TAO Article

Last Modified on September 29, 2021

February 2021 TAO Feature Article

Holy Cross Roman Catholic Church
New York City
Aeolian-Skinner, Opus 908
Restoration by Foley-Baker Inc.
Tolland, Connecticut
Stop List

By Mike Foley

In over 50 years in the organ business, I have learned that few organs were as heavily used as those in Catholic churches during the mid-20th century. I recall working in Waterbury, Connecticut, in the mid-1970s, releathering the organ at just such a church, where there were often—count ’em—100 masses a week, plus a very active funeral and wedding schedule. Six full-time priests and a small army of general staff kept it all going. I remember the rows upon rows of votive lights plus, on the weekends, ushers stationed in the aisles to make people push in deeper so they could seat one more parishioner. All this and absolutely no parking.

Thomas DeFrancesco, director of music and liturgy, Holy Cross Church

Fast-forward to 2010, when we were called to Holy Cross Roman Catholic Church on West 42nd Street in Manhattan. They were about to launch a major makeover of the interior when the contractors decided that the organ had to be removed as the work effort included the choir loft. We cleared our schedule and got the organ out the next week. It was a 1933 three-manual, 29-rank Aeolian-Skinner that, like so many of its sisters in Catholic churches, had been played nearly to death. In places the ivories were worn through to wood. The exterior console cabinetry looked like just what it was—command central for a workhorse instrument. Besides all the coffee cup stains, it had battle scars from the singers and instrumentalists who through the decades had positioned themselves around it while providing music. Swell-shoe rubber had holes like the bottoms of old shoes, and, for some unknown reason, the high G pedal key was totally missing! The Choir division had experienced enough roof leakage to be shut off, and under nearly 80 years of city dirt, the five-horsepower blower was dutifully still running—yet more testimony to the quality of Spencer Turbine’s products. But out it came. Organist Charlie Currin’s good stewardship had convinced a small contingent to stand up for saving and reconditioning their musical treasure, and the organ went off to our Connecticut shops fully expecting a complete overhaul.

But the sanctuary project took precedence, and any monies earmarked for the organ instead went into the black hole of unforeseens that come with such an old building, the oldest on New York City’s famous 42nd Street. Confident that an angel could be found or that money could be raised, we placed the organ in temporary storage in the form of a container on our Tolland shop property. In time all the possible start-work dates faded into memory. When the church’s beloved pastor, Father Peter Colapietro, became ill and passed away, the organ project seemed to disappear with him.

Months turned to years. Pastors came and went. In time, the diocese was seriously considering repurposing the building, a contingency that would need no organ. The Skinner’s size, specification, and pedigree brought interest from possible buyers. Surprisingly, the diocese expressed no interest in a sale. The decision to repurpose was dropped and yet another pastor was assigned. Our pleas to see the organ moved to proper storage were not heeded. At times, we’d open the container doors simply to air out the treasure of organ parts within. There were summers when the interior temperature went to 104 degrees, and of course Connecticut winters when it dipped below -13. We feared the roof might start leaking, as these container rentals aren’t famous for owner interest, certainly not in the form of roof repairs. Ten years later, there remained a few at the church who remembered Opus 908, but no takers for a rebuild.

I remember the moment driving on Interstate 84 when my phone displayed an incoming number with the NYC 212 area code. It was the then-pastor of Holy Cross, Father Thomas Franks. He seemed to know all about the Skinner and wanted me to know they were selling a tiny building near the church that would harvest the funding necessary to do the total reconditioning, even with some added costs resulting from storage issues. It was hard to believe, but it was true: Opus 908 would be saved!

In today’s pipe organ business, big jobs don’t happen too often; these days, not often enough. When one comes in, we call the entire staff together in the main shop and make the announcement. There are few more appreciated moments in our world. Everyone was painfully aware of the stored organ in the container, and we didn’t waste any time in swinging wide its doors to start removing the hundreds of entombed pieces.

We laid them out over hundreds of feet of open space in our Manchester shop. The realization of what had happened was sobering, to say the least. In places the container roof had leaked. There was mold—a lot of it. Even the thick Skinner swell-shade blades were delaminating. Some flute pipes were beyond hope. All four manual chests were opened and closely inspected. More than their grids were damaged; the chests would have to be replaced. Thankfully, the console had been warehoused and at least wasn’t water-damaged.

Could this organ be saved? You bet it could! At this point, Holy Cross had a new and ever-so-interested organist in the form of one young Tom DeFrancesco. Tom’s enthusiasm for the project shot out of his eyes, and every conversation left me ever so thankful for such an important project addition.

FBI tech Rich Cote applies clear coat to the first cleaned 16′ Gemshorn pipe

So, away we went. Everything was opened, inspected, repaired where necessary, releathered, and 100 percent renewed. The same occurred with all the reservoirs and tremolos. New replica manual chests reused the original chest top boards, double-primaries, and stop boxes. All 36 shade blades were reconditioned. This included the very evident lamination issues. Every reservoir was stripped down to a carcass and every interior wood joint sealed with leather stripping to be sure the seams would remain sealed during possible future movement of the wood. I didn’t think it was possible, but many of the metal pipes had taken on a corrosive exterior. As a result, their washing took about three times longer than usual. A bottom octave of zincs could take a day’s time to be properly made ready for a clear-coat sealer. Thanks to their copper content, the chime tubes had turned green. The Swell Flute Triangulaire was beyond salvage. Luckily, Mike Quimby had a twin that we could purchase. All reeds went to Broome and Company for some miraculous work visually and tonally. Hundreds of feet of structural lumber were scrubbed clean. Almost all of Skinner’s wood wind-line flanges had delaminated. We made identical replicas. The metal linkages inside the swell engines became a project in themselves. There are 126 facade pipes. Four were missing at the time of removal and had to be replicated. Nearly all were dented and, rather typically, many ears were missing. We sent them to Organ Supply Industries for a total overhaul.

