Pipe Organs of the Keweenaw: Houghton County, Michigan (Continuation)

Introduction

The Keweenaw Peninsula, the northernmost part of Michigan’s Upper Peninsula, projects into Lake Superior and was the site of the first copper boom in the United States. The land was mined by prehistoric miners, starting in 3,000 B.C., and has produced over 1.5 billion pounds of pure copper. Its major industries are now logging and tourism. The northern end, referred to locally as Copper Island, is separated from the rest of the peninsula by the Keweenaw Waterway, a natural river that was dredged and expanded in the 1860s across the peninsula between the cities of Houghton on the south side and Hancock on the north.
The Keweenaw’s importance in mining led to the founding of the Michigan College of Mines (now Michigan Technological University) in Houghton in 1885. From 1964–1971, the University of Michigan cooperated with NASA and the U.S. Navy to run the Keweenaw Rocket launch site.
In the Keweenaw, many artifacts, buildings, and locations have been documented and preserved for local historical museums and the Keweenaw National Historic Park. What have not been documented are the historic pipe organs in the area. It is the intent of this article to do that. Included are a brief description and history of each church structure and a description, stoplist, and photos for each pipe organ featured. Information was gleaned from books about the area, brochures and bulletins from the individual churches, clippings from Upper Peninsula newspapers, and people—the local organists and pastors and local historic preservationist, Ed Yarbrough. A bibliography is included at the end of the catalog.
In 1995 the Pine Mountain Music Festival (PMMF) for the first time included a pipe organ recital and work-shop in their concert schedule. Two major events happened at that time. First, the Keweenaw group formed the Organists of the Keweenaw, and since then we have met three or four times a year sharing in presenting programs for each other. The second event was an organ crawl to visit the historic organs that David Short had “rediscovered” thirty years earlier. Shortly after, I began collecting material for a catalog of the Keweenaw organs.
David Short has been a partner with me in the collection of this material. In his early enthusiasm he became acquainted with all the instruments listed and registered some of them with the Organ Historical Society. I am indebted to him for providing access to the buildings and the instruments and providing much of the history. I collected the stoplists, wrote the histories from the collected sources, did all the photography, and formatted the information. He read the draft and corrected technical errors. It is to him that I dedicate this catalog. Errors are strictly my own.
These magnificent music machines are a valuable historic resource in the Keweenaw. They reflect the boom days of the copper mining era when people of wealth who lived in the area sought the best music for their churches and arranged for the purchase of these instruments. To replace any one of these pipe organs at this time would cost a minimum of $200,000 and many times more for the larger instruments. Their great value requires regular maintenance and care similar to any other major investment such as automobile or home. Well-maintained pipe organs live for centuries. A loss of any one of the Keweenaw pipe organs is a loss of history, loss of a valuable asset, and, because they are wind instruments similar to the human voice, a loss of the very best way to lead the people of a congregation in their song.
We hope this catalog will trigger interest in the organs of the Keweenaw from the local folk as well as travelers to this unique place. To see the organs, visitors may contact the church offices to make arrangements for a convenient visit.

History

People have always had their songs. Prior to the boom of the music publishing industry in the early 1900s, people matched their voices with whatever instruments they had—homemade or store-bought. Angus Murdoch writes in Boom Copper of the “Grand Callithumpian” parade in Calumet (Boom Copper, 1943, 199), where bands from all over the Copper Country gathered for the Fourth of July celebration. The bands were from mining companies, lodges and guilds, various “locations,” and represented various ethnic groups. Larry Lankton quotes Bishop Baraga being surprised at “the fast spreading of civilization on the shores of Lake Superior . . . [where] there was even a piano on which a young American woman played very skillfully . . . Many settlers undoubtedly brought musical instruments with them. Others special-ordered instruments at frontier stores. By as early as 1849–50, John Senter’s store in Eagle River did a modest trade in musical instruments, selling an accordion, a melodion, bass violas and bows, a violin and bow, guitars and guitar strings. Flageolets, and a German flute, a tuning fork, and a violin and cello instruction book” (Beyond the Boundaries 1997, 168–169). The ethnic folk brought with them their song. They sang drinking songs, folk songs, or parlor songs such as published in The Gray Book of Favorite Songs, and they sang their hymns. Much of what defined ethnic identity and culture through the decades was the song of the church in their hymnals. Indeed, the religious belief of people is, in large part, learned and remembered from the words and tunes of their hymns. It was only in the last decades of the 20th century that some foreign-language hymnals ceased to be used and the hymns begun to be sung in English. During all that time the leader of that song was, and still is, the organ.
Reed pump organs were common in both church and home. Thurner, in writing about the early 20th century, quotes Clare Moyer who recalled a pump organ in her home (Strangers and Sojourners, 1994, 187). Most likely, church congregations that could not afford pipe organs bought reed pump organs instead. Some of these instruments, now over 100 years old, still survive. At least two are currently used during summer services in local chapels. Others, also in working order, can be seen in local museums.
Acquisition of pipe organs probably reflected the wealth of the congregation. Some instruments from the late 19th century cost little over $2000. The Boom Copper folks wanted for their local churches what they had had “out East”—the pipe organ. This was not uncommon for people in remote areas. During the “Gold Rush” in Canada’s Dawson City in the Yukon, a frame Presbyterian Church, built to hold 650 people, had a pipe organ, which had been shipped to the church by steamboat up the Yukon River. The Congregational Church in Calumet bought a Garret House organ in 1870 from the manufacturer in Buffalo, New York. It was shipped—keydesk, 16' metal and wood pipes and all—to Lake Linden and then transported up the hill to Calumet. Some time later, the congregation decided to get a larger organ and bought a Hook & Hastings instrument, again from “out East.” The Garret House was given to the Lake Linden Church and made the journey back down the hill. Sad to say, the Calumet church met with disaster when both the building and the organ were destroyed by fire. The congregation joined with the Presbyterian congregation that had in their building a 1905 Estey organ.
Both the Estey, which was rebuilt in 1970, and the Garret House, which has been cleaned and reconditioned, are still in use. There is a great irreplaceable investment in the Keweenaw pipe organs! Thurner writes that the German Lutherans in Laurium built a church “early in the twentieth century [which had] an altar with elaborate wood carving, three steeple bells, and an organ . . . ” (Strangers and Sojourners, 134). Armas Holmio describes the Finnish Lutheran Church that was built in 1889 on Reservation Street in Hancock: “In the balcony of the new church, which was the most imposing one owned by Finnish Americans of that time, there was a large pipe organ . . . ” (History of the Finns in Michigan, 2001, 188). That organ, a Kilgen dating from 1915, was moved to the newly constructed Gloria Dei building after the Lutheran Church mergers in 1964.
The Houghton Methodists suffered several fires, the last one in 1916 destroying a pipe organ, according to Terry Reynolds’ history of the church (Grace of Houghton, 37). Until their new building was erected, the Methodists worshiped for a time with the First Presbyterians on Franklin Square, and then separately in the Masonic Temple. When the Methodists decided to purchase an organ for their new church, the Presbyterians apparently took advantage of the opportunity. Both churches dealt with the same company during the same period of time and ended up with similar instruments, the Methodists’ Maxcy-Barton organ being somewhat larger. When the Presbyterian church was razed to allow for highway expansion down Montezuma Hill, their Maxcy-Barton was purchased by a local party and installed in the family home.
Sadly, the same did not happen for the large Austin organ in the First Congregational Church of Hancock, which was razed about the same time. The music history of that church, which included among others the notable baritone Will Hall, was impressive. The organ had played a huge musical role in the church and community, but unfortunately could find no local home, and was sold to a party outside of the area.
Another organ has lain in state for over 30 years. When one local church closed, no home could be found for the pipe organ. Pastor John Simonson dismantled the instrument and made plans to install it in an enlarged garage on his property. The project was not completed, and the organ now awaits resurrection, hopefully to be placed in the St. Anne Heritage Center in Calumet, where it could be used for concerts, weddings, and other events and to echo the music of the ethnic people of the area.
The Keweenaw boasts pipe organs dating from 1870 to 1968. All are in working order and in regular use, and several are tracker organs. All of the Keweenaw tracker organs now have electric blowers; however, two of the trackers can still be hand pumped. One has a detached and reversed keydesk. Several of the Keweenaw organs are in their original state with no changes having been made. They were installed with electric blowers and with either electro-pneumatic or electro-magnetic action. Three have been moved to different locations. Although the consoles have been moved in at least two churches, the innards of the instruments remain the same. One organ has been enlarged to meet the specifications for the original instrument. Others have been so enlarged with additional pipes and digital circuitry that they no longer resemble the original instrument. Only two organs have three manuals. One has an echo organ placed at the opposite end of the sanctuary from the main organ chamber. Another is a beautiful one-manual, no-pedalboard organ with fully exposed pipes. The Keweenaw pipe organs are irreplaceable treasures, a legacy from those folks of the Boom Copper days who sought to bring the best of instruments to their churches for their peoples’ song. These are instruments worthy of preservation, care, and constant use. Let them be heard!

