Peragallo organ for Saint Leonard of Port Maurice Parish, Boston

John Peragallo III demonstrates the new Peragallo organ at Saint Leonard of Port Maurice Parish, Boston, Massachusetts.

The organ comprises two manuals and pedal, 53 stops, 21 ranks of pipes, and 1,112 speaking pipes.

The organ is featured on the cover of the December issue of The Diapason.

For information: www.peragallo.com

Peragallo Pipe Organ Company, Paterson, New Jersey; Saint Leonard of Port Maurice Parish, Boston, Massachusetts

A long time ago, a young John Peragallo, Sr., made his way up to Boston from what was then a much smaller New York City—a fraction of the size we know today. He served as an apprentice and installer with the notable Ernest M. Skinner Company and had been recommended by his superiors to go up to Boston to gain experience at the big plant.  

A lot has changed in both towns since that day, but some things remain the same. The North End neighborhood in Boston is still teeming with its Italian flavor from the old days and even today is filled with many people coming directly from Italy to share in the American dream. It is common to walk down the street and hear people conversing in their native tongue, living a day, not with the American rush, but with the pace and temperament you would expect to find on the streets of Rome. This neighborhood also holds many of Boston’s most historic treasures: the Old North Church, Paul Revere’s home, and the infamous naval ship, the USS Constitution. These monuments lie just steps away on the Freedom Trail from the parish church of Saint Leonard of Port Maurice. 

Founded by the Franciscan friars in 1873, Saint Leonard’s parish had struggled through decades of stretched resources leaving the church severely impacted by the brutal Boston winters. The pastor of Saint Leonard’s, Monsignor Antonio Nardoianni, was handpicked by the archbishop to restore this old church, which has been home to tens of thousands of immigrants over the generations. Monsignor went about this mission by tirelessly working along with the parishioners to raise the millions of dollars needed, dollar by dollar with a donation box right outside the church gate. Along with the local parishioners, the tourists who passed the church funded its reconstruction over many years bringing about a new connection for the visitors and this parish. The efforts of all paid off in the resulting beautifully restored Romanesque structure that once again serves the Boston faithful to its fullest potential. 

The original Laws pipe organ had seen years of exposure to the leaks that were permeating the roof and compromised much of the mechanism and wood pipework. The balcony would for the short term no longer house the choir due to accessibility deficiencies, presenting a new hurtle of how the parish would have access to its organ. 

After 100 years, the Peragallos found themselves back in Boston, this time building organs under a family banner that was forged in John, Sr.’s days in the old city. Father Antonio, familiar with the Peragallos’ work on new organs from decades prior, asked that they come take a look at his unique circumstances and see what solutions may be considered. In the late summer and fall of 2018, Frank, John (III), Anthony, and John (IV) Peragallo made multiple visits to discuss the project in greater detail over espresso in the old Italian café next to Saint Leonard’s. 

The new pipe organ’s tonal resources are fully encased in reciprocal cherry cabinets, reflecting the many architectural features found in and around the church. A widely scaled Trompetta de Porto Maurizio is positioned en chamade at the center of the organ on a bridge that spans the two opposing cabinets. This bridge provides a solid backbone for tone to project down the center axis of the church.   

The new tonal design features many of the original ranks of pipes and includes more than a dozen new ranks to fill its palette. A new soaring Harmonic Flute and Oboe are some of the featured solo stops atop a foundation of lush and widely scaled fluework that pays homage to the early 20th-century American organ sound. The antiphonal division is specifically designed to support the liturgy from the front of the church and allows the organist to maintain pace between the gallery and chancel from the new console position on the floor of the nave. 

The new French terraced keydesk is also built of cherry. This design was made to be as compact as the stoplist would allow, as its new home would be in the front of the church near the altar where there is an abundance of programmatic needs for the liturgical celebration.  

From inception to completion, the project took less than a year to complete, with a promised completion by Easter of 2019. The Peragallo team brought its full complement of resources to bear, seeing the original instrument taken down and shipped back to the shops in Paterson just as the Christmas season was wrapping up. The design team simultaneously worked with the parish design team to develop the final look of the casework that would properly fit this grand architecture, and after months of designing, the final plan was completed. The factory was humming with each component of the organ being meticulously crafted and assembled in the workshops. A few months later the completed instrument was carefully disassembled, packed, and readied for transport.  

