Pipe Organs of La Grange, Illinois, and the Architectural Edifices That House Them Part 5: Saint John Evangelical Lutheran Church, Missouri Synod

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

Part 3: Cossitt Avenue Elementary School and First Baptist Church

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 and June 2016 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.

Cossitt Avenue Elementary School

Named for Franklin Cossitt, a founder of La Grange, the first school building was constructed in 1883 of native stone on the present property. The present edifice of brick with stone trim with Gothic influence dates from 1921. This building featured a tiled swimming pool and a kindergarten with a fountain, fireplace, and birds in cages. An auditorium was equipped with opera seating chairs, stage lighting, a projector and screen, elaborate decorative ceiling tiles, and, of course, a pipe organ.

The Skinner Organ Company of Boston, Massachusetts, was commissioned to install its Opus 405, a three-manual, 24-rank organ in chambers in the auditorium in 1923. This was an era when there was a nationwide effort to install pipe organs in public school auditoriums.

The organ was sold and removed in the 1980s and was eventually installed in Sacred Heart Catholic Church of Whiting, Indiana. There, the organ was doubled in size with pipework of various sources.

The contract for Opus 405 was signed on March 7, 1923, by the donor, Mrs. Ross H. (May B.) Kidston of La Grange, at a cost of $15,765. An addendum to the contract provided for installation of the Chimes and Harp at a cost of $1,760 ($800 for the Harp, $960 for the Chimes). Construction of the organ commenced on May 7, and pipework was completed on May 11. Of eight Skinner organs installed in public schools, this was the only one in an elementary school.

1923 Skinner Organ Company Opus 405

Great (Manual II)

8′ Diapason (scale 42, leathered, metal—73 pipes)

8′ Clarabella (73 pipes)

8′ Erzähler (“usual,” metal—73 pipes)

4′ Octave (“medium,” scale 58, metal—73 pipes)

8′ French Horn (“#2,” in Swell, metal—61 pipes)

Chimes (in Swell, 20 tubes)

Swell (Manual III, Enclosed)

16′ Bourdon (“common,” wood—73 pipes)

8′ Diapason (“big,” scale 43, metal—73 pipes)

8′ Gedeckt (“common,” wood—73 pipes)

8′ Salicional (“common,” scale 64, metal—73 pipes)

8′ Voix Celeste (“common,” scale 64, metal—73 pipes)

8′ Aeoline (scale 60, metal—73 pipes)

4′ Flute (“common,” harmonic from tenor C, metal—73 pipes)

III Mixture (mounted, metal, 15-19-22—183 pipes) 

8′ Cornopean (5″ scale, metal—73 pipes)

8′ Flügel Horn (“common,” metal—73 pipes)

8′ Vox Humana (“common,” mounted, metal—61 pipes)

Tremolo

Choir (Manual I, Enclosed)

8′ Concert Flute (“#1,” wood and metal—61 pipes)

8′ Dulciana (“little more stringy in treble,” scale 56, metal—61 pipes)

4′ Flute Harmonique (“common,” metal—61 pipes)

8′ Clarinet (“common,” metal—61 pipes)

Tremolo

Harp (TC—61 tubes)

Celesta (Harp)

Pedal

16′ Diapason (wood—44 pipes)

16′ Bourdon (“common,” wood—44 pipes)

16′ Echo Bourdon (Swell, 16′ Bourdon)

8′ Octave (extension, 16′ Diapason)

8′ Bourdon (extension, 16′ Bourdon)

8′ Still Gedeckt (Swell, 16′ Bourdon)

Chimes (Great, Chimes)

Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Choir to Choir 16

Choir to Choir 4

Swell to Choir 8

Swell to Swell 16

Swell to Swell 4

Accessories

4 Great pistons (thumb)

6 Swell pistons (thumb)

3 Choir pistons (thumb)

4 Pedal pistons (toe)

General Cancel (thumb)

Pedal to Great Manual Combination on/off (thumb)

Pedal to Swell Manual Combination on/off (thumb)

Pedal to Choir Manual Combination on/off (thumb)

Great to Pedal reversible (toe)

Balanced Swell expression shoe

Balanced Choir expression shoe

Balanced Crescendo shoe (with indicator light)

Sforzando reversible (toe, with indicator light)

First Baptist Church

The First Baptist Church of La Grange was founded in 1884 during a meeting in the residence of Myron T. Baldwin. The first pastor was the Reverend Joshua E. Ambrose. The cornerstone of the first frame church was laid in 1886. Additions were made to the building in 1893 and 1906.

The congregation laid the cornerstone for its present edifice in 1924. The building is of Greendale brick with Bedford stone trim of English Gothic influence. Construction cost was about $60,000. In 1947, a stained glass window was installed above the chancel, called the “Laborers with Christ” window. It is now framed by sections of the present pipe organ.

The original church was outfitted for other uses and retained until it was demolished in 1948 to make way for a 1950 addition that featured a chapel, fellowship hall, classrooms, and kitchen, at a cost of $125,000. The present education and administration building was dedicated in 1964.

