops

16′ Double Diapason 12 pipes (ext Diapason No.2)

8′ Open Diapason No.1 61 pipes

8′ Open Diapason No.2 61 pipes

4′ Octave (ext Diap No.2) 12 pipes

Enclosed Stops 

16′ Bass Viol (ext Viola Pomp) 12 pipes

8′ Viola Pomposa 73 pipes

8′ Viola Celeste 73 pipes

8′ Gamba Celeste (II) † 129 pipes

8′ Violin 73 pipes

8′ Violin Celeste 68 pipes

8′ Voix Serénissime (II) † 129 pipes

4′ Violina (ext Viola Pomposa)

8′ Grand Harmonic Trumpet †† 61 pipes

  † Unison 73, Celeste (TC) 56

†† 10′′ wind

PEDAL (enclosed) 5′′–15′′ wind

32′ Open Metal (unenclosed) 32 pipes

32′ Resultant

16′ Open Wood 32 pipes

16′ Open Metal (ext 32′) 12 pipes

16′ Double Open Diapason (Great)

16′ Diaphone (Solo) 12 pipes (ext Phonon Diapason)

16′ Diapason (Gallery)

16′ Violone 32 pipes

16′ Bourdon 32 pipes

16′ Aeoline (Choir)

16′ Bass Viol (Gallery)

16′ Lieblich Bourdon (Sw)

8′ Principal 32 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Tibia Clausa (Solo)

8′ Violone (ext 16′) 12 pipes

8′ Flute (Great)

8′ Stopped Diapason (Swell)

4′ Fifteenth 32 pipes

4′ Flute (Great)

2′ Mixture mf (IV–V Choir)

32′ Cornet (derived)

32′ Contra Trombone (ext) 12 pipes

16′ Trombone 32 pipes

16′ Posaune (Swell)

16′ Bass Horn (Choir)

8′ Tuba Magna (Solo)

8′ Tromba (ext 16′) 12 pipes

8′ Posaune (Swell)

4′ Octave Tromba (ext 16′) 12 pipes

4′ Corno di Bassetto (Solo)

8′ Pizzicato Bass 

Gallery on Pedal

Positive on Pedal