The organ’s tired state made us look at the very sad but very dry console with excitement for its complete redemption. In comparison with the effort necessary with the chassis, the console’s main issues were with its exterior wood. These surfaces responded beautifully to our cabinetmaker’s touch. The rest was pretty much business as usual. Skinner quality saw it become like new again. Then came another new pastor. Please read on.

FBI techs: Karl Krivanec, Mark Palmer, Douglas McKeever (project leader), and Austin Storo (photo: Tom DeFrancesco)

Father Francis Gasparik took over the reins of one of the diocese’s oldest and neediest buildings. The sanctuary still looked great, but he realized that under and above all this were industrial-strength issues that needed industrial-strength funding. I could just hear it: probably something like, “And we’re spending how much on getting the organ fixed?” All that he saw at the time was a gaping hole in the choir loft and possibly one of the most pathetic electronic substitutes around. How could anyone not respect his outlook? Thankfully, reinstallation started about six months after his arrival. All the hundreds of spotlessly restored parts must have offered hope, and perhaps even some indication as to why organ work is so custom, so expensive. I think it was the installation of all those facade pipes wrapping around the rear gallery (he had selected the color) that offered all of us a glimpse of that light at the end of this seemingly endless tunnel. It was a good moment.

Once the organ was installed and playing, it was obvious to all that this was a special instrument. Tonally, it was the combined effort of E.M. Skinner and G. Donald Harrison. Its sound is as relevant today as it was in 1933. In 1934, noted author and consultant William H. Barnes reviewed the organ and predicted then that its specification would not grow old. To his thinking, it was an example of the best in organbuilding and in organ sound.

It is. It must be. How many organs could go through what this one did and live to tell about it? I’m just glad we did too.

Mike Foley is president of Foley-Baker Inc. Website

Cover photo: John O’Donnell

Last Modified on December 23, 2020

January 2021 TAO Feature Article

St. John’s Episcopal Cathedral
Knoxville, Tennessee
Goulding & Wood Pipe Organ Builders
Indianapolis, Indiana
Stop List

One of the noblest attributes of music is its ability to bring people together. Music has been a staple for groups worshiping together, for it uniquely binds spirits together into a common voice. Pipe organs embody these lofty qualities more than most musical instruments by their literal combination of thousands of individual pipes into a seamless “congregation.” We have always valued the relationships that are built as a natural part of the process of making a pipe organ, and we treasure the friendships with organists, choir directors, ministers, committee members, donors, and parishioners. The organists who play our instruments enjoy a strong camaraderie, referring to each other as “cousins” in the geographically wide family of Goulding Wood.

These dynamics have never been more integral to a project than at St. John’s Cathedral in Knoxville, Tennessee, home to our Opus 52. St. John’s is a thriving downtown congregation that has been at the heart of Knoxville for nearly 200 years. An early president of the University of Tennessee also served as the rector, and the American novelist James Agee was an acolyte there during his youth. The present building was completed in 1892, and it reflects the Richardsonian Romanesque style in vogue at the time. The gracious crossing tower accounts for half of the floor space of the room, with modest nave and transepts completing the cruciform shape. The chancel features a faceted apse that projects sound extraordinarily well, such that a priest at the high altar can use a natural speaking voice to be heard clearly throughout the room.

St. John’s music program has been a vital part of the congregation’s identity. During the 1982 World’s Fair, St. John’s initiated a free noontime concert series, and this series continued for nearly 35 years. More recently, the music program has seen a resurgence of activity and prominence within the cultural life of Knoxville. A new concert series has included full-scale operas and hosted both regional and English choirs. The cathedral once again has a strong treble choir of boys and girls that sings regularly with the adults. The choirs have performed in the internationally acclaimed Big Ears Festival, and the cathedral has been one of the main venues throughout the festival. The choir has sung at sister cathedrals throughout the Southeast, and in 2019 it was in residence at Bristol Cathedral in the U.K. A visionary family within the congregation saw the need for an excellent organ to support the music program and expand the musical possibilities of the cathedral, setting in motion a process to identify a builder that would be a perfect match. The dean of the cathedral assembled a task force, and the team visited organs throughout the Southeast. Following a year of study, the task force unanimously chose Goulding & Wood as the ideal partner in fulfilling this vision.

Despite the merits of the acoustics in the cathedral church, the architecture of the room undermined the efficacy of the organ. A single side chamber kept the organ’s sound constrained and distant. The task force thus requested that the organ occupy a position within the acoustically favorable chancel dome in addition to the side chamber. This bold move would ensure the even distribution of sound throughout the room and create a prominent visual statement in the chancel. Although the room is modest in size, the task force elected to retain an Antiphonal division, yet they further expressed a hope for a more substantial physical and ornamental presence for the liturgical west wall. An earlier instrument attempted to mitigate the tonal limitations of the chamber by dislocating the Great division to a transept wall. When a later incarnation of the organ brought the Great back into the chamber, the support structure was repurposed for a horizontal trumpet. It was determined to maintain this element, and new cabinetry that harmonizes with the other casework integrates the new Festival Trumpet with the rest of the instrument.