The origins of the first pipe organ for this congregation are not known. It may have been a second-hand instrument by M. P. Möller of Hagerstown, Maryland. At some point, likely in the 1960s, some alterations were made to the instrument, including addition of a Positiv division. By 1973, the instrument, cobbled together of many disparate parts, was practically unplayable.

The present instrument was built by the Berghaus Organ Company of Bellwood, Illinois, between 1976 and 1978, retaining the Möller console, the Positiv division, two ranks in the Pedal division, the blower, and a few other parts. New slider chests were provided for the Swell, Great, and Pedal divisions. The Great, Positiv, and Pedal divisions are visible above the chancel floor, with the Great to the left, the Positiv in the center, and the Pedal to the right. The Swell division is in a chamber to the right. Wind pressure is 21⁄4 inches. The completed organ was dedicated in service on Sunday, November 19, 1978. In 2006, the combination action was replaced by a Peterson ICS-4000 system.

Berghaus Organ Company

Great (Manual II)

8′ Principal (5 zinc basses, remainder 50% tin—61 pipes)

8′ Gedackt (wood—61 pipes)

4′ Octave (5 zinc basses, remainder spotted metal—61 pipes)

4′ Waldflöte (5 zinc basses, remainder spotted metal—61 pipes)

2′ Spitzflöte (spotted metal—61 pipes)

IV Mixture (spotted metal—244 pipes)

8′ Trumpet (spotted metal—61 pipes)

Great 16

Great Unison Off

Great 4

8′ Solo Trumpet (prepared)

Chimes (from tenor A—21 tubes)

Positiv (Manual I)

8′ Holz Gedackt (wood—61 pipes)

4′ Koppelflöte (spotted metal—61 pipes)

2′ Klein Principal (spotted metal—61 pipes)

11⁄3′ Quinte (from 2′ Klein Principal)

1′ Octave (from 2′ Klein Principal)

8′ Holzregal (mahogany—61 pipes)

Tremolo

Positiv 16

Positiv Unison Off

Positiv 4

8′ Solo Trumpet (prepared)

Zimbelstern

Swell (Manual III, enclosed)

8′ Rohrflöte (12 zinc basses, remainder spotted metal—61 pipes)

8′ Gemshorn (12 zinc basses, remainder spotted metal—61 pipes)

8′ Celeste (from tenor C, spotted metal—49 pipes)

4′ Principal (5 zinc basses, remainder spotted metal—61 pipes)

4′ Spillflöte (5 zinc basses, remainder spotted metal—61 pipes)

22⁄3′ Nasat (spotted metal—61 pipes)

2′ Blockflöte (spotted metal—61 pipes)

13⁄5′ Terz (breaks at C#5, spotted metal—61 pipes)

IV Scharf (spotted metal—244 pipes)

16′ Holzdulzian (mahogany—61 pipes)

8′ Schalmei (spotted metal—61 pipes)

Tremolo

Swell 16

Swell Unison Off

Swell 4

8′ Solo Trumpet (prepared)

Choir (Manual I, prepared)

8′ Holzflöte

8′ Viole

8′ Viole Celeste

4′ Fugara

4′ Traversflöte

2′ Zauberflöte

II Sesquialtera

8′ Trumpet

8′ Vox Humana

Tremolo

Echo (prepared)

8′ Metalgedackt

4′ Flachflöte

2′ Klein Principal

II Rauschquinte

Pedal

32′ Resultant (from 16′ Subbass)

16′ Principal (prepared)

16′ Subbass (wood—32 pipes)

8′ Octave (12 zinc basses, remainder spotted metal—32 pipes)

8′ Gedackt (wood—32 pipes)

4′ Choralbass (5 zinc basses, remainder spotted metal—32 pipes)

III Mixture (spotted metal—96 pipes)

16′ Fagott (7 zinc basses, remainder spotted metal—32 pipes)

4′ Rohrschalmei (brass and spotted metal—32 pipes)

Inter-divisional Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Positiv to Pedal 8

Choir to Pedal 8

Choir to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Positiv to Great 16

Positiv to Great 8

Positiv to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Echo to Great 8

Swell to Positiv 16

Swell to Positiv 8

Swell to Positiv 4

Echo to Positiv 8

Echo to Swell 8

Accessories

12 General pistons (thumb and toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Positiv and Choir pistons (thumb)

3 Echo pistons (thumb)

4 Pedal pistons (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb)

Choir to Pedal reversible (thumb)

Cancel (thumb)

Set (thumb)

Chimes dial (5 volumes and off)

Zimbelstern dials: Delay, Speed, Volume

Auto Pedal (thumb)

Auto Solo (thumb)

Balanced Swell expression shoe

Balanced Choir expression shoe

Balanced Echo expression shoe

Balanced Crescendo shoe (green indicator light)

Sfz. Reversible (thumb and toe, with red indicator light)

Wind indicator (yellow light)

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

Paul Monachino serves as director of music and organist at Our Lady, Queen of the Most Holy Rosary Cathedral in Toledo, Ohio, and also director of liturgical music for the Diocese of Toledo. He completed a Bachelor of Music degree at Heidelberg University in Tiffin, Ohio, and a Master of Music at Indiana University, Bloomington. He is a member of the American Guild of Organists, the Organ Historical Society, the National Association of Pastoral Musicians, and the Conference of Roman Catholic Cathedral Musicians.  

