Ruffatti in Ireland

Fratelli Ruffatti, Padua, Italy

St. Mel’s Cathedral, 

Longford, Ireland

From the organ consultant

The present organ is the fourth to be built for the cathedral. The first instrument was built by the highly respected Victorian firm of Bevington & Sons of London in 1857. This organ served the cathedral for 56 years, being replaced in 1913 by a new instrument made by the German firm of Stahlhuth of Aachen, on the advice of the Reverend Professor Heinrich Bewerunge of St. Patrick’s College, Maynooth, Ireland’s national seminary for the training of priests for the Roman Catholic Church since 1795. Some 14 years earlier Bewerunge had commisioned the same firm to build an instrument for the new College Chapel on the Maynooth campus. This was an innovative instrument for its time and one that clearly impressed and satisfied Bewerunge; hence his recommendation that the same firm from his native country should be commissioned to build the new organ for Longford’s St. Mel’s Cathedral. It was a substantial three-manual and pedal organ, but its positioning in the cathedral was problematic, having to be “shoe-horned” onto the small, high west gallery of the building, tight up against the barrel of the ceiling, leaving only cramped accommodation for what must have been a small choir. It was housed in grilled timber enclosures without visible pipes, and employed the latest pneumatic-action technology that had so impressed Bewerunge in the Maynooth instrument.

By the 1970s it had clearly served its time and had become unreliable in function, and its location, long a problem in terms of participative liturgy, had now become anachronistic in the context of the cathedral’s major reordering according to the liturgical norms of Vatican II. It was, therefore, decided to replace the Stahlhuth installation with a new organ, which, however, was to retain the best of the pipes of the original instrument. This was commissioned from Kenneth Jones & Associates of Bray, County Wicklow. It was to be a two-manual and pedal organ with mechanical action. While the pipes and soundboards of the new instrument remained in the original high gallery, they were sited more advantageously and with less obstruction to tonal egress. A new, generously proportioned gallery was built at a lower level to provide comfortable accommodation for both choir and organist. This organ served the cathedral well until the disastrous fire of Christmas 2009, which saw its complete destruction.

The contract was put out to international tender, with three eminent organ building firms making it to the short list. The contract was ultimately awarded to Fratelli Ruffatti of Padua, Italy, a firm with a long history of organ building in various styles on both sides of the Atlantic. In a sense, the commissioning of this instrument from the Italian firm saw history repeating itself, as Fratelli Ruffatti has also recently completed the major restoration and renovation of the Maynooth College Chapel organ, just as Stahlhuth had similarly worked in Maynooth before coming to Longford over a century ago. 

In seeking to provide a new organ for the restored cathedral, the primary aims were to secure an instrument that would at least be of the same high quality as the Jones organ, while providing a richer palette of tonal colors that would make the instrument more suited to a wider range of repertoire, and enhance its accompanimental capacity for choir and congregation. The new Fratelli Ruffatti organ is sited in a case of striking design—placed to the right of the altar, apparently suspended between columns as it follows and echoes the cathedral’s architectural elegance of line. It is thus a visual and musical enhancement of the “new” St. Mel’s, positioned in a manner that clearly gives witness to its key role in providing music for the liturgy, suited to its functions in accompanying choirs, cantors, and congregation, while its sonic design gives the range of color and dynamics necessary to perform with fidelity the centuries-old solo repertoire of the “king of instruments.”

The present organ is the largest in the cathedral’s 160-year history. The instrument now numbers 39 stops, and its enclosed Choir division enhances the accompanimental capacity of the organ, while also enabling it to cope with both romantic and contemporary repertoire with a degree of authenticity and color that the previous organs lacked.

The tonal ethos of the instrument is eclectic, with a bias towards the romantic and symphonic style of organ design. For example, 14 of the stops are at 8′ or 16′ pitch, thus providing solid tonal foundations of varying intensity and flexibility, while seven reed stops provide both variety of color and grandeur as required. The expressive Choir division with its American-style Celeste stop is a bold statement of the instrument’s expressive romantic intent.

Ruffatti opted to manufacture the divisional soundboards and other internal components using Sipo mahogany from Central Africa, as it was felt that this variety of wood would guarantee maximum stability in varying climatic conditions.

New pipes have been cast in the Ruffatti workshop in Padua, some using an alloy of 95% tin to ensure optimal tonal and structural properties, not only for the crafting of the display pipes, but also for all internal pipes of large dimensions. Other pipes have been manufactured utilizing selected alloys to achieve the best tonal properties for each individual stop.

The playing action of the instrument is electric, yet with an application of traditional procedures that look to the future. The three-manual playing console is on a moveable platform with hardwood parquet floor, providing flexibility for both varying liturgical demands and concert usage. In addition, the console accessories include a generous provision of both general and divisional combination pistons, a sequencer system, and record/playback connections to MIDI. Organists can also store a very large number of stop combinations within personalized password-protected memory folders, to facilitate ease of performances.

The organ was installed in the final months of 2014, with tonal completion taking place in April 2015. The dedication and inauguration took place on Sunday, May 24, 2015.

—Gerard Gillen

Titular Organist, Dublin Pro-Cathedral

Professor and Head of Music, Maynooth University, 1985–2007

The architecture
of the Longford organ

The organ in St. Mel’s Cathedral was originally located in the rear balcony. It was decided that a new position in the rebuilt cathedral, in the front of the building, would better suit the liturgical needs of the worship space. In its new location, the organ is elevated from floor level, under three arches in the right side transept. With this configuration the choir sits at the end of the right side nave, in front of the organ. Here, the organ’s presence is significant without being prominent.

It was required that the two columns in the right side transept be free of any load, and that they remain visible. A steel structure with two long beams was built behind the columns, spanning 34 feet and supported by the side pilasters. Since most of the organ’s weight hangs from these main beams, an additional steel structure was built about ten feet above the bottom structure to help support the load. This complicated steel structure further limited the available space and presented a problem for winding and access. Nevertheless, the most important goals to make an installation successful were achieved: ideal location of pipes and access for maintenance needs.

We were asked to design and build the organ case, including the cover of the steel frame. Although the cathedral had to be rebuilt exactly the way it had been before the fire, the general restoration philosophy called for any artwork, all furniture, and the organ to be contemporary in design. Although we have created many organs of traditional design, we at Ruffatti are particularly pleased when we can use creativity and innovation in a design, creating instruments with personality that can be remembered as unique.

We chose a symmetrical concept in the central bay and an asymmetrical concept in the side bays that put a visual emphasis on the central bay. The design is a combination of straight vertical lines and curved horizontal lines, which are traditionally seldom used. The curved lines work well with the arches over the organ, which are a prominent architectural feature recurring throughout the building.

