Geo. Kilgen & Son, Inc.
Opus 5918, 1930

An article in The American Organist, November 1962, announced the completion of the organ's rebuild by local maintenance person Eric Sexton, planned and overseen by organist Charles Courboin. The chorus Mixtures were all reconfigured or replaced, as was the Great Principal chorus. Two main chorus stops, both extensions, received new independent ranks: Great Octave 4' and Solo Tuba Clarion 4'. Several new chorus reeds were added. In all, 30 ranks were replaced, and the String Organ was reduced in size. The Pedal Diaphone also disappeared at this time. Thus began a continuous, decades-long evolution of the Kilgen magnum opus away from its original symphonic design.

The international concert organist Pietro Yon became organist in 1926, playing the four-manual 1879 Jardine. He was responsible for the purchase of two organs for the church, a three-manual near the altar, and a separate four-manual instrument in the gallery, which required a replacement of the original wooden gallery, with one substantially larger, of concrete and steel. The chancel organ was installed first in 1928 and the gallery followed in 1930. The design of the gallery organ was largely influence by organist Yon, and was a triumph for Kilgen, selling many instruments to catholic churches on the reputation of the cathedral organ. He was reportedly a stickler during the organ's installation, insuring the voicing was "just so" and to his high standards. Kilgen likely lost money on the project, but it was so visible and sold so many organs for them, they undoubtedly made it up and considered it a wise marketing investment.

Yon was succeded by Charles Courboin in 1940, who over the course of the next 30 years made minor revisions and additions to Yon's specification. Courboin, previously the organist at the Wanamaker store, received national television coverage in the 1960s with the annual Christmas Eve Midnight Masses broadcast nationally on NBC, and Robert Kennedy's funeral in 1969. He was succeeded in 1970 by John Grady, who was responsible for many serious changes to the instrument in 1977-78, which spoiled its original elegant tone. The principals and mixtures were loudened, and the English-style reeds were revoiced in a quasi-french style by Jack Steinkampf of Queens, who also added the infamous Trompette-en-chamade.

An article published in The American Organist in the late 1980s called attention to the ruinous condition of the organ. The article described an instrument close to becoming unplayable with a failing and unreliable combination action; sub-standard fire-hazard wiring; reservoirs and wind lines rife with wind leaks; added chests and offsets placed anywhere there was room, making access to certain parts of the organ for repair or service nearly impossible; zinc basses were found stashed in corners along with ranks of pipes on the floor under reservoirs; large pipes were collapsing; dead notes and stops were numerous; and the instrument was choked with dirt.

The instrument was finally overhauled by the Peragallo company in the early 1990s under the tenure of John -Michael Caprio, with the intention of rationalizing the many amateur additions, changes, and wiring. How much of the original organ remains after this work needs a careful forensic analysis. The notorious "Jeu de Bombardes", a chorus of painful and unnecessarily loud reeds was added at this time, as were another 30 ranks, plus additional imitation 32' stops.. The signature Kilgen horseshoe console with its delicately-carved linen-fold panels and colored stop tablets (red for reeds, black for couplers) was discarded, and two identical drawknob consoles crafted by Robert Turner replaced both the front and gallery consoles, with the altar organ now controllable from either console. Whether the organ was again revoiced at this time or the current painfully-loud and brilliant organ is the result of the 70s revoicing also needs confirmation, but the sound of the present instrument bears no relation to the elegant and polished organ Kilgen installed in 1930 and which was still the predominant ensemble tone heard through the 60s and early 1970s. The organ's original English chorus reed tone was quite fine, a far cry from the coarse, Americanized french reeds now dominating the ensemble. The manner in which the 1970s revoicing was done, especially of the reeds, was so invasive as to be effectively irreversible.

At the time of its installation in 1930, the facade, (designed by the architect responsible for the modernization of th interior), was considered the most beautiful new organ case in America. The facade pipes were coated with a bright zinc coating that gave the effect of tin. This had dulled over the course of time and for decades people thought the facade pipes were raw unfinished zinc- another popular facade treatment of the teens and twenties. The shiny zinc coating was replicated in the Peragallo rebuilding, and covered with a clear top-coat to prevent future dulling by oxidation. The facade and its pipework again shines with its original lustre.

Updated through online information from Jonathan Farnsley. -- It has two identical 5 manual consoles.

Updated through online information from Paul Marchesano.

Status Note: There 1995.

Gallery organ. 99 voices, 59 borrows, 8232 pipes. Dedicated 11 Feb 1930. Revoiced 1977-1977 by John H. Steinkampf, with additions. Pitch raised to A440. Gallery and echo organs mechanically restored and cleaned by Pergallo Organ Co. (1990's?). Two 5m consoles added by Robert M. Turner to control both gallery and chancel organs.