On January 24, 1931, the first boxcar containing Skinner Organ Company Opus 820 left Boston en route to the new cathedral in Toledo, Ohio—Our Lady, Queen of the Most Holy Rosary. After many months of planning and developing the stoplist, the dream of installing an organ from the finest American builder of the early 20th century was soon to be a reality. Norbert Fox, the cathedral organist, kept a copy of the stoplist on a side table in his home and perused it daily, anticipating with great delight the beautiful and majestic sounds that would soon fill the cathedral.

Ground was broken for the unique Spanish Plateresque-style cathedral in 1924. In early 1929, with construction nearing completion, final negotiations with Ernest Skinner were in the works. The contract was prepared on June 13, 1929. An interesting change to the contract was requested by Skinner. He wished to move the English Horn from the Choir to the Solo division. It was to be replaced in the Choir by an Orchestral Oboe (changed to a Flügel Horn in 1933 at the request of Norbert Fox). In a letter dated January 30, 1930, Skinner writes, “The English Horn was commonly placed on the Choir organ until a short time ago where I greatly improved its quality by a modification of design, and the new form works better on the Solo (wind) pressure than on the Choir. . . .”¹ In concluding the letter Skinner writes, “I look your scheme over every day with renewed satisfaction. It gives me every opportunity to fulfill the confidence you have given me in according the Skinner organization a perfect opportunity to build a great work of art.”² And in a letter of September 27, 1930, Mr. Skinner states, “I honestly believe this organ is going to be one of the greatest in America.”³ History has confirmed his belief as Opus 820, located in an outstanding acoustical environment, has come to be regarded as one of his finest efforts.

Three days of musical events marked completion of the organ’s installation. The first of these was a solo organ recital on June 2, 1931, by Palmer Christian of the University of Michigan, Ann Arbor. The following day witnessed a choral and organ program presented by the Cathedral Chapel Choir, Reverend Ignatius Kelly, choirmaster, accompanied at the organ by Norbert Fox and John Gordon Seely of Toledo’s Trinity Episcopal Church. The events concluded on June 4 with a performance of Edward Elgar’s The Dream of Gerontius. The organ had been in the cathedral for nine years when the edifice was finally dedicated in 1940.

The Muller Pipe Organ Company of Toledo cared for the organ after it was installed. Family patriarch Joseph Muller and his son Henry previously worked for Skinner in Boston. After rising to the position of principal installation foreman in the Skinner company, in 1919 Henry established his own organ maintenance shop in Toledo, Ohio. The Skinner organ in Rosary Cathedral was integral to a lively liturgical music program: ordinations, weddings, funerals, and other festive celebrations. It regularly accompanied the 80-voice men and boys choir for Sunday Mass. It was also heard daily at Mass by the students of the Cathedral School. The Gregorian Institute of America, established in Toledo (now GIA Publications, Chicago), held weeklong summer workshops at neighboring Mary Manse College, and participants attended daily Mass at the cathedral. Private recordings of the organ were made in the 1950s by Claude Legacé (organist-choirmaster from 1954 until 1961) and Valerian Fox, son of Norbert Fox. In 1966, Maurice Duruflé and his wife Marie-Madeleine performed on the organ; the concert’s first half featured selected movements of the Requiem conducted by the composer. The Muller family was always on hand for major occasions to ensure that the organ was functioning at its best. But after over 40 years of daily use, the organ was beginning to show its age through various mechanical failures.

In September 1979, following the renovation of the cathedral to conform to liturgical directives of the Second Vatican Council, organist-choirmaster Dr. Hugh Murray requested that attention now be given to restoring the organ. The Standing Committee on Sacred Music was charged with preparing a recommendation for the restoration of the Skinner organ. After study, consultation, and consideration of several proposals submitted to the committee, the diocese awarded a contract to K & D Pipe Organ Service Co. (Ken and Dorothy Holden) of Ferndale (Detroit), Michigan. The concept of the restoration was conservative, with no proposal to alter the tonal or mechanical systems of the organ. In 1980 the console was moved to the chancel floor from the former choir gallery in keeping with the renovated liturgical space that called for the choir to be in a more accessible position. The console was thoroughly restored during the move. Following this project, a phased restoration began with the removal of the Choir division to the K & D shop.

The Holdens ran a modest shop, performing much of the restoration work themselves. Work progressed slowly and at times came to a standstill due to unforeseen personal circumstances. The cathedral authorities became impatient with the slow progress, and in 1983 a mutual release agreement was issued, bringing the restoration project to a halt. This led to years of debate about how to proceed that nearly imperiled the existence of this important pipe organ.