The two enclosed divisions are located in the side bays. They are very effective, incorporating the unique Ruffatti hyperdynamic expression system. The Great and part of the Pedal are in the central bay. To save space inside the case, and to limit its depth, we decided to install the large wood pipes on the back of the organ case, effectively creating a front façade and a rear façade, which turned out to be very successful both aesthetically and tonally.

—Piero Ruffatti

The tonal design
of the Longford organ

Expression is the key to this approach. In using this word, we do not mean merely introducing enclosed organ divisions as a form of control over the volume of sound. Making the organ an expressive instrument means, primarily, creating the conditions by which every single voice, or stop, can be successfully combined with all others. If this condition is met, the number of possible tonal combinations becomes huge even in a relatively small instrument, thus creating the conditions to “express” music more freely and creatively. This is being achieved, in Ruffatti instruments, by the careful dimensioning and voicing of every single stop.

The creation of different volume levels also contributes, of course, to making the organ an “expressive” instrument. In the Longford Cathedral organ, two of the three manual divisions, the Choir and the Swell, are each located inside an expression box. While this feature does not represent anything new, there is something in this instrument that makes it unique. Research conducted by Ruffatti has produced an innovative system for dramatically increasing the dynamic range of the expression enclosures. Far beyond the simple possibility of providing a wider differentiation between “the softest” and “the loudest,” this feature is the key to a wider degree of freedom both for the tonal designer and the performer. A practical example of this concept can be found in the Choir division of this instrument, where a Gemshorn stands alone (possibly with a bit of help from a Holzgedeckt) as the foundation for the secondary Principal chorus of the organ. The possibility of reducing volume to a dramatic degree with the box closed allowed the tonal designer to “scale” and voice the Gemshorn almost to the tonal character and volume of a Principal, big enough to act as the natural foundation of a Positiv division, knowing that, with the box closed, such a stop could also be used, in conjunction with the Gems-horn Celeste, as an elegant, quiet Flute Celeste-like stop.

The same dynamics apply to all stops under expression, in particular the flutes, strings, and reeds, which have been voiced to function both as assertive solo stops and in contexts requiring moderate volume levels.

—Francesco Ruffatti

Designing an organ presents many challenges, many of which are related to making the instrument fit tonally and visually into the building which will be its home.

Fratelli Ruffatti, Padua, Italy

Buckfast Abbey, 

Devon, United Kingdom

The sound

Designing an organ presents many challenges, many of which are related to making the instrument fit tonally and visually into the building which will be its home. The challenges connected with our recent installation at Buckfast Abbey, Devon, England, were, in many ways, out of the ordinary. We were asked to design two instruments of considerable size, tonally interconnected, for a building of moderate size and very kind acoustics that amplify sound in a dreamlike fashion. While it was not difficult to design an instrument to play a variety of literature, much attention was required to scaling the sound to the building without sacrificing the proper characterization of the many different stops.

The tonal palette was based on an initial draft by Matthew Martin, international recitalist, former organist at the London Oratory and now Fellow and Director of Music and College Lecturer at Keble College, Oxford. Further adjustments were coordinated between Philip Arkwright, Organist and Master of the Music at Buckfast Abbey, and Fratelli Ruffatti.

The main instrument, of four manuals and pedal, is located on two sides behind the choir stalls and partially on the triforium level (the upper arcaded gallery) above. Specifically, Great, Positivo (in the Italian style, hence the name), Swell, and Pedal are housed inside solid oak cases at nave level, while the Solo division is placed at triforium level, along with a whole series of “special effects” playable from the Positivo, some of which belong to the early Italian tradition.

The second instrument, comprising two manual divisions with full pedal, is located in the west gallery and partially in the triforium level areas that are closest to the west gallery. Two nearly identical four-manual consoles have been provided, one in each location. The difference between the two is that the Quire console is equipped with an electric lift that adjusts the height of the keydesk and stop jambs by more than four inches (10 centimeters). This feature, along with the two height-adjustable benches (one for concert use, and one for teaching purposes), makes it very easy for any organist to find comfortable playing space. 

As G. Donald Harrison, the Englishman who became tonal director of Aeolian Skinner, once stated, “To me, all art is international; one can draw from the best of all countries. I have used the technique at my disposal to produce instruments which I consider suitable for expressing the best in organ literature.” This instrument indeed embraces this philosophy. The requirements for the seven initial worldwide organbuilders that were asked to submit specifications included the need for the instrument to support a wide repertoire of accompanied music, as well as to successfully perform a wide range of organ literature. Such requirements were not taken lightly and, drawing from decades of experience and from different traditions, as Harrison advocated, Ruffatti introduced several tonal features that are new or rare to find in England, with the aim of sparking interest for improvisation and creative registration for the international repertoire. 

It is along these lines that the Gallery Organ was designed. It draws from the French Romantic tradition of Cavaillé-Coll. Dedicated studies were conducted on several organs in Paris and other locations in order to ensure as close a proximity as possible to the Cavaillé-Coll style, by carefully copying pipe measurements and voicing methods, without pretentious claims of authenticity. The instrument is designed as a two-manual, but it can also be used as a large cohesive division, part of which is under expression, that can be played against, or in tandem with, the main Quire Organ. 

Along the same line of thought, the Italian Positivo was introduced in the Quire. With the tonal consistency of an early Italian instrument and the trademark low-pressure voicing, it provides all tonal resources needed to faithfully perform classical Italian literature from the Renaissance up to the early Romantic period, an ingredient that is indeed rare to find in an instrument in England. It is also ideal for playing in alternatim with the monastic choir. This is not just a nice “toy” to have, but serves convincingly as a Positiv division, in dialogue with the Great for access to a broader classical repertoire.

Another note of interest concerns the Solo division, which includes stops that have been drawn from the Skinner tradition, as well as other orchestral stops of Ruffatti design.

One of the aspects characteristic of Fratelli Ruffatti is that we manufacture almost everything in house, including flue and reed pipes. This is the best guarantee for quality control. At the same time, it provides the opportunity to carefully select all the ingredients that are necessary in the mind of the tonal designer. The difference is in the details. Being able to pass any requirements that experience dictates on to the pipe shop enables the voicers to exactly tailor the sound to the room, resulting in that perfect blend for which Ruffatti is famous.  

Versatility is only partially the product of having a variety of stops on hand; what really makes the difference is the ability of each stop to combine successfully with all others to produce countless tonal combinations. Open-toe voicing for principals and flutes is the key, as it favors blending of sounds, as well as promptness and precision of speech, an aspect that is of paramount importance, especially when there is no close proximity of the player to the pipes (as there would be with a mechanical action instrument). An old misconception still flies around, deriving from the early neo-Baroque times of the Orgelbewegung, or Organ Reform Movement of the mid-twentieth century, where the open-toe voicing technique was sometimes used to produce excessively harsh sounds. Open-toe voicing is instead quite versatile, ideal for the effective voicing of a rank of pipes in a variety of styles, regardless of the chosen wind pressures. 