Pipe Organs of the Keweenaw, Houghton County, Michigan

Calumet, Laurium
Community Church, Calumet. Estey, 1907; Verlinden 2M, 1970
St. Paul the Apostle, Calumet. Kilgen 2M, 1869; Lauck, 2001
St. Paul Lutheran (Missouri Synod), Laurium. Schuelke 2M, 1902; Verlinden, 1963

Hancock, Houghton
First United Methodist, Hancock. Kimball 2M, 1905; electro-pneumatic 1958; refurbished, Lauck, 2005
Gloria Dei Lutheran, Hancock. Kilgen 2M, 1915?; moved to new location 1969; rebuilt and enlarged, Fabry, 2000
Grace United Methodist, Houghton. Maxcy-Barton, 1931; rebuilt, Verlinden, 1971
Michigan Technological University. Wurlitzer, 3M, c1920; installed at MTU, John Wagner, Wicks, 1970–1975
David and Carol Waisanen residence. Maxcy-Barton 2M, c1931–1933; moved from original location, 1975
Sts. Peter & Paul Lutheran (Missouri Synod), Hancock. Haase 2M, 1901; modified and electrified, Haase, 1960; rebuilt, Roscoe Wheeler, 1997
Trinity Episcopal, Houghton. Austin 3M, 1913, 1976, 1987

Lake Linden, Hubbell
Heritage Center (former First Congregational Church), Houghton County Historical Museum, Lake Linden. Garret House 2M, 1870; cleaned, Dana Hull, 2001; restored, Helmut Schick, 2002
St. Cecilia RC, Hubbell. Felgemaker 2M, c1900
St. John’s Lutheran (Missouri Synod), Hubbell. Verlinden 1M, 1968
St. Joseph’s RC, Lake Linden. Casavant Frères 2M, 1916; overhauled 1957; electro-pneumatic, Verlinden, 1982; cleaned, new console, J. A. Hebert, 1995; additions, Lauck, 2001
Lake Linden United Methodist, Lake Linden. Lancashire-Marshall 2M, 1893; Hugh Stahl, 1950

Keweenaw area
Rockland Roman Catholic. Garret House, 1859 (not functional)

Calumet and Laurium

Community Church of Calumet
201 Red Jacket Road, Calumet, MI 49913; 906/337-4610.
Estey tracker 1907; rebuilt, Verlinden “incorporating most of the stops from the original organ,” electro-pneumatic, 1970. 2M/28 stops, 16 ranks
Placement: center front of sanctuary in well of choir loft, facing organ chamber

GREAT (enclosed)
8' Open Diapason 61 pipes
8' Melodia 61 pipes
8' Dulciana 61 pipes
4' Octave 61 pipes
4' Waldflote 12 pipes
2' Fifteenth 12 pipes
II Grave Mixture 122 pipes
8' Trumpet 61 notes
16' Great to Great
4' Great to Great
8' Swell to Great
4' Swell to Great
Four combination pistons

SWELL (enclosed)
16' Bourdon 73 notes
8' Stopped Diapason 73 pipes
8' Salicional 73 pipes
8' Voix Celeste TC 49 pipes
4' Principal 73 pipes
4' Flute d’Amour 12 pipes
4' Salicet 61 notes
22⁄3' Nazard 61 notes
2' Principal 61 notes
2' Flautino 61 notes
13⁄5' Tierce 57 notes
8' Trumpet 73 pipes
4' Clarion 61 notes
Tremolo
16' Swell to Swell
4' Swell to Swell
Swell Unison Off
Four combination pistons

PEDAL (enclosed)
16' Bourdon 32 pipes
16' Lieblich Gedeckt 12 pipes
8' Octave 12 pipes
8' Bass Flute 32 notes
8' Gedeckt 32 notes
4' Choral Bass 32 notes
8' Trumpet 32 notes
8' Great to Pedal
8' Swell to Pedal
4' Great to Pedal

Deagan Chimes - 21 bells
Expression pedal for entire organ
Crescendo pedal
Sforzando toe piston
Great to pedal reversible toe piston

The Calumet Congregational Church was the church of James MacNaughton and Alexander Agassiz and represented the elite and wealthy of the community. The original church, built in 1874, burned down in 1949. In 1971 the congregation merged with the Calumet Presbyterian Church, which had been built in 1894 to serve the Scottish Presbyterians in the area. The merged churches, first named the Federated Church, then became the Community Church of Calumet (Congregational-Presbyterian). In 2005 the congregation separated from the Presbyterian Church (USA) in order to lease the basement facilities to the Copper Country Community Arts Council. It retains affiliation with the United Church of Christ.
The organ was originally built from two Estey trackers from Brattleboro, Vermont. Estey was in business from 1846–1960 and manufactured more than 3,200 pipe organs during the first half of the 20th century. On November 5, 1969, the Calumet organ was removed by Verlinden Organ Company, Milwaukee. Roman J. Leese, president of Verlinden, designed a new chamber, and the organ was reinstalled with most of the original pipes on July 13, 1970. It was converted to electro-pneumatic, and the console was moved from next to the chamber to a well at the opposite side of the choir loft. It is totally under expression. The first service with the new installation was played July 17, 1970, with James Abrams at the console. Dedicatory recitalist on November 5, 1970, was Harvey L. Gustafson. (Source: church records by Charles Stetter)

St. Paul the Apostle Church
301 Eighth Street, Calumet, MI 49913; 906/337-2044.
Kilgen, 1905, reverse tracker, 2M, 17 stops; oak, 18' wide, 9' deep; original cost $4,000. Rebuilt, cleaned, new trackers, manuals regulated, 1 stop* added, Lauck, 2001. Pneumatic pedal, hand pump preserved.
Placement: rear balcony, facing front of sanctuary

GREAT
8' Open Diapason
8' Trompette*
8' Melodia
4' Octave
4' Flute d’Amour
2' Fifteenth
16' Bourdon

SWELL (enclosed)
8' Violin Diapason
8' Salicional
8' Aeoline
8' Oboe Gamba (2 ranks, non-reed)
8' Stopped Diapason
4' Violina
4' Flute Harmonique
2' Flautina
Swell to Great
Tremolo

PEDAL
16' Bourdon
8' Violon Cello
Great to Pedal
Swell to Pedal

Pneumatic assist
Five foot pedals: soft to loud

The parish was established in 1889 by Slovenian immigrants and was originally named St. Joseph Roman Catholic Church. The original 1890 wood frame building was destroyed by fire in 1902. The new twin-spired church was built of Jacobsville sandstone from 1903 to 1908 at the cost $100,000. In 1928 St. Joseph’s Parish absorbed St. Anthony’s Polish Parish. After 1966 they absorbed St. Mary’s (Italian), St. Anne’s (French), St. John’s (Croatian), and took the name St. Paul the Apostle Parish. The structure was designated an Historical Building in the State of Michigan in 1983.
The 1905 Kilgen organ is a reverse tracker. Although operating with electric power, the organ retains the original pump and can be operated in that manner. (Source: church brochure)

St. Paul Lutheran Church (Missouri Synod)
146 Tamarack, Laurium, MI 49913; 906/337-0231.
Schuelke, 1902; rebuilt Verlinden, 1963
Placement: rear balcony, right side of console faces the front of the sanctuary

GREAT
8' Diapason
8' Melodia
8' Dulciana
4' Principal
III Mixture
8' Trumpet
16' Great
4' Great
Great Unison Off
16' Swell to Great
8' Swell to Great
4' Swell to Great
Chimes
Tremulant

SWELL
8' Geigen
8' Bourdon
8' Salicional
8' Celeste
4' Harmonic Flute
2' Fifteenth
II Sesquialtera
16' Krummhorn
8' Krummhorn
8' Trumpet
4' Fagotto
16' Swell
4' Swell
Swell Unison Off
Chimes
Tremulant

PEDAL
16' Bourdon
8' Octave Bass
4' Fagotto
8' Great to Pedal
8' Swell to Pedal
4' Great to Pedal
4' Swell to Pedal

Presets are inside the organ chamber

The congregation formed in 1879. The first church building was located on Scott Street in Calumet. The present building was dedicated 1899.
The Schuelke tracker organ was given to the congregation in 1902 by Mr. Ernest Bollman. In 1929 two recitals were performed by Mr. Martin, Chicago, to celebrate the 50th anniversary of the church. In 1961 Rudolf Patsloff donated the trumpet rank, which is mounted to the left of the chancel in the front of the church. Franz Ziems, organist for many years, left a bequest to renovate the organ. Renovation was completed by Verlinden Co., Milwaukee, in October 1963. The dedicatory recital was played by Rev. Harvey Gustafson, Minneapolis. He played four more recitals after that time. The chimes were given in memory of John Messner. The casework of the chamber is the work of Arthur Jarvela. (Source: e-mail from church organist Jan List)

Hancock and Houghton

First United Methodist Church
401 Quincy Street, Hancock, MI 49930; 906/482-4190.
Kimball, 1905, tracker, 2M, 11 ranks; rebuilt to electro-pneumatic action 1950; new wind lines, 1998; refurbished 2005 by Fabry, Antioch, Illinois.
Placement: front left dais; console is on a moveable platform
Console: not AGO, but radiating pedalboard

GREAT
8' Open Diapason
8' Melodia
8' Dulciana
4' Principal
4' Flute
22⁄3' Twelfth
2' 15th
4' Great to Great
16' Swell to Great
8' Swell to Great
4' Swell to Great

SWELL 8' Violin Diapason
8' Stopped Diapason
8' Gamba
4' Flute d’Amour
22⁄3' Nazard
2' Flautino
Tremolo
16' Swell to Swell
4' Swell to Swell

PEDAL
16' Bourdon
16' Gedeckt
8' Principal
8' Bass Flute
4' Flute
8' Great to Pedal
4' Great to Pedal
8' Swell to Pedal

