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Composers of Organ Music:
Anniversaries in 2024
St Edmund the King,
Lombard Street, London
Friedrich Lux
Bruckner’s Recitals
Organ music of the
early 17th-century
Chicago’s
largest colussus
No 408 | £8.00
May – July 2024
www.theorganmag.co m
Published since 1921
30 No 408 | THE O RGAN | SPR ING 202 4
■estled majestically along the
bustling Michigan Avenue in
Chicago, the Fourth
Presbyterian Church is a testament to
faith and architectural splendour. Since
its inception in 1848, when it was
founded as a congregation in the
burgeoning city of Chicago, the church
has served as a beacon of hope and
worship for millions of individuals, with
its iconic stone façade welcoming
congregants and visitors alike.
The church’s journey began amidst
the ashes of the Great Chicago Fire,
which razed its original building to the
ground in 1871. Undeterred, the
congregation persevered, nding solace
and communion in a new location at
Rush and Superior until 1914. That year,
the cornerstone for the current church,
designed by esteemed architect Ralph
Adams Cram, was laid, marking the
beginning of a new chapter in the
church’s storied history.
Cram, renowned for his Gothic
revival style, infused the Fourth Church
with a unique blend of English and
French Gothic elements, resulting in a
structure that exudes grandeur and grace.
The imposing Bedford limestone walls,
sourced from the same quarries as iconic
landmarks such as the Empire State
Building and the National Cathedral,
lend a timeless quality to the church’s
exterior, while the interior boasts
intricate stained-glass windows craed
by Charles Connick of Boston.
Stepping through the church’s doors,
visitors are greeted by a sanctuary that
transports them back to the early 20th
century. The soaring ceilings,
reminiscent of an inverted ship, draw the
eye heavenward, adorned with
meticulously restored canvases painted
by Frederick C. Bartlett. The side aisles
are guarded by hand-carved angels, a
testament to the crasmanship and
attention to detail that went into every
aspect of the church’s construction.
One of the most notable features of
the Fourth Church is its commitment to
preserving its heritage while embracing
modernity. In 1995, the addition of the
Loggia, a light-lled gallery on the north
side of the courtyard, seamlessly
integrated accessibility into the historic
structure, allowing congregants to move
between street level and the sanctuary
without stairs. Similarly, the Gratz
Center, a 5-story glass-and-copper
addition dedicated in 2012, symbolises
the church’s continued growth and
vitality, connecting the old and new
halves of the campus with a large atrium,
the Gignilliat Commons.
Throughout its history, the Fourth
Church has remained a pillar of the
Presbyterian faith, attracting thousands
of members and visitors annually.
Dr Michał Szostak
N
Fourth Presbyterian Church of Chicago
Introduction
In March and April 2024, I undertook a Spring recital tour
to the United States to perform at a few venues in Chicago,
Illinois and San Francisco, California. The rst stop on that
trip was the Fourth Presbyterian Church in Chicago, where
in 2015, the Quimby Pipe Organs company built the most
prominent instrument in the city and the whole Midwest.
This article describes the church’s history (one of the
largest in the city), the history of its instruments, the current
organ and some fundamental facts about the organ-building
company that created that colossus.
Chicago’s largest
Colossus
SPR ING 20 24 | T HE ORGA N | N o 40 8 3 1
In 2013, it boasted a membership of
5,540, making it the second-largest
Presbyterian congregation in the United
States. Installing a three-million-dollar
pipe organ in 2015 further solidied the
church’s reputation as a centre for music
and worship in the Midwest, heralding a
new era of musical excellence.
Beyond its religious signicance, the
Fourth Presbyterian Church has also
played a vital role in Chicago’s social and
cultural life. Through its various
outreach programmes and community
initiatives, the church has sought to
address homelessness, poverty, and social
injustice, embodying the principles of
compassion and service that lie at the
heart of its mission.
As many as 8 million individuals
have crossed the threshold of Fourth
Presbyterian Church since 1914; each has
been greeted by a sanctuary that
transcends time and space, oering
Figure 1. Fourth Presbyterian Church of Chicago
Source: Michał Szostak.
32 No 408 | THE O RGAN | SPR ING 202 4
CH OIR O RGAN
Manual I (enclosed)
17 Ranks
10” w.p.
