New Organs

Fabry, Inc., Antioch, Illinois
First Presbyterian Church,
Lincoln, Illinois
Nestled in the geographic center of Illinois, Lincoln enjoys having the distinction of being named before Abraham Lincoln became president. While old Route 66 continues to weave through downtown, I-55 now bypasses the town as new development draws travelers on their way to and from Springfield. During the middle part of last century, Gratian Organ Builders installed an 18-rank, electro-pneumatic pipe organ in the sanctuary that has served the church well. Within the past 10 years the church remodeled the front of the church and at that time an 8′ Pedal Principal comprising 32 notes was added as a façade.
As is the case with many churches whose instruments are used regularly but receive little or no major maintenance, First Presbyterian found that resources would best be spent on a major overhaul rather than on small, stop-gap measures. The church elected to have Fabry, Inc. completely rebuild the organ. While the initial plan was to save the windchests, this proved to be impossible.
The organ encompasses two chambers that sit at right angles to each other at the front corner of the sanctuary. Both of these chambers were packed to the gills with pipework and chestwork. It was decided to remove everything and place it in a more logical manner. As it turned out, new chests were constructed and this allowed the elimination of all but the necessary offset chests. In all, the following was completed: complete replacement of the relays, both console and chamber, a rebuilt console with a Peterson ICS-4000 system, new chests with Peterson electric pipe valves, new tuners on washed pipework, releathered reservoirs with reconfigured curtain valves, three additional reservoirs, a new blower and new chamber lighting.
Fabry, Inc. would like to thank Julie Kasa, music director; Janis Klockenga, secretary; and the Rev. Phillip Blackburn, pastor, for their cooperation and patience with all the facets of this very involved project. Fabry employees that worked on this project included David G. Fabry, David J. Fabry, Philip A. Spressart, Steven Ellis, and Clem Wirfs.
—Phil Spressart

GREAT
8′ Open Diapason
8′ Gamba
8′ Melodia
8′ Dulciana
4′ Octave
4′ Flute Harmonic
22⁄3′ Twelfth
2′ Fifteenth
Mixture III
8′ Trumpet
Tremolo
Chimes (25 tubes)
Zimbelstern

SWELL
16′ Bourdon
8′ Violin Diapason
8′ Quint
8′ Gedeckt
8′ Salicional
8′ Vox Celeste (TC)
8′ Aeoline
4′ Principal
4′ Flute d’Amour
22⁄3′ Nazard
2′ Flute
8′ Oboe
Tremolo
Chimes

PEDAL
32′ Lieblich Gedeckt
16′ Subbass
16′ Lieblich Gedeckt
8′ Flute
8′ Dolce
8′ Principal
4′ Choral Bass
4′ Flute
Mixture III
16′ Trumpet
8′ Trumpet
8′ Oboe
Chimes

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

Konzelman Pipe Organs,
Hoboken, New Jersey
St. Francis Episcopal Church, Stamford, Connecticut
James Konzelman first became interested in organ building in the mid 1960s after a friend loaned him The Contemporary American Organ by William H. Barnes. He made minor repairs in his home parish of St. Henry’s, Bayonne, New Jersey, and helped several organist friends with minor repairs on their church pipe organs. In the late 1960s Konzelman worked for Westinghouse Aerospace, Baltimore, Maryland, troubleshooting radar guidance and missile control systems. Later, while in the army, he taught a course in radar at Fort Bliss, Texas. This background in electronics became valuable later on as more and more electronic circuitry was introduced into the pipe organ.
In 1972, Konzelman went to work for the Church Organ Company, Edison, New Jersey, where he studied voicing and tuning techniques with Russell W. VanCamp. When VanCamp retired in 1974, Konzelman became the tonal director, designing and voicing many organs for that firm until the establishment of his own company in 1977.
Since 1977, Konzelman Pipe Organs has built and rebuilt many organs. Major rebuilds and new organs include the Cathedral-Basilica of St. James, Brooklyn, NY; Church of Our Lady of Grace, Hoboken, NJ; Church of the Heavenly Rest, NYC; Second Presbyterian Church, NYC; Blessed Sacrament Church, NYC; Union Congregational Church, Upper Montclair, NJ (chapel organ); Nativity Lutheran Church, East Brunswick, NJ; Newark Abbey, Newark, NJ; Emmanuel Lutheran Church, New Brunswick, NJ; St. Anne Church, Rochester, NY; St. Henry’s Church, Bayonne, NJ; St. Vincent’s Church, Bayonne, NJ; Mount Carmel Church, Bayonne, NJ; Grace Lutheran Church, River Edge, NJ; and Larchmont Avenue Presbyterian Church, Larchmont, NY.
The assistance of John A. Stokes, Louis Scarpa, David Fedor and Paul-Martin Maki is gratefully acknowledged by the builder. The organ at St. Francis Episcopal Church has two manuals and pedal, 18 voices, 24 ranks, and 1519 pipes.
Photo credit: Helen Neafsey