The congregation of the First Methodist Church organized in 1860, the first of any denomination to be established in Hancock. The first building was erected in 1861. The present structure of Jacobsville sandstone and brick was dedicated in 1903.
In 1905 the Kimball tracker organ was installed, a gift from Mr. and Mrs. W. H. Roberts. The console was built into the paneling of the chamber with the choir loft on either side and in front, with the organist’s back to the choir and congregation. In 1950 the organ was converted to electro-pneumatic and the console moved from its tracker position to a well at the opposite side of the choir loft. In 1998 the sanctuary was renovated and choir loft was leveled to make a flat dais across the chancel area. The organ console was placed on a moveable platform and new wind lines installed by Fabry, Inc. In 2005 Fabry also replaced slide tuners in the pipes, installed a new blower, and repainted the pipes located above the paneling fronting the lower part of the chamber. (Sources: Monette; church organist Carol Waisanen)

Gloria Dei Lutheran Church (ELCA)
1000 Quincy Street, Hancock, MI 49930; 906/482-2381.
Kilgen, 1915? 2M; moved to new building, 1969; console rebuilt and preparation made for additions, Fabry, 2002
Placement: rear balcony; left side of console faces front of sanctuary

GREAT
8' Diapason
8' Gedeckt
8' Dulciana
4' Principal
4' Flute d’Amour
4' Dulcet
12th Dolce
15th Dolce
13⁄5' Dolce Tierce
16' Great to Great
4' Great to Great
16' Swell to Great
8' Swell to Great
4' Swell to Great
Chimes
Unison Off
MIDI to Great

SWELL
8' Violin Diapason
8' Gedeckt
8' Salicional
8' Voix Celeste
4' Principal
4' Flute d’Amour
22⁄3' Nazard
2' Flautino
8' Trompette
8' Oboe
Tremolo
16' Swell to Swell
4' Swell to Swell
Unison Off

PEDAL 32' Resultant
16' Bourdon
16' Lieblich Gedeckt
8' Diapason
8' Bass Flute
8' Gedeckt
4' Choral Bass
8' Great to Pedal
8' Swell to Pedal
4' Great to Pedal
4' Swell to Pedal

Memory Select
Transposer
Swell presets: 5, Swell to Pedal
Great presets: 5, Great to Pedal
Generals: 10, Tutti
Toe studs:
General cancel
10 generals
Swell to Pedal
Great to Pedal
Resultant
Tutti

The Gloria Dei congregation traces its roots to 1867 when the Scandinavian Evangelical Lutheran Congregation was formed. It was reorganized in 1880 as the Finnish Evangelical Lutheran Congregation. The first wood frame building was partly destroyed by fire in 1896 and again in 1909. A brick building was constructed in 1910. Shortly after, a member of the congregation, Andrew Johnson, gave the first pipe organ to the church. In 1955 the name of the church was changed to St. Matthew’s Evangelical Lutheran Church. In 1962 most of the national Lutheran church bodies merged into the Lutheran Church of America. Salem Lutheran (Swedish) and St. Matthew’s (Finnish) merged in 1966 and adopted the name Gloria Dei.
The present building was constructed in 1969, and the Kilgen organ from St. Matthew’s was moved and installed in the new structure. In 2002, the organ was rebuilt by Fabry, Inc. of Fox Lake, Illinois. (Sources: Monette; church records and members)

Grace United Methodist Church
201 Isle Royale, Houghton, MI 49931; 906/482-2780.
Maxcy-Barton, 1931; rebuilt Verlinden, 1971
Placement: left of chancel, below dais

GREAT
8' Open Diapason
8' Melodia
8' Salicional
8' Dulciana
4' Octave
4' Wald Flute
4' Dulcet
22⁄3' Twelfth
2' Fifteenth
16' Great to Great
4' Great to Great
8' Swell to Great
4' Swell to Great
Chimes

SWELL
16' Bourdon
8' Stopped Flute
8' Salicional
8' Dulciana
8' Vox Celeste
4' Principal
4' Flute d’Amour 4' Salicet
22⁄3' Nazard
2' Flautino
13⁄5' Tierce
8' (Syn) Orchestral Oboe
16' Swell to Swell
4' Swell to Swell
Unison Off
Tremulant

PEDAL
16' Sub Bass
16' Bourdon
8' Octave
8' Bass Flute
8' Bourdon
8' Cello
4' Choral Bass
4' Flute
8' Great to Pedal
8' Swell to Pedal
4' Great to Pedal

3 pistons and cancel on Swell
3 pistons and cancel on Great
One toe stud, coupler
1 expression pedal
1 crescendo pedal

Grace’s history from 1854 to 2004 is documented in booklet form by Professor Terry Reynolds of the Social Science Department of Michigan Technological University. The church stems from a “Methodist Class” that formed in 1854, an outgrowth of Methodist missions that had begun around 1832 with the Ojibwa natives of the Upper Peninsula. A frame building was constructed in 1859 and in 1890 money was first raised to purchase an organ. In 1893 a new sandstone structure was built and again, in 1907, church records show efforts to raise money for an organ.
An organ must have been installed in that structure as the church history reports a fire in 1916, which destroyed, among other things, the organ. The present Maxcy-Barton was installed in 1931. It is most likely that the Maxcy-Barton organ of the First Presbyterian Church was also installed at that time as the organs are similar except that the Methodist instrument is larger. In 1971 Verlinden rebuilt the instrument and in the 1990s the console was moved from the dais to the main floor level on left side of the chancel. (Source: Reynolds)

Michigan Technological University
MacInnes Ice Arena, 1400 Townsend Drive, Houghton, MI 49931.
Rudolph Wurlitzer Company, c1920; installed May 1975
Placement: platform on rafters, west wall of MacInnes Ice Arena, access on a 50-ft. ladder climb
1119 pipes, 15 ranks, 130 stops
drums
bells
130 stops
24 notes, cathedral chimes
32-note pedalboard

This instrument was first installed in the Presbyterian Church, Utica, New York, and later moved to the home of James Thomas, who added theatre organ components from two Pennsylvania theatre organs and accessories from a Boston radio station. The instrument, valued at $75,000, was donated to MTU in the late 1960s through the efforts of John Wagner, class of ’61. It was moved to MTU in 1970 with initial installation done by Wagner and completed by the Wicks Organ Company, Highland, Illinois.
The organ was first played for Michigan Tech’s commencement exercises May 1975 by Gerrit Lamain, director of the Suomi College (now Finlandia University) Choir, Hancock, and later of Minneapolis, Minnesota. Lamain entertained hockey fans prior to Michigan Tech’s games until he left the area, returning regularly to play for Tech’s commencement exercises. The console is mounted on a high platform at the west end of the MacInnes Ice Arena. Access is achieved by climbing a 50-foot ladder. An article and pictures featuring this instrument can be found in the April 2000 “Alumnus” magazine of Michigan Tech. (Source: Nordberg)

David and Carol Waisanen residence, Hancock, MI.
Maxcy-Barton, Oshkosh, WI, 2M, 8 ranks, 1931–33?, electro-pneumatic; installed by owner, 1975
Placement: music room, console on balcony (former back porch); organ chamber installed with original paneling and grillework

GREAT
8' Open Diapason 61 pipes
8' Melodia 73 pipes
8' Dulciana 61 pipes
4' Flute 61 notes
Unison Off

SWELL
8' Stopped Diapason 73 pipes
8' Salicional 73 pipes
8' Vox Humana 61 pipes
4' Flute d’Amour 61 notes
Tremulant
Unison Off

PEDAL
16' Bourdon 12 pipes
(20 notes from Sw St. Diap.)
8' Flute (from Sw St. Diap.)

Couplers
16' Great to Great
4' Great to Great
16' Swell to Great
8' Swell to Great
4' Swell to Great
8' Great to Pedal
8' Swell to Pedal

Combination pistons:
3 Swell, controlling Swell and Pedal organs and couplers, cancel
3 Great, controlling Great and Pedal organs and couplers, cancel

Balanced expression pedal
Balanced adjustable crescendo pedal

First installed in the First Presbyterian Church, Houghton between 1931 and 1933, it is believed that this instrument was installed during the same period that a larger Maxcy-Barton was placed in the Grace Methodist Church. Maxcy organs were custom built to fit the acoustics of the space. The organ chamber in the Presbyterian church was at the front of the sanctuary and enclosed in a wooden grillework similar to the one in Grace. The detached console was located below the rostrum and in front of the choir loft, which was an elevated tiered area at one side of the chancel. The building was razed in 1976 due to highway construction, and the instrument was purchased by a private party. The owner converted his back yard to a vaulted music room. The organ chamber is enclosed in the original wood grillework from the church and the console sits on what used to be the back porch of the home. (Sources: The Daily Mining Gazette; Waisanen)

Sts. Peter and Paul Lutheran Church (Missouri Synod)
323 Hancock Street, Hancock, MI 49930; 906/482-4750.
Haase, tracker 1901; modified and electrified by Haase Organ Co., Marengo, IL, 1960; rebuilt, Roscoe Wheeler, Curran, MI, 1997
Placement: balcony, rear of church, left side of console faces front of sanctuary

GREAT
8' Principal
8' Quintaten
8' Gemshorn
4' Octave
22⁄3' Twelfth
2' Fifteenth
8' Great to Pedal
4' Great to Pedal
16' Great to Great
4' Great to Great