Design of the organ developed quickly. Lead engineer Monty Thurman and case designer Robert Duffy coordinated their ideas and plans with Jeff Johnson, one of Knoxville’s most accomplished architects and a member of the St. John’s congregation. Gothic elements from the chancel furnishings are echoed in the organ cabinetry along with new symbols and details. The oak cabinetry is highlighted with accents in gold leaf, including the first phrase of the First Song of Isaiah (“Surely it is God who saves me; I will trust in him and not be afraid.”) carved into panels of the chancel facades. Seating for the choir in the lower case is patterned after the stalls of English choirs, with each seat adorned by a unique cross. The Antiphonal cases flank the commanding window on the rear wall and help carry the eye up, emphasizing verticality. Raised carvings below the Antiphonal pipe array repeat the filigree pattern of stenciling on the panels of the apse ceiling. Polished tin pipes with mouths finished in gold leaf add brilliance and warmth to the room.

Musically, the organ follows our established style of organizing an instrument’s resources along the needs of liturgical worship. A powerful principal chorus on the Great serves as the backbone for hymn singing, and balanced plenums in the Swell and Choir augment the main chorus. The Pedal features its own complete and independent chorus, including a hefty four-rank mixture. The Great is built on First and Second Open Diapasons located in the opposing cases of the chancel. Aside from offering principal ranks of varying intensity and color, positioning the two on opposite sides facilitates accompanying the choir seated decani and cantoris. The Antiphonal division also has a fully developed principal chorus, and its 8′ Echo Diapason is matched with a broad Diapason Celeste.

The flutes of the organ cross a wide spectrum of volume and color. The Great 8′ Bourdon and 4′ Open Flute provide a basis of accompanimental flutes substantial enough to lead congregational singing. The searing 8′ Harmonic Flute, located close to the apse ceiling, sings throughout the room. The Swell’s harmonic flute chorus adds sparkle, while the Choir’s flute chorus comprises a generous six-rank cornet décomposé. The Pedal has independent flutes at 16′ , 8′, and 4′ . The last of these, the 4′ Cantus Flute, is a stop our shop has developed over several years to address the needs of literature calling for a solo line in the Pedal, such as the fourth movement of Widor’s Fifth Symphony.

The pipework in the organ was constructed by A.R. Schopp’s Sons of Alliance, Ohio, and the facade pipes, including the decorative embossed pipes, were built by Jacques Stinkens of Zeist, Holland. Jerin Kelly, our staff voicer, worked with all the pipework in the Goulding & Wood shop, ensuring a smooth ensemble, and finishing the completed ensemble on site.

Main windchests in the organ all have Goulding & Wood’s exclusive electropneumatic slider and pallet design. Slider chests maximize blend within choruses and boast a mechanical efficiency and simplicity that results in reliability and longevity. Solid State Organ Systems designed and built a state-of-the-art control system with numerous console assists that are discreetly placed in the understated terraced-jamb console.

All design considerations, from the tonal architecture to the mechanical design, flow from our desire to have the organ serve the congregation of St. John’s. Our approach to organbuilding keeps our focus on the most satisfying aspect of the business, that of building relationships. This project had an extraordinary relationship embedded in it, for the director of music is Jason Overall, who has long been one of our team members and the face of the company to many committees over the years, and who continues to assist us with both new and old projects.

The task force was ably led by Dr. Frank Gray, a retired orthopedic surgeon who was also a professional-level concert pianist. Dr. Gray deftly coordinated a multifaceted cathedral-renovation project and kept everyone in close contact. As we neared the time for installation, we learned that he had a rare and extremely aggressive form of cancer. Throughout the weeks of installation, he nonetheless kept our crew supplied with doughnuts, delighted in seeing the instrument come together, and ensured that the crew had everything necessary from the other contractors on the job.

The organ was given in honor of Jim and Natalie Haslam by Steve and Ann Bailey, and the four of them felt strongly that we should move ahead with a dedication as early as possible. The organ’s construction was completed by the first of March, and it was ready for tuning and rough regulation. On March 8 the organ was dedicated in the morning Eucharistic service with the Very Rev. John Ross, dean, and the Right Rev. Brian Cole, bishop, officiating. The following week the country shut down because of the pandemic, and work on the organ stopped immediately. St. John’s has been able to use the organ in services, both virtually and now live, throughout the pandemic, even with the interruption in tonal finishing. Our tonal staff has since been able to resume and expects to complete the process by the end of 2020. It has enriched the life of the cathedral through Sunday services, Evensongs, and even organ recitals.

Sadly, Dr. Gray passed away in April, yet we are thankful that he saw the ceremonial completion of the project. If the success of a pipe organ can be measured in the strength of the relationships it creates, the organ at St. John’s is among our greatest achievements. It enhances the appearance of the room, inviting worshipers (either virtual or in person) into a more intimate interaction with the space. Its sounds create shared musical experiences that transcend worship into deep personal connection. Most importantly, the process has added new cousins to our family and a deeper reach into the lives of worshipers and music lovers in East Tennessee.

