2011-01-19 - Identified through online information from Rick Erickson. -- Further alterations 1985, resiting some windchests and pipework, sorting out wind supply, and modifications to console. -Database Manager
2012-08-17 - Updated through online information from David Bohn. -Database Manager
Stoplist taken from console, December 1985, and factory specifications Source: Source not recorded Date not recorded
Rockford,, Illinois
First Evangelical (Swedish) Lutheran Church
Howell Pipe Organ Co., 1977
Great Organ, unenclosed, Manual II, 3 inch windpressure
16’ Quintadena, Bennett O. Diapason 1925 Pedal, (ext), 12 zinc
8’ Prinzipal, Moline basses (Swell?) 1884, 12 Meyers (Howell 1977),
Scale 44, 49 spotted metal
8’ Quintadena, Moline 1884, Scale 56, 61
4’ Oktav, Meyers (Howell 1977), Scale 56, 61 spotted metal
2’ Oktavin, Meyers (Howell 1977), Scale 70, 61 spotted metal
III-V Mixtur, Meyers (Howell 1977), 263 spotted metal
8’ Trompete, Schopp (Howell 1977) 3 ¼”, German shallots, 61
Great/Echo to Great/Echo 16, Great/Echo to Great/Echo 4, Unison Off
Swell to Great/Echo 16, Swell to Great/Echo 8, Swell to Great/Echo 4
Positiv/Choir to Great/Echo 16, Positiv/Choir to Great/Echo 8, Positiv/Choir to Great/Echo 4
IV to Great/Echo 8, IV to Great/Echo 4
Positiv Organ, unenclosed, Manual I, 2.5 inch windpressure
8’ Bourdon, source unknown, T.C: 2 ½ X 2 1/8” interior, 61 wood
4’ Klein Prinzipal, source unknown, marked “Gamba”, cut down, Scale 60,
73 spotted metal
4’ Koppelflöte , Meyers (Howell 1977), Scale 56, 61 spotted metal
2’ Flautino, source unknown, marked “Flute d’Amour”, Scale 68, 61 metal
1 1/3’ Quint, Meyers (Howell 1977), Scale 79, 61 spotted metal
1’ Twentysecond, (ext 4 Klein Prinzipal, top 12 notes repeat)
III Cymbal, 26, 29, 33, Meyers (Howell 1977), 183 spotted metal
II Sesquialltera, T.C., Meyers (Howell 1977) 5th from 1/1/3 Quint,
3rd Scale 76,49 spotted metal
Tremolo (affecting both Positiv and Choir)
Positiv/Choir to Positiv/Choir 16, Positiv/Choir to Positiv 4, Unison Off
Swell to Positiv/Choir 16, Swell to Positiv Choir 8, Swell to Positiv Choir 4
IV to Positiv/Choir 8 , IV to Positiv/Choir 4
Choir Organ, expressive, Manual I, 3.5 inch windpressure
8’ Spitz Flute, Meyers (Howell 1977), Scale 48, 61, zinc bases, and
spotted metal
8’ Spitz Flute Celeste, T.C. Meyers (Howell 1977), Scale 48, 49 spotted
metal
4’ Harmonic Flute, Bennett 1925 Echo 4’ Concert Flute, harmonic from 2’ C
49 wood, 12 metal
2’ Block Flute , Meyers (Howell 1977), Scale 62, 1/3rd taper, 61 spotted
metal
8’ Clarinet, Bennett 1925 Choir, 61 metal
Swell Organ, expressive, Manual III, 3.5 inch windpressure,
reeds 5 inch windpressure
8’ Bourdun, sources unknown, basses marked “Stopped Diapason”(possibly
Moline 1884), trebles marked “Flauto d’Amour”, 61 wood
8’ Viole de Gamba, Moline 1884 (used as Bennett 1925 Great 8 Violoncello),
Scale 55, 61 metal
8’ Viole Celeste, T.C. Bennett 1925 Swell 4 Fugara, Scale 53, 49 metal
4’ Prestant, Moline 1884 Swell 8 Open Diapason trebles, Scale 58, 61 metal
4’ Flute Ouverte, Moline 1884 Great 8 Melodia, 49 wood, 12 metal
2 2/3’ Nasard, source unknown, Aeoline-Skinner rohr, 61 spotted metal
2’ Principal, Dutch, (previous Echo 2 Principal), Scale 70, spotted metal
1 3/5’ Tierce, source unknown, Aeoline-Skinner, narrow mout, 61 spotted
metal
II-IV Scharf, Meyers (Howell 1977), 196 spotted metal
16’ Bassoon, Schopp (Howell 1977) CCC 3.25 inch, (ext), 12
8’ Trompette, Schopp (Howell 1977) CC 3”inch, 61 spotted metal
8’ Bassoon, Schopp (Howell 1977), 61 spotted metal
4’ Clarion, Schopp (Howell 1977) CC 2 .5 inch, 61 spotted metal
8’ Voix Humaine, Bennett 1925 Echo (Austin 1952 chest), 61
Tremolo
Voix Humaine Tremolo
Cymbelstern, 4 bells
Swell to Swell 16, Swell to Swell 4, Unison Off
Positiv/Choir to Swell 8
IV to Swell 8