GREAT (expressive)
16′ Viola (Swell)
8′ Principal 61 pipes
8′ Rohrflöte 61 pipes
8′ Viola (Swell)
8′ Viola Celeste TC (Swell)
4′ Octave 61 pipes
4′ Koppelflöte 61 pipes
2′ Super Octave 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trompette (Swell)
8′ Hautbois (Swell)
8′ Krummhorn 61 pipes
Tremulant
Chimes prepared for
Great to Great 16, UO, 4
Swell to Great 16, 8, 4
Antiphonal to Great

SWELL (expressive)
16′ Viola 73 pipes
8′ Gedeckt 61 pipes
8′ Viola (ext)
8′ Viola Celeste TC 49 pipes
4′ Principal 73 pipes
4′ Nachthorn 73 pipes
22⁄3′ Nasat 61 pipes
2′ Octave (ext)
2′ Nachthorn (ext)
13⁄5′ Terz 61 pipes
2′ Plein Jeu IV 244 pipes
16′ Basson (1–12 half length) 73 pipes
8′ Trompette 73 pipes
8′ Hautbois (ext)
4′ Clairon (ext)
Tremulant
Swell to Swell 16, UO, 4
Great to Swell
Antiphonal to Swell

ANTIPHONAL
16′ Festival Trumpet prepared for
8′ Festival Trumpet prepared for
4′ Festival Trumpet prepared for

PEDAL
32′ Resultant (from Subbass 16 and
Swell Gedeckt 8)
16′ Subbass 56 pipes
16′ Rohrgedeckt (Great, ext)
16′ Viola (Swell)
8′ Principal (Great)
8′ Bourdon (ext)
8′ Rohrflöte (Great)
8′ Viola (Swell)
51⁄3′ Quint (Great)
4′ Choral Bass (Great)
4′ Bourdon (ext)
32′ Bombarde (Sw ext, 1–12 electronic)
16′ Bombarde (Swell, ext)
16′ Basson (Swell)
8′ Trompette (Swell)
8′ Hautbois (Swell)
4′ Krummhorn (Great)
Great to Pedal 8, 4
Swell to Pedal 8, 4
Antiphonal to Pedal

Solid-State capture combination action with 25 levels of memory, 12 general pistons, 8 pistons per division, general pistons and pedal pistons are duplicated by toe pistons. Reversibles for: Great to Pedal, Swell to Pedal, Swell to Great, Tutti. Set and General Cancel, and Scope pistons. Crescendo pedal with one standard and three settable crescendos. Two-manual and pedal drawknob console with bone naturals, ebony sharps, and tracker touch.

Fabry, Inc., Antioch, Illinois: Memorial Chapel, The Culver Academies, Culver, Indiana

Fabry, Inc., Antioch, Illinois
Memorial Chapel, The Culver Academies, Culver, Indiana
The nucleus of this organ is Möller Opus 8168, a 54-rank organ installed in the chapel in 1951. Various builders made some tonal modifications in the 1970s, but the organ returned to the care of Fabry, Inc. in 1978. Various ranks have been replaced since, often in an effort to resolve problems created by the work done in the 1970s. The entire electrical system was replaced with a Peterson ICS-4000, providing all relay connections, MIDI interface, adjustable crescendo pedals, adjustable “accent pedal” settings, ventils, and 256 levels of memory. The Möller individual pneumatic shade actions were replaced with Peterson 16-stage units (three for each expression enclosure). The Vox Humana enclosure was replaced with a new enclosure with shades and a Peterson shade action, operable from the console.
All tremolos were replaced with A. R. Schopp electric tremolos, including additional tremolos for the Great division and for the 7-inch pressure chest for the new reeds in the Choir.
The console was totally rebuilt by David Gustav Fabry, retaining the English ivory keyboards and some structural members. All new stop jambs were built in walnut, with accents in bloodwood and partitions between divisions in distressed maple. Nearly all external console woodwork was replaced, and the organ was fitted with a rebuilt pedalboard, featuring maple naturals and ebony-topped walnut for the sharps. Expression shoes (of walnut), divisional cancel bars (of distressed maple), switch plates for Chimes, Zimbelsterns, Vox Humana shades, and Pedal Divide, along with some external parts of the console, were laser engraved. All console pneumatics were replaced by Syndyne drawknob and Peterson rocker tablet actions.
David Gustav Fabry also constructed a new chest and modified an existing Choir chest to accommodate added stops and provide unit actions for one existing rank. Drawknobs and label plates were made by Hesco, Inc. of Hagerstown, Maryland. The Cor d’Amour and English Horn are patterned after the later work of E. M. Skinner. The new reeds and the Viola Celeste in the Choir were made by Eastern Organ Pipes, also of Hagerstown. The Doppelflöte was recycled from an 1892 instrument by William King and Son of New York City. Its bottom and top octaves (to yield a total of 73 pipes) were recycled from a similarly large-scaled Möller Melodia. The organ now possesses 58 ranks—3,625 pipes.
All cloth-wrapped wiring was replaced with PVC-coated wiring conforming to present-day codes. Connections between the console and the satellite cages in the chambers are done by Ethernet cables. Pouches and primaries were releathered in all but the Swell B chest (which had been replaced entirely after severe water damage in 1980). The Choir division was reconfigured with an expanded enclosure (and additional shades) to accommodate the new additions comfortably. The overall direction of the project was by David J. Fabry, assisted by Mike Pishioneri, Grant Ellis, Steve Ellis, and Phil Spressart, all from the Fabry company. The specification and details (including specific location of all controls on the console) were designed by John Gouwens, Academy Organist. Gouwens played the rededication recital on April 15, 2007. A CD recording of the enhanced instrument is in preparation.
—Phil Spressart