Goulding Wood Pipe Organ Builders

Last Modified on November 20, 2020

December 2020 TAO Feature Article

The Parish of
Our Lady of Fatima
(Paróquia Nossa Senhora de Fátima das Furnas da Tijuca)
Rio de Janeiro, Brazil
Lewtak Pipe Organ Builders, Inc.

By Lance G. Hill

The new organ for Brazil in the assembly room of the Lewtak shop in North Carolina

A little bit of humanity begins this article. I first met Tom Lewtak while he was a graduate organ student at the State University of New York at Binghamton. We became friends immediately, and my wife and I became the godparents to one of his sons. The friendship has endured now for 27 years! In the meantime, I was honored to witness and discuss the many points of the development and construction of this particular organ, marveling at the skill and artistry of the Lewtak team. I wish to give the reader the perspective of a person familiar with the firm from the time of its conception—Lewtak Pipe Organ Builders will celebrate its 20th anniversary in 2021—and also to present the viewpoint of someone who is a lifelong professional involved in the technical domain of the musical world.

Preliminary sketch of the organ facade’s design concept

It all began in 2013 when a group of students was giving a concert on the Tannenberg organ at the Home Moravian Church in Old Salem, North Carolina. Afterward, one student from East Carolina University approached Tom Lewtak, mentioning that he was Brazilian and wondering if Lewtak Pipe Organ Builders would be interested in building an organ for his friend, a priest. Tom recounts: “Dr. Kris Rizzotto, a fine organist and composer, had no idea that our casual conversation might result in our shop undertaking this unusual organ.” After going through various twists and turns, and after building three other new instruments, work on what they call the “Brazil” organ continued at a slow but consistent pace. Seven years later, the organ is now ready.

While the project commenced in the fall of 2014, the time of Tom’s trip to see the church in Rio de Janeiro, it also saw the priest being transferred to another church, and thus, in a truly remarkable twist, the whole project moving with the priest. The original case design was prepared for a different church, one with much ornamentation in the Brazilian rococo style. The new location is a considerably smaller Portuguese missionary-style building with much less inner ornamentation and opulence, one that Mr. Lewtak deemed to be more suitable for the size of the organ. The physical space for the instrument, however, was greatly limited, thus requiring the builder to redesign the organ case and its facade in order to fit into the new church. The redesign occurred after many of the original ornaments were already made.

Keydesk placed on the back wall of the organ cabinet

The Brazil organ is the smallest that Lewtak Pipe Organ Builders has ever constructed. It boasts a modest ten stops and twelve ranks of pipes. This naturally makes each stop that much more important. Everything counts, and each stop has a significant impact on the ensemble. Every rank was voiced with ultimate care to provide the individual flavor in addition to the proper blend with other stops. Quality was considered far more important than quantity. The size was dictated by the church’s dimensions, but primarily by the budget. New pipe organs remain a rarity in Brazil, partly because of difficult economic times.

The first sketch of the facade was jotted on a piece of scrap paper by Father Sergio Muniz, the pastor of Our Lady of Fatima Parish, during dinner in Rio. His initial idea prevailed, and the refined version became a faithful rendering of the priest’s concepts. Due to the lack of funds, the organ was built slowly. There was difficulty in time-paying, and therefore many other projects took precedence. In many ways, it was one of the most difficult ventures ever attempted by the shop because of the considerable spread in time.

The organ is a tracker, with both the key action and the stop action operated via mechanical linkage. Only two items in the organ were equipped with electricity: the blower and lights above the music rack. The construction benefited from the firm’s ultramodern machinery, with many parts of the organ, including the cabinet and facade, crafted using the CNC machine and laser cutters. Having this capability in-house allowed them to push the envelope right from the design stage. They let their imaginations venture into territories considered off-limits simply because of the difficulty in achieving the results. What used to be regarded as budget-breaking propositions are now within reach at a modest cost.

View of the facade showing intricate ornamentation (1)

Worth mentioning is Lewtak’s obsessive attention to detail, often with complete disregard for the time, effort, and cost needed to attain the proper result. This is especially true when it comes to tonal finishing, which often takes many months after the organ is deemed playable. The builder’s clients rave about the quality they receive, a most important ingredient for any business wishing to flourish and endure. Time teaches one over the years to only use the best materials obtainable for the interior and exterior.

View of the facade showing intricate ornamentation (2)

The ornaments were handmade by Tom Lewtak’s brother Paul, who lives in Poland and is an accomplished sculptor. They took him four months to create, after which they were shipped over to the shop in North Carolina. In this complicated process, the original ornaments were sculpted in clay. A mold was then created into which epoxy resin was later poured. After curing, each ornament was artistically painted to achieve the desired effect. All this for one reason: In the Brazilian climate, wood-eating bugs quickly devour anything made from the soft wood normally used for these kinds of ornaments. The drawknobs for the organ’s stops are made from rosewood and have inserts from genuine Baltic amber—just a touch of Tom’s Polish roots coming through, since he has seen amber jewelry everywhere in his native city of Gdańsk. Amber remains highly prized for its uniqueness and intrinsic beauty. The facade pipe mouths are gilded with 24-karat gold, and so are the twisted ropes visible in the moldings on the case. The entire facade is made of solid sapele, an African wood with an exceptionally attractive grain pattern. No expense was spared. Due to the design change in the midst of the project, the company had leftover ornaments and decided to place them in the back of the organ case and above the music desk and keyboards.

