Photos 3: Saint Louis Scottish Rite Cathedral Organ PLEASE SCROLL DOWN
View of Auditorium floor and seating looking east from 4th floor (Balcony), (L-R) stage, distant orchestral balcony on 3rd floor level with Antiphonal chamber and tone grille above, double row of mezzanines to the right
Wide angle view of Auditorium 3rd floor choir balcony looking northwest from 3rd floor level with distant console and Main chamber tone grilles above
3rd floor choir balcony and console viewed from Auditorium floor looking west with Main chamber tone grilles on west wall above
Wide angle view of console and west choir balcony from top of west side of 2nd mezzanine (Gallery) at 5th floor level showing open panel on left side of console shell
Console, close-up showing typewriter pistons and double rail of coupler tilting tablets above Solo manual (DOUBLE CLICK PHOTO TO ZOOM AND READ THEM)
Rare photo of console from 1997 showing side toe stud retrofits (bottom) removed during 2011-2014 rebuild
Main chamber, view from north access door at 4th floor level, (L-R) Piano and Bass Drum at lower left, top of Marimba Harp and Great Harmonic Trumpet pipes in background, wind lines and ladder to Great/Choir divisions at 5th floor level (center), pipes of Waldhorn (R) with Great reservoir underneath
Main chamber, left side, 4th floor level, Piano, Bass Drum, Tom Tom, and wind lines, seen upon entering access door
Main chamber, left side, 4th floor level, (L-R) Triangle, Tambourine, Snare Drum, extremely rare 4-note Bugle, and Gong, all on top of Marimba Harp, with top of Xylophone at bottom, pipes of Great Harmonic Trumpet at extreme right
Main chamber, left side, Xylophone (front), Marimba harp (back), top (L-R) Triangle, Tambourine, Snare Drum, extremely rare 4-note bugle, bottom of Gong action, swell shades at rear
Main chamber, left side, 4th floor level, traps atop Marimba Harp, (L-R) extremely rare 4-note Bugle, Gong and action, pipes of Great Harmonic Trumpet on right, swell shades at rear
Main chamber, left side, 4th floor level, traps atop Marimba Harp, (L-R) Triangle, Snare drum, Castanets, extremely rare 4-note Bugle, swell shades at rear
Main chamber, left side, 4th floor level, close-up of extremely rare 4-note Buggle, Castanets on left, swell shades at rear
Main chamber, right side, 4th floor level, (L-R) pipes of Pedal Bombarde (wood), English Diapason (center), Waldhorn (right)
Main chamber, 4th floor level, mouths and feet of Principal Diapason (wood), 5th floor level windchest for Pedal Bombarde above
Main chamber, right side, 4th floor level, mouths and feet of Principal Diapason (wood), 5th floor level windchest for Pedal Bombarde above
Main chamber, right side, 4th floor level, part of original relay in 2006, ladder to Swell at extreme right
Starting screen display for the new Uniflex 4000 organ control system installed in the left side of the console during the 2011-2014 rebuild
Main chamber, right side, 4th floor level, Spencer 30 hp blower and housing, view from door of blower room
Main chamber, right side, 4th floor level, Spencer 30 hp blower and housing, view from inside blower room, blower tag visible on outide
Main chamber, right side, 4th floor level, lid on air reservoir for Bombarde pipes voiced on 25 inches of wind pressure
Main chamber, 4th floor level, pipes of Pedal Contra Bombarde (wood, mitred) lined up against west wall
TAKE THE CRAWL
TO VIEW THIS TOUR IN ITS ENTIRETY PLEASE SCROLL TO THE BOTTOM OF THIS PAGE, CLICK THE NEXT PAGE NUMBER, THEN SCROLL BACK UP.
TO ZOOM PHOTOS FOR DETAIL
PLEASE DOUBLE CLICK THEM.
This page is an extensive and complete guided photo crawl (images courtesy of Dr. Keith Tomazi, Dr. Steven Ball, Mr. Alan Haker, Saint Louis Theatre Organ Society, Scottish Rite Valley of Saint Louis, and public domain) through the rare and historic IV/51 Kimball organ the Saint Louis Scottish Rite Cathedral -- the sole surviving example of its type created by this builder still entirely playable and in its original location.
The sample pages of musical scores appended to these photos represent music written expressly for this instrument and which was dedicated to certain individuals who, over the years, have either helped to keep this organ refurbished and playable through some difficult times, have made other significant contributions in service to its cause, or who have inspired this author in using it. These scores may be fully previewed, heard with sample audio, or downloaded and printed through the links posted elsewhere on this web site [See menu bar, Free Stuff].