SWELL
8' Rohr Gedeckt
8' Salicional
4' Koppel Flute
22⁄3' Nazard
2' Flautino
8' Oboe
Swell Unison Off
Tremolo
16' Swell to Great
8' Swell to Great
4' Swell to Great
16' Swell to Swell
4' Swell to Swell
8' Swell to Pedal

PEDAL
16' Sub Bass
16' Quintaten
16' Posaune
8' Principal
8' Rohr Flute
8' Oboe
4' Choral Bass

Great expression pedal
Swell expression pedal
Crescendo pedal
Sforzando pedal piston
Swell enclosed
Great open

Presets for Swell and Great individually and in combination; located within the organ chamber.
MIDI to Swell, Great, Pedal
Schulmerich carillon keyboard attached to console

The congregation, the first Lutheran one in the Copper Country, was founded in 1867 as the Deutsche Evangelische Lutherische Peter and Paul’s Gemeinde in Hancock. The first church structure was built in 1867 and the present church structure in 1881.
In 1901 the organ was purchased for the sum of $500 from St. Stephen’s Lutheran Church in Milwaukee, Wisconsin. The dedicatory recital was played by Professor Karl Haase. Most of the original pipes were constructed in Berlin, Germany by August Laukhuff Orgelteile. New ones were constructed and added by the Durst Organ Co., Erie, Pennsylvania. Under the Rev. Mr. Boomhower the organ was refurbished in 1997 at the cost of $25,000. Improvements included work on all inner mechanical works and solid state circuitry. Total cost for repairs and improvements up to 1998 was $30,000. This church also houses in its belfry tower three bells of 1,000, 800, and 600 pounds. (Sources: Monette; service bulletin)
PLEASE GO TO CONTINUATION

Anita Campbell is retired from the Calumet Public Schools, and has been on the Board of Directors of the Keweenaw Heritage Center at St. Anne’s for several years. She enjoys promoting the history of her community—the Copper Country, located in the northernmost tip of the Upper Peninsula of Michigan. She has always had a love for music and a special place in her heart for organ music, so she took on chairing the Barckhoff pipe organ restoration project with great passion and is excited to share this historic instrument with the community.

It’s interesting to think back about the Barckhoff Church Organ Company located in Latrobe, Pennsylvania in 1899, and picture the many German immigrants employed there, bringing with them from the old country their expertise in organ building. Flash forward 107 years to the little community of Calumet, Michigan, in a remote area of Michigan’s Upper Peninsula, where a group of organ enthusiasts are busily cleaning 957 pipes in preparation for the restoration of a historic Barckhoff tracker pipe organ built in Latrobe, Pennsylvania in 1899. (For a history of pipe organs in this area, see Janet Anuta Dalquist, “Pipe Organs of the Keweenaw: Houghton County, Michigan,” in The Diapason, February 2007.)

Barckhoff history
It is written that Carl Barckhoff and his employees built over 3,000 organs. Most of the organs were, of course, built for churches, but he also built residence organs and organs for recital halls, Masonic temples, and at least one college.
Carl Barckhoff was born in Wiedenbrück, Westphalia, Germany in 1849. His father, organ builder Felix Barckhoff, brought the family to the United States in 1865, and in that same year the first Barckhoff organ was built in this country. The firm was established in Philadelphia, and was for a time during the 1870s known as Felix Barckhoff & Sons, the sons being Carl and Lorenz.
Carl continued managing the company after his father’s death and relocated to several different towns due to various misfortunes, such as the financial panic of 1893, a fire in 1897, and a disastrous flood in 1913. The business grew, and by 1889 the Barckhoff Church Organ Company had 54 employees. In 1904 the company was shipping “an average of three organs per week, and nothing smaller than two-manual instruments.” Barckhoff organs are unfortunately not identified by opus numbers. Due to various disasters, all company records have been lost. Nameplates have merely his name and location.

The Barckhoff organ in Calumet
The Barckhoff Church Organ Company remained in Latrobe, Pennsylvania for only three years. It was during this short period that the two-manual, 16-rank tracker pipe organ was built and installed in the Carmel Lutheran Church of Calumet in 1899. This organ served the Calumet Swedish Evangelical Lutheran Church, Carmel Lutheran, from 1899–1965, when the congregation merged with the Finnish Evangelical Lutheran Church in the neighboring community of Laurium.
When Carmel Lutheran closed, the congregation donated the pipe organ to their retired pastor and organ enthusiast, Rev. John Simonson, and his wife, Hortense, also an organist. The Simonsons had a building constructed to house the organ on their wooded property near their home in Dollar Bay, Michigan. Besides the steeply pitched roof, the organ house featured haymow doors like those on a barn, which were there “to let the music out.” The Simonsons and friends and family enjoyed several years of pipe organ music before the death of Hortense in 1990 and John in 1991. The Simonson children looked for an organization to donate the organ to and chose the Keweenaw Heritage Center, Calumet, Michigan.

The Keweenaw Heritage Center
The Keweenaw Heritage Center, formerly St. Anne’s Catholic Church, was built in 1900 for the large French-Canadian community that had immigrated to Calumet to work in the booming copper mines. The structure was built of red sandstone with French Gothic ornamentation generously applied. After decades of service, St. Anne’s was deconsecrated in 1966 and sadly fell into years of decay and desecration. Eventually, the abandoned building was home only to pigeons. Lack of heating and the rugged Keweenaw winters took their toll.
In 1994 the Keweenaw Heritage Center began as a broad-based community effort to purchase and restore St. Anne’s. Their intent was to ultimately use this historically and architecturally significant building as a home for a community center, highlighting the social history of Michigan’s Copper Country. Local contributions and several grants from foundations, the National Park Service, and the hard work of numerous volunteers have brought St. Anne’s back to life. The Keweenaw Heritage Center is now one of eighteen Heritage Sites of the Keweenaw National Historical Park.
The pipe organ was moved to the Keweenaw Heritage Center in May 2000, thanks to the efforts of Mike Dudenas, then president of the Keweenaw Heritage Center. It was temporarily placed in the chancel area until funds could be raised to repair the plaster and leaks in the choir loft. The organ sat untouched for six years until 2006, when the choir loft was repaired and plans began to move and restore the pipe organ. Fundraising efforts began with an ambitious “Adopt-A-Pipe” program initiated by volunteer Mike Maksimchuk. Generous grants and major donations were received from the Strosacker Foundation, the Taubman Foundation, Mrs. Valeda Tomasi of Calumet, and Mr. David Simonson of North Carolina.

Restoring the organ
Organ builder James Lauck, owner of the Lauck Pipe Organ Company, of Otsego, Michigan, was contracted by the Keweenaw Heritage Center to restore the Barckhoff pipe organ. Lauck has been building organs since 1975 and maintains many of the Copper Country’s historic pipe organs.
In June 2007, on a very hot and muggy day, 25 volunteers worked with Lauck to dismantle and move the pipe organ from its location in the first floor chancel area to the balcony of the Keweenaw Heritage Center. The move was completed in ten hours. Volunteers continued to raise funds and work on the organ during the summer and fall of 2007 under the direction of Jim Lauck, all dreaming of the day when the grand old Barckhoff tracker pipe organ would fill this majestic building with amazing music.
The restoration was slow, due to the fact that the Keweenaw Heritage Center closes its doors during the harsh winters and that organbuilder Lauck had to travel 500 miles to work on the organ. The summer of 2008 brought renewed energy of the volunteers, and Lauck continued to make trips to work on the organ.
The oak casework was in excellent condition and needed little work outside of cleaning. The façade pipes were repainted and original stenciling replicated by volunteers. Feeder bellows and the double-rise reservoir were completely rebuilt and releathered. Windchests are all in good original condition; action parts were replaced as needed. A new Ventus blower was installed, replacing an old Kinetic blower. The pedal tubular-pneumatic ventil windchests were releathered. Cardboard windlines and conductors were replaced with Orgaflex. Lauck praised the ambitious volunteers and the 700-plus hours of restoration work that they contributed. A grand day finally arrived in August 2008, when the Swell and Great organs were completed and a mini-concert could be played for the many volunteers.
The Pedal organ was added and the restoration completed in May 2009. A “Celebration Concert” took place August 5, filling the Keweenaw Heritage Center with glorious pipe organ music once again—a tribute to the ingenuity and musical taste of a former generation. Guest artists Wayne Seppala of San Diego, California and Mike Maksimchuk of Calumet, Michigan performed at the celebration concert.
In December 2008, the Organ Historical Society awarded a Citation to the 1899 Barckhoff pipe organ for its historical significance. Thirteen other instruments in Michigan have received the OHS Citation, and three Barckhoff organs have received a Citation. The Keweenaw Heritage Center is very proud of this recognition and looks forward to sharing this “king of instruments” with the community.
Below are the specifications for the Barckhoff organ:

GREAT
16′ Bourdon wood 49
8′ Open Diapason metal 61
8′ Viola Di Gamba metal 61
8′ Doppel Flute wood 61
8′ Dulciana metal 61
4′ Principal metal 61
3′ Twelfth metal 61
2′ Fifteenth metal 61

SWELL
8′ Violin Diapason metal 61
8′ Salicional metal 61
8′ Stopped Diapason wood 61
4′ Fugara metal 61
4′ Flute Harmonic metal & wood 61
2′ Piccolo metal 61

PEDAL
16′ Sub Bass wood 27
8′ Flute Major wood 27

Mechanical Registers
Great to Swell
Swell to Pedal
Swell to Great
Bellows Signal
Tremolo
Wind Indicator

Combination Pedals
Great Organ Forte
Great Organ Piano

Balanced Swell Pedal

Construction
The 1898 contract states:
1. All the metal flue pipes to be of a composition of tin and lead, varied according to the requirements of the tone; but in no case to have less than 40% pure tin.
2. The reed pipes to be of tin and lead as above stated, except the basses, which have zinc in the most slender parts, where stiffness is required. No zinc being used otherwise, excepting for front pipes & basses.
3. Pedals of black walnut, with naturals capped with white maple.
4. The best of ebony and ivory shall be used for the manual keyboards, which shall project and be beveled.
For more information on this pipe organ restoration project, please contact the chair of the organ committee, Anita Campbell <[email protected]>.