South Transept Case
Kleiner Erzähler 16'
Diapason 8'
Flauto Traverso 8'
Kleiner Erzähler+ 8'
Erzähler Celeste TC+ 8'
Octave 4'
Harmonic Flute 4'
Harmonic Piccolo 2'
Mixture IV-V 1 1/3'
Cymbal II-III 2/3'
Fagotto* 16'
Corno Di Bassetto 8'
Fagotto 8' ext
Tremolo
Harp Walker Digital
Celesta Walker Digital
Bells
Tuba Major 8' (Gt)
Trompette Heroique 8' (Ant)
Choir to Choir 16'
Choir Unison Off
Choir to Choir 4'
Fanfare on Choir
Positiv on Choir
Carillon
MIDI
GR EAT ORGAN
Manual II (unenclosed)
30 Ranks
Flues 8½” w.p., Reeds 15” w.p.,
Tuba 30” w.p.
South Transept Case
Contra Violone* 32' ext
(1-24 Walker Digital)
Double Open Diapason 16'
Violone 16' ext
First Diapason 8'
Second Diapason 8'
Third Diapason 8'
Violoncello 8'
Harmonic Flute* 8'
Bourdon 8'
Stopped Diapason 8' (Pos)
Quint 5 1/3'
Octave 4'
Principal 4'
Wald Flute 4'
Twelfth 2 2/3'
Fifteenth 2'
Seventeenth* 1 3/5'
Cornet TC V Ranks* 8'
Mixture IV-V* 1 1/3'
Sharp Mixture III-IV* 1'
Contra Trumpet 16'
Trumpet 8'
Clarion 4'
Tremolo
Tuba Major 8'
Trompette Heroique 8' (Ant)
French Horn 8' (Orch)
Great to Great 16'
Great Unison Off
Great to Great 4'
Fanfare on Great 8'
Fanfare on Great 4'
MIDI
Carillon
SWE LL O RGAN
Manual III (enclosed)
24 Ranks
Flues 10” w.p., Reeds 15” w.p.
South Transept Case
Spitz Flute 16'
Diapason 8'
Chimney Flute 8'
Viole 8'
Viole Celeste 8'
Spitz Flute 8' ext
Spitz Flute Celeste TC 8'
Octave 4'
Night Horn 4'
Nazard 2 2/3'
Flageolet 2'
Tierce 1 3/5'
Plein Jeu IV* 2'
Mixture III-IV * 1'
Contre Trompette 16'
Trompette 8'
Oboe* 8'
Vox Humana+ 8'
Clarion 4'
Tremolo
Tuba Major 8' (Gt)
Trompette Heroique 8' (Ant)
Swell to Swell 16'
Swell Unison Off
Swell to Swell 4'
Fanfare on Swell
MIDI
OR CHEST RAL ORGA N
Manual IV (enclosed)
15 Ranks
Flues and Reeds 10"
South Transept Case
Doppel Flute 8'
Gross Gamba 8'
Gross Gamba Celeste 8'
Viole D’ Orchestre 8'
Voix Celeste 8'
Orchestral Flute 4'
Violin 4'
Cornet de Violes III-V 2 2/3'
Tuba Major 8' (Gt)
French Horn+ 8'
English Horn 8'
Tremolo
Orch. to Orch. 16'
Orch. Unison Off
Orch. to Orch. 4'
Trompette Heroique 8' (Ant)
Fanfare on Orchestral
Positiv on Orchestral
MIDI
Carillon
Chimes
Harp
Celesta
PO SITIV ORG AN
Floating (unenclosed)
13 Ranks
3 ½” w.p.
North Transept Case
Quintaton 16'
English Diapason* 8'
Stopped Diapason 8'
Octave 4'
Koppel Flute* 4'
Rohr Nazard* 2 2/3'
Fifteenth* 2'
Spire Flute* 2'
Tierce++ 1 3/5'
Nineteenth* 1 1/3'
Fife* 1'
Cromorne 8'
Schalmei 4'
Tremolo
Bird Whistle
Positiv to Positiv 16'
FANFAR E OR GAN
Floating (enclosed)
15 Ranks
Flues 8” w.p., Reeds 15” w.p.