The organ installation team arrived at Saint Leonard’s on a cold March day and began to erect the instrument. This part of the process is a team effort, with many of the crew being away from home for weeks on end to see the instrument to completion. The crew settled into one of the homes not far from the church, with Frank Peragallo cooking a big Italian dinner each night utilizing the many great culinary resources of this neighborhood. This somewhat compensated the pain of being on the road and many hours of hard work. The final voicing occurred in late March by the Peragallo family, just in time, and as promised to Monsignor, for Holy Week to begin.  

Complete with the new organ, the newly renovated space holds a tremendous range of acoustic. One’s existence as an individual is noticeably distinguished upon entrance to this space from the bustling city just beyond the church doors. Making impactful music in this acoustic environment is natural and blossoms through Saint Leonard’s great dome with many of the well-known organ works, but also liberates the creative genius that can see new melodies transpire. It is such a pleasure to see that Saint Leonard’s is often a place where concert artists such as the notable Leonardo Ciampa find themselves. Mr. Ciampa’s connection to Saint Leonard’s is beyond just a great performance space but one that dates back generations. His family has been patrons of Saint Leonard’s for over 100 years. Leonard’s constant drive to contribute to the knowledge and upbringing of new talents in the organ world is greatly appreciated, and the Peragallo family is honored that he was one of the dedicatory recitalists of the new pipe organ.  

The first dedicatory recital was performed by David Reccia Chynoweth, organist, on May 24, 2019.  

The Peragallos thank everyone who made this project possible—Father Antonio Nardoianni, Carol and Nick Ferreri and family, and all who gave their time and support to the restoration of this great edifice and pipe organ. We also thank the staff of the church, the current pastor, Fr. Michael Della Penna, who was born and raised in the North End of this great city, and the current director of music, Juan Mesa, who continue the work of this parish to this day.

—John Peragallo IV

Peragallo Pipe Organ Company: www.peragallo.com

Saint Leonard of Port Maurice Parish: saintleonardchurchboston.org/

Photos provided by the Peragallo Pipe Organ Company.

GREAT ORGAN

16′ Violone wps

8′ Montre 61 pipes

8′ Violoncelle wps

8′ Bourdon Cheminée 61 pipes

8′ Flûte Harmonique 49 pipes (common bass)

8′ Flûte Conique (expressive) wps

8′ Flûte Conique Celéste (expr) wps

4′ Prestant 61 pipes

4′ Flûte Octaviante 12 pipes (ext Flûte Harmonique)

2′ Doublette 61 pipes

III/IV Fourniture 183 pipes

IV Cymbale composite

16′ Basson wps

8′ Trompette 61 pipes

8′ Cromorne wps

4′ Clairon (ext Trompette) 12 pipes 

Tremblant 

Chimes wps

CHAMADES (49 pipes)

8′ Swell Trompetta de Porto Maurizio 

8′ Great Trompetta de Porto Maurizio

SWELL ORGAN (expressive)

8′ Montre composite

8′ Cor de Nuit 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Celéste (TC) 49 pipes

4′ Prestant 61 pipes

4′ Flûte Traversiere 61 pipes

2-2⁄3′ Nasard (g20) 30 pipes

2′ Octavin (ext Flûte Trav) 12 pipes

1-3⁄5′ Tierce (g20) 30 pipes

II/V Plein Jeu composite

16′ Cor di Bassetto wps

8′ Hautbois 61 pipes

8′ Voix Humaine  wps

Tremblant 

CHANCEL ORGAN (expressive)  