Michael Friesen, of Denver, Colorado, is an organ historian who specializes in the history of organbuilding in America in the 18th and 19th centuries. He was President of the Organ Historical Society from 2003 to 2007.

St. John’s Episcopal Cathedral, Denver, Colorado, has announced that Spencer Organ Company, Inc. of Waltham, Massachusetts will restore the cathedral’s historic 5,949-pipe organ built by W. W. Kimball of Chicago. The four-manual, 96-rank Kimball organ, Op. 7231 of the firm, was dedicated on May 18, 1938, and was the last major instrument constructed before Kimball ceased organ-building operations in 1942 after the outbreak of World War II.
Founded in 1857, Kimball was a major manufacturer and supplier of musical instruments, primarily pianos and reed organs. Pipe organ manufacture began in 1891. Altogether, the company built and installed 7,326 organs throughout the United States and abroad. Most of the firm’s large instruments have been replaced, neglected, or substantially rebuilt. The Denver Kimball is now prized because of its completely original condition (not a pipe has been changed), preserving a rich English Cathedral aesthetic popular between the wars.
Although the instrument has been well maintained during its 71 years, it has developed the mechanical problems that come to all pipe organs with age and wear through heavy use. To preserve the instrument and keep it in optimal condition, the cathedral has committed to a comprehensive restoration process. Much of the organ was removed in June 2009, not only for restoration, but also to allow repairs and improvements to the organ’s chamber (built in a part of the cathedral intended as a temporary brick structure that has since become permanent). The organ restoration will include replacement of leather components, repair and renewal of mechanisms, and a thorough cleaning and re-regulation of all pipes.
The Spencer Organ Company, Inc., founded in 1995 by Joseph Rotella, specializes in the restoration of electro-pneumatic pipe organs. The Spencer firm, with eleven employees, has been entrusted with the restoration and maintenance of numerous Skinner, Aeolian-Skinner, and Kimball organs. The Denver project is a two-year program of staged work, beginning with the June removal and scheduled for completion in fall 2011.
The Kimball restoration is part of an effort at St. John’s to improve several aspects of the building in commemoration of its 150th anniversary in 2010–11, which includes the 100th anniversary of the cathedral building itself. (The parish was founded in 1860; the current cathedral building was dedicated in 1911.) Fund-raising for those projects and anniversary programs is underway. The cathedral is considering the commission of new organs for the rear gallery and St. Martin’s Chapel, details of which will be announced later. Throughout this process, St. John’s will continue its extensive music program without interruption.
St. John’s has purchased an instrument built in 1869 by the Boston, Massachusetts firm of E. & G. G. Hook, its Op. 476, for use as a temporary instrument while the 1938 Kimball organ undergoes restoration. The Hook was formerly in the First Methodist Church of Lawrence, Massachusetts, its original home. The congregation currently using that building did not need the Hook for their worship and offered it for sale through the Organ Clearing House.
The Hook is a two-manual, 17-stop, tracker-action instrument, contained in a free-standing walnut case with Victorian-stencilled façade pipes. Co-restorers are Richard C. Hamar of Norwich, Connecticut and Susan Tattershall of Denver, with additional materials and/or labor furnished by Norman Lane and Rick Morel of Denver, Rubin Frels of Victoria, Texas, Barbara Owen of Newburyport, Massachusetts, and Michael Quimby of Warrensburg, Missouri. In addition, over 1,400 hours have been contributed to the project by many parish volunteers and non-parishioner friends, from youth to adult, who have helped with various tasks, ranging from making new trackers, cleaning all parts of the organ, sanding the old varnish off the case, and re-stencilling the decorative components.
The restoration project follows the Organ Historical Society’s Guidelines for Conservation and Restoration for pipe organs. The pedal action, which was converted to tubular-pneumatic action in 1911 by the Hutchings Organ Company of Waltham, Massachusetts, has been returned to mechanical action in Hook style. Subsequent tonal alterations had included substituting a 22⁄3′ mutation stop and a 2′ flute for the 8′ Keraulophon and 4′ Violina ranks in the Swell, respectively, and a 4′ Flute d’Amour displaced the 16′ Bourdon on the Great, which was moved to a jump slide. The Keraulophon pipes were found in the organ, and have been repaired and restored to their original place; the jump slide and the Flute d’Amour were removed, with the Bourdon being returned to its original location, which required a redesign of the toeboard. The 2′ principal rank will remain in the organ for the time being until suitable replacement Violina pipes are found. The case has been given a new traditional shellac finish, and the façade pipes are being restored to their original color scheme. Thus the original musical aesthetic, mechanical functioning, and appearance of the Hook is being restored to the greatest extent possible.
Coincidentally, St. John’s had previous relationships with the Hook firm, purchasing two organs from them in succession: first, a small organ in 1875, which was used in its original church building in downtown Denver, and then a second, large three-manual organ in 1881 for the first cathedral located at 20th and Welton Streets, which burned in 1903.
The Hook organ has been placed on the floor of the nave in the back of the cathedral while repairs and refurbishing of elements of the cathedral chancel are undertaken. St. John’s began offering a recital series on the Hook in January 2010. Further concert dates will be announced. For additional information, contact the Cathedral Music Office at 303/577-7717. 

St. John’s Episcopal Cathedral
Denver, Colorado
W. W. Kimball Company
Chicago, Illinois
Op. 7231, 1938
4 manuals, 96 speaking stops, 96 ranks, 5,949 pipes

Great (61 notes, Manual II, unenclosed, except as noted *)
16′ Double Diapason
16′ Quintaton*
8′ First Diapason
8′ Second Diapason
8′ Third Diapason*
8′ Harmonic Flute*
8′ Bourdon*
8’ Gemshorn*
4′ First Octave
4′ Second Octave*
4′ Flute Harmonique*
22⁄3′ Octave Quint
2′ Super Octave
IV Fourniture
III–V Full Mixture
16′ Contra Tromba*
8′ Tromba*
4′ Clarion*
Tremolo (for enclosed labial stops)
Chimes (Solo)

Swell (61 notes, enclosed, Manual III)
16′ Contra Salicional
16′ Echo Lieblich
8′ Geigen Principal
8′ Hohl Flöte
8′ Salicional
8′ Voix Celeste
8′ Rohrflöte
8′ Flauto Dolce
8′ Flute Celeste
8′ Aeoline
8′ Aeoline Celeste
4′ Octave Geigen
4′ Traverse Flute
22⁄3′ Twelfth
2′ Fifteenth
III Cornet
V Plein Jeu
16′ Waldhorn
8′ Trumpet
8′ Cornopean
8′ Oboe
8′ Vox Humana
4′ Clarion
Tremolo
Chimes (Solo)
Harp (Choir) 8′
Celesta (Choir) 4′

Choir (61 notes, enclosed, Manual I)
16′ Contra Dulciana
8′ Diapason
8′ Concert Flute
8′ Viola
8′ Dulciana
8′ Unda Maris
4′ Prestant
4′ Lieblich Flöte
4′ Viola
22⁄3′ Nazard
2′ Piccolo
13⁄5′ Tierce
16′ Bassoon
8′ Trompette
8′ Clarinet
8′ Orchestral Oboe
Tremolo
Harp (8′, 61 bars)
Celesta (4′, from Harp)
Chimes (Solo)

Solo (61 notes, enclosed, Manual IV)
16′ Contra Gamba
8′ Flauto Mirabilis
8′ Gamba
8′ Gamba Celeste
4′ Orchestral Flute
4′ Gambette
2′ Piccolo Harmonique
8′ Tuba Mirabilis
8′ French Horn
8′ Cor Anglais
4′ Clarion
Tremolo
Chimes (25 tubular bells)
Harp (Choir) 8′
Celesta (Choir) 4′

Pedal (32 notes, unenclosed [except for enclosed borrows])
32′ Open Diapason (ext.)
16′ Open Diapason
16′ Principal
16′ Double Diapason (Great)
16′ Geigen
16′ Violone
16′ Bourdon
16′ Contra Gamba (Solo)
16′ Contra Salicional (Swell)
16′ Echo Lieblich (Swell)
16′ Contra Dulciana (Choir)
8′ First Octave (ext. Op. Diap.)
8′ Second Octave
8′ Geigen (ext.)
8′ Cello (ext. Violone)
8′ Flute (ext. Bourdon)
8′ Stillgedeckt (Swell 16′ Echo Lieblich)
8′ Dulciana (Choir 16′ Contra Dulciana)
4′ Super Octave
4′ Flute (ext. Bourdon)
IV Mixture
32′ Contra Waldhorn (ext.)
16′ Trombone
16′ Waldhorn
16′ Tromba (Great)
16′ Bassoon (Choir)
8′ Trumpet
4′ Clarion
Chimes (Solo)