Materials for the construction of pipes include the ultra-shiny alloy of ninety-five percent tin, used for the pipes in the façade as well as for a high number of larger internal pipes. Its structural strength and incredible resonance properties make it ideal for pipes of larger size. Other internal pipes are made with a tin percentage ranging from 75 to 30 percent.

Many pipes are made of wood, including the resonators of the two majestic 32′ reeds, the Bombarde, and the Fagott. Only the finest African Sipo mahogany has been used, varnished inside and out to enhance resonance. The Pontifical Trumpet, which projects horizontally from the front of the Gallery Organ, has highly polished solid brass resonators.

This organ was featured in the press for the first time in the March 2018 issue of the British magazine Organists’ Review with an article by Philip Arkwright, Organist and Master of the Music at Buckfast Abbey. It was inaugurated on April 20, 2018, with a splendid concert performed by Martin Baker, Organist and Master of Music at Westminster Cathedral, which I had the good fortune to witness. The improvisation that closed the performance was stunning: a perfect demonstration of creativity and a kaleidoscopic use of musical color.

The opening organ series also includes concerts by Vincent Dubois, titular organist of Notre Dame Cathedral, Paris; David Briggs, Artist-in-Residence at St. John the Divine, New York City; Matthew Martin, Director of Music at Keble College, Oxford; Richard Lester, international recitalist; and in-house organists Richard Lea and Matthew Searles.

—Francesco Ruffatti

Architecture and technical features

The east and west organs at Buckfast Abbey are aesthetically quite different. The east organ (Quire) is intended to be discreet, as the client’s desire was that the front of the building should not have the imposing presence of an intricate organ design. For this reason we chose a very simple layout for the façade, with pipes recessed into three arches that crown the stalls on both sides of the Quire. The pipes are hardly visible from the center of the building, but clearly show the brightness of the tin they are built from when they are seen from the side.

The central pipe of each bay, with its diamond-shaped embossing, reflects the light in all directions, providing a touch of richness within the simplicity of the design scheme.

The west organ (Gallery) gave us the opportunity to offer a more sophisticated architectural solution. The full visibility of the splendid stained glass windows being paramount, we built two symmetrical oak organ cases against the side walls of the gallery, with tunnels to grant access to the balcony from the doors in the back corners. The aim was for a design of lightness and richness at the same time—not an easy task, as the two qualities are normally in conflict.

To achieve this goal, we chose a case design where the façade pipes are not topped by a ceiling. Instead, there is an alternation between bays having pipes with unobstructed tops and pipes with carved elements defining the top line. The richness is provided by the carving, which is also used to separate façade pipes within the same bay. In the general scheme, it gives visual continuity to the various bays. These elements have been hand-carved from European oak by a gifted artist, from a Ruffatti design inspired by the intricate and elaborate carved wood of the Abbey’s choir stalls. Even the panels of the lower part of the case are enriched by carvings in the Gothic style. 

The sunlight coming through the stained glass windows is reflected by the shiny surface of the tin pipes, adding a touch of color to the façade, an effect that is remarkably spectacular.

The signature Ruffatti horizontal trumpets, with their flared brass bells, extend from the lower part of the cases, projecting their shining beauty into the Abbey’s central bay.

The most frequent comment we have received on the design is that the organ looks like it has always been there. I believe that this is the biggest compliment that can be paid to the designer, because it proves that the organ belongs to the building, without imposing its presence. The initial aim has been reached: a light yet elegant result.

On the strictly technical side, African Sipo mahogany is widely used for functional parts, such as all of the windchests. The main units are of the slider type, which are controlled by solenoids of the latest generation, featuring self-adjusting power for the initial stiffness of the slider movement and reduced power at the end of the travel, for maximum silence.

The twin consoles feature identical controls and can be played simultaneously, as they often are. The control system is operated by the organist from a touch-screen panel, and it offers a large number of functions. The huge memory provides separate password-protected storage folders for many organists, where stop combinations, personal crescendo, and tutti settings can be stored. The system also features, among many other useful tools, a transposer, a record/playback function, and on-board diagnostics, a useful tool for maintenance.

The height adjustment of the keydesk of the Quire console is controlled by a push button, operating a heavy-duty electric motor. Adjusting the level of the keydesk allows maximum comfort for the player, regardless of that person’s physical height and build.

The organ is distributed over several locations and, true to Ruffatti philosophy, uses several different wind pressures to optimize the tonal result of the various stops. As a result, nine separate blowers, twenty traditional reservoirs, and nine schwimmers have been used to provide adequate and stable wind at the many different pressures, ranging from 40 to 185 mm.

—Piero Ruffatti

Builder’s website: www.ruffatti.com/en/

Church’s website: www.buckfast.org.uk/

QUIRE ORGAN

Location: Quire and Triforium 

POSITIVO (unenclosed–Manual I)

8′ Principale 61 pipes

8′ Bordone 61 pipes

8′ Voce Umana (tenor G) 42 pipes

4′ Ottava 61 pipes

4′ Flauto Veneziano 61 pipes

2′ Decimaquinta 61 pipes

11⁄3′ Decimanona 61 pipes

22⁄3′ Sesquialtera II 122 pipes

2⁄3′ Ripieno III 183 pipes

8′ Cromorno 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Glockenspiel (tenor C) 30 bells

Tremulant

Nightingale 5 pipes

Cymbelstern 12 bells

Drum 3 pipes

6′ Bagpipe F 1 pipe

4′ Bagpipe C 1 pipe

22⁄3′ Bagpipe G 1 pipe

GREAT (unenclosed–Manual II)

16′ Bourdon 61 pipes

8′ Principal 61 pipes

8′ Bourdon 61 pipes

8′ Spitzflöte 61 pipes

4′ Octave 61 pipes

4′ Blockflöte 61 pipes

22⁄3′ Quint 61 pipes

2′ Superoctave 61 pipes

11⁄3′ Mixture IV 244 pipes

1⁄2′ Terz Zimbel III 183 pipes

8′ Trumpet 61 pipes

4′ Clarion 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Sub Octave

Unison Off 

SWELL (enclosed–Manual III)

8′ Flûte à Cheminée 61 pipes

8′ Gemshorn 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Céleste (tenor C) 49 pipes

