Pipe Organs of La Grange, Illinois, and the Architectural Edifices That House Them

Part 2: First United Methodist Church & First Congregational Church

Stephen Schnurr is director of music for St. Paul Catholic Church, Valparaiso, Indiana, and editor-at-large for The Diapason. His most recent book, Organs of Oberlin, was published in 2013 by Chauncey Park Press (www.organsofoberlin.com). He has authored several other books and journal articles, principally on pipe organ history in the Great Lakes states.

This article is the continuation of a feature in the August 2015 issue of The Diapason. This article was delivered as a lecture for the Midwinter Pipe Organ Conclave on January 19, 2015, in La Grange, Illinois. The research for this project provides a history of a number of pipe organs in the village, but not all. For instance, organs in residences and theaters are not surveyed. 

 

First United Methodist Church

The Methodists were first organized in La Grange in 1872, served by clergy who also shepherded congregations at Cass and Lyonsville. Franklin Cossitt, founder of La Grange, donated land for the church. Before construction began, several active persons in the congregation moved away, and the property reverted back to Cossitt. This land was eventually the site of the First Congregational Church.

The Methodists reorganized in 1884. In the first year, church expenses were $216 for the pastor, $52 for hall rental for services, and $10 for missions. A frame school, used by the earlier Methodists, was purchased for $2,000, located on the present site, along with two lots. The renovated structure was dedicated for worship on November 28, 1886. Electric lighting was installed at a cost of $75 in 1892.

Plans for a new church were begun in 1890. In 1892, E. R. Turnock was retained as architect. The earlier church was demolished and work commenced on a new edifice in May of 1893. A portion of the stone Romanesque building was completed for use in November.

The completed sanctuary was dedicated in three services on Sunday, January 6, 1895. The congregation begins its pipe organ history in 1907 with acquisition of Henry Pilcher’s Sons Opus 577, a two-manual, thirteen-rank, nineteen-stop instrument completed in March of that year at a cost of $2,300. Pilcher took the church’s Vocalion organ in partial trade. An addition was made to the building the following year, and another in 1917.

Planning for the present church building began in 1948. The cornerstone of the church of Gothic influence in stone was laid in 1950. Dedication occurred on September 25, 1952. With membership at over 1,550 persons, the congregation added a second Sunday service. A new education building was erected between 1961 and 1963, including a chapel. The sanctuary was renovated to its present configuration in 2012.

For the church’s present edifice,
M. P. Möller of Hagerstown, Maryland, supplied its Opus 8261, a three-manual, electro-pneumatic action organ. The contract was dated August 7, 1950, with completion set for eleven months, at a cost of $20,096. Henry Beard was the representative for the builder. The organ was dedicated with the church in 1952. Beard’s wife, Maud, sang soprano during the church consecration service. The pipework is installed in a chamber above and to the left of the chancel. Around 1960, the Möller firm added the exposed Positiv division, divided on either side of the chancel. (See First Methodist Church stoplist, page 21.)

 

First Congregational Church

The First Congregational Church was organized on March 18, 1881. A frame church was erected the following year. Franklin Cossitt, a founder of La Grange, was active in this church as well as Emmanuel Episcopal Church.

The cornerstone of the present building was laid September 10, 1892, for a stone edifice of Romanesque influence. Dedication occurred May 1893. This portion of the building is now known as the Founders’ Room and is the oldest church building in the village. The present sanctuary adjoining the 1893 church was built in 1907. In 1937, this sanctuary was remodeled with the addition of a chancel and a new organ. In 1951, the education building was constructed, which includes the Chapel of the Beatitudes.

The first organ in the church was built by the Verney Organ Company of Mason City, Iowa, and was likely installed around 1907. A contract dated April 24, 1937, was signed by the church for a new organ from
the Votteler-Holtkamp-Sparling Organ Company of Cleveland, Ohio. Job number 1600 for the builder was to cost $10,000, and parts of the Verney organ were to be reused in the new instrument. The Great and part of the Pedal divisions were located on the right side of the chancel in chambers, the Swell and remainder of the Pedal divisions were located on the left side. The Positiv division was positioned on the rear wall of the chancel, some fifteen feet from the floor. The organ was to be completed by October 1. On July 1 $2,500 was due, and another $2,500 on October 1.

The June 1937 issue of The Diapason had this to say about the unique and forward-thinking planning for this organ:

 

According to the builders, the design of the organ will do much to solve the problem of divided organs. The chambers are to be located on both sides and above the choir. Both chambers are to be opened up to the nave as well as to the chancel, and to such an extent that the chambers as such will cease to exist. A positiv of eight stops will be placed on the back wall of the chancel, midway between the two chambers. This will take the place of the choir. The pipework of the positiv is to be unenclosed, although it will be hidden from sight of the congregation.

The organ is to be entirely “straight” except for the great quintaton 16 ft., and Posaune, 16’ ft., which are also to be used in the pedal. Four stops of the great and the harp and chimes are to be in a swell-box. The typical great stops will be unenclosed. To augment the regular adjustable combination action, a ventil system is included. This consists of ventil pedals 1-2-3, stop release and cancel. The specification was developed by Cecil Smith, organist and director.

The importance of this organ in the Chicago area may never have been realized. This was one of very few organs by Walter Holtkamp, Sr., in the metropolitan area, perhaps his largest, and an early statement of his forward-thinking work. (See Votteler-Holtkamp-Sparling stoplist, page 21.)

In 1957, Frank J. Sauter of Alsip, Illinois, replaced the console with a new one from the Reuter Organ Company of Lawrence, Kansas. In 1977, the organ was sold for $12,500 to Immaculate Conception Catholic Church, Chicago, for relocation there. There have been some tonal alterations to the organ. Also, it is possible that some slight changes were made to the organ’s specification when under construction at Holtkamp. Perhaps the Pedal 4′ Clarion may have been installed as a Clarinet. The Swell 4′ Oboe Clarion may have always been an 8′ Oboe. Further records are not available in the builder’s archives.