8′ Montre wps

8′ Flûte Angelique wps

8′ Cor de Chamois wps

8′ Cor de Chamois Celeste wps

4′ Prestant wps

4′ Flûte Fuseau wps

8′ Cor d’ Amour wps

Chancel Tremblant 

PEDAL ORGAN

32′ Contre Basse wps 

32′ Flûte Conique wps

16′ Montre wps

16′ Violone Great

16′ Flûte Conique wps

16′ Bourdon 32 pipes

8′ Montre Great  

8′ Bourdon (ext 16′ Bourdon) 12 pipes

8′ Flûte Conique wps 

4′ Flûte Ouverte Great

32′ Contre Bombarde wps

16′ Bombarde 32 pipes

16′ Basson Great 

4′ Cromorne Great   

Couplers 

Great to Pedal 

Swell to Pedal 

Swell to Pedal 4

Chancel to Pedal 

Swell 16

Swell Unison Off

Swell 4 

Swell to Great 16

Swell to Great 

Swell to Great 4

Great 4 

Chancel to Swell 

Chancel to Great  

Chancel 4  

MIDI

Pedal MIDI 1

Pedal MIDI 2 

Swell MIDI 1

Swell MIDI 2

Great MIDI 1

Great MIDI 2

Bass Coupler

Combination System 

300 levels of memory

Piston sequencer with next and previous thumb and pistons 

Programmable Crescendo and Sforzando 

Thumb Pistons  

1–8 General 

General Cancel

1–4 Swell 

1–4 Great  

Setter

Reversible Thumb Pistons

Great to Pedal 

Swell to Pedal 

Sforzando 

Next 

Previous

Up

Down  

Toe Pistons 

1–8 General

1–4 Pedal

Reversible Toe Pistons

Great to Pedal

Sforzando

Next

Accessories

Music rack and light

Pedal light

Digital programmable crescendo and bar graph (horizontal type)

Digital programmable sforzando and indicator 

Swell expression and bar graph

Great/Chancel Expression and bar graph 

Transposer 

Sequencer 

 

53 stops

21 ranks of pipes

1,112 speaking pipes

 

Wps = Walker pipe sampled voice

Peragallo Pipe Organ Company, Paterson, New Jersey

Designing the ultimate keydesk

As an organ builder, one of the truly enjoyable tasks has always been creating an inspired console for each instrument. The console, also referred to as the keydesk, is the one piece of equipment where the organist physically interacts with the instrument to create music. Therefore, every aspect of design of the organ cockpit must be considered, and the most robust components, secure technology, and thorough finishing must be employed to assure the organist the ability to create great music. This article will examine many considerations in this design process should one have the pleasure of creating one’s own masterpiece.

The console in the cover photo is the result of a collaboration with the recently deceased organist, organ salesman, colleague, and talented organ designer Rick Tripodi for the Green’s Farms Church in Westport, Connecticut. Rick nicknamed John Peragallo IV’s design “the clocktower,” with its overt crown molding caps to each divisional tower. It’s a huge stoplist—so a thoughtful approach was required. Three years of consideration yielded some thirty-six revisions of the stop and piston layout before the final rendition. This work of art includes unusual features such as a lift that raises the console out of its pit in theatrical fashion, integrated HDMI screen to monitor the house broadcast, a control for the bell tower, and a handy pencil drawer with a phone charger.

Console design has long been a subject of discussion among organists, choral directors, architects, liturgical designers, the clergy, and sometimes even the donors. The Peragallos, having been in business for 104 years, have seen it all. Rarely is there an installation with no outside input. The ultimate decisions are left to the builder.

Crafts and trades employed include woodworking, furniture finishing, electrical engineering, musical considerations, and safety. The American Guild of Organists has also weighed in by contributing guidelines as to the correct position of the keyboards in relation to the pedalboard and the proper position of the expression shoes. The console becomes a homogenous design based on the input of specialists in each of these areas.

As to console style­—there is the basic stop tablet design, rocker tablet variation, traditional drawknob with or without drop sill, English drawknob, and low-profile terraced with either straight tiers or French curved terraces, with drawknobs of either solid wood or inserts. Oblique knobs on 90-degree terraces are another possibility. A new generation of technology has now brought us backlit drawknobs and rocker tablets. And the latest-and-greatest is now a touch screen for stop control as employed in the sampled online home organs.

Each of these styles generates a myriad of decisions. For instance, whether the knobs on a terraced keydesk should be arranged with the low pitches on the outside or toward the inside, adjacent to the keyboards—arguments can be made for each approach. From a playing perspective, one tends to add the higher pitches as the music proceeds—so why not have them closer to the center? With today’s sophisticated combination systems and piston sequencing, does one even reach anymore? It may be more advantageous to have the low-pitched stops closer, since one is registering these foundations initially and then adding the higher pitches, reeds, and mixtures with divisional pistons. This can get intense, and we are only discussing knob locations.