In the spring of 1983 all the components of the Choir division that had been in the K & D shop were returned, but not reinstalled. The pipework of this division was stored throughout the triforium walkway of the cathedral. Overall, a number of critical stops, such as the Great 4′ Octave, were completely unplayable, and numerous dead notes riddled almost every stop of the organ. The organ was in a nearly useless condition.

In a desire to preserve momentum for the restoration project, Hugh Murray and the cathedral authorities engaged local organ builder Daniel Pilzecker as a consultant. He recommended a rather conservative scope of work that included a new console and some minor tonal alterations and additions, some of which had been already considered in the 1979 proposals. Among the many recommendations in those years, there was considerable agreement that a new console should be provided and that the chorus reeds should be brightened. A request for proposal based on Pilzecker’s observations was sent to five organ companies. Two responded with a bid: the Muller company and the Williams-Stevens Organ Company of Cincinnati, Ohio (Mark Lively).  

In August 1983, Fr. Robert Donnelly, diocesan chancellor (and soon to be auxiliary bishop of Toledo), requested that the Diocesan Liturgical Commission form an ad hoc “Cathedral Committee” to recommend action to the bishop concerning the restoration of the organ and a new sound system. The first meeting was held in August 1983. Soon afterward the committee retained Dr. Robert Noehren as organ consultant and arranged for him to visit Toledo in January 1984. 

During this visit, Noehren met with the committee, surveyed the Skinner organ, and visited several other pipe organs in the Toledo area. A committee meeting including Noehren was arranged with Bishop James Hoffman. From the archival notes of these meetings it becomes clear that the committee was now wrestling with the decision of whether to restore the Skinner or replace it. One of the recorded comments (all anonymous) from the meeting is quite startling: “The Cathedral Skinner organ is not a great instrument and it never was one. It is not famous, and it never was.”⁴ The Organ Historical Society thought differently in awarding Opus 820 a Historic Organ Citation in 2006! A great deal of credit for the fame of this organ must go to Joseph Vitacco and his project to record landmark Skinner and Aeolian-Skinner organs throughout the United States. Four recordings of the Rosary Cathedral organ were produced by JAV Recordings, disseminating its artistic merit throughout the world.

Three proposals were recommended by Robert Noehren in a letter dated January 16, 1984. The first, and preferred, was to provide two new organs: a small choir organ in the sanctuary and a large “Great Organ” in the gallery. The Skinner organ would be sold, as a whole or parted out. If the cathedral were sentimentally attached to the Skinner organ a restoration could be accomplished but conversion to a direct-electric action was encouraged along with a new or rebuilt console and some tonal alterations. Noehren did note that the Skinner would be worthy of preservation as was the Hill Auditorium Skinner at the University of Michigan where he taught for many years. A third proposal for one free-standing organ in the apse was included although considered less than ideal. The committee had much to consider.

On January 30, 1984, a message was received from Sam Koontz of the Tellers Organ Company, stating that he would be passing through Toledo and would like to assess the cathedral organ. At a committee meeting the next day, Hugh Murray reported concerning Koontz that, “this item . . . is of no validity and need concern us no longer.” But time would bear out that this initial contact from Sam Koontz might very well be what preserved Opus 820. Koontz would follow up with a proposal to complete all unfinished releathering in the currently dismantled Choir division and reinstallation, address some console issues, repair dead stops in the Great and Solo divisions, and tune the organ. 

On February 11, 1984, Hugh Murray wrote a letter of memorandum to the cathedral committee concerning his reaction to Noehren’s recommendations that would become his guiding vision for the project. Murray reflected on the many years of study and discussion concerning the organ. He concludes, “I would love to hear and play again the fully restored Skinner Organ with all of its voices resounding throughout our magnificent, acoustically alive Toledo Cathedral.”

In March, the cathedral committee drafted a proposal for the bishop to “mothball” the Skinner organ and construct a new, freestanding organ in the apse. One must appreciate the perspective of the committee concerning Opus 820. Restored components and pipes lay scattered about the triforium, and most of the organ did not play. By some it was viewed as beyond revival. But for those who were able to see beyond its current condition, the vision of a completely restored instrument remained strong. As consultant, Noehren continued to be updated on the discussions and had undertaken more research on the various options. In light of the committee’s proposal to locate one new organ in the apse, rather than a new organ at either end of the cathedral, Noehren writes, “Since you have decided to have the organ in the sanctuary, I suggest you re-consider the possibility of restoring your present organ.”⁵ He mentions that he has identified several firms that could carry out this work, and that “for now it seems that the costs for doing so may be far below our earlier estimates.”⁶ And further, “The present organ is indeed a very good instrument.”⁷ Despite this suggestion, by a vote of six to one, the committee’s proposal to mothball the Skinner and construct a new organ in the apse was sent to the bishop on June 4, 1984. The bishop approved the proposal as a working document to be shared with various leadership groups in the diocese. 