GREAT (Manual II)
16′ Quintaton 61 pipes
8′ Diapason 61 pipes
8′ Bourdon# 61 pipes
8′ Doppelflöte+ (enclosed w/Ch) 73 pipes
8′ Gemshorn 61 pipes
8′ Viola* (new duplex from Choir)
4′ Octave 61 pipes
4′ Harmonic Flute 61 pipes
(harmonic from f#2)
2′ Super Octave 61 pipes
2′ Piccolo# 61 pipes
(Zauberflöte, harmonic from low C)
Fourniture IV 244 pipes
Cymbel III 183 pipes
8′ Military Trumpet (from Choir)
Chimes# (Sw, immune to couplers)
MIDI on Great*
Great to Great 16′
Great Unison Off
Great to Great 4′
Tremolo*

SWELL (Manual III)
16′ Flûte Conique 85 pipes
8′ Geigen Diapason 73 pipes
8′ Rohrflöte# 73 pipes
8′ Flûte Conique (from 16′)
8′ Viole de Gambe 73 pipes
8′ Viole Céleste 73 pipes
8′ Salicional 73 pipes
8′ Voix Céleste (TC) 61 pipes
4′ Principal 73 pipes
4′ Flûte Triangulaire 73 pipes
2′ Fifteenth 61 pipes
Plein Jeu IV# 244 pipes
16′ Contra Oboe 85 pipes
8′ Trompette 73 pipes
8′ Oboe (from 16′)
8′ Vox Humana 61 pipes
Vox Humana Forte* (overrides Vox Humana shades setting)
4′ Clarion 73 pipes
Chimes# (not subject to couplers) 21 tubes
MIDI on Swell*
Swell to Swell 16′
Swell Unison Off
Swell to Swell 4′
Tremolo

CHOIR (Manual I)
16′ Flûte Conique* (new duplex, Swell)
8′ Viola 73 pipes
8′ Viola Celeste+ 73 pipes
8′ Cor de Nuit 73 pipes
8′ Erzähler 73 pipes
8′ Erzähler Celeste (TC) 61 pipes
4′ Prestant 73 pipes
4′ Koppelflöte 73 pipes
22⁄3′ Nazard 61 pipes
2′ Blockflöte 61 pipes
13⁄5′ Tierce 61 pipes
16′ Cor d’Amour+ 73 pipes
16′ Contra Oboe* (new duplex, Swell)
8′ English Horn+ 73 pipes
8′ Cor d’Amour* (from 16′)
8′ Clarinet 73 pipes
8′ Military Trumpet 73 pipes
(harmonic from middle c)
8′ Bombarde# (Pedal)
8′ Harp# (TC) (Deagan/Möller) 49 bars
MIDI on Choir*
Choir to Choir 16′
Choir Unison Off
Choir to Choir 4′
Tremolo

SOLO (Floating—all duplexes from other divisions)
8′ Doppelflöte* (Gt, enclosed w/ Ch)
8′ Viola* (Choir)
8′ Viola Celeste* (Choir)
16′ Cor d’Amour* (Choir)
8′ Cor d’Amour* (Choir)
8′ English Horn* (Choir)
8′ Oboe* (Swell)
8′ Bombarde* (from Pedal, 61 notes)
8′ Military Trumpet* (Choir)
Harp* (Choir)
Tremolo* (engages appropriate tremolos for all stops drawn on Solo)