4′ Prestant 61 pipes

4′ Flûte Creuse 61 pipes

22⁄3′ Nazard 61 pipes

2′ Octavin 61 pipes

13⁄5′ Tierce 61 pipes

2′ Plein Jeu IV 244 pipes

16′ Basson 61 pipes

8′ Trompette Harmonique 61 pipes

8′ Hautbois (ext 16′) 12 pipes

4′ Clairon Harmonique (ext 8′) 12 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

SOLO (enclosed–Manual IV)

16′ Lieblich Bourdon 61 pipes

8′ Orchestral Flute 61 pipes

8′ Doppelflöte 61 pipes

8′ Salicional 61 pipes

8′ Unda Maris (tenor C) 49 pipes

8′ Flûte Douce 61 pipes

8′ Flûte Céleste (tenor C) 49 pipes

4′ Flauto d’Amore 61 pipes

22⁄3′ Harmonic Nazard 61 pipes

2′ Harmonic Piccolo 61 pipes

13⁄5′ Harmonic Tierce 61 pipes

8′ Bassett Horn 61 pipes

8′ Vox Humana 61 pipes

8′ Pontifical Trumpet* 61 pipes

8′ Abbatial Trumpet** 61 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

* mounted horizontally from the front of the Gallery Organ cases, divided at both sides. Not affected by couplers

**located in the Triforium, unenclosed. Not affected by couplers

PEDAL

32′ Contra Bourdon digital

16′ Contrabass 32 pipes

16′ Subbass 32 pipes

16′ Bourdon Great

16′ Lieblich Bourdon Solo

102⁄3′ Quintflöte 32 pipes

8′ Octave 32 pipes

8′ Flûte Ouverte 32 pipes

51⁄3′ Nazard (ext 102⁄3′) 12 pipes

4′ Superoctave 32 pipes

2′ Flûte 32 pipes

22⁄3′ Mixture IV 128 pipes

32′ Fagott 32 pipes

16′ Bombarde 32 pipes

16′ Basson Swell

8′ Trompette (ext 16′) 12 pipes

4′ Schalmei 32 pipes

GALLERY ORGAN

Location: West Gallery

GRAND-ORGUE
(unenclosed–floating) 

16′ Bourdon 61 pipes

8′ Montre 61 pipes

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

4′ Prestant 61 pipes

4′ Flûte Octaviante 61 pipes

22⁄3′ Cornet III (tenor G) 126 pipes

2′ Doublette 61 pipes

2′ Plein Jeu III–V 264 pipes

8′ Clarinette 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Tremblant

Sub Octave

Unison Off

EXPRESSIF (enclosed–floating)

8′ Violoncelle 61 pipes

8′ Violoncelle Céleste (TC) 49 pipes

8′ Cor de Chamois 61 pipes

8′ Cor de Chamois Céleste (TC) 49 pipes

4′ Prestant 61 pipes

8′ Trompette 61 pipes

4′ Clairon 61 pipes

Tremblant

Sub Octave

Unison Off

Super Octave

PÉDALE

16′ Soubasse 32 pipes

16′ Bourdon Grand-Orgue

8′ Basse 32 pipes

8′ Bourdon (ext 16′) 12 pipes

4′ Flûte (ext 16′) 12 pipes

32′ Bombarde* 32 pipes

16′ Bombarde (ext 32′)* 12 pipes

8′ Trompette (ext 32′)* 12 pipes

* located in the Gallery Organ Triforium

Positivo special effects located in the Quire Organ Triforium

Solo located in the Quire Organ Triforium

Four-manual movable Quire console, with electric height-adjustment for keyboards and stop knobs

Four-manual movable Gallery console

The consoles can be used simultaneously to perform repertoire for two organs

CONSOLE CONTROLS

Identical for both consoles

COUPLERS (tilting tablets)

Solo to Swell 16-8-4

Expressif on Manual III

Solo to Great 16-8-4

Swell to Great 16-8-4

Positivo to Great 8

Grand-Orgue on Manual II

Gallery* on Manual I

Solo to Positivo 16-8-4

Great to Positivo 16-8-4

Swell to Positivo 16-8-4

Solo to Pedal 8

Swell to Pedal 8

Great to Pedal 8

Positivo to Pedal 8

Grand-Orgue to Pedal 8-4

Expressif to Pedal 8-4

* Grand-Orgue and Expressif combined

Reeds Off (for entire organ)

Mixtures Off (for entire organ)

Gallery* on Manual I on key cheek

Grand-Orgue on Manual II on key cheek

Expressif on Manual III on key cheek

*including both Gallery Organ manual divisions

Quire Organ Tutti

Full Organ Tutti

Pédale Off on key cheek

Sustain for Solo, Swell, Great, Positivo

Great and Pedal combinations coupled

Grand-Orgue and Pédale combinations coupled

All Swells to Swell

Quire Organ On – on key cheek

Gallery Organ On – on key cheek

Record and Playback

COMBINATION ACTION:

Twelve general pistons for Quire and Gallery organs

Eight Quire Organ divisional pistons

Six Gallery Organ divisional pistons

Set, General Cancel

Previous (-), Next (+) in several locations

Thousands of memory levels for the “common memory area”

Thousands of private memory folders accessible by password or magnetic sensor

Touch-screen control panel featuring multiple functions, including:

• Transposer

• Five “insert combinations” possible between each general piston for all available folders

• Option of automatic re-numbering of combinations after inserts have been introduced 

• In addition to conventional piston storage, both the common area and the individual folders offer:

Storage of piston sequences in “piece”-labelled folders

Storage of several “piece”-labelled folders to form “concert”-labelled folders

Swell, Expressif, Solo expression pedals

Crescendo Pedal: standard and multiple personalized settings 

MIDI In, Out, Through

SUMMARY OF PIPE MATERIALS:

95% tin alloy for all façade and most larger pipes inside

Bagpipes in the Positivo with walnut resonators, blocks and shallots in the traditional style

All other wooden pipes, including 32′ reed resonators, made of African Sipo mahogany

Principal choruses 75% tin alloy 

Flutes: 8′ octaves 95% tin alloy, rest 30% tin alloy (spotted)

Reeds, Strings: 8′ octaves 95% tin alloy, rest 52% tin alloy (spotted)

SUMMARY OF WIND PRESSURES:

QUIRE ORGAN

Positivo 40 mm for Principal chorus, 50 mm for flutes and reed

Great 80 mm for all stops, 95 mm for offsets only

Swell 90 mm for all stops, 100 mm for offsets only

Solo 160 mm for all stops except Pontifical and Abbatial trumpets, 185 mm

Pedal 100 mm and 80 mm upperwork

GALLERY ORGAN

Grand Orgue 90 mm

Expressif 100 mm

Pédale 120 mm

STATISTICS

81 real stops

100 ranks of pipes

5,542 pipes and 42 bells

Fratelli Ruffatti, Padua, Italy
Wesley Chapel, Elkton, Maryland

From the builder
Fratelli Ruffatti is mostly known in the United States for building large four- and five-manual instruments with electric action. Two five-manual organs have been completed in the past 15 months, and two four-manual organs are currently being manufactured in the Ruffatti workshop. Few people, however, know that the majority of instruments that the firm produces outside of the United States are of mechanical action.
In tune with the trends and ideas that were coming from across the Alps at the beginning of the 1960s, Ruffatti was among the first in Italy to restore the tradition of building pipe organs with suspended mechanical action. One of the most famous of these instruments is in northern Italy, installed in 1970 in the parish church of the small medieval city of Noale. It is not a huge instrument, numbering 27 stops and 35 ranks of pipes over two manuals, but it became quickly famous from the beginning as the concert instrument for the first Italian competition of young organists. It is still today the centerpiece of a quite famous concert series, involving big names among international organists.
Ruffatti is here presenting to the American organ community an instrument that is quite small, but of large significance. Everyone knows that ancient Italian organs were, for the most part, of small size—one manual, with a limited number of stops—but quite musical and versatile. Since our predecessors could not depend upon a large number of voices to produce variety, they refined their voicing techniques to the point that every sound could be combined with every other to produce the most versatility even within a very limited number of stops. This is the tradition that Italian organbuilders come from and that constitutes the inspiration for Fratelli Ruffatti even today, whether it may be applied to very large or, even more importantly, to small instruments.
The organ manufactured for Wesley Chapel of Elk Neck is a good example of how a very small instrument can be pleasing and effective in spite of its very limited size. With only one manual and a total of six stops, including the Pedal, it is difficult to imagine any kind of versatility at all. However, a few special ingredients grant this instrument a real flexibility: the divided stops, the composition of the Mixture and, above all, the voicing techniques.
Splitting the stops in bass and treble is an old practice in ancient organs, as we all know, and it allows the organist to create two different tonal “platforms” within the same manual. In this case, both the Principal and the Spitzflöte are divided between C and C# in the middle of the keyboard, thus increasing the number of possible combinations. The Mixture, whose composition is shown below, has been designed in such a way that no “double pitches” occur when combined with the 2′ Fifteenth. The Fifteenth and Mixture are conceived as an effective three-rank Mixture when pulled together, but at the same time the Mixture can also be independently used in a “mezzo ripieno” combination without the Fifteenth, creating a very interesting tonal color.
Although English names have been chosen for the stops, as a sign of respect for the users, a number of tonal features are present that link this instrument in many different ways to the classical Italian tradition.
The Principal pipes, both internal and in the façade, are without “ears,” as in the classical Principale. The low octave of the stop is made of stopped mahogany pipes, housed against the ceiling inside the case. They are connected to the windchest through a complicated series of metal windways. A stopped wooden low octave for the Principale is a common feature of the Positivo Italian organs of the 17th and 18th centuries, and effective ways have been refined over the centuries—through proper scaling and voicing—to make the bridge between wood and metal remarkably smooth.
The Octave is of slightly smaller scale, or relative diameter, than the Principal, as found in many historical organs of northern Italy, as are the Fifteenth and the subsequent Mixture ranks.
The 4′ Spitzflöte is an almost identical replica of the Flauto in Ottava, a stop of rare singing quality used by Gaetano Callido1 in his instruments.
With the primary purpose of providing a good foundation, especially considering the rather dry acoustical environment of Wesley Chapel, an independent, real 16′ Bourdon has been provided for the Pedal, with pipes made of African mahogany, which are located behind the organ case.
The voicing technique is probably the element of highest significance. At the lowest wind pressure allowed by the acoustical conditions of the room (65 mm at the water column, or slightly over 21⁄2 inches), all pipes have been voiced with completely open toe and a minimum number of barely visible nicks at the languids. The result is a very pleasing, singing tone without excessive chiff or unnecessary non-harmonic overtones. This constitutes the foundation for a successful blending of the stops as well as for the creation of successful, pleasing solo voices. The pitch is 440 Hz at 20° Celsius and the temperament is equal.
Architecturally, the organ case has been designed to fit in the historical surroundings of Wesley Chapel. Although inspired both mechanically and aesthetically by the ancient Positivo organs, it must not be defined as a copy: its design is definitely a new, original creation. It features a façade composed of 22 pipes divided in two symmetrical sections. Each is topped by a hand-carved panel designed to add beauty to the ensemble while at the same time allowing for maximum sound egress. Two hand-carved wooden elements at the sides provide the necessary continuity between the top and the lower part of the case.
The casework is made completely from solid African mahogany. The keyboard features bone naturals with carved key fronts, and natural ebony sharps with bone inlays. The key cheeks are inlaid with thin strips of bone. The draw knobs are of ebony, with maple insets. The concave and parallel pedalboard (BDO measurements) is made of oak, with the sharps topped by ebony.
The mechanical action is suspended. The rollerboards are made from solid aluminum rollers with wooden arms.
The task of designing and manufacturing an instrument within such a small space has not been an easy one. In spite of this, every part is easily accessible for maintenance and ordinary tuning. The layout of pipes over the slider windchest in particular has been carefully designed to allow favorable conditions for the radiation of sound from all pipes.
—Francesco Ruffatti

Notes
1. Gaetano Callido was the most famous Venetian organbuilder of the 18th century. A pupil of Pietro Nacchini, he built over 430 organs in his lifetime, many of which are still preserved.
2. The basic principle of the open toe voicing technique is that of leaving the pipe toe completely open and regulating the sound volume by reducing the opening at the flue, or lower lip of the mouth. By operating this way several advantages are achieved, among which are a less turbulent air supply through the pipe foot and a more focused wind column at the mouth. These features are effective in reducing the “mouth noise” or “air noise” and, consequently, in reducing the need for languid nicking, a practice that can alter the natural timbre and that tends to reduce the development of upper partials in the sound spectrum.