In September 1984, Sam Koontz wrote a four-page letter to the cathedral committee responding to the proposal sent to the bishop. While he feared the die had been cast to abandon the Skinner organ, he felt compelled to rectify what he felt was “gross inaccuracy in factual information presented to the Committee by the consultant”⁸ and contained in the proposal. He deemed the work done by K & D to be of the highest quality and regretted the health issues that plagued the Holdens at that time. Concerning the “large parts of the organ that are disconnected” he mentions that the restoration work on the Choir division was complete and only in need of reassembly. The console restoration that was labeled “botched” was far from it and required final adjustments that were not carried out due to the termination agreement. He also questions the committee’s choice of Noehren as a consultant for a restoration of the Skinner organ, which was the original intent of the cathedral committee. It was well known that Noehren’s ideals of organbuilding were very far from those of Ernest Skinner. Koontz also debunks the fears of continued maintenance of the leather actions and a number of other issues. Relative to a new organ, he writes, “The Skinner organ possesses a quantity and quality of material which would not be possible to reproduce today, at any cost. No more refined reed tones have ever been produced, than those of the Skinner Organ Company.”⁹ Koontz proposed that he would complete the restoration of the organ for a price not to exceed $90,000.00 within three years.

Koontz concludes by urging the restoration of the organ: “If restoration of the Skinner organ does indeed prove to be prophetic, this is the greatest legacy the Committee could hope to leave to future generations in the Diocese of Toledo.”¹⁰  On October 25, 1984, after reviewing the letter, the committee invited Sam Koontz to attend a meeting and speak in more detail about his proposal.

Convinced of his abilities to revive the Skinner organ, the diocese initially awarded a contract to Koontz to re-install the Choir division and carry out some other work to complete the work the Holdens had begun. Subsequently, an additional contract was signed that culminated in thorough repairs and releathering of the organ by 1992. A celebratory rededication recital was presented by Todd Wilson on March 31, 1993. In the recital program Hugh Murray wrote, “(The late Sam Koontz) was a talented craftsman with strong convictions about restoring versus rebuilding/enlarging old organs. The Cathedral Skinner is a monument to his principles and dedication to his art as a restorer.” Opus 820 was now completely functional after over a decade of virtual silence. 

The work of Sam Koontz was admirable in preserving this magnificent instrument.  Since the work authorized by the diocese did not constitute a thorough restoration, in the years immediately following, numerous dead notes and other malfunctions continued to plague the organ. At the time it was decided to retain all of the original mechanisms with little intervention. Significant mechanicals—swell engines, tremolos, combination action—were not restored at all since they were functioning well at the time. Many of these unrestored items are now beginning to show signs of wear. The pipework is still in excellent shape, but many of the reed stops are in need of restoration of tuning scrolls and brass tongues. 

In 2009–2010 a survey of the organ was carried out by Jeff Weiler confirming that a thorough restoration of the organ was in order. 

To the casual listener, the  Cathedral  Skinner retains its general majesty and suave elegance. Upon closer inspection—certainly to organists and other musicians—the organ will sound tired. Beautiful tone is still unquestionably present, but not a single stop is even in tone or volume throughout its compass.

Fully restored, the organ would handily address any task that might be put before it. It has the potential to lead an assembly with great delicacy and sophistication. Still, it will be a revelation to even its most dedicated admirers just how much more polished, alive, and beautiful the sound will be once the pipes are fully cleaned and reconditioned.¹¹

Requests for proposals were sent out to a select number of organ companies. In 2012 the proposal of the J. W. Muller Co. of Croton, Ohio, was accepted. Now the challenging work of funding the project begins. While there has been interest from several charitable foundations, neither the Diocese of Toledo nor the cathedral parish can financially contribute a significant amount to the project at this time. If the reader is interested in showing support for this project through a donation of any amount, visit the parish website at: http://rosarycathedral.org/donate/.

The goal is to provide a thorough restoration of the organ. This would include preservation of the original console while providing a new console with the latest technological controls for the organist.  As originally envisioned for the cathedral, a small antiphonal division created from vintage pipework will be installed to support congregational singing at the back of the nave. The successful completion of this project will allow the organ to function reliably for many years and preserve this pristine example of early twentieth century American organ building.

Notes

1. Letter from Ernest Skinner to Msgr. Anthony J. Dean, cathedral rector, January 30, 1930.

2. Ibid. 

3. Letter from Skinner to Msgr. Dean, September 27, 1930.

4. Minutes of the cathedral committee meeting, January 10, 1984, page 5, item 20.

5. Letter from Robert Noehren to Rev. Robert Doppler, chairman/director of the Toledo Diocesan Liturgical Committee, March 13, 1984.