Back Case
Stentor Diapason 8'
Octave 4'
Twelfth 2 2/3'
Fifteenth 2'
Seventeenth 1 3/5'
Flat Twenty First 1 1/7'
Mixture VI 2 2/3'
Bombarde 16'
Harmonic Trumpet 8'
Bombarde 8' ext
Harmonic Clarion 4'
Table 1. The specication of the organ (Opus 71)
built by Quimby Pipe Organs, Inc. in 2015 for the
Fourth Presbyterian Church of Chicago
Source: https://quimbypipeorgans.com/fourth-presbyterian-church-chicago
(accessed on 2024/04/01).
SPR ING 20 24 | THE ORG AN | N o 40 8 33
solace, inspiration, and a glimpse into the
enduring legacy of faith, community, and
artistry that denes this iconic landmark
on Chicago’s Magnicent Mile.
Historic organs
The journey begins with the 1914
installation of the Ernest M. Skinner
organ, a monumental instrument that
sought to marry the English Gothic
aesthetics of the church with the tonal
brilliance of the American symphonic
organ tradition. Despite its grandeur, the
Skinner organ faced acoustical
challenges within the cavernous space of
Figure 2. The console of the organ at the Fourth Presbyterian Church of Chicago
Source: Michał Szostak.
34 No 408 | THE OR GAN | SPRI NG 2024
PO SITIV PEDAL
Stopped Diapason 16' (Pos)
Stopped Diapason 8' (Pos)
AN TIPHO NAL ORGA N
Manual V (unenclosed)
13 Ranks
5” w.p., Tromp.
Heroique 20” w.p.
South Transept Case
Diapason* 8'
Bourdon* 8'
Octave * 4'
Twelfth* 2 2/3'
Fifteenth* 2'
Mixture IV-V++ 2'
Trumpet* 8'
Clarion* 4'
Antiph to Antiph 16'
Antiphonal Unison Off
Antiph to Antiph 4'
Tuba Major 8' (Gt)
Trompette Heroique TC 16' ext
Trompette Heroique* 8'
Trompette Heroique 4' ext
Fanfare on Antiphonal
Carillon Walker Digital
Chimes Walker Digital
Harp Walker Digital
MIDI
AN TIPHO NAL PEDAL
4 Ranks
5” w.p.
South Transept Case
Contra Bourdon 32’
Walker Digital
Contra Bass* 16'
Bourdon 16' ext
Octave * 8'
Super Octave* 4'
Contra Trumpet* 16'
PE DAL ORGA N
(unenclosed)
11 Ranks
Flues 8½” w.p., Reeds 20” w.p.
South Transept Case
Gravissima 64'
Walker Digital
Double Open Diapason 32’
Walker Digital
Contra Violone 32' (Gt)
Wood Open Diapason 16' ext
Metal Open Diapason 16'
Violone 16' (Gt)
Bourdon 16'
Spitz Flute 16' (Sw)
Kleiner Erzähler 16' (Ch)
Quint 10 2/3' ext
Octave 8' ext
Violone 8' (Gt)
Bourdon 8' ext
Spitz Flute 8' (Sw)
Kleiner Erzähler 8' (Ch)
Gross Tierce+ 6 2/5'
Quint 5 1/3'
Super Octave 4'
Night Horn 4'
Tierce 3 1/5' ext
Mixture IV+ 2 2/3'
Contra Trombone 32'
Trombone 16' ext
Bombarde 16' (Fan)
Contra Trumpet 16' (Gt)
Contre Trompette 16' (Sw)
English Horn 16' (Orch)
Contra Fagotto 16' (Ch)
Trombone 8' ext
Trumpet 8' (Gt)
Trompette 8' (Sw)
Fagotto 8' (Ch)
Trombone Clarion 4' ext
Corno Di Bassetto 4' (Ch)
Fagotto 4’ (Ch)
Trompette Heroique 8' (Ant)
Fanfare on Pedal
MIDI
Chimes
Carillon
ACT IO N
Electro-pneumatic
CO UPLER S
Great to Pedal 8-4'
Swell to Pedal 8-4'
Choir to Pedal 8-4'
Orchestral to Pedal 8-4'
Positiv to Pedal 8'
Antiphonal to Pedal 8-4'
Swell to Great 16-8-4'
Choir to Great 16-8-4'
Orchestral to Great 16-8-4'
Positiv to Great 8'
Antiphonal to Great 16-8-4'
Orchestral to Swell 8-4'
Great to Choir 8'
Swell to Choir 16-8-4'
Orchestral to Choir 16-8-4'
Antiphonal to Choir 8'
Pedal to Choir 8'
All Swells to Swell
Manual Transfer