From the organist
Several years back Glenn Arrants inquired: if he purchased an organ, would I play it?—and fortunately I said yes. He then informed me this would be no ordinary organ, but a pipe organ to be built in Italy. Through the months ahead, Glenn kept me informed of the progress.
The anticipation increased over the two and a half-year wait for the organ to be built. Finally we received word it would be delivered to the chapel on July 3, 2007. I was so excited about the opportunity to see this process firsthand, that I took off from work to be there to take photos and witness the arrival.
Spread throughout the chapel were all of the pieces that would be assembled into a pipe organ—in two weeks! I thought I understood the complexity of the pipe organ until I witnessed this firsthand. Imagine my excitement to hear that I would be playing the organ the first time that Sunday morning, although the pedals were not completed—the sound filling the sanctuary that morning was just a sweet taste of what was to come the following week when the instrument was complete.
There was concern that a pipe organ would overpower the small sanctuary and the congregation, but this is not the case. The sanctuary is filled with wonderful music, and the congregation’s voices are supported beautifully. Even with full organ, there is no vibration anywhere in the 177-year old chapel.
To be the first organist of the Wesley Chapel Fratelli Ruffatti pipe organ is indeed an honor, and a once in a lifetime opportunity. One cannot help but think of the dedicated craftsmen who built the organ, all the attention to detail, and the beautiful voices of the pipes. It gives me great joy to be able to sit down and play this organ, so much so that what seem like minutes in time are actually hours of enjoyment—this fine instrument will serve the congregation and community of Elk Neck for generations to come.
—Alice Moore

From the dedication recitalist
It was a great pleasure to prepare a program for the dedication of the new Ruffatti organ for Wesley Chapel of Elk Neck. It turned out to be much less of challenge to prepare for a “small organ” than one might have suspected. The organ is well capable of playing standard literature, Bach and Telemann, and there is, in fact, wonderful variety to be had in various combinations of the voices. Most surprising was the excellent way the organ could be adapted to the modern works of Michael Burkhardt and Donald Johns in hymn-based partitas. Equally important, the gentle and very artistic voicing of this instrument allows it to lead congregational song with all the color and emotion one could ask for in an instrument of larger design. The divided stops are an ideal way to get “more organ” than the package seems to contain. Bravo Fratelli Ruffatti and congratulations to Wesley Chapel of Elk Neck.
–Donald McFarland

A brief history of Wesley Chapel of Elk Neck, Elkton, Maryland
Elkton, Maryland, a city of some 13,000 people, sits on Chesapeake Bay near the Delaware border. It dates from the 1700s and was a strategic crossroads during the Revolutionary War. Washington and Lafayette passed through it frequently, and it is very near the spot where the British landed for their march on Philadelphia. The Wesley Methodist Society formed its congregation there in 1797 and, in 1830, the parcel of land was bought “for and in consideration of the sum five dollars current money of Maryland,” and the Reverend William Ryder laid the cornerstone of a new building in which to hold the society’s services. Handhewn beams formed the 25′ x 30′ single-room chapel on a fieldstone foundation. The little building has several features that make it a particularly important structure architecturally, including a perfect half-circle arched ceiling, and varying-width clapboards that hide its vertical plank construction. Wesley Chapel seats about 50, and is one of the oldest rural chapels still in use in the area.
Glenn Arrants remembers how his mother served as church organist for almost 50 years. She played on an early 20th-century Möller organ, which took up considerable space in the tiny building. In the mid-1990s, the chapel went through a complete restoration and the Möller, which was then beyond repair, was replaced with a restored Estey reed organ. Church members missed the sound of a pipe organ, however, and, in 2005, set in motion plans to acquire an instrument specially built for the chapel. Because of the design work, the quality of construction, and the reputation of the company, Wesley Chapel chose Fratelli Ruffatti, distinguished pipe organ builders of Padua, Italy, to build its new instrument.

MANUAL—unenclosed, 56 notes (C–G)
8′ Principal Bass 25 pipes mahogany + 95% façade + 70% interior
8′ Principal Treble 31 pipes 95% façade + 70% interior
4′ Octave 56 pipes 70%
4′ Spitzflöte Bass 17 pipes 30% 1–8 common bass with Octave
4′ Spitzflöte Treble 31 pipes 30%
2′ Fifteenth 56 pipes 70%
II Mixture 11⁄3′–1′ 112 pipes 70%

PEDAL—unenclosed, 27 notes (C–D)
16′ Bourdon 27 pipes mahogany

7 ranks, 355 pipes
% = percentage of tin in tin-lead alloy

Composition of the Mixture II by itself
1–36 11⁄3′ 1′
37–48 22⁄3′ 11⁄3′
49–56 4′ 22⁄3′

Composition of the Mixture II together with the Fifteenth 2′
1–36 2′ 11⁄3′ 1’
37–48 22⁄3′ 2′ 11⁄3′
49–56 4′ 22⁄3′ 2′

Situated on a hill overlooking the city of Lewiston, Maine, the Gothic Basilica of Saints Peter and Paul is visible from a great distance in any direction. Its grand architecture beckons visitors from all over. The interior of the basilica is as sumptuous as its exterior. And among the many treasures of the edifice are the organs.

Lewiston was founded in 1795 along the Androscoggin River. Its industry was supported by cotton mills for many years. By the 1850s the Bates Mill, named for Benjamin E. Bates, for whom Bates College is also named, became the largest employer in Lewiston, remaining so for a century. In the late 1850s, French Canadians began to migrate to Lewiston for job opportunities. A section of Lewiston became known as “Little Canada,” and the city has celebrated its French Canadian character to this day.

Various Protestant congregations were formed, but it would be 1857 before the first Catholic parish, Saint Joseph, was founded. The parish, which was English speaking and serving primarily Irish immigrants, laid the cornerstone for a church along Main Street on June 13, 1864, and finished construction in 1867. The architect was Patrick C. Keely.

The Catholic Bishop of Portland assigned the Reverend Louis Mutsaers to minister to the French-speaking Catholics of Saint Joseph Church. With more than 1,000 souls in the French-speaking Catholic community, Saint Peter Church was founded in 1870, the first French ethnic parish in the diocese. Father Edouard Létourneau of Saint-Hyacinthe, Québec, was named first pastor. The fledgling congregation moved to Saint John Chapel, the second floor of a house on Lincoln Street, coincidentally the first home of Saint Joseph Church. The first Mass, a wedding, was said on July 2, 1870. The Reverend Pierre Hévey became pastor the following year.

The first church

Father Hévey constructed a Gothic church building on Ayers Hill, on Bartlett Street between Ash and College Streets. The cornerstone was laid July 7, 1872, and the edifice was dedicated on May 4, 1873. The substantial building was 116 feet long, 32 feet wide, and crowned by a 160-foot bell tower. The total cost of the building, including land and furnishings, was approximately $100,000. The dedication Mass, attended by 2,000 and presided over by the Bishop of Portland, also witnessed the confirmation of 215 children. The parish school was opened in 1878, and a cemetery was developed. The Sisters of Charity of Saint-Hyacinthe would also establish a hospital, an orphan asylum, and a home for the aged, in addition to teaching in the school. A five-story brick school building accommodating 700 students was opened in 1883 at Lincoln and Chestnut Streets. A second school, for boys, was opened on Bates Street in 1887. By the close of the century, there were 1,721 students in the parish schools.