A copy of the original contract for building this organ along with 6 attached pages laying out the specifics of its stops has been included on this visual tour for their historic significance. The pages attached to the contract have faded with time but are still readable and outline the disposition of the organ. All of this was drawn up in late 1923 by the Kimball Company in consultation with tonal design consultant Dr. Charles Courboin and the Scottish Rite Association of the Saint Louis Valley. It seems likely that, during this consultation process, Kimball officials were told that the Association had up to $50K to spend on an organ, since the contract specified that exact amount. The actual cost came in under that, at $47,805.34, evidently due to the Association anticipating the remaining payments by paying the Company in full and applying the discount specified in the terms or the contract.
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The Scottish Rite Cathedral in Saint Louis was built in 1924 at a cost in excess of 2 million dollars at the time. It was designed by architect William B. Ittner, and its spacious style is one of grandeur and magnificent proportions. With its multiplicity of tall rooms, spacious hallways, innumerable doors, and both well-traveled and off limits passageways scattered throughout two hundred thousand square feet of space, it is very reminiscent of the Paris Opera House. The frontage on Lindell Blvd. is 235 feet with an average depth of 175 feet. The height from street level to roof is 104 feet. The great height of the Auditorium permits with a 3rd floor choir balcony and 2 mezzanine floors above that -- one on 4th floor ("Balcony") level and one on 5th floor ("Gallery") level -- thus making 5 floors above Dining Room level.
In passing through the great bronze doors ornamented with emblematic designs and up a short flight of stairs one reaches a spacious lobby or main floor. It is here that the general offices of the Rite are housed and the entrances to the Auditorium are located. This main floor is the 2nd floor above Dining Room level and connects with the 3rd floor of the parking garage at the rear of the building via a skywalk. The lobby is 166 feet long and 23 feet wide. The Auditorium which is entered on this level is 165 feet wide east to west and 130 feet long north to south, and its great height is 58 feet from floor to ceiling. Its seating capacity is approximately 3 thousand people. The stage on the north side or the Auditorium is 98 feet long, 4 feet longer than the Hippedrome stage in New York City. On this stage 480 military personnel in uniformed formation can be placed. The stage is supplied with a 50 foot high red velvet curtain (called the Grand Traveler) and 164 changes of priceless, hand painted canvas scenery suitable for the Rite's degree work.
On the east side of the Auditorium is the Candidate's Room, 35 feet by 85 feet long with a height of 25 feet giving a sense of dignity and spaciousness. The seating capacity is 600 persons. This room has been the traditional meeting place of the Class and of the officers of the Four Bodies where final instructions are given for the degrees or for the annual installation of officers, respectively. It communicates on one side with the skywalk doors leading to the 3rd floor of the parking garage through which people routinely enter and exit the building. On the west side of the Auditorium at floor level are 2 dressing rooms between which is the Wardrobe Room fitted with specially designed cases for housing the hundreds of robes, costumes, and associated paraphernalia used in the degrees.
The Lounge and Library are underground and may be reached by going down a short flight of stairs from the main entrance on Lindell to the 1st floor (above Dining Room level). The Lounge is open daily for members and visitors. It is 55 feet wide and 166 feet long with smaller rooms at each end (The Billiard Room, the Card Room, and the Ladies Lounge used by the Scottish Rite Woman's Club meetings, etc.). The Lounge is beautifully decorated and furnished with restful chairs and tables.
The Dining Room is located further underground on the lowest level (one level below the Lounge), is 101 feet by 230 feet, and can provide for feeding 2 thousand people at tables. The kitchen is at the rear and is practically a 2 story room. It is 96 feet wide by 48 feet deep. Here are assembled cooking and serving equipment sufficient for preparing a full banquet requiring about 3 tons of foodstuff. This lower level also has a spacious meeting room where the Four Bodies and Preservation Association regularly meet. The various floors, or levels, are numbered always in reference to this underground Dining Room, thus the Lounge and Library are situated on the 1st floor or level, the Auditorium is on the 2nd floor or level, the choir balcony is on the 3rd floor or level, etc.
A world class, one-of-a-kind concert pipe organ was tonally designed for this venue in December 1923 by the acclaimed Belgian-American concert organist Dr. Charles Courboin and was constructed the following year by the W.W. Kimball Company of Chicago. The instrument took 8 months to build and was created to fill the following offices: 1) to lead the Scottish Rite choir, support congregational singing, and accompany vocal soloists, 2) to provide individual color voices and effects for the degree work, 3) to blend with a full symphony orchestra, even take an entire symphonic score upon its shoulders if called upon to do so, 4) to perform solo transcriptions of works originally written for piano or orchestra, 5) to perform arrangements of traditional melodies, 6) to perform the standard repertoire in an acceptable, if not stylistic, way, and 7) to even accompany silent motion pictures if called upon to do so, all the while being capable of filling a space of over one million cubic feet with sound. To do all of this, the instrument was voiced on high pressure and equipped with electropneumatic action, 45 degree angled stop jambs, 4 manuals, 144 speaking stops distributed in 9 divisions, 51 ranks, and 3,907 pipes distributed among 3 spatially separated chambers. It was provided with, among other things, some beautiful foundation stops and celestes, some highly imitative orchestral voices, many orchestral percussion sounds, traps, and special effects, 12 tremulants, and many theatre-style voices. A 19-rank unit theatre organ which comprises about 3/8 of the total pipework is in fact incorporated within the 51-rank tonal scheme of this concert organ. Finally, in imitation of the grand symphony orchestra, all divisions were enclosed thus rendering the entire instrument, from top to bottom, fully flexible and expressive.