Antiphonal (Manual IV; prepared for, 21 blank drawknobs)

Antiphonal Pedal (prepared for, 7 blank drawknobs)

Summary
Division Stops Ranks Pipes
Great 18 25 1,489
Swell 23 29 1,973
Choir 16 16 1,132
Solo 11 11 791
Pedal 28 15+7 ext. 564

Total 96 96 5,949

Couplers and Accessories
# = indicator light provided

Couplers (by tabs on coupler rail):
Great Sub 16′
Great Super 4′
Swell Sub 16′
Swell Unison Off
Swell Super 4′
Choir Sub 16′
Choir Unison Off
Choir Super 4′
Solo Sub 16′
Solo Unison Off
Solo Super 4′
Great to Pedal 8′
Great to Pedal 4′
Swell to Pedal 8′
Swell to Pedal 4′
Choir to Pedal 8′
Choir to Pedal 4′
Solo to Pedal 8′
Solo to Pedal 4′
2 blanks [intended for Antiphonal to Pedal 8′, 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′
Choir to Swell 8′
Solo to Swell 8′
Swell to Choir 16′
Swell to Choir 8′
Swell to Choir 4′
Solo to Choir 8′
Great to Solo 16′
Great to Solo 8′
Great to Solo 4′
5 blanks [intended for Antiphonal division coupling to be determined]

Reversibles (by thumb piston and toe stud):
Great to Pedal
Swell to Pedal
Choir to Pedal
Solo to Pedal
Antiphonal to Pedal
Swell to Great
Choir to Great
Solo to Great
#Mezzo Sforzando (settable)
#Sforzando (settable)
#32′ stops off
#16′ stops off

Combinations (by thumb piston):
General 1–10
Great 1–8
Swell 1–8
Choir 1–8
Solo 1–8
Antiphonal 1–6
General Set
Cancel

Combinations (by toe stud):
General 1–10
Pedal 1–8
Pedal to Combinations On/Off (all manual divisions)
Pedal to Combinations 1st/2nd Touch
Pedal Movements:
balanced Enclosed Great expression pedal
balanced Choir expression pedal
balanced Swell & Master expression pedal
balanced Solo expression pedal
#balanced Crescendo pedal
#Chimes Soft (hitchdown)
#Chimes Sustain (hitchdown)
#Harp Sustain (hitchdown)

Accessories:
Expression Pedal Adjuster
#Signal Light
#Current Light

____________________________

St. John’s Episcopal Cathedral
Denver, Colorado
E. & G. G. Hook
Boston, Massachusetts
Op. 476, 1869
2 manuals, 17 speaking stops, 15 ranks, 772 pipes

Great (58 notes, CC–a3)
16′ Bourdon [TC]
8′ Open Diapason
8′ Stopped Diapason Bass
8′ Melodia [TC]
8′ Gamba [TC]
4′ Octave
2′ Fifteenth
II Mixture [11⁄3′ + 1′]

Swell (58 notes, CC–a3,
enclosed)
8′ Stopped Diapason Bass
8′ Stopped Diapason Treble [TC]
8′ Keraulophon [TC]
4′ Flute Harmonique
2′ Principal [originally 4′ Violina]
8′ Bassoon
8′ Oboe [TC]

Pedal (27 notes, CC–d1)
16′ Sub Bass
8′ Flöte

Couplers and Mechanicals
Swell to Great
Great to Pedal
Swell to Pedal
Swell Tremulant
Bellows Signal
Four Composition Pedals:
Great Forte
Great Piano
Swell Forte
Swell Piano

The Reuter Organ Company, Lawrence, Kansas

St. Francis Xavier Cathedral, Alexandria, Louisiana, Opus 2218

A handsome and acoustically marvelous space, St. Francis Xavier Cathedral in Alexandria, Louisiana is truly a remarkable home for Reuter opus 2218. Given the historic beauty of the building and the care with which it has been restored, the goal of the project was to craft an instrument worthy of such a space and sensitive to existing resources. “We evaluated three designs from major organ builders,” says Jack Randall, an Alexandria architect and member of the cathedral’s organ committee. “The Reuter design was far superior to the others in that it was so respectful of the 100-plus year-old cathedral architecture, which is eclectic English Gothic style, rendered in indigenous brick on the exterior and wood and plaster on the interior. We were particularly impressed with two features of the Reuter design: 1) the antiphonal organ is completely concealed behind the ornate Gothic reredos; 2) the design of the façade pipes in the choir loft is truly beautiful and reflects the form and shapes of the reredos and the stained glass window above it, which depicts Christ ascending with arms upraised amid radiant clouds. The façade sits perfectly in the Gothic arch behind the choir.”

After much discussion, an organ design of 48 ranks was developed, using 17 ranks from the original organ and its subsequent rebuilds, including pipes from the Estey firm of Brattleboro, Vermont (1920s), as well as other builders and supply houses (1970s & 1980s). In June 2003, all of the salvaged pipework and mechanisms were transported to the Reuter facility in Lawrence, Kansas to be reconditioned and assimilated into the new instrument. After the installation, tonal finishing, and tuning—which happened over the course of about eight weeks—the organ was heard for the first time by the organ committee on Monday evening, November 24, 2003, and used for its first Mass on that Thanksgiving weekend.

Forty-three ranks are engineered into the tower chamber in the gallery, and the remaining five ranks and chimes are installed inconspicuously in a small chamber (the Echo division) behind the high altar. The Grande Orgue and Pédale are mounted high, front and center in the tower chamber. The Récit Expressif and Positif Expressif are installed at the back of the tower chamber behind large banks of mechanical shutters. The Echo division became the new home for some of the most beautiful and beloved sounds from the original Estey organ. Intended primarily for accompanying the cantors during Mass, the Echo is enclosed with a small bank of shutters mounted on the chamber ceiling. The polished copper and polished zinc speaking façade pipes of the Pédale 16¢ Montre are displayed in front of the gallery tower chamber, accentuating the Gothic arch and maintaining the traditional style of the building.

— Reuter Organ Co. /

S. Christopher Leaver



Photo: Reuter Organ Co. / Bill Klimas

Reuter Opus 2218

38 stops, 48 ranks

GRANDE ORGUE

16' Diapason (Positif)

8' Montre

8' Bourdon

8' Flûte Harmonique

4' Prestant

4' Flûte à Fuseau

2' Doublette

IV Fourniture

III Cornet

16' Contre Trompette (Récit)

8' Bombarde

8' Trompette en Chamade

Glockenstern

Cloches (Echo)

MIDI


RÉCIT EXPRESSIF

16' Flûte à Cheminée

8' Flûte à Cheminée (ext)

8' Salicional

8' Voix Céleste (TC)

4' Prestant

4' Flûte Ouverte

22/3' Nazard

2' Flûte (ext)

13/5' Tierce

IV Plein Jeu

16' Contre Trompette

8' Trompette (ext)

8' Hautbois

8' Voix Humaine

8' Trompette en Chamade (G.O.)

Tremblant

MIDI


POSITIF EXPRESSIF

16' Dolce

8' Diapason

8' Cor de Nuit

8' Dolce (ext)

8' Unda Maris (TC)

4' Octave Diapason (ext)

4' Flûte Traversière

2' Flageolet

11/3' Quint

III Mixture

8' Petit Trompette

8' Clarinette

8' Trompette en Chamade (G.O.)

Tremblant

MIDI


ECHO

8' Principal

8' Voix Aetheria

8' Voix Céleste (TC)

8' Bourdon

4' Octave

4' Flûte Ouverte

Cloches (Chimes)

Cymbelstern


ECHO PÉDALE

16' Bourdon (ext, 1–12 digital)

8' Bourdon (Echo)


PÉDALE

32' Acoustic Bass

16' Montre

16' Soubasse

16' Dolce (Positif)

16' Bourdon (Récit)

8' Octave (ext)

8' Soubasse (ext)

8' Diapason (Positif)

8' Dolce (Positif)

8' Bourdon (Récit)

4' Octave (ext)

4' Soubasse (ext)

32' Basson (ext, Récit)

16' Bombarde (ext, G.O.)

16' Contre Trompette (Récit)

8' Bombarde (G.O.)

8' Trompette (Récit)

4' Trompette (Récit)

8' Trompette en Chamade (G.O.)

MIDI

Orgues Létourneau Limitée, Saint-Hyacinthe, Québec, Canada

The Lutheran Church of the Nativity, Alexandria, Virginia

Létourneau’s Opus 94 was completed in late 2004 with a dedicatory concert played by Haig Mardirosian, who also served as consultant to the project. Though physically a small instrument—measuring 11' wide, 11' tall and 8'9" deep including pedalboard—this 18-stop mechanical action organ was designed and voiced to produce an exceptionally wide variety of sonorities. Based on an 8' Principal and boasting a variety of other unison stops, the instrument has proven adept at accompanying the church’s liturgy and performing organ repertoire. Where practical, pipes in the bass octave have been shared between similar stops to save space (e.g., the Great 8' Chimney Flute and the Swell 8' Stopped Diapason share common pipes for the first 10 notes). The entire instrument is enclosed within one swell box—excepting the Great 8' Open Diapason and Pedal 16'-8' Bourdon—though the traditional dynamic relationship between Great and Swell has been preserved through voicing. The attached two-manual console features bone naturals and ebony accidentals, while the pedalboard features maple naturals with ebony accidentals.

—Andrew Forrest



Photo © Dupont Photographers Inc.