6. Ibid.

7. Ibid.

8. Letter from Samuel Koontz to the cathedral committee, September 17, 1984, page 1.

9. Ibid, page 3.

10. Ibid, page 4.

11. Survey of Skinner Opus 820, Jeff Weiler & Associates, LLC, March 24, 2011, page 25.

Skinner Organ Company

Opus 820

GREAT (Manual II, 6″ wind pressure)

16′ Double Diapason 61

8′ First Diapason 61

8′ Second Diapason 61

8′ Third Diapason* 61

8′ Viola* 61

8′ Harmonic Flute 61

8′ Gedeckt* 61

8′ Erzähler 61

4′ Octave 61

4′ Flute* 61

22⁄3′ Twelfth 61

2′ Fifteenth** 61

IV′ Chorus Mixture (15-19-22-26)** 244

IV′ Harmonics (17-19-flat 21-22)** 244

16′ Trumpet** 61

8′ Tromba** 61

4′ Clarion** 61

Solo Reeds to Great

* Enclosed

** 10″  wind pressure

SWELL (Manual III, enclosed,
6″ wind pressure)

16′ Melodia (open to low G) 73

8′ Diapason** 73

8′ Rohrflöte 73

8′ Flute Celeste II 134

8′ Salicional 73

8′ Voix Celeste 73

8′ Echo Gamba 73

4′ Octave** 73

4′ Flute Triangulaire 73

2′ Flautino** 61

V Mixture (15-19-22-26-29)** 305

16′ Waldhorn** 73

8′ Trumpet** 73

8′ Oboe d’Amore 73

8′ Vox Humana 73

4′ Clarion** 73

Tremolo

Swell 16

Swell 4

Harp (Choir)

Celeste (Choir)

**10″  wind pressure

CHOIR (Manual I, enclosed,
6″ wind pressure)

16′ Gamba 73

8′ Diapason 73

8′ Concert Flute 73

8′ Gamba 73

8′ Kleine Erzähler 73

8′ Kleine Celeste (TC) 61

4′ Gemshorn 73

4′ Flute 73

22⁄3′ Nazard 61

2′ Piccolo 61

III Carillon (12-17-22) 183

16′ Fagotto 73

8′ Flügel Horn 73

8′ Clarinet 73

Tremolo

Harp (TC, from Celesta)

Celesta 61 bars

Choir 16

Choir 4

SOLO (Manual IV, enclosed,
10″ wind pressure)

8′ Flauto Mirabilis 73

8′ Gamba 73

8′ Gamba Celeste 73

4′ Orchestral Flute 73

16′ Corno di Bassetto 85

8′ Corno di Bassetto (ext)

8′ English Horn 73

Tremolo

8′ French Horn*** 73

8′ Tuba Mirabilis*** 73

Solo 16

Solo 4

*** 20″ wind pressure

PEDAL (6″ wind pressure)

32′ Major Bass 56

16′ Diapason 44

16′ Contra Bass 56

16′ Metal Diapason (Great)

16′ Bourdon (ext, 32′ Major Bass)

16′ Melodia (Swell)

16′ Gamba (Choir)

16′ Dulciana 32

8′ Octave (ext, 16′ Diapason)

8′ ‘Cello (ext., 16′ Contra Bass)

8′ Gedeckt (ext, 32′ Major Bass)

8′ Still Gedeckt (Swell, 16′ Melodia)

4′ Super Octave (ext, 16′ Contra Bass)

IV Mixture 128

32′ Fagotto (ext Ch, 16′ Fagotto)**** 12

16′ Trombone**** 44

16′ Waldhorn (Swell)

16′ Fagotto (Choir)

8′ Tromba (ext, 16′ Trombone)****

**** 15″ wind pressure

Couplers

Great to Pedal

Swell to Pedal

Swell to Pedal 4

Choir to Pedal

Choir to Pedal 4

Solo to Pedal

Solo to Pedal 4

Swell to Great

Choir to Great

Solo to Great

Swell to Choir

Solo to Choir

Solo to Swell

Great to Solo

Swell to Great 16

Swell to Great 4

Swell to Choir 16

Swell to Choir 4

Choir to Great 16

Choir to Great 4

Solo to Great 16

Solo to Great 4

Accessories

6 General pistons (thumb and toe)

10 Great pistons and Cancel (thumb)

10 Swell pistons and Cancel (thumb)

10 Choir pistons and Cancel (thumb)

5 Solo pistons and Cancel (thumb)

8 Pedal pistons and Cancel (toe)

General Cancel (thumb)

Set (thumb)

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Choir to Pedal reversible (thumb)

Solo to Pedal reversible (thumb)

Choir to Great reversible (thumb)

Solo to Great reversible (thumb)

Swell to Choir reversible (thumb)

Solo to Choir reversible (thumb)

Manual Stops 16 on/off (thumb)

Pedal Stops 32 on/off (thumb)

All Couplers on Cresc. on/off (thumb)

All Swells to Swell on/off (thumb)

Balanced Swell expression shoe

Balanced Choir expression shoe

Balanced Solo expression shoe

Balanced Crescendo shoe (with indicators)

Sforz. reversible (thumb and toe, with indicator)

Kegg Pipe Organ Builders, Hartville, Ohio

Christ the King Chapel, 

St. John Vianney Theological Seminary, Denver, Colorado

Every new pipe organ project, large or small, has a unique sense of importance. Rarely are we afforded the opportunity to build an instrument that will inspire generations of clergy to high ideals. Our new organ at St. John Vianney Theological Seminary is a true honor for an organbuilder.