In 1965, the Reuter Organ Company installed an organ in the Chapel of the Beatitudes. The contract for Opus 1477 was dated September 12, 1963, for a two-manual, eight-rank, electro-pneumatic action organ, enclosed except for the Principal and Mixture ranks. The chapel organ was dedicated in recital by Clyde Holloway on March 1, 1965. (See Reuter Opus 1477 stoplist, page 22.)

In August of 1978, The Diapason announced that the church had contracted for a new, two-manual, 32-stop, 47-rank mechanical-action organ from Jan Van Daalen of Minneapolis, Minnesota. The organ was to be installed at the front of the church in a free-standing case and to be completed by December. The console is detached and reversed. After the organ was finished, the Brustwerk 8′ Musette was replaced with an 8′ Celeste. (See Van Daalen stoplist, page 22.)

 

 

Stephen Schnurr

Stephen Schnurr is editor and publisher of The Diapason, director of music for St. Paul Catholic Church, Valparaiso, Indiana, and adjunct instructor in organ for Valparaiso University. His most recent book, Organs of Oberlin, was published in 2013 by Chauncey Park Press (www.organsofoberlin.com). He has authored several other books and journal articles, principally on pipe organ history in the Great Lakes region.

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

 

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

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

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

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

 

1940 Wicks Organ Company Opus 2138

GREAT (Manual I, Enclosed)

8′ Open Diapason (scale 42, 73 pipes)

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

8′ Violoncello (scale 54, 73 pipes)

8′ Dulciana (scale 56, 85 pipes)

4′ Octave (scale 56, 73 pipes)

4′ Flute (ext 8′ Claribel Flute)

4′ Dulcet (ext 8′ Dulciana)

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

2′ Dulciana Fifteenth (ext 8′ Dulciana)

Tremolo

Chimes (Deagan, 13⁄4″, 21 tubes)

1 blank tablet

SWELL (Manual II, Enclosed)

16′ Lieblichbourdon (97 pipes)

8′ Violin Diapason (scale 47, 73 pipes)

8′ Stopped Flute (ext 16′ Lieblichbourdon)

8′ Salicional (scale 60, 85 pipes)

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

4′ Violina (ext 8′ Salicional)

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

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

8′ Oboe (synthetic)

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

Tremolo

1 blank tablet

PEDAL

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

16′ Lieblichbourdon (fr Swell)

8′ Bass Flute (ext 16′ Sub Bass)

8′ Still Gedeckt (fr Swell 16′)

8′ Cello (fr Great 8′ Violoncello)

1 blank tablet

 

Couplers

Great to Pedal

Great to Pedal 4

Swell to Pedal

Swell to Pedal 4

Great to Great 16

Great Unison Silent

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell Unison Silent

Swell to Swell 4

 

Combination pistons

3 Master pistons (thumb and toe)

3 Great pistons and Cancel

3 Swell pistons and Cancel

3 Pedal pistons and Cancel

General Cancel

Pedal to Great pistons on/off

Pedal to Swell pistons on/off

 

Accessories

Great to Pedal reversible

Balanced Swell expression shoe

Balanced Great expression shoe

Balanced Crescendo shoe

Sforzando reversible (thumb and toe, with indicator)

Wind indicator

 

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

 

1967 Wicks Organ Company Opus 4862

GREAT (Manual I)

8′ Principal (61 pipes)*

8′ Concert Flute (61 pipes)

8′ Gemshorn (61 pipes)*

8′ Dulciana (73 pipes)

4′ Octave (61 pipes)*

4′ Koppelflöte (61 pipes)*

4′ Dulcet (ext 8′ Dulciana)

22⁄3′ Twelfth (61 pipes)*

2′ Fifteenth (61 pipes)*

III Mixture (183 pipes)*

8′ Trompette (fr Sw, 8′)

Chimes (21 tubes)

SWELL (Manual II, Enclosed)

8′ Geigen Principal (61 pipes)

8′ Gedeckt (61 pipes)

8′ Salicional (73 pipes)

8′ Voix Celeste (TC, 49 pipes)

4′ Principal (61 pipes)*

4′ Violina (ext 8′ Salicional)

22⁄3′ Nasat (61 pipes)*

2′ Blockflöte (61 pipes)*

13⁄5′ Terz (TG, 37 pipes)*

8′ Trompette (73 pipes)*

8′ Oboe (61 pipes)*

4′ Clarion (ext, 8′ Trompette)*

Tremolo

PEDAL

16′ Diapason (44 pipes)*

16′ Subbass (56 pipes)

16′ Lieblich Gedeckt (44 pipes)

8′ Principal (ext 16′ Diapason)

8′ Bass Flute (ext 16′ Subbass)

8′ Still Gedeckt (ext 16′ Lieb Ged)

8′ Violoncello (44 pipes)

4′ Choralbass (44 pipes)

4′ Octavflote (ext 16′ Subbass)*

4′ Cello (ext 8′ Violoncello)

2′ Super Octave (ext 8′ Choralbass)

16′ Posaune (56 pipes)

8′ Trumpet (ext 16′ Posaune)

4′ Clarion (ext 16′ Posaune)

 

Couplers

Great to Pedal 8

Swell to Pedal 8

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

 

Combination pistons

5 General pistons

5 Great pistons and Cancel

5 Swell pistons and Cancel

5 Pedal pistons and Cancel

General Cancel

 

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

 

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

GREAT (Manual II)

16′ Gedackt (Sw)