CO MBINATI ON A CTION
10,000 Levels Of Memory
Generals 1-16 thumb pistons,
duplicated by toe studs
Great Divisionals 1-8'
Swell Divisionals 1-8'
Choir Divisionals 1-8'
Orchestral Divisionals 1-8'
Fanfare Divisionals 1-5'
Positiv Divisionals 1-5'
Antiphonal Divisionals 1-8
Pedal Divisionals 1-5, duplicated
by toe studs
Antiphonal Pedal Divisionals 1-3'
General Cancel
Set Piston
Piston Sequencer
Master Pistons I-IV
MAP
14 2 TOTAL RANKS AND
TWO P ER CUS SION S
(Chimes and Harp/Celesta)
*ranks retained from Aeolian-
Skinner Opus 1516
+ranks retained from E. M.
Skinner Opus 210
++ranks retained from E. M.
Skinner Opus
RE VERSI BLES
Great to Pedal
Swell to Pedal
Choir to Pedal
Orchestral to Pedal
Fanfare to Pedal
Positiv to Pedal
Swell to Great
Choir to Great
Orchestral to Great
Positiv to Great
Antiphonal to Great
Swell to Choir
Orchestral to Swell
Fanfare to Orchestral
Manual Transfer
(with indicator light)
All Swells to Swell
(with indicator light)
Bells
Gravissima 64’
Contra Trombone 32’
Double Open Diapason 32'
Contra Violone 32’
Sforzando I (with indicator light)
Sforzando II (with indicator
light)
Crescendo on Orchestral Shoe
Piston (with indicator light)
Orchestral on Orchestral Shoe
Piston (with indicator light)
Pedal on Divisional Piston (with
indicator light)
Crescendo Standard Piston
(with indicator light)
Crescendo A Piston (with
indicator light)
Crescendo B Piston (with
indicator light)
Crescendo C Piston (with
indicator light)
VENTILS
Reeds Off
Mixtures Off
32-16’s Off
Table 1. continued
SPR ING 20 24 | T HE ORGA N | N o 40 8 35
the sanctuary, leading to subsequent
rebuilds and enlargements by the
Aeolian-Skinner Organ Co. in 1946.
However, despite these modications,
the instrument struggled to ll the vast
space with its tonal spectrum, leaving
congregants yearning for a more
cohesive and impactful musical
experience.
In 1971, the Fourth Presbyterian
Church turned to the Aeolian-Skinner
Organ Co. once again for a replacement
instrument, hoping to address the
shortcomings of its predecessor. The
resulting instrument, Opus 1516, was
more extensive and powerful, yet it still
fell short of meeting the liturgical and
musical needs of the congregation. With
hymn accompaniment and
congregational singing as the central
focus of Presbyterian worship, the organ’s
inability to lead large assemblies has
adequately posed a signicant challenge.
Recognising the need for a
transformative solution, again the Fourth
Presbyterian Church embarked on a
journey to commission a new pipe organ
that would enhance its musical tradition
and provide dynamic leadership for
congregational singing and repertoire
performance (The Fourth Church Organ,
https://www.fourthchurch.org/music/org
an/index.html (accessed on 2024/04/02).
Current instrument
In 2014, the church made the bold
decision to commission the Quimby Pipe
Organ Company to design and build a
revolutionary instrument that would
redene the sonic landscape of the
sanctuary. This collaboration resulted
from the Edith G. and Edward J. Andrew
Pipe Organ, a marvel of American
symphonic organ design infused with
inuences from renowned British organ
builders T. C. Lewis and Henry Willis.
