OHS Database ID 9267.
The organ is in an unaltered state from its installation as described on this page.
The condition of the organ is in not known or has not been reported to the Database.
We received the most recent update on this organ's state and condition January 21, 2008.
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Electro-pneumatic (EP) chests.
Three manuals. 48 stops. 64 registers. 52 ranks. Manual compass is 61 notes. Pedal compass is 32 notes.
The organ is in side chambers at the front of the room, with visible façade pipes or case front. Traditional style console with roll top.
Stop keys on angled jambs. Balanced swell shoes/pedals, standard AGO placement. Concave radiating pedalboard. Crescendo Pedal. Reversible full organ/tutti thumb piston. Reversible full organ/tutti toe stud. Combination action thumb pistons. Combination action toe studs.
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|Manual keyboards. Photo by Brendan Moore 2006-12-30|
|Right stop jamb. Photo by Brendan Moore 2006-12-30|
|Left stop jamb. Photo by Brendan Moore 2006-12-30|
Pipe organs in New York sponsored by Foley-Baker, Inc.
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Schenectady, New York St. John the Evangelist Roman Catholic Church Hutchings-Votey Organ Co. Opus 1510 1904 3 manuals, 48 stops, 52 ranks _____________________________________________________________________________ GREAT ORGAN SWELL ORGAN 16' Open Diapason 61 16' Contra Gamba 61 8' First Open Diapason 61 8' Open Diapason 61 8' Second Diapason 61 8' Concert Flute 61 8' Gross Flute 61 8' Stopped Diapason 61 8' Gamba 61 8' Viol d'Orchestre 61 8' Gemshorn 61 8' Vox Celeste (TC) 49 Enclosed with Choir: 8' Salicional 61 8' Chimney Flute 61 8' Quintadena 61 4' Octave 61 8' Aeoline 61 4' Flute Harmonic 61 4' Flute Traverso 61 2 2/3' Octave Quint 61 4' Violina 61 2' Super Octave 61 2' Flautino 61 Mixture 3 Rks. 183 Dolce Cornet 3 Rks. 183 16' Posaune 61 16' Contra Fagotto 61 8' Trumpet 61 8' Cornopean 61 4' Clarion 61 8' Oboe 61 Tremolo 8' Vox Humana 61 Chimes Tremolo CHOIR ORGAN PEDAL ORGAN 16' Lieblich Gedackt 61 16' Open Diapason 42 8' Open Diapason 61 16' Violone 42 8' Geigen Principal 61 16' Bourdon 42 8' Melodia 61 10 2/3' Quint (Bourdon) -- 8' Gedackt 61 8' Flute (fr. Open Diap) -- 8' Dolcissimo 61 8' Violoncello (fr. 16') -- 4' Fugara 61 8' Gedackt (fr. Bourdon) -- 4' Rohr Flute 61 16' Trombone 42 2' Harmonic Piccolo 61 8' Tromba (fr. 16') -- 8' Clarinet 61 Chimes (Gt) 4' Saxophone 61 Tremolo COMBINATIONS BALANCED PEDALS Great & Pedal 0-6 (thumb) Choir Swell & Pedal 0-7 (thumb) Swell Choir & Pedal 0-5 (thumb) Crescendo (4 ind. lights) General 1-6 (thumb & toe) General Release (thumb) ACCESSORIES Pedal Release (toe) Tower Chimes on-off (switch) Master Setter Maas-Rowe chime dial Great to Pedal Reversible Generator Light Swell to Pedal Reversible Swing-away chime keyboard Choir to Pedal Reversible (C-c, 25 notes) Sforzando (toe) [Received from Steven E. Lawson 2018-05-03]
St. John the Evangelist, R. C., Schenectady, NY 1904 Hutchings-Votey (Stoplist: Agnes Armstrong 1998) GREAT: 16' open diapason 8' first open diapason 8' second open diapason 8' gross flute 8' gemshorm 8' gamba 8' chimney flute 4' octave 4' flute harmonique 2 2/3' octave quint 2' super octave III mixture 16' posaune 8' trumpet 4' clarion SWELL: 16' contra gamba 8' open diapason 8' quintadena 8' concert flute 8' viol d'orchestra 8' salicional 8' vox celeste 8' aeoline 8' stopped diapason 4' violina 4' flute traverso 2' flautina III dolce cornet 16' contra fagott 8' cornopean 8' oboe 8' vox humana (has its own tremolo) tremolo CHOIR: 16' lieblich gedeckt 8' open diapason 8' geigen diapason 8' melodia 8' dolcissimo 8' gedeckt 4' fugara 4' rohr flute 2' harmonic piccolo 8' clarinet 4' saxophone chimes tremolo PEDAL: 16' open diapason 16' bourdon 16' violone 8' flute (extension) 8' gedeckt (extension) 8' violoncello 10 2/3 quint (extension) 16' trombone 8' tromba The organ is playable, but in an accelerating state of deterioration due to its age. Up until World War II, it was used regularly, but after the war, it was reported that the organ had become "unplayable" - in fact, as was discovered in the early 1970s, the old blower motor was simply incompatible with the (presumably changed) municipal electrical current. Schenectady being the home of Steinmetz and birthplace of the General Electric Corporation, the place abounds with retired electrical engineers, and some of them were able to re-phase the motor. Lo and behold! the organ played again. Perhaps it is this ignorance and disinterest that managed to save this organ, for instead of solving the original problem, the congregation brought in a big Allen and placed it right next to the Hutchings console. I am told that there are times when both instruments are used together (gasp)! Since the 1970s maintenance work has been carried on largely by volunteers connected with the local chapter of the Theatre Organ Society, who also look after "Goldie" - the big Wurlitzer at Schenectady's Proctor's Theatre. Sometime in the 1930s, the Hutchings-Votey's console innards were rebuilt using parts from Erie and Hagerstown companies. These replacement parts are in very poor shape. Presently, releathering is carried on "as needed", which is to say that in Guilmant's "Marche funebre et chant seraphique" when I play the 12-bar low pedal trill against large chords on the full organ, the poor old thing gasps as though being strangled. The sounds of the organ are/could be impressive, if one appreciates them in the context of their time. Certainly the Vox Humana is one of the most delightful examples of the Late Romantic style that I have ever encountered. The foundations are round, the flutes and strings are lush. The upperwork is lightweight, and the organ rumbles more than it screams, which is just right for the repertoire I prefer to play. The organ is chambered in a corner of the balcony, and the organist sits sidewise to the installation, which is odd at best - only the organist's right ear hears the full sound. And many of the pipes are so far away as to create multiple, unsolvable delay problems. Still, this is surely an organ worthy of being played, worthy of being heard, and certainly worthy of a full restoration. Agnes Armstrong