8′ Principal (61 pipes)***

8′ Concert Flute (61 pipes)*

8′ Gemshorn (Sw)

8′ Gemshorn Celeste (Sw)

8′ Dulciana (61 pipes)*

4′ Octave (61 pipes)***

4′ Nachthorn (61 pipes)***

22⁄3′ Twelfth (61 pipes)**

2′ Fifteenth (61 pipes)**

III Mixture (11⁄3′, 183 pipes)**

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

8′ Solo Trumpet (61 pipes)***

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

Zimbelstern

Swell to Great 16

Swell to Great 8

Swell to Great 4

Positiv to Great 8

MIDI 3

MIDI 4

SWELL (Manual III—Enclosed)

16′ Gedackt (73 pipes)*

8′ Geigen Principal (61 pipes)*

8′ Gedackt (ext 16′)

8′ Salicional (61 pipes)*

8′ Voix Celeste (TC, 49 pipes)*

8′ Gemshorn (61 pipes)**

8′ Gemshorn Celeste (TC, 44 pipes)***

4′ Principal (61 pipes)**

4′ Rohrflöte (61 pipes)**

22⁄3′ Nazard (61 pipes)**

2′ Blockflöte (61 pipes)**

13⁄5′ Tierce (TG, 37 pipes)**

III Plein Jeu (2′, 183 pipes)***

8′ Trompette (73 pipes)**

8′ Oboe (61 pipes)**

4′ Clarion (ext, 8′ Trompette)

Tremulant

8′ Solo Trumpet (Gt)

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

MIDI 1

MIDI 2

POSITIV (Manual I)

8′ Gedackt (61 pipes)***

8′ Gemshorn (Sw)

8′ Gemshorn Celeste (Sw)

4′ Principal (61 pipes)***

4′ Koppelflöte (61 pipes)***

2′ Hohlflöte (61 pipes)***

11⁄3′ Larigot (61 pipes)***

II Sesquialtera (122 pipes)***

III Scharf (1′, 183 pipes)***

8′ Krummhorn (61 pipes)***

Tremulant

8′ Solo Trumpet (Gt)

Swell to Positiv 16

Swell to Positiv 8

Swell to Positiv 4

MIDI 5

MIDI 6

PEDAL

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

16′ Diapason (68 pipes)**

16′ Subbass (44 pipes)*

16′ Gedackt (Sw)

8′ Principal (ext 16′ Diapason)

8′ Bass Flute (ext 16′ Subbass)

8′ Violoncello (44 pipes)*

8′ Gedackt (fr Sw 16′)

4′ Choralbass (32 pipes)*

4′ Octavflöte (ext 16′ Subbass)

4′ Cello (ext 8′ Violoncello)

2′ Super Octave (ext 16′ Diapason)

16′ Posaune (ext Gt 8′ Trompete)

8′ Trompete (fr Gt 8′ Trompete)

4′ Trompete (fr Gt 8′ Trompete)

8′ Solo Trumpet (Gt)

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Positiv to Pedal 8

MIDI 7

MIDI 8

 

* 1940 Wicks pipework

** 1967 Wicks pipework

*** 2003 Berghaus pipework

 

Accessories

8 General pistons (thumb and toe)

5 Great pistons (thumb)

5 Swell pistons (thumb)

5 Positiv pistons (thumb)

5 Pedal pistons (thumb and toe)

Great to Pedal reversible (toe)

Swell to Pedal reversible (toe)

Positiv to Pedal reversible (toe)

Swell to Great reversible (thumb)

Positiv to Great reversible (thumb)

Swell to Positiv reversible (thumb)

General Cancel (thumb)

Full Organ (thumb and toe)

Up/Down (thumb)

Restore (thumb)

Setter button (thumb)

Zimbelstern reversible (toe)

Balanced Swell expression shoe

Balanced Crescendo shoe (16-stage indicator)

Crescendo selector

Zimbelstern delay (rotating dial)

Zimbelstern speed (rotating dial)

Zimbelstern volume (rotating dial)

Chimes volume (rotating dial)

MIDI tuning (rotating dial)

99-level memory

Wind (indicator light)

 

Right selector board, above Manual III:

Registration sequencer

Manual transfer

Positiv to Great Auto Solo

Positiv to Swell Auto Solo

Great to Positiv Auto Solo

Great to Swell Auto Solo

Solo to Positiv Auto Solo

Swell to Great Auto Solo

Solo tp Solo

PC Pedal Great

PC Pedal Swell

PC Pedal Positiv

 

Left selector board, above Manual III:

Memory Select

Multi Midi

Midi Reg Off

Midi Mem Off

Midi Mem 1

Midi Mem 2

Midi Mem 3

Midi Mem4

Transposer

Reg Seq

Recall

Setup

Alt

Stephen Schnurr

Stephen Schnurr is editor and publisher of The Diapason and director of music for St. Paul Catholic Church, Valparaiso, Indiana. His most recent book, Organs of Oberlin, was published in 2013 by Chauncey Park Press (www.organsofoberlin.com). He has authored several other books and journal articles, principally on pipe organ history in the Great Lakes region.

This article is a continuation of a feature in the August 2015, June 2016, and July 2017 issues of The Diapason. This essay 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.

 

The Convent of the Sisters of St. Joseph in La Grange Park, Illinois, is the home of the Sisters of St. Joseph, established on this site on October 9, 1899, by Mother Stanislaus Leary. Mother Leary had been superior of her order in Kansas and came to Chicago to seek medical help as her health was failing. She was accompanied by others of the order. The pastor of nearby St. Francis Xavier Church, La Grange, invited the sisters to settle in the relatively new suburb.

The sisters opened a school for girls in September 1900. Some of the students were boarders. Soon, the sisters would open another school for boys. Nazareth Academy, now co-educational, is still located on the La Grange Park motherhouse campus.