Constructed by the Quimby Organ
Company, this masterpiece (Opus 71)
boasts an array of delicate symphonic
colours, including lush strings, vibrant
reeds, ethereal utes, and unique
additions such as zymbelsterns and
chimes.
At the heart of the Andrew Pipe
Organ lies its console, the only one in
Chicago – and one of the few in the
United States – to feature ve manuals,
oering unparalleled versatility and
control over the instrument’s nine
divisions. With 142 ranks and 8,343
pipes, the Andrew Organ stands as the
largest pipe organ in the Midwest, its
combination action boasting an
impressive 10,000 memory levels.
The placement of the organ’s main
pipe chamber on the south side of the
Chancel posed additional challenges,
necessitating innovative solutions to
ensure optimal sound projection
throughout the sanctuary. In preparation
for the installation, a portion of the west
wall of the South Balcony was opened to
the pipe chamber behind, allowing for a
new tonal to be created while preserving
the architectural integrity of the space.
The dedication and meticulous
crasmanship that went into the
creation of the Andrew Pipe Organ
culminated in its unveiling on November
22nd (St Cecilia’s Day) 2015, marking a
new chapter in the musical history of the
Fourth Presbyterian Church. Named in
honour of Edie and Ed Andrew’s
longstanding support of the church’s
Figure 3. The façade of the organ at the Fourth Presbyterian Church of Chicago
Source: Michał Szostak.
36 No 408 | THE O RGAN | SPR ING 202 4
MI SCELL ANEOUS
Next
Previous
Memory (arrow up)
Memory (arrow down)
Memory Level (display window)
Transposer (with lighted display
window)
Crescendo Position (with
lighted display window)
Choir Shades Shoe Position
(with lighted display window)
Swell Shades Shoe Position
(with lighted display window)
Orchestral Shades Shoe
Position (with lighted display
window)
Fanfare Shades Shoe Position
(with lighted display window)
Combination Action Memory
Level (with lighted display
window)
Sequencer Step Position (with
lighted display window)
Playback Sequencer
Orchestral Nave Shades On/Off
Pistons (with indicator light)
Fanfare Nave Shades On/Off
Piston (with indicator light)
Signal Light
Two Transept Signals on
Console (with indicator
lights)
Table 1. continued
SPR ING 20 24 | T HE ORGA N | No 408 37
Figure 3. The façade of the organ at the Fourth Presbyterian Church of Chicago
Source: Michał Szostak.
38 No 408 | THE OR GAN | SPRI NG 2024
music programmes, the organ quickly
became a symbol of inspiration and
beauty, captivating congregants and
visitors alike with its majestic tones and
dynamic range.
Since its installation, the Andrew
Pipe Organ has become an integral part
of worship at the Fourth Presbyterian
Church, leading congregations in spirited
hymn singing and providing a
captivating backdrop for sacred choral
anthems and instrumental performances.
With its ability to evoke expressions of
majesty, sorrow, and joy, the organ
continues to inspire and upli all who
enter the sanctuary, rearming the
church’s commitment to excellence in
sacred music and worship.
As the Fourth Presbyterian Church
looks to the future, the legacy of its pipe
organs serves as a testament to the
enduring power of music to unite hearts
and souls in praise and adoration,
transcending the boundaries of time and
space to touch the divine.
Figure 4. Interior of the Fourth
Presbyterian Church of Chicago
Source: Michał Szostak.
SPR ING 20 24 | T HE ORGA N | N o 40 8 3 9
40 No 408 | THE O RGAN | SPR ING 202 4
■uimby Pipe Organs, Inc. traces
its roots back to the passion
and determination of its foun -
der, Michael Quimby. The company’s
journey began in 1970 in Warrensburg,
Missouri, initially focusing on tuning and
maintenance. Michael Quimby’s early
exposure to pipe organs during childhood,
particularly in the boys’ choir at First
United Methodist Church in Stillwater,
Oklahoma, ignited his fascination with
these majestic instruments. Under the
guidance of mentors like Colin A.
Campbell and Charles McManis, Quimby
honed his organ-building, voicing, and
mainten ance skills. During the 1970s,
Quimby Pipe Organs experienced steady
growth, undertaking projects like erecting
Opus 1 for the First Christian Church in
Warrensburg.