Then there is the consideration of the divisional locations, manual locations, and couplers. We have seen everything from couplers on the nameboard to couplers in the divisions and even sub and super couplers on lit pistons on the key ends.

Manual transfers make the discussion of permanent French versus traditional keyboard locations a moot point. Some of the greatest players opt to perform French repertoire with the Grand Orgue clavier at the second key deck, rather than in the French style.   

Let’s look into what goes into the design process

The primary decision is the design style of the keydesk. Each builder has their own preference. The Peragallo signature console is the low-profile terraced keydesk. Our impetus was Vatican II, with the musicians in many Catholic music ministries serving the dual role of choral director and organist. The music ministry was taken from the choir loft and positioned on the nave floor adjacent to the sanctuary in many Catholic parishes. The low-profile terraced keydesk allows clear sight lines to the choir, cantor, and celebrant—as well as the door to keep track of the bride’s progress down the aisle!

Over the years we have built many styles of consoles, as shown in the accompanying photos. These include drawknob, curved terraced drawknob, movable tilt tabs, or backlit rocker tablets on the side jambs. Care must be taken to ensure that all knobs are within reach. The combination system becomes an important element in addressing those knobs on the far extremities of the stopjambs.

Every effort is made to arrange the divisions as functionally as possible. A two-manual-and-pedal console will have the Swell drawknobs on the top two rows on the left and the Great drawknobs on the top two rows on the right. The Pedal division is split on the lower row of each side. Care is taken to ensure a logical break—preferably with the flues to the left and the reeds to the right.   

A three-manual design makes things a bit simpler with four rows of knobs on each side. The Swell lives on top and the Pedal division below on the left terraces. The Great and the Choir or Positif are on the right terraces. If the lower keyboard is the Great or Grand Orgue, the Great knobs are correspondingly on the bottom two rows.

Inter-manual couplers are located on the nameboard along with the Pedal couplers. The intra-divisional subs, super couplers, and unisons can be either in their respective divisions or on the nameboard. We have also used lit pistons on the key ends very effectively for these couplers

The choice of key covering overlays is an important aesthetic decision. Typical species of wood that are acceptably hard enough include pau ferro, rosewood, cocobolo, maple, and ebony. Today’s faux ivory (crème satin) is a wonderful option for those preferring the feel of traditional ivory in lieu of bone. The selected overlay species may be incorporated into the pedal clavier to coordinate finishes.

The key tension is adjustable with preferences ranging from fall-away under-your-fingers theatre organ touch to lots of tension for those who prefer an old-school, mechanical action feel. Finally, tracker key touch comes in two forms, a toggle spring under the front of the key or a magnet tracker touch. This places more tension on the top of the key, decreasing as the key is depressed. Either approach insures the organist a clean, crisp response for secure playing.

Prior to a discussion of piston position, let’s explore the importance of locating the power switch. How many times have you spent twenty minutes playing hide and seek with the on and off? We’ve come a long way from a 220-volt motor switch hidden under the key bed or on the balcony rail.

Today’s console control systems feature digital technology. This creates a beautiful juxtaposition of high-tech control and old-world wind-blown pipes—all in the same instrument. The control system continuously scans the keys, stops, and expression shoe position, converting that information to digital format. This information is transferred into the chamber over CAT 5 or 6 cable—just a few strands of wire. What a difference from the thousands of wires of the earlier electro-pneumatic instruments. Once it reaches the pipe chamber, the digital information fires the drivers for the proper pipe valves, expression, and other controls.

Since this information is in digital format, a number of useful functions can be incorporated such as transposers, playback and record, piston sequencing, bass and melody couplers, and next and previous pistons. However, all these functions are only effective if the organist has an unimpeded view of a properly located control screen. Another useful digital feature is a USB port, which allows the organist to “take home” their work each day.

Positioning of the thumb and toe pistons is a whole art unto itself. A sufficient number of general and divisional pistons are essential, although I have witnessed extremes in usage—from the revered organist Donald Dumler of Saint Patrick’s Cathedral accompanying everything from liturgy to major choral works with just several generals and a few divisional settings, to major concert artists utilizing multiple memory levels for each selection.

There seems to be some debate as to whether generals 1–6 should be above or below generals 7–12. Page turning pistons (generals 13 and 14) are handy when placed on the right upper keyslip.