Candle sconces were crafted to maintain character appropriate to an older-style, all-mechanical organ.

The country of Brazil is indeed fortunate to have this glorious instrument with both its musical capabilities and its extraordinary appearance. Being destined for South America, made in North America by an organbuilder with strong European roots, it is truly a global effort, one that will greatly enhance the sacred liturgies of Father Muniz and his parish.

A wealth of information about the builder, this project, and others is available on Lewtak’s web portal.

Lance G. Hill is a classical music radio broadcaster and piano technician for the State University of New York–Binghamton.

Photography: Kacper Lewtak

Last Modified on April 17, 2023

November 2020 TAO Feature Article

St. Andrew the Apostle Catholic Church
Clifton, Virginia
Peragallo Organ Company
Paterson, New Jersey
Stop List

By John Peragallo III

Today, we inescapably find ourselves in a world of ecclesiastical change, with many venerable parishes being forced to close their doors. Fine organs that provided years of liturgical service for generations of worship are becoming available as one of the more valuable assets to be disposed of. The decision to pursue a repurposed instrument or utilize pipes from one of these vintage organs is a real choice. The possibility of ending up with a bit of history is coupled with the overall cost savings compared with a completely new instrument. Properly relocated and reimaged, these organs can find new life as the cornerstone of yet another successful music ministry. This is the story of one such happy marriage!

Bloomfield Presbyterian Church on the Green, New Jersey

The new instrument at St. Andrew the Apostle Catholic Church began life many years ago, several states north of Virginia. In 2008, the historic Bloomfield Presbyterian Church on the green in Bloomfield, New Jersey, commissioned Peragallo with the building of a new organ under the guidance of Timothy Tarantino, who was then organist of the parish. This new instrument was to contain pipework from previous instruments, including the two-manual, 33-rank L.C. Harrison & Co. organ installed in 1883 and presided over by none other than Charles Ives during his time in New Jersey. This was followed by the 1911 Austin Opus 347, a three-manual, 30-rank organ updated in 1958–59, with subsequent relocations and new pipework by the Church Organ Company in 1970. Quite a historical legacy!

The 2008 Peragallo Opus 693 was a French Romantic design of 2,881 pipes across the rear of the choir loft in chambers fronted by gorgeous pipe cases and a handcrafted, cantilevered Great casework of solid mahogany. New pipework stood alongside the vintage repurposed pipes of these various builders. When the church was closed, merely months after the organ dedication date, we were heartbroken. The congregation had spent years and large sums of money to study and stabilize the structure, only to be left with a historic space that needed extensive and costly restorations. They approached us knowing that one of the most valuable assets they possessed to get back on their feet was this new organ, and asked us to explore finding a new home for it.

Enter Mike Murphy, organ committee chair at St. Andrew’s, in search of an instrument to serve as the cornerstone of his vibrant parish music ministry in Clifton, Virginia. The Peragallo family subsequently visited the church to evaluate the worship space and discuss the role of the organ in parish worship. We immediately recognized that we had found a perfect solution for both churches.

The worship space of St. Andrew’s is far from the traditional architectural style of the classically American Presbyterian church in Bloomfield. The new space for the instrument is formed by many angled surfaces and is entered via the center of one of the long sides, with the altar and tabernacle on the opposite wall. A chapel area shares the acoustics of the sanctuary, and a majority of the room is circled by a balcony that is home to the music ministry.

Several factors made this an exceptionally inviting match: the general size of the instrument (51 ranks), the like-new condition (a 2008 completion not played since 2009), the low-profile terraced key desk (Mike Murphy is very fond of French organ literature), the scaling of the pipework (the acoustic and volume of the spaces are similar), and finally, our vision to reconfigure the existing casework within the new worship space.

The parish of St. Andrew the Apostle is most collegial, and all aspects of ministry, both old and young, were soon involved with fundraising efforts for the new instrument. Associate vicar Fr. Brigada set up a “Pennies for Pipes” drive in the school. Several evenings were held at parishioners’ homes to educate all on the positive effect a fine pipe organ can bring to a growing music program. A Sunday afternoon celebration at the local Paradise Springs Winery allowed us to unveil the reimaged organ design for the choir and interested donors. The Diocese of Arlington signed a contract with Peragallo in August 2019, launching the process of reconfiguring the organ for its new parish.

The new design consists of three independent handcrafted cases of mahogany. Each division is tonally very complete within itself. The pipes of the Grand-Orgue are positioned high in the center case, allowing the sound to follow the roofline and flood the nave with balanced tone. The larger pedal flues are in a new addition to the rear of the Grand-Orgue case. The expressive divisions are set in complementary cases, with the tonal openings positioned at an angle firing across the nave. Instead of sounding like three independent entities, this configuration creates tonal blend. Finally, these three cases set up a most welcome acoustical shell to gather and enhance tonal projection of choral music into the nave.

As with most Peragallo installations, one expects to find a chamade—whether a chorus reed or a decorated commander in chief! The solo reed is mounted in a clustered design and is indeed a true leader on high wind pressure. The resonators are large-scale, with big flares and Willis shallots. The tone is rounder than the complementing French Bombarde of the Choeur division.