The 1980s marked a signicant
period of growth and recognition for
Quimby Pipe Organs. The company’s
appointment as curator of the Auditor ium
Organ in Independence, Missouri, a
prestigious Aeolian-Skinner instrument,
bolstered its reputation in the industry.
The extensive rebuild of the Auditorium
Organ from 1985 to 1987 showcased
Quimby’s dedication to preserving
historic instruments while incorporating
modern innovations.
During this decade, Quimby Pipe
Organs also secured notable projects like
the installation at First United Methodist
Church in Fort Smith, Arkansas, solidi -
fying its position as a trusted builder. By
the end of the 1980s, Quimby Pipe Organs
had established itself as a leading organ
builder with a growing portfolio of
successful installations and rebuilds.
The 1990s heralded a period of
innovation and exploration for Quimby
Pipe Organs. Adding Eric Johnson to the
team brought new expertise in slider
chest design, revolutionising the com p -
any’s approach to windchest co nstruct ion.
A pivotal journey to Europe in 1997, led
by Jonathan Ambrosino, exposed Quimby
and his team to renowned English and
French organs, shaping their tonal
philosophy and design principles.
This decade saw the completion of
several signicant projects, including the
Opus 50 at Saint Margaret’s Episcopal
Church in Palm Desert, California. The
meticulous attention to detail and in -
corporation of traditional crasmanship
with modern techniques set Quimby Pipe
Organs apart as a builder committed to
excellence.
As the new millennium dawned,
Quimby Pipe Organs embraced tech nol -
ogi
cal advancements while staying true
to its heritage of crasmanship. The
decision to expand the pipe shop and
develop proprietary reeds showcased the
company’s commitment to innovation
and quality. The Gano Chapel organ at
William Jewell College was a testament
to Quimby’s creative vision and technical
prowess, setting the stage for future
endeavours.
The restoration of the Aeolian-
Skinner Opus 150A at the Cathedral of
Saint John the Divine in New York City
exemplied Quimby’s dedication to
preserving historic instruments while
adapting them to modern needs. The
successful completion of challenging
projects like the Fourth Presbyterian
Church in Chicago and Dunwoody
United Methodist Church in Georgia
demonstrated Quimby Pipe Organs’
ability to meet diverse musical and
architectural requirements.
As Quimby Pipe Organs enters its
sixth decade, the company remains
dedicated to its core values of crasman -
ship, innovation, and musical excellence.
Despite challenges, Quimby Pipe Organs
looks forward to an exciting future, with
projects like the rebuilding of Skinner
Organ Company Opus 323 and the tonal
rebuilding of the Schantz organ in
Indianapolis on the horizon. With a
talented team and a commitment to
excellence, Quimby Pipe Organs contin -
ues shaping the American organ-
building landscape.
Conclusion
The partnership between Quimby Pipe
Organs and the Fourth Presbyterian
Church in Chicago stands as a testament
to the enduring legacy of crasmanship
and innovation in organ building.
Through meticulous attention to detail
and a deep understanding of both
historical traditions and contemporary
needs, the company supported the
church’s musical landscape with a
remarkable instrument that seamlessly
integrates into its architectural and
acoustical surroundings. The successful
collaboration between these two
partners exemplies the commitment to
excellence and ability to reach diverse
musical goals, ensuring that the majestic
sound of the pipe organ continues to
inspire Chicago’s congregation and
audiences for generations to come.
It was a great pleasure to perform the
last recital during the 2024 Lent period on
the magnicent instrument of the Fourth
Presbyterian Church in Chicago. I started
with two of Johann Sebastian Bach’s works:
Fantasia in G Major (Pièce d’Orgue), BWV
572 and choral, Schmücke dich, O liebe
Seele, BWV 654. The next piece, an organ
transcription of Antonio Vivaldi’s String
Concerto in E Major, Op. 8 No 1 (RV 269),
known as “Spring” from “Four Seasons”,
Allegro-Largo-Danza Pastorale, despite
the snow and cold wind, tried to evoke a
new stage of the year. Louis-James-Alfred
Lefébure-Wély’s Sortie in E at Major
from L’Organiste moderne (11me livra -
ison, no 1) ended the organ works part of
the recital. The second part of the recital
lled a three-part improvised Lent Suite:
Prelude-Cantabile-Final.