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The organist who sits at this vast machine is truly an orchestral conductor. It was granted citation status for historic merit by the Organ Historical Society (OHS), which is the highest level of recognition the OHS may grant to a rare and precious instrument. This organ was nominated for this recognition by this author in 2002, and a citation (No. 291) was issued the following year, in 2003.
One's first impression when sitting at the bench of this colossal affair is the enormous wall of drawknobs on each side and the wide double row of tilting tablets across the top. By having its entire tonal forces situated behind tone grilles and a vast number of 128 swell shades which can be operated all at the same time to nuance the music, one begins to realize that this is truly a musical instrument which can express the entire range of human emotion and sensitivity at the touch of a key. One also gets the sense that playing a pipe organ like this isn't merely an aesthetic experience -- it isn't just something somebody does because they like it -- but it's attached to something sublime, something profound. It's something that can open the gates of heaven before any and all listeners who have an open heart. Keeping an instrument like this fully playable isn't merely a matter of giving to a noble project for this space exclusively, but it's something more broad than that. It's supporting great organ music which spans hundreds of years, and this music will be heard by countless numbers of people, indefinitely into the future.
The organist is immediately awestruck not merely by its size but by how special it is -- by its beauty, dynamic palette, striking color stops, and that it's voiced to speak with the power of an organ more than twice its size. When this organ was built the Kimball Company employed some of the finest technicians and pipe voicers in the world. It manifests a quality of construction and a style of organ building that the Unitied States, and the world, is not likely to ever see again. Against an ample background of foundation tone and an 8-rank string chorus has been placed a wealth of delicate, ethereal sounds, imitative orchestral string and reed color, colorful flutes, and some extremely big chorus reeds. The result is just as responsive as a symphony orchestra while having a range which exceeds it.
Organists: Don't let the rank or pipe count of this instrument fool you. This is an awful lot of organ. The Main chamber is barely large enough for half the organ it contains. With every one of its speaking stops including that stupendous 32-foot Contra Bombarde enclosed, it can raise a crescendo like nothing you've ever experienced in your life. You'll find that out very quickly as soon as you start to work with it.
Another thing organists will notice is that the pedalboard is slightly different from the Guild standards set in 1933, i.e., it was built on a slightly larger radius of curvature and thus has a little less radiation -- more like a Wurlitzer pedalboard. A little practice with this pedalboard is therefore necessary in order for the organist to get a good "feel" for where the Kimball pedal keys were positioned back in the day. For those used to an AGO pedalboard this is particulary noticeable when the feet approach the extreme ends where the pedal keys farthest away seem to require a bigger stretch of the legs to reach them. It may be necessary to look down at these extreme pedal keys to avoid playing a wrong note [See blog, Looking Down].
People who have not experienced it just do not know what it is like to play a special pipe organ like this at full throttle. It fundamentally changes you in a way that's difficult to describe. Save for sitting at another completely expressive pipe org an of this size or larger, there's nowhere else on the face of this earth where one human being can be seated at an instrument and have this amount of tonal spread and this amount of power. It's the top.
Donations made to benefit the ongoing maintenance of this Auditorium's national treasure of a pipe organ aren't simply to benefit this space exclusively, but it's something much more broad than that. It's supporting great organ music which spans hundreds of years -- music which will be heard by countless numbers of people, indefinitely into the future.
Xmas and Hanukkah are coming. Five collections of brand new scores for Organ solo written with the sound of this instrument in mind have been transcribed to data CD and would make a nice gift for the organist, one that keeps on giving (for a list of pieces, see Bio page, Catalogue of Works).
REQUESTS FOR A DATA CD OF THE SCORES
WRITTEN FOR THIS ORGAN
(A $124 value, suggested donation $20)
MAY BE MADE TO
Saint Louis Scottish Rite Cathedral
3633 Lindell Blvd.
Saint Louis, Missouri 63108
Phone: 314 - 533 - 7410
Donations from the distribution of this data CD are being used to support the initiative for the perpetual preservation of this historic
Saint Louis Kimball concert organ.