GREAT (enclosed with Swell)

8' Open Diapason (façade)

8' Chimney Flute

8' Salicional

4' Octave

4' Harmonic Flute

2' Fifteenth

11/3' Mixture III (Swell)

8' Echo Trumpet (Swell)

Swell to Great


SWELL (enclosed)

8' Stopped Diapason (wood)

8' Gamba

8' Voix Celeste (TC)

4' Principal

4' Spitz Flute

11/3' Larigot

11/3' Mixture III

8' Echo Trumpet


PEDAL

16' Bourdon

8' Octave Bourdon

Great to Pedal

Swell to Pedal



General Tremulant

Glück New York,
New York, New York
Leon Lowenstein Memorial Auditorium, Congregation Emanu-El, New York, New York
The Fox Memorial Pipe Organ began its career as M. P. Möller’s Opus 9718 of 1962, designed by Dr. Robert S. Baker in collaboration with John H. Hose, tonal director of the Möller firm. The instrument was installed behind draperies in the amphitheatre choir loft of the 1,100-seat auditorium, which is designed to transform from a concert and lecture venue into a fully equipped summer sanctuary. Only the 16' Contrebasse and 16' Hélicon are partially visible from the auditorium. The placement of the instrument near the choir’s microphones (also used for radio broadcasts) forced an unhappy situation of under-scaled and feebly winded pipes, with closed toe holes and mouth heights as low as 1/6 cut-ups.
After 45 years, the temple contracted with Glück New York to tonally redesign the instrument and replace its mechanical systems. The solid-state drawknob console retains the original ivory keyboards and tiger maple pedalboard. The organ’s remote pneumatic relays and combination stacks were replaced with solid-state equipment.
The new tonal design moved from a typical American church organ of the period toward a warmer, fuller, rounder sound. Some of the mid-century tonal concepts that were of no use in the synagogue service (such as the two pseudo-baroque 4' reeds) were replaced by voices more essential to the liturgy. Many of the flue pipes had been left with untreated languids and were cut up only high enough to get them to speak. Furthermore, they had not had their toe holes opened, and could be considered essentially new and unvoiced, an added bonus in the context of the project. The unusual Shofar stop was designed by W. Adolph Zajic (1909–1987) and built with only six pipes; the organ’s new relay is prepared to fill out the stop in the future.
The new specifications were drawn up by Sebastian M. Glück, artistic and tonal director of the firm, who also carried out the voicing and tonal finishing. Albert Jensen-Moulton, general manager, was responsible for all technical aspects of the project. The three other pipe organs in the temple complex include a IV/135 in the sanctuary and a III/35 in Beth-El Chapel, both by the Glück firm. A fourth pipe organ, a II/7 Wilfred Lavalée in Greenwald Hall, was removed in the 1990s.
—Sebastian M. Glück

Fox Memorial Pipe Organ
Leon Lowenstein Memorial Auditorium, Congregation Emanu-El, New York, New York

GRAND-ORGUE
Manual II, unenclosed, 31'4' wind
16' Bourdon
8' Montre
8' Bois ouverte
8' Violon sourdine
4' Prestant
2' Doublette
Plein jeu IV
8' Shofar
Tremblant
Jeux empruntés:
8' Bourdon (Pos)
8' Voix angélique (Pos)
8' Voix mystique (Pos)
4' Flûte (Pos)
8' Hautbois (Réc)

RÉCIT-EXPRESSIF
Manual III, enclosed, 4' wind
8' Viole de gambe
8' Voix céleste
8' Flûte à cheminée
4' Prestant
4' Flûte harmonique
2' Flûte à bec
Fourniture III
16' Basson
8' Trompette
8' Hautbois
Tremblant
8' Trompette de fête (Pos)

POSITIF-EXPRESSIF
Manual I, enclosed, 4' & 6' wind
8' Violon sourdine (G-O)
8' Voix angélique
8' Voix mystique
8' Bourdon
4' Prestant (prep)
4' Flûte
22'3' Nazard
2' Quart de nazard
13'5' Tierce
8' Clarinette
Tremblant
8' Trompette de fête

PÉDALE
Unenclosed, 4' wind
16' Contrebasse
16' Sous basse
16' Violoncelle sourdine (ext G-O)
16' Bourdon (G-O)
8' Octavebasse
8' Flûte
8' Bourdon (Pos)
8' Violon sourdine (G-O)
4' Quinzième
4' Cor de nuit
Mixture II
32' Aliquots graves
16' Hélicon
16' Basson (Réc)
8' Trombone
8' Basson (Réc)

Fabry, Inc., Antioch, Illinois
Immanuel Presbyterian Church, Milwaukee, Wisconsin
Located in one of the oldest neighborhoods in Milwaukee, Immanuel Presbyterian Church has held a place of honor on Yankee Hill, overlooking Lake Michigan. In 1881 the church purchased what is now the core of the present instrument. Nearly all of the unison voices and lower are from the original instrument, including the 16' Double Open Diapason and 16' Principal, both of which are wood. During the next 120 years, additions and rebuilds occurred, bringing the instrument to its current state, still preserving over 75% of the original instrument. In 1965, the organ was fitted with a used Austin three-manual console. While the console worked well for a time, it was clear a new console was needed. When Fabry, Inc. was contacted to do the work, the previous curator had left many parts, tools and pipes in the organ area. Among these items was an 8' French Horn, purchased by the church and awaiting installation.
Fabry, Inc. undertook the following to improve the usability and tonal palette of the organ. An all-new three-manual drawknob console was custom crafted by David G. Fabry to control the 67-rank, 71-stop instrument. Utilizing the ICS-4000 combination action and relay system, this console and interface brings the 1881 Hook & Hastings into the 21st century. The aforementioned French Horn received a new chest built by David G. Fabry, and was installed in the String division with its own dedicated electric tremolo. A new electric extension of the 16' Bassoon in the Swell was installed, fully utilizing this rescaled 8' stop to a greater degree. Other smaller jobs, such as bracing and reworking the ventilation system were also completed at this time. While one half of the organ had been re-wired with PVC-coated wiring, the other half was brought up to standard.
Fabry, Inc. would like to thank the Rev. Deborah A. Block, pastor; Steven J. Jensen, organist; and John S. Komasa, director of music.
—Phil Spressart

GREAT
16' Open Diapason
16' Bourdon
8' Open Diapason
8' Chimney Flute
8' Doppel Flute
8' Aeoline (TC)
8' Gamba
8' Gemshorn
4' Octave
4' Harmonic Flute
22'3' Twelfth
2' Fifteenth
2' Waldflöte
2' Mixture IV
16' Double Trumpet
8' Trumpet
8' Tuba Mirabilis (Ped)
4' Clarion
Cathedral Chimes
Great 4
Great Unison Off
Great 16

SWELL
16' Lieblich Gedeckt
8' Open Diapason
8' Stopped Diapason
8' Viole d’Gambe
8' Viole Celeste
4' Octave
4' Flute Traverso
22'3' Nazard
2' Flautino
13'5' Tierce
11'3' Plein Jeu III
16' Bassoon (1–12 elec.)
8' Hautbois
8' Trumpet
8' Vox Humana
4' Clarion
Tremolo
Swell 4
Swell Unison Off
Swell 16

CHOIR
8' Geigen Principal
8' Melodia
8' Viol d’Amour
8' Viol Celeste
4' Octave
4' Stopped Flute
2' Piccolo
11'3' Larigot
22'3' Mixture II
8' Clarinet
8' Tuba Mirabilis (Ped)
8' Harp Celeste
Mockingbird
Cymbelstern
Tremolo
Choir 4
Choir Unison Off
Choir 16

STRING
8' Dulciana
8' Violon Cello
8' Cello Celeste
8' Violin Sordo
8' Violin Celeste
8' French Horn
Tremolo

PEDAL
32' Violone (1–12 elec.)
32' Contra Bourdon (1–12 elec.)
16' Double Open Diapason
16' Principal
16' Bourdon
16' Lieblich Gedeckt (Sw)
16' Violone (Gt)
8' Octave
8' Bass Flute
8' Holzgedeckt
8' Violin Cello
4' Fifteenth
2' Mixture III
32' Bombarde (1–12 elec.)
32' Contra Trombone
16' Bassoon (Sw)
16' Double Trumpet (Gt)
16' Trombone
8' Tromba
4' Tromba

Hupalo & Repasky Pipe Organs, LLC, San Leandro, California
Zion Lutheran Church,
Piedmont, California

Church history
The Zion Lutheran congregation established itself in Oakland in 1882 and by 1886 had purchased their first house of worship. From the beginning, education and music have been important elements of the church’s mission. To this day, the church provides Christian education for kindergarten through the eighth grade, with music being a large part of the educational program at Zion Lutheran School.
During the 1920s, the congregation renewed their Victorian facilities in Oakland with a new parsonage, parish hall, school, and worship facility. It is here, in the church’s second worship facility, that in 1930 M. P. Möller built their opus 5769. This two-manual organ contained thirty-one registers.
In 2007, Piedmont was named “Best Place to Live” in the United States by Forbes. It was in this residential area surrounded by Oakland that the congregation of Zion Lutheran Church dedicated their most recent site on April 4, 1954. The current church complex is situated atop a high bluff, with a background of stone hills with pockets of dense shrubs and trees. Attached to the Mediterranean-style church is a bell tower, offices, school classrooms, meeting rooms, kitchen, barbeque area, library, and gymnasium. The church edifice is designed to accommodate 350 persons.

