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Search Results for: Young organists
October 12, 2019- Houston, Texas Co-Cathedral
Stellar attendance at AGOYO first pop-up event “Organ Crawl” today at the Co-Cathedral Houston! Thank you all for making this event successful especially our Director of Music and Cathedral Organist Crista Miller, this event could not be planned without your tremendous effort!!! And Organ tech Corbin Sturch, very clear and on spot explanaSon of the pipe works and organ crawl tour, Patrick Schneider,Jim Roman, Daryl Robinson, Timothy Lloyd Moe, Jeong-Suk Bae, Mary Joy Silmaro, Heeyeon Cha, Joel Trekell and other helpers! So happy to meet many new faces and know that there are other young people interested in pursuing organ and sacred music!!
-Olga Wong, AGOYO board member
AGOYO Holds first Organ Crawl at Co-Cathedral Houston
Co-Cathedral
Houston, Texas
October 12, 2019
Stellar attendance at AGOYO’s first pop-up event “Organ Crawl” today at the Co-Cathedral Houston! Thank you all for making this event successful, especially our Director of Music and Cathedral Organist Crista Miller. This event could not be planned without your tremendous effort!!! And Organ tech Corbin Sturch, very clear and on spot explanation of the pipe works
and organ crawl tour, Patrick Schneider,Jim Roman, Daryl Robinson, Timothy Lloyd Moe, Jeong-Suk Bae, Mary Joy Silmaro, Heeyeon Cha, Joel Trekell and other helpers!
So happy to meet many new faces and know that there are other young people interested in pursuing organ and sacred music!!
-Olga Wong, AGOYO board member
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!
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
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.
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.
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.
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
2021 Virtual Pipe Organ Encounter
Registration deadline has been extended to Monday, July 5, 2021 (until 11:59 p.m. Pacific time)
Information about the Virtual Pipe Organ Encounter may be found by tapping or clicking HERE.
Before beginning this form, please be sure to have the following available for data input or upload:
1. Parental contact information: address/phone/email;
2. List of keyboard repertoire studied;
3. If you are a Young Organist member of the AGO, your member ID (located on mail label of The American Organist magazine). Call 212-870-2310 for assistance during M-F business hours (9am-5pm Eastern Time) if you don’t have a paper copy of TAO available.