Solo Organ, unenclosed, Manual IV, 5 inch windpressure
8’ Trompette en Chamade Schopp (Howell 1977) 3.25 inch, 61
Chimes, Deagan Class A (Bennett 1925, Austin action 1952), 25 tubes
IV to IV 16, IV to IV 4, Unison Off
Positiv/Choir to IV 8
Great/Echo to IV 8
Swell to IV 8
Antiphonal Organ, unenclosed, Manual IV, 4.75 inch windpressure
Playable as Manual I,2-manual console
16’ Double Open Diapason, (low 4 derived from Antiphonal Pedal 16 Bourdon;
basses Moline 1884 Great Double Diapason, trebles derived from
Antiphonal Pedal 4' Choral Bass
8’ Principal, Moline 1884 Great 8' Open Diapason basses in case, trebles
from Moline 1884 Great 16' Double Diapason, Scale 46, 61 metal
8’ Holzbordun, basses marked “Melodia”, possibly 1884 Moline, trebles from
Bennett 1925 Choir 4' Flute d’Amour, 61 wood
4’ Octave, Moline 1884 pipes, used by Bennett 1925, Great Open Diapason
No. 3 (enclosed), Scale 56, 61 metal
III Mixture, Austin 1952, 183 spotted metal
8’ Trumpet, source unknown, marked “Tuba”, CC 3.5 inch, 61 metal
Echo Organ, expressive, Manual II, 5.25 inch windpressure
Playable as the Manual II, 2-manual console
8’ Holzflöte, Bennett 1925, Choir 8 Concert Flute, 4’ C 2.75 x 2 9/16
inch, 2’ C 1 11/16 x 1.25 inch, 61 wood
8’ Flute Celeste, Bennett 1925, Choir 8 Flute Celeste, scales as above,
49 wood
8’ Vox Angelica III, (tuned natural, sharp, flat), sources unknown, marked
Aeoline, Aeoline, and Echo Salicional, 171 spotted metal
4’ Traverse Flute, sources unknown, basses marked Melodia, and harmonic
trebles, 49 wood, 12 metal
2’ Principal, source unknown, marked “Celeste” and cut down, Scale 73,
61 metal
8’ Oboe, Gottfried (Moline 1884), 61 metal
Tremolo
Pedal Organ, 4 inch windressure
32’ Untersatz, low 3 notes new, laminated, Howell 1977). 4-56 source
unknown, marked “Open Diapason”, and capped, CCCC 13.5 x 12 inch
interior, CCC 8.5 x 6.75 inch interior, 56 wood
16’ Contrbasse, (ext Pedal 8 Prinzipal) source unknown. CCC 8 x 7 inch,
12 wood
16’ Subbasse, (ext Pedal 32 Untersatz)
16’ Quintadena (Great)
8’ Principal, source unknown, probably Austin 1952 Solo 8 Geigen
Principal, Scale 45, 32 metal
8’ Bordun (ext)
4’ Choralbass, source unkown, Scale 58, 32 metal
III Mixture, first rank source unknown, string cut down. second rank
Bennett 1925 Aeoline, cut down. third rank source unknown (Moller 1924)
Gamba cut down. 96 spotted metal
32’ Bombarde (ext 16 Bombarde) Schopp (Howell 1977) CCCC 7 inch, half
length resonators, 12 metal
16’ Bombarde, Schopp (Howell 1977) CCC 6 inch, 44 metal
16’ Bassoon (Swell)
8’ Bombarde (ext)
4’Bassoon (Swell)
Great/Echo to Pedal 8, Great/Echo to Pedal 4
Swell to Pedal 8, Swell to Pedal 4
Positiv/Choir to Pedal 8
IV to Pedal 8
Antiphonal Pedal
16’ Violone, Bennett 1925, CCC 7.5 x 5.5 inch interior, wood basses, 44
16' Bourdon, source unknown, Kimball pipes, 32 wood
8’ Geigen Principal, (ext)
4' Choralbass, Bennett 1925 Great 8 Open Diapason (No 2?), Scale 54, 32
Mixture Composition
Positiv III Cymbal, Scales: 19th 80, 22nd 84, 15th 90
1-12:26,29,33; 13-14: 22,26,29; 25-37:19,22,26; 38-43:15,19,22;
44-49:12,15,19; 50-61:8,12,15
Great III-V Mixtur, Scales: Unison 94, 8ve 94, 15th 88, 19th 78, 22nd 82,
26th 90; 1-18:19,22,26; 19-24:15,19,22,26; 25-36:12,15,15,19,22;
37-48:8,12,15,15,19; 49-61:1,8,8,12,15
Swell II-IV Scharf
1-18:19,22; 19-30: 15,19,22; 31-42:12,15,19,22; 43-54:8,12,15,19;
55-61:8,12,15,15
Antiphonal III Mixture
1-23:15,19,22; 24-40:12,15,19; 41-61:8,12,15
Pedal: III Mixtur, Scales: 2’ 73, 1 1/3’ 78, 1’ 83
1-32: 2’, 1 1/3’, 1’
4-Manual Console:
Pistons adjustable, visibly moving stops
8 General thumb pistons, 3 duplicated by toe pistons
7 Thumb pistons to Positiv and Pedal
3 Thumb pistons to Choir and Antiphonal. Pedal
5 Thumb pistons to Great/Echo and Pedal
8 Thumb pistons to Swell and Pedal
4 Thumb pistons to IV