PEDAL
32′ De Profundis* (Resultant from Bourdon and Flûte Conique)
16′ Contra Basse (open wood) 44 pipes
16′ Diapason (ext Gt 8′, open metal) 12 pipes
16′ Bourdon (wood) 44 pipes
16′ Quintaton (from Great)
16′ Flûte Conique (from Swell)
102⁄3′ Quint 44 pipes
8′ Octave (from Contra Basse)
8′ Principal 32 pipes
8′ Bourdon (from 16′)
8′ Quintaton (from Great)
8′ Flûte Conique (Swell)
62⁄5′ Grosse Tierce* (from Bourdon)
51⁄3′ Octave Quint (from 102⁄3′)
44⁄7′ Grosse Septième* (from Flûte Conique)
4′ Choral Bass 32 pipes
4′ Nachthorn# 32 pipes
Mixture III 96 pipes
32′ Voix de l’Abîme* (Resultant from Oboe and Cor d’Amour)
16′ Bombarde (full length, open metal) 73 pipes
16′ Cor d’Amour* (new duplex, Choir)
16′ Contra Oboe (Swell)
8′ Bombarde (from 16′)
8′ Oboe* (new duplex from Swell)
4′ Clarion (from 16′)
Pizzicato Bass* (8′ Octave, pizzicato relay)
Chimes#
MIDI on Pedal*
Zimbelstern# (two, selectable)

Couplers (rocker tablets)
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
Solo to Pedal* 8′, 4′
Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
Solo to Great* 16′, 8′, 4′
Solo to Great Melody Coupler*
Swell to Choir 16′, 8′, 4′
Solo to Choir* 16′, 8′, 4′
Solo to Choir Melody Coupler*
Great to Choir* 8′
Pedal to Choir* 8′
Choir to Swell* 16′, 8′, 4′
Solo to Swell* 16′, 8′, 4′
Great-Choir Transfer*
Pedal Divide* (Pedal stops/couplers; adjustable break point)
Ventils* (changing function of Pedal 1–5 toe studs to divisional blind silencers)
All Tremolos Off*

+ Added ranks, 2007–8
* New duplex, extension, or control
# Stops replaced or added by Fabry, Inc. in earlier projects
Photo credit: John Gouwens

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

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

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

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

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

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

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

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

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

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

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

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

Fabry Pipe Organs, Inc.,
Antioch, Illinois
St. John Lutheran Church, Algonquin, Illinois
Often a pipe organ is removed from a church because the sanctuary is being renovated, the church has elected to purchase a new instrument, or the church is building a new sanctuary. In the case of St. John’s Lutheran Church, the organ was removed twice from two different sanctuaries to accommodate expanding congregations. Dating from the early 1940s, the organ incorporates Wangerin chestwork and pipework. A Möller console completed the instrument. Fabry Pipe Organs, Inc. stored the organ for five years in anticipation of reinstalling the organ in the new sanctuary.
Upon reinstallation, Fabry Pipe Organs, Inc. provided four new reservoirs, two new blowers, rectifiers, and electric tremolo units for both of the new chambers. A new 16-stage expression motor was installed as well as two new chamber relays and a new console relay that includes MIDI compatibility. The present console was stripped and refinished as well as being placed on a new movable platform. Fabry Pipe Organs, Inc. fabricated two new façade chests with a new 8' Great Diapason and a new 8' Pedal Principal. A 16' extension of the Swell Trumpet has also been installed. A 4' Harmonic Flute was added in the Great and a new 4' Principal was added in the Swell. Stainless steel tuners were also installed. David G. Fabry built all of the chestwork and completed the refinishing. Installation was handled by Philip A. Spressart as well as tuning and voicing.
Fabry Pipe Organs, Inc. would like to thank Pastor Kuznik, Dean Banwart, chairman of the trustees, and Valerie Groskopf, organist.
—Phil Spressart

GREAT
8' Principal
8' Melodia
8' Dulciana
4' Octave
4' Harmonic Flute
22⁄3' Twelfth
2' Fifteenth
Mixture IV (prep)
8' Trumpet (Sw)
Chimes
Tremolo
Great 4'
Great Unison Off
Great 16'

SWELL
16' Lieblich Gedeckt
8' Stopped Diapason
8' Salicional
8' Voix Celeste (TC)
4' Principal
4' Flute d’Amour
22⁄3' Nazard
2' Super Octave
2' Flautino
13⁄5' Tierce
Plein Jeu III (prep)
8' Trumpet
8' Oboe (prep)
Tremolo
Swell 4'
Swell Unison Off
Swell 16'