On July 14, 1900, the cornerstone of a motherhouse and chapel was laid. The chapel contained an organ built in 1929 by M. P. Möller of Hagerstown, Maryland, Opus 5555, a two-manual, eight-rank instrument. The contract was dated March 20 of that year, with a projected completion date of June 1. Cost was $3,200.00, with one-third due upon completion, one-third in two equal payments at four and eight months thereafter, without interest. The electro-pneumatic action organ had a detached console of walnut, with “Gold Bronze” façade pipes and grille. Stop control was by tablets above the upper manual. Wind pressure was 5 inches. Pitch was specified at A=440 Hz. The Chicago agent for Möller, and the installer of the organ, was Ford & Reynolds.

 

1929 M. P. MЪller Opus 5555

GREAT (Manual I)

8′ Open Diapason (scale 44, wood 

    basses, 73 pipes) 

8′ Dulciana (scale 56, metal, 73 pipes)

8′ Melodia (wood, 73 pipes) 

4′ Flute (ext, 8′ Melodia)

Chimes (prepared)

SWELL (Manual II, enclosed)

16′ Bourdon (wood and metal, 97 pipes)

8′ Stopped Diapason (ext, 16′

    Bourdon)

8′ Salicional (scale 60, metal, 73 pipes)

8′ Dolce (fr Great, 8′ Dulciana) 

8′ Voix Celeste (TC, scale 62, metal, 61 

    pipes)

4′ Flute d’Amour (ext, 16′ Bourdon)

22⁄3′ Nazard (ext, 16′ Bourdon)

2′ Flautino (ext, 16′ Bourdon)

8′ Oboe Horn (metal, 73 pipes)

1 blank tablet

PEDAL

16′ Sub Bass (“big scale”, stopped wood, 

    32 pipes)

16′ Lieblich Gedeckt (fr Swell, 16′

    Bourdon)

 

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

 

Mechanicals

Tremulant

Crescendo Indicator by light

 

Adjustable combinations

3 Great and Pedal

3 Swell and Pedal

 

Pedal movements

Great to Pedal Reversible

Balanced Swell Pedal

Grand Crescendo Pedal

 

The present chapel of strikingly modern design was built in 1967 and 1968 to the designs of John Voosen of Chicago. The motherhouse and chapel were dedicated on Sunday, September 29, 1968. Sister Mary Victoria Rokos, SSJ (later known as Sister Emily), convent organist, was charged with developing plans for a new organ. She sought the advice of persons at Northwestern University of Evanston. The Möller organ was sold and removed.

The result was a recommendation of the Noack Organ Company of Georgetown, Massachusetts, to build a new two-manual, 20-stop, 31-rank organ of mechanical key and stop action in a free-standing case in an elevated balcony at the rear of the nave. A landmark design for the neo-classical organ revival movement in the Chicago metropolitan area, the organ was to cost what was then a large sum of money, $40,000.

The convent purchased a smaller Noack organ as a temporary instrument until the larger organ was completed, at which time the smaller organ was removed to the Academy on the campus. This organ has since been relocated elsewhere. Opus 42 was inaugurated in recital by James Leland on July 14, 1968. The one-manual, mechanical-action organ was provided with a pull-down pedal. 

 

1968 Noack Organ Company
Opus 42

MANUAL

8′ Gedackt (4 stopped wood basses, 

    remainder metal, 56 pipes)

4′ Stopped Flute (12 open trebles, 

    metal, 56 pipes)

2′ Principal (metal, 56 pipes)

 

In the summer of 1969, Noack installed its Opus 44, blessed on August 15. The Positive is in Brustwerk position, with Great above and Pedal to the sides. A dedication recital was presented by Benn Gibson on November 9.

 

1969 Noack Organ Company
Opus 44

GREAT (Manual I)

8′ Principal (in façade, 56 pipes)

8′ Chimney Flute (56 pipes)

4′ Octave (56 pipes)

4′ Spielflöte (56 pipes)

2′ Nachthorn (56 pipes)

V–VI Mixture (11⁄3′, 312 pipes)

8′ Trumpet (56 pipes)

POSITIVE (Manual II)

8′ Gedackt (56 pipes)

4′ Koppelflöte (56 pipes)

2′ Principal (in façade, 56 pipes)

11⁄3′ Quinte (56 pipes)

II Sesquialtera (122 pipes)

III Cymbal (1⁄2′, 168 pipes)

8′ Krummhorn (56 pipes)

PEDAL

16′ Subbass (32 pipes)

8′ Principal (in façade, 32 pipes)

8′ Gedackt (32 pipes)

4′ Choral Bass (32 pipes)

IV Mixture (22⁄3′, 128 pipes)

16′ Bassoon (32 pipes)

 

Couplers (toe lever, hitch-down)

Great to Pedal

Positive to Pedal

Positive to Great

Accessory

Tremulant (toe lever, hitch-down)

 

Opus 44 was the first permanent installation of a modern tracker organ in a Catholic institution in the Archdiocese of Chicago. In its early years, it was a frequently used recital instrument. Performers have included Marie-Claire Alain, Christa Rakich, David Hurd, and Gustav Leonhardt.

Fabry Inc. Pipe Organ Builders,

Antioch, Illinois

First Church of Christ, Scientist,

Libertyville, Illinois

Fabry, Inc., was contracted to rebuild and install this instrument in the very small balcony of this church nave. The organ was built by M. P. Möller as their Opus 8685 for a small church outside Madison, Wisconsin. The project included installing a Peterson Duo Set Single Board combination action, a diode matrix relay, electric shutter action, furnishing a totally new finished cabinet enclosure with shutters on the front and side, and replacing all cloth-covered wiring. This instrument originally contained three ranks; however, the church decided to add an 8′ Trompette, bringing the instrument to a total of four ranks. The original Möller instrument never had the 12 bass pipes of its 8′ Principal rank. Due to space limitations, the bottom octave of the 8′ Principal was supplied by a Peterson digital voice. The project was headed by Adrienne Tindall.