Each of our pipe organs is custom designed for the space it occupies and the musical task it must perform. During the design process, the organ evolves. Sometimes the stop list has additions made as funds become available, or unknown building impediments are discovered that require us to adjust. This new organ of course went through this process, but through it all, the goal we shared with associate professor of sacred music, Dr. Mark Lawlor, did not. The goal was to build an instrument suited primarily to the multiple daily Masses of the seminarians.

The failing electronic organ from 20 years ago had “replaced” the original 1931 Kilgen pipe organ. Heavily damaged first by modifications to the stop list with foreign pipes installed by lesser hands, then with loud speakers among and largely on the pipes, the original pipe organ was assumed destroyed. When Kegg sales representative Dwayne Short first crawled into the crowded, dark, and dirty space, he made his way into the furthest reaches where few had ventured in years, to discover that many of the Kilgen Swell stops had survived in reasonable condition. These, along with one Pedal stop and an orphan Great Clarinet, gave us some original pipes to consider retaining in the new organ.

Christ the King Chapel is a handsome room built in 1931. Beautiful to look at with masonry walls and terrazzo floors, it is a child of its time, apparent when one looks up. The coffered ceiling panels are beautifully painted acoustic tile, rendering only about one second of reverberation when the room is empty. The organ is at the rear of the room, in a shallow chamber over the main door. The robust all-male congregation is mostly at the front of the nave and in the crossing. All these elements dictate a rich, strong, and dark organ to meet the voices at their pitch and location. There is an Antiphonal division that is prepared in the console. Until it is installed, the main organ will have to fill the room from the rear with the singers up front.

Dr. Lawlor specifically requested that all manual divisions be enclosed to afford him and future musicians maximum musical flexibility. Most organists prefer a three-manual organ to two, which we frequently offer in organs of this size. The new organ is 19 stops and 25 ranks dispersed over three manuals and pedal. The only unenclosed stops are the Pedal 16′ Principal, from which the façade pipes are drawn, and the horizontal Pontifical Trumpet, in polished brass with flared bells. This last stop was also a specific request. Because the room is not excessively large, these pipes are placed as high as possible. The large scale, tapered shallots and 7-inch wind pressure give these pipes a round, Tuba-like quality that is commanding and attractive.

The Great/Choir and Swell are enclosed in separate expression boxes. The stop list is not unusual, but the execution of the Principal choruses is. Both choruses have Mixtures based at 2′. This allows them to couple to the Pedal without a noticeable pitch gap in the bottom octave sometimes heard with 11⁄3′ Mixtures. The breaks of these two Mixtures are different. The Swell Mixture breaks before the Great, bringing in the 22⁄3′ pitch early. This gives the Swell Mixture a rich texture, particularly helpful in choral work. Emphasis in finishing is on unison and octave pitches when present. The first break in the Great Mixture is at C#26 and from C#14 is one pitch higher than the Swell, making it relatively normal. For the Great Mixture, the upper pitches are given more prominence during finishing. The two choruses complement and contrast well in this intimate space, without excessive brightness.

Many of the flutes and strings were retained from the original Kilgen organ. With some attention in the voicing room, these work well within the Kegg tonal family. Having heard other examples of our work, there was a keen desire by Dr. Lawlor for a new Kegg Harmonic Flute. To make this happen within the budget and space available, we used an existing wood Kilgen 8′ Concert Flute for notes 1–32. At note 33, this stop changes to new Kegg harmonic pipes. The stop increases in volume dramatically as it ascends the scale. Available at 8′ and 4′ on both the Great and Choir manuals, the 8′ stop is nicely textured and mezzo-forte. The treble of the 4′ morphs into a soaring forte voice, made even more alluring by the tremulant.

With the exception of the Clarinet, all reeds are new Kegg stops and typical of our work. The Trumpet has a bright treble and a darker, larger bass extending into the Pedal at 16′. The Oboe is capped and modeled after a Skinner Flügelhorn. The lovely Kilgen Clarinet fits nicely into the Kegg design.

The Pedal has the foundation needed for the organ. The 16′ Principal unit of 56 pipes provides stops at 16′, 8′, and 4′. This is the only flue stop that is not under expression. It grows in volume as you ascend the scale and does so more than its manual counterparts. Because of this, it is easy to have the Pedal be independent and prominent when needed for polyphonic music. This stop joins the Great Principal and Octave, all playing at 8′ pitch, to make the 8′ Solo Diapason III, a Kegg exclusive. With three 8′ diapasons at one time, it is similar in effect to a First Open for both solo and chorus work where a firm 8′ line is required.

The console provides all the features expected in a first-class instrument today including unlimited combination memory, multiple Next/Previous pistons, bone and rosewood keys and, of course, the Kegg signature pencil drawer and cup holder. 