The church’s 1930 Möller pipe organ
Möller’s opus 5769 was brought from the parish’s second church in Oakland, relocated to their present site, and placed in two chambers with separate expression in the rear balcony behind the terraced choir seating area. As there was no façade, the choir “enjoyed” watching the two sets of vertical shades open and close. From the congregation’s vantage point, the organ looked like two rather large jalousie windows caged by wooden framing.
As with many organs of the 1950s and ’60s, Zion’s Möller organ was enlarged with several high-pitched ranks, and some of the original ranks were replaced with neo-Baroque substitutes. With actions and console parts failing, by 2005 plans were underway to provide Zion Lutheran Church with a new and reliable instrument. As part of this plan, many of the ranks of the extant organ were to be incorporated into their new instrument. The 1930 Möller organ with its additions served the parish until it was removed by us in July 2006. With the organ removed, we loaned the church our large seven-rank continuo organ.

Another Möller organ
Also, as part of the plans for Zion’s new organ, the pipework and offset chests were removed from the 1946 Möller organ, opus 7370, at St. Mark’s Lutheran Church in San Francisco. This organ became available because of the retrofitting of the church and plans by the parish to purchase a new Taylor & Boody organ. It was noted that Richard Purvis was the organist at St. Mark’s during the time this three-manual organ of twenty-four ranks was installed. It is with these two instruments (the augmented Möller opus 5769 and opus 7370) that Hupalo & Repasky Pipe Organs rebuilt, rescaled, and revoiced pipework that provided the new organ for Zion Lutheran Church.

Tonal design of the new instrument
Our concerns were to provide the church with a tonally versatile and cohesive musical instrument, which would have a visual presence in the room, and would be reliable and serviceable. Using many ranks from Möller’s opus 5769 and opus 7370, the original conception for Zion’s new pipe organ envisioned a three-manual organ of forty ranks. This organ would have included a Rückpositiv. However, the organ committee decided instead to plan for a large two-manual instrument.
In working with the organist, David Babbitt, it was decided that the new organ would have a Pedal based on a 16′ Principal. The Great would have a 16′ plenum, the Swell an 8′ plenum, and there would be an assortment of unison tone. There would be a wide variety of flute tone (stopped, chimneyed, open, harmonic) represented. Also included in the tonal design was a selection of wide and narrow strings. Mutation ranks would be drawn from the flute and principal families. This two-manual organ would boast five 16′ ranks. Benefiting the Great plenum, a new German-style Trumpet would be built. For the Swell, a harmonic-rich French-style Trumpet would be provided.
Unfortunately, Mr. Babbitt passed away during the planning stages of the organ. This was a great loss not only to Zion, but also to the musical community in the Bay Area. The church soon found an admirable organist/choir director, Dr. David Hunsberger. It was his opinion that the Cornet Composée in the Swell should be a little stronger. Recalling how he enjoyed the sound of the Cornet on the Silbermann-style organ at the University of Michigan, it was decided to change the ranks to the larger scales used by the Fisk company. So, with the help of Stephen Kowalyshyn, we replaced the Swell mutation ranks with pipes based on Mr. Kowalyshyn’s information.
During the installation it was decided that the beautiful Clarinet from opus 7370 was too similar in volume to the Oboe. So, a full-throated Cromorne replaced the Clarinet. John Hupalo also decided to use French “tear drop” shallots in the new Cromorne. The generous inclusion of four reed voices in the Swell division of this moderate-sized two-manual organ provides both variety in color and a progression in volume.
Physical layout
The previous organ at Zion was installed in two non-communicating chambers. With the removal of opus 5769, the in-between area was opened up to allow placement for the Pedal ranks and to allow pitch transfer from one division to the other during tuning. This was virtually impossible on the previous organ. To aid tonal projection, the chambers were lined with two layers of 5/8″ sheetrock and then painted. The Swell chamber was placed in the left, the unenclosed Great in the right chamber, and the Pedal ranks placed in the center area.

Temperament
Another suggestion of Dr. Hunsberger was that the organ should be tuned in a well temperament. The Thomas Young temperament was chosen for its purer major thirds and playability in all keys. Like a good choral ensemble, this tuning helps the organ lock pitch in the more common keys.

Pipework
It was evident from the first that much of the Möller pipework was of excellent quality, especially the pre-World War II zinc pipes. The wooden pipes were cleaned and refinished. The stopped pipes were releathered. The Great 8′, 4′, 22⁄3′, and 2′ plenum ranks were rescaled as appropriate to the tonal scheme of the organ. The Great principals also received new languids. The removal of the old languids had the advantage of lowering the cut-ups, allowing us to revoice the Great plenum. This turned the old Möller diapasons into clear-toned principals. To provide a tonal contrast to the Great principals, the Swell diapasons are voiced and scaled towards a more neo-Romantic sound. The neo-Baroque 8′ Principal from opus 5769 was rescaled and made into the Great 8′ Gamba. Length and slotting were added to these pipes patterned after the Gambas of Cavaillé-Coll. Besides the two manual trumpets, Cromorne, and the Swell Nazard and Tierce, the other newly made stops for this organ include the Great Harmonic Flute and the Swell mixture.

Chests
Both the new Great and Swell main chests are slider chests with magnet pull-downs. It is our philosophy that these traditional-style chests provide a noticeable ensemble for the pipework. Even Ernest Skinner later in his life recognized the benefits of slider chests, with each note sharing a common channel of wind.
Many of the electro-pneumatic bass offset chests from opus 7370 were releathered and incorporated into the new organ. Given the large size of the pallets, they provide a lightning-fast response for the lower notes of the organ.

Façade
To match the architectural style of the church, it was decided to fashion the façade in the American Craftsman style. The center five-pipe flat is flanked on both sides by three flats of five pipes each. The styles, rails, toe boards, and corbels are of quarter-sawn white oak proportioned in the Craftsman manner. The styles are punctuated with medallions. The molding is highlighted by areas of crimson red.
Starting with low F-sharp of the Pedal 16′ Principal, the façade incorporates the lowest pipes of the Pedal 16′ and Great 8′ Principal. To provide visual uniformity, these zinc pipes were mottled in a terra cotta color, with the upper and lower lips in painted verdigris.

Console and control system
The console is our standard terraced-style, roll-top design, with three rows of drawknobs on either side of the keyboards. The shell is made of quarter-sawn white oak, with French polished European pearwood used in the stop jamb and nameboard area. The drawknobs are of ebony, as are the sharps. The manual key covers are of bone. The console is placed in a fixed central position in the choir loft to provide the organist with space for conducting both choir and instrumentalists.
A computerized system controls the combination action, memory, and the complex switching system of the organ. It provides the organist with a transposer, 99 levels of memory, a piston sequencer, and MIDI In and Out, as well as many programmable features.

Personnel
The following craftsmen assisted in the construction of our opus 3: Mark Dahlberg (technical designer), Robin Fox, John Haskey, Robert Hoffmann, John Hupalo, Bruno Largarce, Gerard Montana, Steve Repasky, Bob Schertle, Lawrence Strohm, William Visscher, Shayne Ward, and David H. Zechman.

Organ dedication
The organ was dedicated to a full house in a solo recital on Sunday afternoon, January 25, 2009 by Stanford University Organist Robert Huw Morgan.
Dedication program:
Dialogue, L. Marchand
Fantasia in f, K. 608, W. A. Mozart
Homage to Handel, S. Karg-Elert
Prelude in E-flat, S. 552, J. S. Bach
An Wasserflüssen Babylon, S. 653, Bach
Sonata V in C, S. 529, Bach
Fugue in E-flat, S. 552, Bach
—Steve Repasky

Hupalo & Repasky Pipe Organs, LLC, 2008, 35 stops, 33 ranks

GREAT
16′ Hohl Flute 61 pipes
8′ Principal 61 pipes
8′ Harmonic Flute 49 pipes
8′ Gamba 61 pipes
4′ Octave 61 pipes
4′ Röhr Flute 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Fifteenth 61 pipes
13⁄5′ Seventeenth 61 pipes
Mixture IV 244 pipes
8′ Trumpet 61 pipes
Chimes 25 tubes

SWELL
8′ Diapason 61 pipes
8′ Stopt Diapason 61 pipes
8′ Salicional 61 pipes
8′ Celeste 61 pipes
4′ Principal 61 pipes
4′ Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Piccolo 61 pipes
13⁄5′ Tierce 61 pipes
Plein Jeu III 183 pipes
16′ Fagot 61 pipes
8′ Trompette 61 pipes
8′ Oboe 61 pipes
8′ Cromorne 61 pipes
Tremolo

PEDAL
16′ Principal 32 pipes
16′ Bourdon 32 pipes
8′ Octave 12 pipes
8′ Bourdon 12 pipes
4′ Choral Bass 12 pipes
4′ Bourdon 12 pipes
16′ Posaune 32 pipes
16′ Fagot Swell
8′ Trumpet 12 pipes
4′ Schalmei Fagot

Couplers
Unison, sub, and super couplers provided on tilting tablets

Accessories
6 general thumb pistons and toe studs
5 divisional thumb pistons for each of the three divisions
Setter and general cancel thumb pistons
Up and down thumb pistons
3 reversible thumb and toe pistons for unison couplers
Reversible thumb and toe pistons for full organ
Crescendo pedal
Zimbelstern: 8 bells

Tuning
Thomas Young

Photo credit: John Hupalo

Hupalo & Repasky Pipe Organs
510/483-6905
www.hupalorepasky.com