GREAT (enclosed)

  8′ Principal (digital 1–12, 73 pipes)

8′ Gedeckt (97 pipes) 8′ Viola (73 pipes) 4′ Principal (ext 8′ Principal)

4′ Gedeckt (extension 8′ Gedeckt)

4′ Viola (ext 8′ Viola)

22⁄3′ Principal (ext 8′ Principal)

2′ Principal (ext 8′ Principal)

8′ Trompette (73 pipes)

4′ Trompette (ext 8′ Trompette)

Swell to Great

Pedal to Great

SWELL (enclosed)

8′ Gedeckt (fr Gt 8′ Gedeckt)

8′ Viola (fr Gt 8′ Viola)

4′ Gedeckt (fr Gt 8′ Gedeckt)

4′ Viola (fr Gt 8′ Viola)

22⁄3′ Gedeckt (ext Gt 8′ Gedeckt)

2′ Gedeckt (ext Gt 8′ Gedeckt)

13⁄5′ Viola (ext Gt 8′ Viola)

11⁄3′ Larigot (ext Gt 8′ Viola)

8′ Trompette (fr Gt 8′ Trompette)

4′ Trompette (fr Gt 8′ Trompette)

Tremolo

PEDAL (enclosed)

32′ Resultant (wired fr Gt 8′ Gedeckt)

16′ Gedeckt (ext Gt 8′ Gedeckt)

8′ Gedeckt (fr Gt 8′ Gedeckt)

8′ Viola (fr Gt 8′ Viola)

51⁄3′ Gedeckt (fr Gt 8′ Gedeckt)

4′ Principal (fr Gt 8′ Principal)

4′ Gedeckt (ext Gt 8′ Gedeckt)

16′ Trompette (wired resultant)

8′ Trompette (fr Gt 8′ Trompette)

4′ Clarion (fr Gt 8′ Trompette) 

 

10 General pistons (thumb and toe)

General Cancel (thumb)

Combination adjuster (thumb)

Tutti (thumb and toe, with indicator)

Balanced expression shoe

Balanced Crescendo shoe (with indicator)

 

St. Paul’s Lutheran Church

Union Grove, Wisconsin

This instrument was built by the Wicks Organ Company of Highland, Illinois, as a “Convention Portable Organ.” Many of the instrument’s original case panels were hinged for easy disassembly, and the chassis was placed on wheels. In December 1958, the instrument with its drawknob console was sold to and installed at Zoar Lutheran Church, Elmwood Park, Illinois, as the builder’s Opus 3873.  

When the Elmwood Park church closed, St. Paul’s Lutheran Church of Union Grove, Wisconsin, acquired the instrument and contracted Fabry, Inc., to remove the 14-rank instrument and move it to its new home. We transported some parts of it to the church and other parts to the Fabry factory to be rebuilt and re-engineered. All new Peterson solid state equipment was installed. We constructed a new swell box enclosure with a new electric shade action, and added new casework for the new installation. The balcony required a small amount of remodeling to allow sufficient space for the instrument. 

The project was headed on behalf of the church by Pastor David Ramirez, Dan Hirsh, treasurer, and Paul Hrupka, president. Fabry thanks everyone for their cooperation during this project.

 

GREAT

8′ Principal (68 pipes)

8′ Nason Flute (80 pipes)

8′ Gemshorn (97 pipes)

8′ Dolcan (73 pipes)

4′ Prestant (68 pipes)

4′ Gemshorn (ext 8′ Gemshorn)

4′ Flute (ext 8′ Nason Flute)

4′ Dolcan (ext 8′ Dolcan)

22⁄3′ Twelfth (68 pipes)

22⁄3′ Gemshorn (ext 8′ Gemshorn)

2′ Fifteenth (68 pipes)

2′ Gemshorn (ext 8′ Gemshorn)

13⁄5′ Gemshorn (ext 8′ Gemshorn)

  Tremolo (electric unit)

  Chimes (25 bars, electric action)

Great 16

Great Unison Off

Great 4

SWELL (enclosed)

8′ Stopped Flute (92 pipes)

8′ Salicional (80 pipes)

8′ Voix Celeste (TC, 56 pipes)

4′ Flauto Traverso (68 pipes)

4′ Violina (ext 8′ Salicional)

22⁄3′ Nazard (ext 4′ Flauto Traverso)

2′ Harmonic Piccolo (ext 4′ Fl. Trav.)

8′ Trompette (80 pipes)

8′ Schalmei (68 pipes)

4′ Clarion (ext 8′ Trompette)

Tremolo

Swell 16

Swell Unison Off

Swell 4

PEDAL

32′ Lieblich Gedeckt (resultant)

16′ Diapason (44 pipes)

16′ Bourdon (ext Sw 8′ Stopped Flute)

8′ Principal (ext 16′ Diapason)

8′ Flute (fr Gt 8′ Nason Flute)

8’ Gemshorn (fr Gt 8′ Gemshorn)

8′ Gedeckt (fr Sw 8′ Stopped Flute)

8′ Dolcan (fr Gt 8′ Dolcan)

51⁄3′ Quint (fr Sw 8′ Stopped Flute)

4′ Choral Bass (fr Gt 4′ Prestant)

4′ Gedeckt (fr Sw 8′ Stopped Flute)

III Mixture (collective)      

16′ Trumpet (wired ext. 8′ Trompette)