The original 1931 organ was covered by a gray painted wood and cloth grill. The new organ façade design was inspired by the building age and funds, but mostly by the significant stone door that dominates the rear wall. This is not a formal case, but it is more than a simple fence row. The stone door is massive and will always be visually dominating, so it is natural to acknowledge it and build from it. The center façade section pipe toes sit atop the lintel with the tops dipping down to mirror the brick arch above, making space for the Pontifical Trumpet to seemingly float. The center section sits 5 inches behind the side bass sections, giving more depth to the visual effect. Viewing the façade from any angle other than head-on, it becomes sculptural.  

This was an exceptionally exciting and enjoyable project for us. The enthusiasm, interest, and complete cooperation from the seminarians and staff were a daily spiritual boost for the entire Kegg team. This organ was installed in nine days, ready to be voiced, due largely to the excellent working conditions. Many thanks to James Cardinal Stafford, Archbishop Samuel J. Aquila, Dr. Mark Lawlor, and all our new friends at St. John Vianney.

—Charles Kegg

President and Artistic Director

The Kegg team:

Philip Brown

Michael Carden

Cameron Couch

Joyce Harper

Charles Kegg  

Philip Laakso 

Bruce Schutrum

Ben Schreckengost

Dwayne Short

GREAT (manual II, enclosed)

8′ Solo Diapason III (fr Gt 8′, 4′, Ped 8′)

8′ Principal (61 pipes)

8′ Concert Flute (1–32 existing, 33–73 

    new pipes)

8′ Dulciana (61 existing pipes)

8′ Unda Maris (TC, 49 pipes)

4′ Octave (73 pipes)

4′ Harmonic Flute (ext 8′)

2′ Fifteenth (ext 4′ Octave)

IV Mixture (2′, 244 pipes)

8′ Clarinet (61 existing pipes)

Tremulant

8′ Trumpet (Sw)

8′ Pontifical Trumpet (TC, 39 pipes, 

    C13–D51, polished brass, flared 

    bells, high pressure)

Chimes (console preparation)

Great 16

Great Unison Off

Great 4

8 stops, 11 ranks, 661 pipes

SWELL (manual III, enclosed)

16′ Gedeckt (73 existing pipes)

8′ Diapason (73 existing pipes)

8′ Gedeckt (ext 8′)

8′ Salicional (61 existing pipes)

8′ Voix Céleste (TC, 49 existing pipes)

4′ Principal (ext 8′)

4′ Harmonic Flute (73 existing pipes)

22⁄3′ Nazard (TC, 49 existing pipes)

2′ Flute (ext 4′)

13⁄5′ Tierce (TC, console preparation)

11⁄3′ Larigot (fr 22⁄3′)

IV Mixture (244 pipes)

16′ Trumpet (85 pipes)

8′ Trumpet (ext 16′)

8′ Oboe (61 pipes)

4′ Clarion (ext 16′)

Tremulant

Swell 16

Swell Unison Off

Swell 4

9 stops, 12 ranks, 768 pipes

CHOIR (manual I, enclosed with Great)

8′ Concert Flute (Gt)

8′ Dulciana (Gt)

8′ Unda Maris (TC, Gt)

4′ Principal (Gt 4′)

4′ Flute (fr Gt 8′)

2′ Octave (fr Gt 4′ Octave)

8′ Oboe (Sw)

8′ Clarinet (Gt)

Tremulant

8′ Pontifical Trumpet (Gt)

Choir 16

Choir Unison Off

Choir 4

PEDAL

32′ Resultant (derived)

16′ Principal (56 pipes)

16′ Subbass (44 existing pipes)

16′ Gedeckt (Sw)

8′ Octave (ext 16′)

8′ Subbass (ext 16′)

8′ Gedeckt (Sw)

4′ Choral Bass (ext 16′)

32′ Harmonics (derived)

16′ Trumpet (Sw)

8′ Trumpet (Sw)

4′ Clarinet (Gt)

2 stops, 2 ranks, 100 pipes

INTER-DIVISIONAL COUPLERS

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Great/Choir Transfer

ADJUSTABLE COMBINATIONS

14 General pistons (1–14 thumb, 1–10 toe)

6 Great pistons (thumb)

6 Swell pistons (thumb)

6 Choir pistons (thumb)

4 Pedal pistons (toe)

General Cancel (thumb)

Set (thumb)

Range (thumb)

Undo (thumb)

Clear (thumb)

Next (General piston sequencer, 4 thumb, 1 toe)

Previous (2 thumb)

30 memories per User, unlimited Users

REVERSIBLES

Great to Pedal (thumb and toe)

Swell to Pedal (thumb)

Choir to Pedal (thumb)

Full Organ (thumb and toe)

32′ Harmonics (toe)

ACCESSORIES

Balanced Swell expression pedal

Balanced Great/Choir expression pedal

Balanced Crescendo pedal (2 memory adjustable, with numeric indicator)

Full Organ indicator

Transposer

Concave and radiating pedal clavier

Adjustable bench

TONAL RESOURCES

19 Stops, 25 Ranks, 1,529 Pipes

Organbuilder website: www.keggorgan.com

Seminary website: http://sjvdenver.edu

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.)