One thing that has never changed is the importance of positioning the Great to Pedal reversible under the thumb of the right hand and the Great to Pedal toe piston in an accessible position just to the right of the crescendo shoe. The Great to Pedal reversible is often the most frequented piston by every organist other than the cancel button.

Now let’s examine the cymbelstern reversible. Our preference is for a toe paddle positioned above the generals to the left of the expression shoes. As the cymbelstern embellishes the trio sonata or chorale prelude, the right foot executes the cantus firmus and with both hands occupied, the left foot finally cancels the bells. This may happen just prior to the conclusion of the work depending on how long it takes your cymbelstern to come to rest.

New to the discussion are four critical controls associated with piston sequencing and iPad page turning—the next, previous, page forward, and page back pistons. These functions must be located just under one’s fingers and easily accessible on the knee panel to allow the organist no-look access.

My brother Frank, an esteemed cabinetmaker, has designed and built casework for keydesks for most of his life and shares some of that experience and expertise:

Console shells were mass produced during the heyday of organbuilding in the 1940s through the 1960s. A trained eye would be able to discern an Aeolian-Skinner from an Austin of this period or an M. P. Möller from a Casavant. Nowadays, most console shells are a one-at-a-time custom creation. Design details are gleaned from the architectural style of the sanctuary furnishings and wood tones.

Exterior wood species selections include white oak, red oak, quartered oak, mahogany, cherry, and walnut. Contrasting interior selections include mahogany, cherry, birch, black ebony, or maple. The finished design of each console is a balance of these species that can comfortably coexist between exterior frame, interior jambs, key ends and piston slips, nameboard, and key coverings.

Exterior frame panel styles can vary from Roman arched, Gothic arched, ogee, raised solid, or Shaker recessed. Music racks have moved beyond the traditional lattice or glass into custom designs that infuse symbols relevant to the specific installation. We incorporated the Xaverian Cross in the music rack for our instrument at Saint Francis Xavier Catholic Church in New York City. Overhead LED lighting, which must clear the pages of a French organ score, has become quite popular.

Having the mobility to adjust the console location for changing musical and liturgical celebration is a priority for many churches. Keydesks are now movable via recessed casters or a movable platform. Each of these has its advantages, and today the connecting cables are so infinitesimal (or nonexistent) that multiple floor ports are a common request.

So, the next time you sit down at your organ console, remember that a whole lot of thought and consideration went into this creation. Treat it with kindness and respect. No coffee cups, please! And feel free to keep it nice and shiny.

If you are looking to upgrade your console or start fresh, we hope this helped you to aspire to and someday realize the creation of your own dream console. We hope you enjoyed our console tour and may have taken home some appreciation of the working knowledge of the organ designer.   

John Peragallo III

Frank Peragallo

John Peragallo IV

Anthony Peragallo

Builder’s website: www.peragallo.com

Cover photo: Green’s Farms Church, Westport, Connecticut, shows unique “clock tower” design.

Improvisation on the Easter hymn tune, Diademata, by John Peragallo III. Performed at St. Bernadette Catholic Church, Scottsdale, Arizona. The church houses Peragallo Pipe Organ Company, Opus 770: three manuals, 60 ranks. 
https://www.peragallo.com/pipe-organs/st-bernadette-church-scottsdale

The Peragallo Organ Company is featured on the cover of the July 2022 issue of The Diapason. The feature article is titled, “Designing the ultimate keydesk,” and covers all the various facets of console design. Photos of thirteen of their consoles are included in the layout. 
https://www.thediapason.com/content/peragallo-cover-feature-consoles-an…

For information: https://www.peragallo.com/

Héctor Salcedo plays the Pontifical March by Charles Gounod on the new Peragallo organ at St. Malachy Catholic Church, Brownsburg, Indiana.

Peragallo Opus 772 comprises 40 ranks and 50 Walker pipe sampled stops across four manuals and pedal.  

The new organ is featured on the cover of the October 2023 issue of The Diapason.
https://www.thediapason.com/content/cover-feature-peragallo-opus-772

For information: https://www.peragallo.com/

Hector Salcedo studied composition, organ, and improvisation at the Pontifical Institute of Sacred Music in Rome. He was an assistant organist in the Vatican and a member of the Cappella Giulia and the Choir of the Vicariato della Basilica di S. Pietro.