6 Toe pistons to Pedal, 3 duplicated by thumb pistons
General cancel and Austin Canceler Bars above stops
Rev. Thumb and toe pistons: Choir to Pedal, Great to Pedal, Swell to Pedal, Bombarde 32’
Rev. Sforz. Toe piston
Pedal to Manual pistons On and Off
Switch: All Swells to Swell
3-way Switch: Echo on Great off, Echo on Great on, Echo and Great on
4 Balanced expression pedals: Master Swell, Choir, Swell, Echo
Balanced Crescendo pedal
2-Manual moveable drawknob console
Controlling Antiphonal Organ (as ‘Great’), Echo Organ (as ‘Swell’), and Antiphonal Pedal
Great to Great 4
Swell to Great 16, Swell to Great 8, Swell to Great 4
Great to Pedal 8, Great to Pedal 4
Swell to Pedal 8, Swell to Pedal 4
Rev. Sforz. toe piston
Balanced expression pedal: Swell
Balanced Crescendo pedal
In the 1970s Howell constructed a modest 2-manual instrument (unenclosed Great and Pedal, enclosed Swell)
at the front of the church behind the 1884 Moline case, reusing the Bennett windchests and some of the
Moline, Bennett, and Austin pipework. Only the most pressing repairs were made to the Bennett chests, without
releathering the pneumatics or replacing the wiring. These divisions play from a movable 2-manual console,
largely of second-hand components, plastic keys and drawknobs, but without a combination action. Since the
1977 rebuild, this small console is an ancillary console, the divisions also playable as unenclosed Antiphonal
and enclosed Echo at the 4-manual console. Minor differences in nomenclature for the same stops at the
two consoles are the result of design changes during the course of the project. The chamber in the northwest
corner of the building, used for the old 1925 Bennett Choir and Enclosed Great, was emptied and the louvered
opening sealed off.
The Echo and Solo chambers in the rear gallery were altered and quasi-cases, constructed of stained birch
plywood around them. The majority of the main organ was then sited in these new enclosures. This resulted in
the position of the main divisions and Echo/Solo divisions being reversed from the 1925 layout, with 27 new
ranks of pipework, introduced, the reed stops made by Schopp, and the flue stops by Meyers of Milwaukee.
A commanding horizontal solo trumpet was placed on top of the swell box just behind the top of the 1884 front
casework. At least part of 9 Moline ranks and 10 Bennett ranks were reused, as well as other second-hand,
rescaled pipework. The whole of the main organ pipework and the solo trumpet were placed on new direct-electric
windchests, excepting part of the Choir Organ. The 4-manual 1952 Austin stop-key console was reused,
moved to the rear gallery, and placed on a high platform which could be revolved 90 degrees.
In 1985 the organ was thoroughly cleaned, walls and floors repainted with light and sound-reflecting paints,
and new lighting installed. George Miller, Miller Organ Services, Riverwoods, Illinois, and Rick Erickson,
organist-choirmaster 1984-1986, made modest changes to organ. The revolving console platform was eliminated,
and the console and choir moved as far forward to the gallery railing as possible. Concussion bellows were
added to the Great and Swell trunking, and a tremulant and larger reservoir provided for the Choir. The Choir
Organ was restored from playing on Manual II, to now play on Manual I. Various 2’ stops and mixtures, as well as
the 8’ Clarinet were resited, and some new Solid State switching added. The 16’ Double Open Diapason in the
front organ case was made to speak again with new switching and wiring. All this resulted in the stoplist given above.
[Received from Rick Erickson 2011-01-25.]Regrettably, it is not possible to display the information about the sponsor of this pipeorgandatabase entry or if there is a sponsor. Please see About Sponsors on Pipe Organ Database.