Quimby Pipe Organs
Q
SPR ING 20 24 | T HE ORGA N | No 408 41
Back issues
Plus All the latest news, views, reviews and previews
organ
organ
No 398 | £6.00
NOVEMBER 2021 – JANUARY 2022
www.theorgan mag. com
Published s ince 192 1
Ian Venables: My Rhapsody in Memoriam Herbert Howells
Margaret Phillips on Recording Bach’s Art of Fugue
Two very different pipe organs: Dr Alan Taylor
Stephen Page – The 2021 Hastings Organ Series
The Organ at St Mellitus, North London – David Norton
Nick Adams on the Ancient and Modern
Cornelis Witthoefft on The Organ Music of Alex Ruoff – Part I
The Organ of Bow Church, Cheapside as at 1905: Charles William Pearce
Ukrainian
Magnum Opus
Dr Michał Szostak on the
Gebrüder Rieger of 1933
Plus All the latest news, views, reviews and previews
organ
organ
No 399 | £6.00
FEBRUARY – APRIL 2022
www.theorgan mag. com
Published s ince 192 1
Olivier Latry 60th birthday tribute - Gunter Lode
Organ Anniversaries 2022 – John Collins
An Organ Donation: St Andrews, Newton Toney – John King
The Organ Music of Axel Ruoff Part II – Cornelis Witthoefft
A New Pipe Organ in Singapore – Yangchen Lin & Jerry Ng
Francis Routh – An Appreciation – Kenneth Shenton
Music and Compact Disc Reviews | News and Previews
Rieger’s
Czech
treasure
Dr Michał Szostak
on the Terezín Rieger
Plus All the latest news, views, reviews and previews
organ
organ
No 400 | £6.00
MAY – JUNE 2022
www.theorgan mag. com
Published s ince 192 1
Interview with AL Kriese – Dr Michał Szostak
Frank Dickinson (1906-1978) – the repertoire
of a provincial organist 1934-’44 – Peter Dickinson
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42 No 408 | THE O RGAN | SPR ING 202 4
Organ opus state, city manuals ranks year
First Christian Church 1 MO, Warrensburg 2 20 1973
Faith Lutheran Church 9 MO, Kirksville 2 10 2002
Grace Lutheran Church 11 KS, Kansas City 2 16 1980
Christ Lutheran Church 13 KS, Topeka 2 7 1981
Warrensburg Church of Christ (RLDS) 14 MO, Warrensburg 2 9 1983
Trinity Lutheran Church 16 KS, Mission 3 32 2010
Zion United Church of Christ 17 MO, Union 2 15 1984
Bethany Lutheran Church 18 KS, Overland Park 3 30 1984
The Reorganized Church of Jesus Christ of Latter-day Saints
19 VA, Springeld 2 9 1986
Rochester Covenant Church 20 MN, Rochester 2 25 1986
St Peter’s Roman Catholic Church 21 MO, Jefferson City 2 29 1987
St John’s Lutheran Church 22 MO, Mexico 2 7 1987
First United Methodist Church 23 AR, Fort Smith 3 42 1987
Raytown Christian Church 25 MO, Raytown 2 30 1988
First United Methodist Church 26 MO, Poplar Bluff 3 24 1988
St Michael & St. George Episcopal Church 28 MO, St. Louis 2 9 1989
Ebenezer United Church of Christ 29 MO, Levasy 2 15 1989
Westminster Presbyterian Church 30 IL, Elgin 3 39 1990
First Christian Church 31 KS, Chanute 2 17 1990
First United Methodist Church 32 NE, Omaha 4 64 1991
Twin Oaks Presbyterian Church 33 MO, Ballwin 3 49 2001
Saint Michael’s Parish 34 CT, Litcheld 3 32 1992
Clinton United Methodist Church 35 MO, Clinton 2 19 1992
St Mark Presbyterian Church 36 MO, Ballwin 2 24 1993
Saint Andrew’s Episcopal Church 37 MO, Kansas City 4 65 1993
First Baptist Church 38 MO, Lee’s Summit 2 24 1993
Church of the Immaculate Conception 39 KS, Leavenworth 2 26 1994
Benedictine Sisters Of Perpetual Adoration 40 MO, Clyde 2 20 1994
First United Methodist Church 41 MO, Warsaw 2 10 1995
First Christian Church (Disciples of Christ) 42 AR, Fort Smith 2 22 1995
Central United Church of Christ 43 MO, Jefferson City 3 58 1995
Dr William E. McCandless Residence 44 MO, Warrensburg 2 3 1995
St John LaLande Catholic Church 45 MO, Blue Springs 2 20 1995
Risen Savior Lutheran Church 46 KS, Basehor 2 18 2011
Sky Rose Chapel 47 CA, Whittier 4 65 1997
Figure 5.
