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
View of Auditorium ceiling from west wall at 3rd floor level showing rectangular tone grille for Echo chamber, oblong east to west (center)
View of Auditorium looking east from 3rd floor choir balcony, (L-R) stage, 3rd floor orchestra balcony and tone grilles in east wall, seating
Wide angle view of Auditorium stage looking north from 4th floor balcony level overlooking sound booth
Gallery (5th floor) view of Auditorium looking west, (L-R) projection booth, distant 3rd floor choir balcony (center), stage (far Right)
View of northwest corner of Auditorium and 3rd floor choir balcony from sound booth at 3rd floor level
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 2011-2015 rebuild
photo of console after the 2011-2015 rebuild showing hinged access panel in left side of console shell.
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, full-size Kimball Piano rescued from the IV/19 Kimball theatre organ of the Saint Louis Theatre seen upon entering access door
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, 4-note Bugle, swell shades at rear
Main chamber, left side, 4th floor level, close-up view of 4-note Bugle (center), Castanets on left, swell shades at rear
Main chamber, right side, 4th floor level, extremely rare labial Waldhorn pipes of Great/Choir, view upon entering access door
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 of scale 42 English Diapason pipes showing leathered upper lips
Main chamber, 4th floor level, mouths and feet of Principal Diapason (wood), 5th floor level windchest for Pedal Bombarde above -- all wood pipes and windchests made of No. 1 pine and given 2 coats of shellac
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 new solid state relay/switching system installed during 2011-2015 rebuild, edge of blower room door on extreme right.
TAKE THE CRAWL
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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 Masonic pipe organ the Saint Louis Scottish Rite Cathedral -- the earliest and SOLE SURVIVING SPECIMEN of its type by this builder still playable and tonally unaltered in its original location LEFT IN THE ENTIRE WORLD.
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.
For a complete listing of the music written with this organ in mind, please use this link:
To preview, playback, or digital download any of the 5 scores dedicated to individuals who were in some way connected with this instrument during its history, please use these links:
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 of 4 million dollars at the time. Designed by architect William B. Ittner, its immense size, proportions, and architectural design makes it the largest Scottish Rite Cathedral in the world. 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 40 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 symphonic pipe organ was tonally designed for this vast building 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. Construction began on this instrument in January 1924, it took 8 months to build, and it was installed in October 1924. Its unique design fills 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 instruments other than organ, 5) to perform arrangements of traditional melodies, 6) to perform the standard repertoire in an acceptable, if not stylistic, way, and 7) to 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, special effects, and 11 tremulants. About half of the pipework was placed on unit chests, the other half on pitmans, and it was given a definite theatrical side with 21 ranks or 43% of the total pipework being theatre-styled voices. 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 that the console is comfortable, like sitting in half a football stadium, well-upholstered. The enormous wall of drawknobs on each side and the wide double row of tilting tablets across the top are imposing. 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 quickly realizes that this is no ordinary organ, that it's 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. 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 struck with awe, 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 be fooled just because you don't happen to find this "whistle" listed among the top 20 monster-size pipe organs in the world. 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 its stupendous Contra Bombarde enclosed, it can raise a crescendo like very few organists have ever experienced. One finds this out very quickly as soon as one starts working with it.
Another thing organists will notice is that the pedalboard is slightly different from the Guild standard set in 1933, viz., it was built on a slightly larger radius of curvature and has a little less radiation -- more like a Wurlitzer pedalboard of the day. A little practice with this pedalboard is needed in order for the organist to get a good sense of how it "feels" to reach the extreme keys using a little larger stretch of the legs.
People who have never tried to do it just do not know what it is really like to play a fully expressive pipe organ of this size and description. It fundamentally changes someone in a way that's difficult to put into words.
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, save for a pipe organ of the same size and disposition -- or larger.
IT'S THE TOP !