8′ Trumpet (fr Sw 8′ Trompette)

4′ Clarion (fr Sw 8′ Trompette)

Zimbelstern

 

Inter-divisional couplers (tilting tablets)

Great to Pedal 8 Great to Pedal 4 Swell to Pedal 8 Swell to Pedal 4 MIDI to Pedal Swell to Great 16 Swell to Great 8

Swell to Great 4 Pedal to Great MIDI to Great Pedal to Swell MIDI to Swell

Accessories

10 General pistons (thumb and toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

4 Pedal pistons (toe)

Set (thumb)

General Cancel (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reveresible (thumb and toe)

Pedal to Great reversible (thumb)

Pedal to Swell reversible (thumb)

Tutti (thumb and toe, with indicator)

32′ Lieblich reversible (toe)

Zimbelstern reversible (thumb and toe)

Balanced Swell expression shoe

Balanced Crescendo shoe (with indicator)

Wind indicator

—Phil Spressart

 

Builder’s website: www.fabryinc.com

First Church of Christ, Scientist, website: www.christiansciencelibertyville.com

St. Paul’s Lutheran Church website: http://www.stpaulsug.org

Phillip K. Parkey

President and Tonal Director, Parkey OrganBuilders

Parkey OrganBuilders, 

Norcross, Georgia

Opus 16

First United Methodist Church, Dalton, Georgia

First United Methodist Church of Dalton, Georgia, has been a long time client of Parkey OrganBuilders. In the years leading up to the sanctuary renovation, we had the privilege of working with Peter Infanger, the church’s music director and organist, in the care of the church’s pipe organ. Dalton First United Methodist has a long-standing reputation of excellent music, and many years were spent planning the renovation of the sanctuary to support this fine music program.

In the early 1990s the church increased the facility to add a new fellowship hall, kitchen, and a new chapel. During that growth phase, the church added an extension to the main sanctuary with plans to expand the choir space. The choir programs have grown over the years, and the choir loft space, which was located between the two organ chambers at the time, drastically hindered growth and expansion of the choir. Peter Infanger worked with the Trustees and building committee to highlight the need and benefits of expanding the choir loft. The space limitations, coupled with the very dated appearance of the 1950s sanctuary, led to the renovation that began in 2014. Many ideas were discussed, and other organ builders were interviewed. Ultimately the organ committee voted unanimously to award the contract for the organ to our firm.

With the need to enlarge the choir space, we recommended moving the organ from side chambers and an exposed division to a much more traditional chambered installation with case and façades. The organ committee agreed with our recommendations. The renovation committee also responded favorably to the recommendation of improved acoustics aided by reflective surfaces and hardwood and tile floors where possible.  

Just before the renovation began, Peter Infanger announced his retirement. Much of the groundwork had been carefully put in place by him. During the interim period, John Wigal of Chattanooga, Tennessee, was selected as the organ consultant to guide the organ committee through the remaining planning process. In mid 2015, Jeff Harbin was selected as the new music director and organist.

Mr. Harbin has worked closely with our firm to bring this project to completion. His input has been valuable and very helpful.  

The organ contains pipework from the previous instrument with new pipework for additions and changes. The final specification comprises 50 ranks over 48 speaking stops. The organ has been designed as a support for service playing and hymns under Jeff Harbin’s guidance.

The configuration of the instrument places the organ on the central axis of the room to provide direct tonal egress to the sanctuary. The organ contains two freestanding expression enclosures of our standard design for the Choir and Swell divisions. The Pedal division is behind the left façade, with the Swell division located immediately behind it. The unenclosed Great is located behind the right façade, and the Choir is placed behind the Great. The façade is composed of the Pedal 16′ Principal, Pedal 8′ Octave, and Great 8′ Principal basses.

The new organ is placed on electro-pneumatic slider windchests with limited unified and duplex stops on electro-pneumatic unit windchests. Winding was provided via single-rise reservoirs with tunable concussion winkers. The new windchests have greatly improved wind supply for the organ pipes, allowing our staff to voice for a warm, rich chorus. The stratospheric mixture complement was revised. The Scharf originally located in the Swell was relocated to the Choir. A new IV Plein Jeu was installed in the Swell.  

Our choice and design for slider windchests and single-rise reservoirs impart a clarity, promptness, and gentle wind flexibility in the organ. These attributes allow the personality of the instrument to instill a musical sense to the sound. Wind, expression boxes, and accurate well-terraced voicing become the palette for the musician to lead services and congregational singing.

The Swell flute chorus was finished out with a 4′ Nachthorn to complete the option of a flute-based Cornet. The strings of this division were broadened to complement a larger 8′ Bourdon installed to improve the foundation of the Swell. The 4′ Principal was rescaled to accommodate the increased foundation. Finally, an 8′ Hautbois was added.

The Great division was revised with several changes. The 16′ Gemshorn was extended to provide an 8′. The original installation had relied heavily on Haskelled bass pipes due to limited chamber space. This, coupled with limited chamber openings, had always hampered the organ for an adequate bass line. The Great Principal was also rescaled and re-voiced for the changes and improvements to the room. Additional changes included replacing the 8′ flute with a Rohrflöte and adding a 4′ Spitzflöte.

The Choir division in the previous organ resembled more of an enclosed Positiv, as was common in the 1970s and 80s. Changes here included addition of an 8′ Geigen Prinzipal, revoicing the remaining 4′ and 2′, and balancing the III Scharf for a functional enclosed Principal chorus for choir accompaniment. The 8′ Holzgedeckt was rescaled and revoiced to provide a more fulfilling tone. Some articulation was retained for character, but it was still greatly refined.