Worthy of special mention is the uniquely designed Chapel/Cantor Chancel Organ. This division speaks from an alcove on the far end of the sanctuary, allowing the Walker digital voices to speak nicely into both the chapel and the sanctuary. The stop selection of this organ is purely functional—to accompany the cantor in the sanctuary without the congregation hearing the organ first. Rather than placing the stops all on one floating division, we have considered the implementation of the sounds in worship. The Chancel Récit features two gorgeous solo stops—the Corno di Bassetto, and the Flauto veneziano to intone the psalm refrain. The Chancel Choeur includes a two-rank Cor de chamois céleste to accompany the psalm verses. Finally, the Chancel Grand-Orgue is home to a small principal chorus to provide congregational accompaniment in the chapel.

The integration of the organ in the new space was a truly collaborative experience. Parishioners Mike Murphy and Mike Hadro brought unrelenting energy to assure that this project would become a reality. We thank recently installed pastor Fr. Robert Wagner and Diocese of Arlington representative Mike Thorton for their patience during all the challenges brought with the installation of this organ during the coronavirus pandemic.

It is our sincere hope that Opus 693/762 will provide a firm foundation for the musical faith life of this wonderful parish for many years to come.

John Peragallo III is president of Peragallo Organ Company. Website

Photography: Clarence Butts

Three independent cases of mahogany in the gallery

Last Modified on January 14, 2021

October 2020 TAO Feature Article

The Liturgical-Symphonic Organ, or A Tale of Two Austins
St. John Vianney Catholic Church
Houston, Texas • Austin Opus 2798

Connelly Chapel, DeSales University
Center Valley, Pennsylvania • Austin Opus 2800

By Michael B. Fazio

Background

Side view of Opus 2798 showing chamade and facade

Many of us remember the American Classic tonal concept as espoused by Aeolian-Skinner and others. It was born of the Orgelbewegung (also called the Organ Reform Movement) that began in Europe during the 1920s. Coming across the pond, it was tempered by American sentiments. Each major builder had their own take on the idea; while some considered it as simply a marketing scheme, others assumed the mantle proposed by the movement with unwavering devotion. G. Donald Harrison of Aeolian-Skinner conceived the American Classic organ as a single instrument that could convincingly play music of all styles and eras with equal facility. Meanwhile, in Hartford, Connecticut, Austin Organs followed its own slow and carefully measured path; Austin was never an early adopter.

Robert Pier Elliot, a director of the Austin Company at the start of the 20th century, was instrumental in bringing an Englishman to the company in 1903. This individual, Robert Hope-Jones (1859–1914), installed as vice president, would have an extremely brief tenure in Hartford, but would become known as a controversial character in the organ world in short order. He eventually worked for the Wurlitzer Company, and he is rightly credited with the invention of the theater organ. His guiding principle was that the organ would encompass the instruments of the orchestra and, in fact, could emulate and thus become a complete orchestra unto itself. To this day, many of the orchestral or color stops we find in our instruments echo his vision in this respect. Austin published a pamphlet in 1911 exemplifying their version of the “unit orchestra” for hotels, theaters, and various public venues. Orgelbewegung followers later vilified these concepts in both tonal and mechanical aspects.

Opus 2798 with some pipework in place before the shades and case were installed

In the early 1930s, James Jamison (1905–57) was considered Austin Organ Company’s de facto tonal director, as this role had not been part of Austin’s operation to date. While he never maintained an office at the factory in Hartford, he lived in California, designing instruments in diaspora. Jamison had certain ideas with respect to tonal design; they are embodied in his book, Organ Design and Appraisal, published in 1959. Many Austin installations, from Connecticut to Hawaii, are examples of his designs. The most significant impact he had on Austin Organs was his work involving the scaling of the diapason chorus. It was developed from specifications found in The Art of Organ-Building by George Ashdown Audsley, published in 1905. Within the pages of our ancient office copy, one can find notes in the margins by Jamison and Basil Austin. The result was a “new” chorus, and it was debuted in the Austin showroom in 1933 to “critical acclaim of local and visiting organists.”

In 1954, Richard Piper (1904–78) became Austin’s first resident tonal director. Jamison was still in California, selling and designing organs, often different in approach, yet similar in result. David Broome (1932–2013), also an émigré from the U.K., arrived at Austin in 1959, working primarily as a reed voicer. Early on, he began working with Piper, whom he had known in England. Piper retired in 1978, and Broome continued the same basic trajectory, maintaining full confidence in the American Classic ideal.

View inside the Great, showing Cor d’Amour (Bassoon) and Cornet V

In 2005, after 112 years of family proprietorship, the current owners purchased the Austin company. Analyzing current trends, we came to the conclusion that the organ tonal pendulum was swinging yet again. The bob was pointing back toward an earlier time, and we were happy about that. We have always been fond of signature orchestral voices such as the French Horn, Tuba, and Cor Anglais, not to mention big flutes and spicy strings; so we welcomed the opportunity to build in this style. The question on our lips was “What are we building?” The answer became clear: It was a tempered amalgamation of the best of the American Classic virtues, integrating the most useful (given space and budget limitations) orchestral/symphonic voices and associated scaling requirements. Perhaps in this instant, Austin was an early adopter of a new concept? The real question was “How can we make this tonal scheme viable for the service of the church?”

The senior staff at Austin has several veteran and current church organists; four of us have served at Roman Catholic and Episcopal cathedrals. From that background, we felt as though we had a strong grasp on what would prove useful for regular corporate worship, choral accompaniment, and performance of literature in the liturgical setting. Our critical focus was on the desire to get it right and not chance experimenting with a church’s trust.