When Father Hévey left the parish in 1881, administration was turned over to the Dominican Fathers of Lille, France. About this time, Saint Peter became known as Saints Peter and Paul Church. By the late 1890s, church membership neared 10,000 persons, and galleries were added to the church nave, and the building’s basement was enlarged. A brick monastery was built for the Dominicans on Bartlett Street, a building that still stands behind the basilica today. The Dominicans would live here until they returned the parish to the diocese in 1987.

In 1902, Saint Louis Church was founded in Auburn, across the river, but this did little to lessen overcrowding at Saints Peter and Paul Church. In 1904, Father Alexandre Louis Mothon, OP, then pastor of the parish, retained Belgian-native Noël Coumont of Lewiston to design a neo-Gothic edifice to be built of Maine granite at an estimated cost of $250,000. Portland diocesan authorities were duly impressed with Coumont’s work and named him diocesan architect.

Building the present church

The final Mass in the old church was celebrated on February 5, 1905, after which the building was dismantled and demolished. A temporary wooden structure seating 1,200 persons was erected. Adjacent property was acquired, and construction of the lower church was commenced on February 22, 1906. Despite the collapse of a wall on November 9, the lower church was in use for Midnight Mass at Christmas, December 25, 1906. Father Mouthon had resigned and was replaced by the Reverend Antonin Dellaire, OP.

The parish would not complete the upper church for another three decades. In the interim, the diocese created three other parishes in Lewiston: Saint Mary, founded in 1907 in “Little Canada” with 820 families; Holy Family, founded in 1923; and Holy Cross, founded that same year with 575 families.

The diocese granted the Reverend Mannès Marchand, OP, pastor, permission to complete the upper church in 1933. A bid of $361,510 was accepted in April of the following year. Timothy G. O’Connell of Boston had become architect. Construction began in May, and the project would require some 516 boxcars of granite. Slate, copper, and limestone support the roofs.

The exterior was completed in 1935, crowned by twin steeples rising 168 feet with eight spires of granite and concrete. Two fairs would be held in the unfinished interior to raise funds for its completion. The interior was finished on July 18, 1936. The Most Reverend Joseph E. McCarthy, DD, dedicated Saints Peter and Paul Church on October 23, 1938. An all-male choir, recently formed, provided music for the occasion. The total construction price was estimated at $625,000. Five bells, cast for the previous church in 1884 by the McShane foundry of Baltimore, Maryland, were retained for the new towers. In 1948, the magnificent stained glass windows of the nave were installed to the designs of Boston’s Terence O’Duggan, at a cost of $40,000. The building measures 330 feet long, 135 feet wide, and the ceiling rises 64 feet. The pews seat 1,800 persons.

There was considerable posturing to making Saints Peter and Paul the cathedral of the diocese, supplanting Portland’s Cathedral of the Immaculate Conception, founded in 1856 with its church built between 1866 and 1869 to the designs of Patrick C. Keely. Postcards of the Lewiston church were printed and sold, designating it a “cathedral.” However, the move of the seat of the bishop from Portland to Lewiston never occurred.

The building was listed on the National Register of Historic Places on July 14 (Bastille Day), 1983. The second-largest Catholic church in New England, Saints Peter and Paul is exceeded only by Saint Joseph Cathedral of Hartford, Connecticut. In the past two decades, the building has been restored, a heroic multi-million dollar project. The first part of the project, the exterior, took nine years to complete. The interior restoration of the upper church was completed in 2002.

The church’s music history is remarkable. In 1872, a reed organ was acquired, and a Mrs. Martel became organist. Mr. Alcibiad Beique succeeded her. Considered an accomplished organist as he had studied in Belgium, Beique would play the opening program/Mass on the church’s first pipe organ, described below. Beique would leave Lewiston to become organist for the church of Notre Dame in Montréal, Canada. Mr. F. Desanniers next served the parish, though he died about a year after beginning service, having consumed poison thinking it was medicine. Henry F. Roy then served Saints Peter and Paul, remaining until 1925. George C. Giboin then served from 1925 until his death in 1945. From 1945 until 1966, Bernard Piché was organist, while Roland Pineau directed the choirs. Piché was of considerable repute, and was managed as a recitalist by the Colbert-Laberge management group. Pineau continued as organist and choir director until 1973. Luciene Bédard also served as organist, beginning in 1942 and continuing for 54 years. Ida Rocheleau provided music from 1973 until 1982. Kathy Brooks was named music director in 1990. Scott Vaillancourt became music director in 2003 and continues today.

In addition to choral groups for children and adults, the parish sponsored a boys’ band (Fanfare Ste. Cécile) from 1898 until 1947. An extensive boys’ choir for grades 5 through 8 (Les Petits Chanteurs de Lewiston) was established in 1945 and performed operettas and other works in Lewiston and throughout New England until it was disbanded in 1964.

The pipe organs

The first pipe organ for the parish was 1880 Hook & Hastings Opus 1011, a two-manual, 24-rank instrument located in the 1873 church. The case of ash measured 25 feet high, 13 feet wide, nine feet deep. The organ cost $3,500 and was dedicated on Thanksgiving Day, November 25.

The organ was removed from the building prior to demolition and reinstalled in the new lower church in 1906. It was rebuilt and enlarged by Casavant Frères of Saint-Hyacinthe, Québec, Canada, in 1916, as their Opus 665, retaining the Hook & Hastings case and much of the pipework.

In 2004, Casavant Opus 665 was sold to the Church of the Resurrection (Episcopal), New York City, where it was moved and rebuilt by the Organ Clearing House. A series of dedicatory recitals were held for this organ in its new home in 2011.

The upper church Casavant organs together make up the largest church organ in Maine. There are 4,695 pipes in five divisions in the rear gallery, 737 in three divisions in the sanctuary. A four-manual, drawknob console controls the entire organ from the rear gallery; a two-manual console in the sanctuary, which does not function at this time, controls the sanctuary divisions. The organ was designed by Charles-Marie Courboin of Saint Patrick Cathedral, New York City. The contract specification was dated April 4, 1937. Manual compass is 61 notes (C–C); pedal compass (concave, radiating pedalboard) is 32 notes (C–G). The instrument cost $28,000 for the gallery organ, $10,000 for the sanctuary organ. A fifteen-horsepower blower was provided for the gallery organ, and a one-horsepower blower for the sanctuary organ.