The original Pedal division was complete with a nice array of independent stops. However, it, too, was compromised by providing the 16′ Principal with Haskelled pipes in the lowest octave and period voicing for the rank’s pipework. The new installation includes full-length pipes with the lowest five notes of the Principal and Gemshorn residing on the back wall for maximum bass reflection.  

The chamber construction was specified in the design details we provided. Attention was given to the density of wall structures to provide the best reflective surfaces possible. We worked with the architect to design the ceiling of the chamber to match the sanctuary ceiling in an effort to avoid the “arch” effect often encountered with organ chambers. By eliminating the overhang and wall extensions around the tone opening often found with chambers, egress is greatly improved.

The enhancements included a smooth reflective ceiling replacing the 1950s “fuzzy” acoustical surface. The choir loft is floored in ceramic tile with carpet limited to just the walkways beside the pews.  

The results have provided optimal egress and balance for the organ. Jeff Harbin noted that stops previously unusable on the old organ were now functional. Congregation and choir singing reflected an immediate improvement. The room has a warm, clean, and exciting sound matching the new visual look.

The organ was first heard for the Smiley Gregg concert in late August. Mr. Gregg was a long time member of First United Methodist and instrumental in promoting the music program of the church. The Smiley Gregg concerts have been a long-standing tradition for Dalton First United Methodist as a fundraiser for Habitat for Humanity. I have personally attended several of these over the years and remain impressed with their impact on the local community.

We are pleased to have been part of this renovation project and to provide the organ for the renewed sanctuary. Our thanks go to Peter Infanger, John Wigal, and Jeff Harbin for their cooperation and support for this project. I also thank our own staff for their efforts in creating a fine instrument for future generations.

—Phillip K. Parkey  

President and Tonal Director

Parkey OrganBuilders

 

Parkey OrganBuilders Staff for Opus 16

Phillip K. Parkey – president and tonal director

Michael Morris – case designer and engineering

Fred Bahr – tonal work and voicing

Philip Read – shop supervisor and assembly

Johan Nix – master woodworker, construction and assembly

Kurtis Robinson – CNC operator, construction and assembly

Chris Bowman – tonal work, voicing, installation

Otilia Gamboa – winchest construction, wiring

Matthew Edwards – assembly and installation

Jonathan Meeks – office manager

Keith Williamson – sales and scheduling

 

Design consultation by:

Jeff Harbin – music director and organist, Dalton First United Methodist Church, Dalton, Georgia

John Wigal – organ consultant, Church of the Good Shepherd, Lookout Mountain, Tennessee

 

GREAT (Unenclosed)

16′ Gemshorn 61 pipes 

8′ Principal 61 pipes 

8′ Gemshorn (ext) 12 pipes 

8′ Rohrflöte 61 pipes

4′ Octave 61 pipes 

4′ Spitzflöte 61 pipes 

2′ Fifteenth 61 pipes 

IV Fourniture 244 pipes 

III Cymbal 183 pipes

8′ Festival Trumpet (Choir) 

Chimes (21 notes)

    (located in Choir expression box)

Great Unison Off

MIDI on Great

 

SWELL (Enclosed)

8′ Bourdon 61 pipes

8′ Viola 61 pipes 

8′ Viola Celeste (TC) 49 pipes 

4′ Principal 61 pipes 

4′ Nachthorn 61 pipes 

22⁄3′ Nazard 61 pipes 

2′ Blockflöte 61 pipes 

13⁄5′ Tierce 61 pipes 

IV Plein Jeu 244 pipes 

16′ Basson 61 pipes 

8′ Trompette 61 pipes 

8′ Hautbois 61 pipes 

4′ Rohr Schalmei 61 pipes 

Tremulant

Swell 16

Swell Unison Off

Swell 4

MIDI On Swell

CHOIR (Enclosed)

8′ Geigen Prinzipal 61 pipes 

8′ Holzgedeckt 61 pipes  

8′ Erzähler 61 pipes 

8′ Erzähler Celeste (TC) 49 pipes 

4′ Spitz Prinzipal 61 pipes 

4′ Waldflöte 61 pipes 

2′ Klein Octav 61 pipes 

11⁄3′ Quint 61 pipes 

III Scharf 183 pipes 

8′ Krummhorn 61 pipes 

Tremulant

8′ Festival Trumpet 61 pipes 

Zimbelstern

Choir 16

Choir Unison Off

Choir 4

MIDI on Choir

PEDAL

32′ Resultant (derived)* 

16′ Principal 32 pipes 

16′ Subbass 32 pipes 

16′ Gemshorn (Great)

8′ Octave 32 pipes 

8′ Bourdon (ext) 12 pipes 

8′ Gemshorn (Great) 

4′ Choral Bass 32 pipes 

4′ Flöte (ext) 12 pipes 

III Mixture 96 pipes 

IV Harmonics (derived) 

16′ Bombarde 32 pipes 

16′ Basson (Swell)

8′ Trompette (ext) 12 pipes 

4′ Krummhorn (Choir)

8′ Festival Trumpet (Choir)

MIDI on Pedal

 

COUPLERS

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

 

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

 

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

 

Great/Choir Transfer

 

COMBINATION SYSTEM

(300 Levels of Memory)

12 General Pistons – thumb and toe

8 Divisional Pistons – thumb for manuals; thumb and toe for Pedal

Swell to Pedal Reversible – thumb and toe

Great to Pedal Reversible – thumb and toe

Choir to Pedal Reversible – thumb and toe

Swell to Great Reversible – thumb only

Choir to Great Reversible – thumb only

Sforzando Reversible – thumb and toe 

Zimbelstern Reversible – thumb and toe

 

50 ranks, 2,842 pipes

 

* (Smart Resultant = Drawn on Subbass until 16′ Principal is engaged and then revert to resultant derived from Principal)

Berghaus Pipe Organ Builders, Bellwood, Illinois

1966 Aeolian-Skinner Organ Company Opus 1455

Church of the Holy Comforter, Kenilworth, Illinois 

Organ renovation projects are as diverse as the instruments themselves.  The decisions and processes that are undertaken by the owners and the curators of the pipe organs are varied, but the goal is always to breathe new life into the instrument. Sometimes the renovation is historically accurate, sometimes it completely changes the nature of the instrument. In the case of the 1966 Aeolian-Skinner Organ Company Opus 1455 at Church of the Holy Comforter, Kenilworth, Illinois, the organ was returned to its original glory as envisioned by George E. McClay, associate dean of the School of Music at Northwestern University, Evanston, Illinois, and organist-choirmaster at Trinity Episcopal Church, Highland Park, Illinois, who served as the consultant.