PEDAL
32' Resultant
16' Subbass
16' Lieblich Gedeckt
8' Principal
8' Flauto Dolce
4' Choral Bass
Mixture (prep)
32' Bombarde
16' Trumpet
8' Trumpet
4' Clarion

Couplers & Accessories
Great to Pedal 8, 4
Swell to Pedal 8, 4
MIDI to Pedal

Swell to Great 16, 8, 4
MIDI to Great

Great to Swell 8
MIDI to Swell

Zimbelstern

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

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

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

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

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

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

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

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

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

Antiphonal Pedal (prepared for, 7 blank drawknobs)

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

Total 96 96 5,949

Couplers and Accessories
# = indicator light provided

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

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

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

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

Accessories:
Expression Pedal Adjuster
#Signal Light
#Current Light

____________________________

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

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

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

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

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

Fabry, Inc., Antioch, Illinois
First Presbyterian Church,
Racine, Wisconsin
Located in one of southeast Wisconsin’s oldest settlements, First Presbyterian Church’s history closely follows that of Racine. While Racine was incorporated as a village in 1841, the group of men (and women) that made up the roots of the first Presbyterian church gathered in 1839. The current sanctuary was built in 1851, and the church recently celebrated its 150th anniversary.
There have been a few organs that have graced the church. The first organ, located in the balcony, a Johnson organ of two manuals and 10–20 ranks with an attached console, was installed around the late 1880s. Some of the current organ’s pipes are from the original installation. From then on, history is sketchy, but the organ was rebuilt and then relocated to the front of the sanctuary in 1935 by the Besch Co., a small Milwaukee organ company, and a detached console was built. In 1988, R. A. Colby of Johnson City, Tennessee, built a new console and updated only the console combination action to a single-memory system. When Fabry, Inc. arrived to assume the maintenance of the instrument, in addition to addressing some easily noticeable concerns, the issue of multiple memories was brought up.
The church decided to proceed with an original plan to work our way from division to division releathering the primary pneumatics. After finishing the Swell pneumatics, primary and secondary double-box primaries, the church announced their plans to renovate the front of the sanctuary to make the pulpit more accessible, allow more room for ensembles, and improve the acoustic of the room by eliminating the carpet in the front third of the room and replacing it with hardwood floor.
It was at this time that it became clear the console would need new cables, and the church elected to have Fabry, Inc. install a new Peterson ICS-4000 system as well. The console was gutted with only the shell and keyboards kept. Completely new drawknob banks were constructed to incorporate the new drawknobs with those that were retained. A new coupler bracket was built into the nameboard as well. During the course of the job, we also replaced all of the cloth-covered wire, improved chamber lighting, installed new expression motors, and finished the primary releathering. The organist’s previously purchased Ahlborn-Galanti Romantic MIDI Module was seamlessly integrated with the Peterson system. The organist now has 100 memories to play with.
While there are many people involved with a job that encompasses many aspects and facets that require constant attention, Fabry, Inc. had the pleasure to work with Jerry Buck, organist at First Presbyterian Church. He kept us up to date with scheduling conflicts and questions from the church members and committees. His attention to our details helped make this one job we won’t soon forget.
—Phil Spressart

GREAT
8′ Principal
8′ Double Flute
8′ Viola d’Gamba
8′ Dulciana
4′ Octave
4′ Flute Traverso
4′ Violin
2′ Super Octave
Fourniture IV
8′ Tuba
Tremolo
Chimes
Zimbelstern
Great to Great 4
Great Unison Off
Great to Great 16

SWELL
16′ Bourdon
8′ Stopped Diapason
8′ Salicional
8′ Vox Celeste
4′ Principal
4′ Flauto
4′ Fugara
22⁄3′ Nazard
2′ Flautino
Scharff III
8′ Trumpet
4′ Klarion
Harp
Tremolo
Swell to Swell 16
Swell Unison Off
Swell to Swell 4

CHOIR
8′ Violin Diapason
8′ Concert Flute
8′ Keraulophone
8′ Unda Maris
4′ Flute
22⁄3′ Twelfth
8′ French Horn
8′ Krummhorn
Tremolo
Choir Unison Off
Choir to Choir 4

PEDAL
32′ Acoustic
32′ Resultant
16′ Double Open Diapason
16′ Subbass
16′ Gedeckt
8′ Octave
8′ Bass Flute
32′ Contra Fagotto
16′ Fagotto

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

Gt/Ch Manual Transfer