Renovation projects over the past decade have involved several vintage Austins. This is always an emotionally rewarding venture for us. Instruments from the 1960s are often thin and somewhat lacking in character. In these cases, rescaling the diapason choruses, including some colorful reeds and flutes, gently increasing wind pressures, and general voicing yield exceptional results. Instruments from the early 20th century often need more clarity and tonal cohesion. One instrument in particular was Austin Opus 1702, built in 1930 for Old St. Mary’s Church in Cincinnati. In 2012, we embarked on a complete mechanical and tonal reconstruction. One interesting stop, a somewhat tired set of pipes marked 8’ Bassoon, caught my attention, because we often think of a Bassoon as a 16’ stop. It carried the opus number of the long-gone Austin installed in the Cincinnati Music Hall: Opus 1109 (1919). In reviewing the details from that instrument’s construction, we found that the Bassoon was patterned after a stop of the same name from Opus 1010 in the Eastman School of Music auditorium. This organ, monstrous by theater organ standards at 134 ranks, was laid out by Harold Gleason according to concepts as promulgated by Audsley. The orchestral element was strong, but as a balance, it also had a plethora of upperwork. The Bassoon was unique. I asked our pipemaker if he had ever heard of one while we were examining the pipes from Cincinnati. He told me that we had some patterns in the basement used for small trumpets in the 1970s that might work. Sure enough, those old patterns were engraved with their first use—Opus 1010! We have built three of these 8’ Bassoons since.

Portrait of Austin Opus 2800 at DeSales University

Opus 2798

An exceptional opportunity to build an instrument in this expansive new style presented itself at St. John Vianney Catholic Church in Houston. The process began with a phone call from Clayton Roberts, the church’s principal organist. It was clear from the outset what kind of instrument he wanted to build, and Austin was up to the challenge! The manual divisions of the organ would be enclosed; in fact, we discussed the possibility of building a double enclosure (two sets of shades in front of Great, Swell, and Choir organs) from the start. One set of louvers would serve as master expression (a single pedal opening all three primary divisions). The secondary set of shades would be controlled by individual swell pedals for each department, with stop controls to separate the primary shades also. Also, a master All Swells to Swell control would be available. The Solo division (installed in a chamber to the right of the main organ) would have a single set of shades operated by a dedicated pedal.
While each division has a specification typical of what one might expect in a liturgical instrument, there are stops that are unique to symphonic design. In the Great, along with a plethora of foundation stops, we see an 8’ Bassoon, similar to the pipes found in Opus 1010, except that this stop is capped and voiced rather sweetly, and so it carries the name Cor d’Amour 8’. The Swell reeds are effectively symphonic and carry broad tone. Notable also is the Vox Humana, one of two in this instrument. The Choir boasts a grand Trumpet, brighter than the Swell reeds, but of a slightly demure dynamic. The Solo speaks clearly from the right chamber, of bold character but not overbearing for the space. The chamade is built to our Waldhorn specification—commanding, but not bombastic. The four-manual drawknob console on an enclosed dolly is built to Austin’s standard, playing through a Solid State Organ Systems control system.

Opus 2800

In keeping with DeSales University’s Roman Catholic–Salesian tradition, Connelly Chapel sits on the top of the hill, keeping watchful eye over the entire campus. The worship space is intimate but reverberant, as the room is shaped somewhat like the inverted hull of a massive schooner: tapered at each end, with ample belly in the middle. This curious pattern delivers an auditorium where one cannot find a bad seat for hearing either voice or organ clearly. That said, the architect did not plan space for an organ at either end of the chapel, but by clever repurposing of a small side chapel and the music library on the opposite side of the chancel, we were able to create space for the two enclosed divisions. The design parameters specified by Dennis Varley, director of liturgical music and creator of the new Catholic Liturgical Music Scholars program, called for a modest three-manual specification. We proposed an exposed Great comprising a rich diapason chorus, and a Swell that delivers not only the essence of a classic English full Swell, but meets the requirements of adequate performance of the literature. The Choir/Orchestral organ fulfills some of the middle ground. Its ensemble will serve as a tertiary chorus of sorts, while it maintains many solo voices and colors required for symphonic rendition of transcriptions. Due to space limitations, much of the Pedal depends on the generosity of its neighbors. The three-manual drawknob console is movable, built on an Austin enclosed dolly system.

Summary

These two specifications are rather different in scope and size, yet similar in approach. Each boasts clear diapason choruses, a plethora of color stops, and stops with symphonic character. Yet each instrument delivers tonal clarity and appropriate strength in respective departments. Each specification can play a diverse range of literature while supporting congregational song and, perhaps most importantly, the ever-expanding needs of the liturgy.

Michael B. Fazio is president and tonal director of Austin Organs Inc. Website.

Last Modified on May 27, 2021

September 2020 TAO Feature Article

Boston Avenue United Methodist Church
Tulsa, Oklahoma
Foley-Baker Inc. • Tolland, Connecticut
By Mike Foley

We were working in Tulsa when I spotted a unique Art Deco building standing tall at the end of the city’s princely Boston Avenue. It looked like a small version of the Empire State Building. I was told it was Boston Avenue United Methodist Church, designed by a most talented local artist and teacher, Adah Robinson. It opened in 1929 and indeed was meant to look as strikingly strong and elegant as it does. The interior is very large, with meeting rooms and offices everywhere, including the senior pastor’s at the top of the tower. The focal point is the 1,358-seat sanctuary-in-the-round, accessed by a spectacular narthex. The entire place is an Art Deco paradise.