Interior of the
Fourth
Presbyterian
Church of
Chicago
Source: Michał
Szostak.
SPR ING 20 24 | T HE ORGA N | No 408 43
Organ opus state, city manuals ranks year
First United Methodist Church 48 MO, Marshall 2 14 1997
St Paul’s Evangelical Church 49 MO, Creve Coeur 2 29 1998
Saint Margaret’s Episcopal Church 50 CA, Palm Desert 4 71 1998
Northminster Presbyterian Church
(The Roy A. Johnson Memorial Organ)
51 AZ, Tucson 3 46 1999
First Presbyterian Church 52 MO, Warrensburg 2 29 2000
Parkway United Church of Christ 53 MO, Town and Country 2 23 2001
First Presbyterian Church 54 IA, Newton 3 27 2001
William Jewell College 55 MO, Liberty 3 55 2002
Kirkwood Baptist Church 56 MO, Kirkwood 3 43 2003
Glendale Presbyterian Church 57 MO, Glendale 2 6 2003
First Baptist Church 60 MS, Jackson 5 155 2004
Canyon Creek Presbyterian Church 61 TX, Richardson 3 58 2005
Coleberd Residence Organ 62 MO, Hannibal 2 5 2006
Dauphin Way United Methodist Church 63 AL, Mobile 4 71 2007
First Christian Church 64 MO, Jefferson City 3 46 2009
Trinity Episcopal Church 65 MO, St. Louis 2 23 2009
St John’s Episcopal Church 66 VA, Roanoke 4 74 2010
First Congregational Church 67 CO, Greeley 3 28 2011
St Paul’s Cathedral 68 CA, San Diego 4 81 2013
Cathedral of Saint Paul 69 MN, St. Paul 4 86 2013
Catalina United Methodist Church 70 AZ, Tucson 4 57 2014
Fourth Presbyterian Church 71 IL, Chicago 5 142 2015
Episcopal Church of Saints Andrew and Matthew 72 DE, Wilmington 3 45 2016
Central United Methodist Church 73 NC, Concord 3 38 2017
All Saints Episcopal Church, NC 74 NC, Southern Shores 2 18 2017
St John’s Episcopal Church 75 IN, Lafayette 3 29 2019
Dunwoody United Methodist Church 76 GA, Dunwoody 4 100 2019
First United Methodist Church 77 GA, Athens 4 68 2021
Trinity Episcopal Church 78 IN, Indianapolis 3 65 2021
Table 2. New instruments built by Quimby Pipe Organs
Source: https://quimbypipeorgans.com/completed-projects-new (accessed on 2024/03/31).
180
160
140
120
100
80
60
40
20
0
MO, Warrensburg
KS, Kansas City
MO, Warrensburg
MO, Union
VA, Springeld
MO, Jefferson City
AR, Fort Smith
MO, Poplar Bluff
MO, Levasy
KS, Chanute
MO, Ballwin
MO, Clinton
MO, Kansas City
KS, Leavenworth
MO, Warsaw
MO, Jefferson City
MO, Blue Springs
CA, Whittier
MO, Creve Coeur
AZ, Tucson
MO, Town and Country
MO, Liberty
MO, Glendale
TX, Richardson
AL, Mobile
MO, St Louis
CO, Greeley
MN, St Paul
IL, Chicago
NC, Concord
In, Lafyetrte
GA Athens
Figure 6. Size of new organs built by the Quimby Pipe Organs
Source: own elaboration.