Courboin, who travelled to Saint-Hyacinthe to inspect the organ in the factory, played the opening recital on the completed organ, October 4, 1938. An estimated 2,000 persons filled the nave of the church, the first public event to occur in the upper church. The following was his program (a local choral group, Orpheon, also presented three works):

Part I

Concert Overture R. Maitland

Aria No. 3, Suite in D
Johann Sebastian Bach

Sketch No. 3 Schumann

Cantabile Cesar Franck 

Pastorale 2d Symphony
Charles-Marie Widor

Passacaglia and Fugue, C minor
J. S. Bach

Part II

Ave Maria Schubert-Courboin

Choral Prelude J. S. Bach

Choral No. 3 Cesar Franck 

The Lost Chord Sullivan-Courboin

March Heroique Saint-Saens

Casavant crafted the extensive woodworking lining the church nave, including an ornate screen in the sanctuary and the extensive wood supporting the organ and choir gallery, the transept galleries, and the narthex. The project utilizing Maine native red cedar and oak took a year and a half to complete.

Over the years, various renowned organists have concertized on the upper church organs. For instance, the Lewiston-Auburn Chapter of the American Guild of Organists sponsored Marcel Dupré in recital on Monday evening, October 4, 1948, along with three selections presented by the Saint Paul Choral Society. (Admission was $1.20, tax included, students $0.75.) The program for the organ’s tenth anniversary included works by Johann Sebastian Bach, George Frederick Handel, Eric DeLamarter, César Franck, Mr. Dupré, as well as an improvisation on submitted themes—Yankee Doodle and Turkeys in the Tree Top.

The fiftieth anniversary of the Casavant organs was celebrated with a concert on October 4, 1988, given by Brian Franck, organist, with l’Orpheon, conducted by Alexis Cote and accompanied by Luciene Bédard. Alan Laufman of the Organ Historical Society presented Historic Organ Citation #100 for the upper church organs. The upper church organs were heard in recitals during the national convention of the Organ Historical Society on August 19, 1992.

The gallery Casavant has experienced only three tonal alterations since installation. During Mr. Pinché’s tenure, the Grand Orgue 16′ Bombarde was replaced by an 8′ Bourdon. The Solo 16′ Tuba Magna was replaced by a 4′ Orchestral Flute. And the Récit 8′ Trompette was replaced by an 8′ open flute. The 8′ Trompette rank was used for many years in the Casavant in the lower church. It is now in storage, awaiting restoration and reinstallation, or perhaps replacement with a copy, if necessary.

Saints Peter and Paul experienced its largest membership in the 1950s, with more than 15,000 souls on the records. Twenty years later, membership was less than half that number. In 1986, the Dominicans turned administration of the parish back to the diocese. In June of 1996, Saints Peter and Paul was “twinned” with nearby Saint Patrick Catholic Church.

On October 4, 2004, the Vatican raised Saints Peter and Paul Church to the dignity of a minor basilica. The basilica was inaugurated on May 22, 2005, by the Most Reverend Richard Malone, Bishop of Portland. In 2008, the basilica became part of the newly-formed Prince of Peace Parish, which in due time has included all the Catholic parishes of Lewiston. The parish today includes the basilica, Holy Cross, Holy Family, as well as cluster parishes: Holy Trinity, Lisbon Falls, Our Lady of the Rosary, Sabattus, and Saint Francis Mission, Greene (in the summer only). Holy Cross Church has a Casavant organ of two manuals, 25 ranks, installed in 1967.

Saint Mary Church would close in 2000 and become the home of the Franco-American Heritage Center. The Gothic edifice of stone was completed in 1927 to the designs of the same architect as Saints Peter and Paul. It is now used as a performing arts and cultural center, preserving much of the feel of the old church, including its stained glass windows. A photograph at the center’s website reveals that at least the twin cases of the church’s Frazee organ are still present. The organ itself is in storage at the center, awaiting funding for reinstallation.

Saint Joseph Catholic Church was closed October 13, 2009, and sits empty. It is listed on the National Register of Historic Places. Now owned by Central Maine Healthcare, the redbrick Gothic building has been threatened with demolition, though these plans are on hold as of this writing. The building once housed a two-manual Henry Erben organ from 1870, long since replaced by an electronic substitute.

Saint Patrick Catholic Church, facing Kennedy Park along Bates Street at Walnut Street, was founded in 1886. The parish, under the leadership of Monsignor Thomas Wallace, built a grand Gothic church, completed in 1890. Monsignor Wallace was buried in the church crypt. On October 27, 2009, Saint Patrick closed its doors. Its 1893 two-manual Hook & Hastings organ, Opus 1580 (electrified about 1960 by Rostron Kershaw, with minor tonal changes), was removed for relocation to Holy Family Catholic Church of Lewiston, a project partially completed by the Faucher Organ Company of Biddeford, Maine. Completion awaits sufficient funding. This is the first pipe organ for Holy Family Church.

Despite losing its claim as an industrial center in the state, Lewiston today remains the second largest city in Maine, behind Portland. Auburn is located across the Androscoggin River from Lewiston, and the two communities are often considered a single entity. The Lewiston community has experienced a renaissance in recent years.

The seventy-fifth anniversary of the Casavant organs in the upper church was celebrated throughout 2013. The parish sponsors a summer recital series, and that year’s performers included: Karel Paukert; Chris Ganza with Karen Pierce (vocalist); Albert Melton; Randall Mullin; Jacques Boucher with Anne Robert (violinist); Ray Cornils; Julie Huang; Harold Stover; Sean Fleming; and the author. The final program of this series occurred on September 27, featuring Kevin Birch, organist, the Androscoggin Chorale, John Corrie, conductor, and the Men’s Choir of the Basilica, Scott Vaillancourt, director. The program included: Prelude and Fugue in E-flat, BWV 552i, Johann Sebastian Bach; Andante Sostenuto, Symphonie IV, Charles-Marie Widor; Cloches, Marcel Fournier; Carillon de Westminster, Louis Vierne; Sonata I, Alexandre Guilmant, and the Mass for Two Choirs and Two Organs, Widor. Some restorative repairs have been made to the Casavant organs by the Faucher Organ Company of Biddeford, Maine. Ongoing efforts are made to raise funds to complete the project and bring this world-class organ back to its original glory. 

Sources

A Rich Past—A Challenging Future: A Tribute to Ss. Peter and Paul Parish, Saints Peter and Paul Parish, Lewiston, Maine, 1996.

Organ Handbook 1992, Alan M. Laufman, editor, The Organ Historical Society, Richmond, Virginia, 1992, pp. 60–63.

“The Organs of the Church of Ss. Peter & Paul Lewiston, Maine,” Brian Franck and Alan Laufman, The Tracker, vol. 36, no. 2, 1992, pp. 8–13.

Newspaper clippings, Casavant contract information from the basilica archives.

Photography by Stephen Schnurr, except as noted.