Kilgen was contracted to install the original four-manual, 51-rank organ in the four chambers located to the left and right of the choir pews. In traditional settings, this would be a typical arrangement, but the wide, theater-like sanctuary meant that chambers were considerably separated. Despite being hidden behind heavy plaster grilles, with its big scales and high pressures, the Kilgen’s sound was doubtless quite heavy. It all went away in 1961 when the church purchased Möller Opus 9580 (four manuals, 71 ranks). Nearly a knee-jerk reaction to the sound of the Kilgen, the Möller was well built but typical for the ’60s: low pressures, thin, and brilliant. In 1986, Möller returned to broaden the sound, and they added another 34 ranks. The work also saw half the chambers and their openings enlarged. The restrictive grilles were replaced with new facades, thereby allowing the larger specification as well as improved tonal egress. The added stops did indeed broaden the tonal palette, but the process left the chambers so stuffed that the layouts were a cacophony of pipes, chests, wind lines, and wires. Plain and simple, they looked like Grandma’s attic. Tuning access was difficult; service was in places impossible.

During a major project on the Austin at Tulsa’s First Presbyterian Church, their organist, Ron Pearson, introduced us to Susan and Joel Panciera, the music team at Boston Avenue, and Fred Elder, a much-informed and interested retired BAM organist. Shortly after, we began including the organ in our tuning rounds. This gave us a good opportunity to get familiar with both its strengths and weaknesses. In time, we were asked to present a plan to rebuild the instrument. This would be no small task.

There was no changing the chamber placements or improving the sanctuary’s dry acoustic. Something that could be tackled, however, was the chamber wall surfaces. Dating from the Kilgen’s time, instead of projecting sound out, these soft, wood walls absorbed and retained sound. Everything from bass to treble suffered. Even swell shade effectiveness was compromised. Therefore, right after we had removed the organ, the project started with the church’s contractor stiffening the walls and covering every surface with drywall, finished glass-smooth and painted gloss-white. It worked! Whispers within them became audible most anywhere in the sanctuary. For the first time in the church’s history, these chambers would properly project sound. Excitement grew.

Over the years, the organ had grown to an unwieldy 105 ranks, some of which were redundant stops and others of which, the organists admitted, were seldom used. We determined early on that the existing chambers were more suited for a smaller instrument. Our design therefore reduced the total count to 76 all-important ranks. Each was carefully specced—or if reused, selected—to achieve the best possible tonal cohesion: the two words that determine the tonal success of any instrument.

Mechanically, new slider chests replaced Möller’s leather-heavy pitmans. Simple schwimmer reservoirs saw over half of Möller’s 31 bellows go away, clearing the decks for new and proper layouts that made for a well-laid-out and serviceable organ. The annoying pitch drift that existed between divisions was tackled with all-new insulation behind the chamber walls and ceilings. Especially subject to drift were the many speaking facade pipes, as the temperatures outside the chambers were often different from those inside. Roomier chambers saw the facades become mute and their new replacement pipes installed inside, within their divisions. Voila! No more pitch drift.

The console was gutted to the shell. New manuals, pistons, jambs, and a proper lineup of drawknobs make for a most welcome and new level of comfort for the organist. Updating and reusing the recently installed Peterson relay system offered good savings. The console was refinished with new contrasting colors and a new adjustable-height bench.

The 1929, 15-horsepower Spencer blower was completely reconditioned and reused, as was the original static reservoir. Air lines were cleaned and flanges regasketed. The rebuilt instrument uses soldered, galvanized metal wind lines throughout.

Every piece of reused equipment was completely reconditioned. Every piece of leather was replaced. Every flue pipe was washed or cleaned, repaired as necessary, and revoiced on our voicing machines. Any cracks in wood pipes were spline-repaired. Reeds were all reconditioned by Broome & Company.

Regardless of how perfectly an organ looks and works, in the end, it all comes down to its sound. As always, I am proud to offer that our tonal director, Milovan Popovic, has once more worked his magic and come up with what is without question a most desirable outcome: a musical organ. It becomes obvious the moment organists try their hand. Most seem to feel the organ makes the most of whatever they play. This medium- to large-size instrument offers three principal choruses, three different sets of strings, and a good variety of flutes. The Solo reeds satisfy any melody, plus there are two 16–8–4 reed choruses that build ensembles to massive but musical climaxes. These are capped by the new high-pressure Tuba located in the Antiphonal chamber, masked by the now unused en chamade that was dangerously inaccessible. Thanks to those hard chambers, the organ’s bass purrs or roars. The room’s floor can actually be felt shaking. The Wurlitzer small-scale Diaphone sits always in the background, but instantly, albeit gently, projecting any 16′ pedal tone.

At FBI, we can build organs, but having opportunities like this to be a Monday-morning quarterback, finally fix the wrongs, and deliver a genuinely satisfying instrument is what we’re really all about. For the record, we selectively reused and revoiced 51 percent of the Möller pipes. The bottom-line cost for the project represented an approximate 21-percent savings over the cost of a like-kind new pipe organ. A dedication program will be planned for the future.

Mike Foley is president of Foley-Baker Inc. Website.

All photos (including cover): Miller Photography Inc.

Stop List