The Aeolian-Skinner replaced a two-manual, eight-rank Welte organ relocated in 1928 from the Wilmette Village Theatre (which had closed), which in turn had supplanted the 1907 Hook & Hastings Opus 2147 that was an identical replacement of the builder’s Opus 2106 that had been destroyed in a fire in October 1906. As the fourth organ at Holy Comforter, the instrument’s 50 years of faithful service and thousands of hours of beautiful music for Eucharists, baptisms, weddings, funerals, concerts, and special events made it an integral part of the life of the parish. It was finally decided in 2016 to raise the funds to undertake the complicated and sophisticated project of thoroughly renewing the instrument.

In June 2016, Berghaus Pipe Organ Builders began an extensive project to clean, rebuild, and refurbish the organ to as-new condition. All of the pipework except for some of the larger pipes from the Contra Bass in the Pedal were removed from the church and taken to the Berghaus shop for cleaning and repairs.  

While in the organ shop, a couple of ranks that had been altered over time were restored to original specifications. The 4′ Flute Harmonique pipes were lengthened and the hole in the center section of each pipe that produces the harmonic sound was re-created. The Viole de Gamba and Viole Celeste pipework had mysteriously been replaced with pipes that did not properly blend with the rest of the instrument. Particular attention was paid to these two ranks during the revoicing process to duplicate vintage Aeolian-Skinner characteristics.  

The reservoirs were also removed for releathering. The empty chamber was then thoroughly cleaned and water-damaged areas repaired and replastered. The console was stripped and refinished, updated with new lighting and combination action, and keyboards and pedalboard rebuilt. The tonal finishing process, which took two weeks, brought the instrument back to its original tone and timbre as the organ’s wind pressures were returned to their original measurements. This offered an opportunity to prepare for a 8′ Trompete on the Great that would be extended as a 16′ Posaune in the Pedal. The organ was finished in mid-September in time to go back into service for a prominent wedding.

The organ was rededicated on Sunday, April 23, 2017, by the Reverend Dr. Jason Parkin followed by a recital given by director of music, Derek E. Nickels. Dr. Nickels’s program, which included works by Mendelssohn, Bach, Howells, Lafford, Callahan, and Dupré, very likely put each of the more than 1,300 pipes to work, and was enthusiastically received by the near-capacity crowd.

—Jean A. O’Brien

Berghaus Pipe Organ Builders

Derek E. Nickels

Church of the Holy Comforter

 

GREAT (Manual I, Exposed, 3″ wind pressure)

16′ Bourdon¹

8′ Principal 61 pipes

8′ Bordun  61 pipes

8′ Spitzflöte (Swell 8′ Spitzflöte)

4′ Octave  61 pipes

4′ Spindleflute  61 pipes

22⁄3′ Sesquialtera II  122 pipes

2′ Blockflöte  61 pipes

II Rauschquint 122 pipes

8′ Trompete (prepared)

Tremulant

Great 16

Great Unison Off

Great 4 

SWELL (Manual II, Enclosed, 3″ wind pressure)

16′ Spitzflöte (2003, TC, fr 8′ Spitzflöte)

8′ Rohrflöte 61 pipes

8′ Viola da Gamba² 61 pipes

8′ Viola Celeste² 61 pipes

8′ Spitzflöte 61 pipes

8′ Flute Celeste (TC) 49 pipes

4′ Spitzprincipal 61 pipes

4′ Flûte Harmonique³ 61 pipes

III–IV Plein Jeu 232 pipes

16′ Hautbois 73 pipes

8′ Trompette 61 pipes

8′ Hautbois (ext)

4′ Schalmei 61 pipes

Tremulant

Swell 16

Swell Unison Off

Swell 4 

PEDAL (33⁄4″ wind pressure)

32′ Resultant (2003, from 16′ Bourdon)

16′ Contra Bass 56 pipes

16′ Bourdon 44 pipes

8′ Octave (ext 16′ Contra Bass)

8′ Bourdon (ext 16′ Bourdon)

8′ Rohrflöte (Swell)

4′ Choral Bass (ext 16′ Contra Bass)

16′ Posaune (ext Gt; prepared)

16′ Hautbois (Swell)

8′ Hautbois (Swell)

4′ Hautbois (Swell)

 

1. Added 1992, 1–12 Pedal 16′ Bourdon, 13–61 Swell 8′ Rohrflöte.

2. Original pipework replaced in 1992, revoiced in 2016.

3. Reconstructed to factory specifications in 2016.

 

COUPLERS

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

 

ACCESSORIES

6 Great divisional thumb pistons

6 Swell divisional thumb pistons

6 Pedal divisional toe studs

5 General Pistons (thumb and toe)

Setter thumb piston

General Cancel thumb piston

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Swell to Great reversible (thumb piston)

Full Organ reversible (thumb and toe)

Memory Up thumb piston

Memory Down thumb piston

Swell Shoe

Crescendo Pedal

MIDI transposer, playback and record