Church of St. Mary the Virgin (Episcopal)

The Episcopal Church of St. Mary the Virgin - New York City

Click on images to enlarge

Church of St. Mary the Virgin
(Episcopal)

145 West 46th Street
New York, N.Y. 10036
http://www.stmvirgin.org

Organ Specifications:
145 West 46th Street (since 1895)
Church
► IV/92 Aeolian-Skinner Organ Co., rev. (2002)
► IV/80 Aeolian-Skinner Organ Co., Op. 891-A (1942)
► IV/54 Aeolian-Skinner Organ Co., Op. 891 (1932)
► III/33 George Jardine & Son, Op. 1139 (1896)
St. Joseph's Hall
► II/8 Martin Bohling, Op. 1 (1960s)
► II/6 Casavant Frères, Op. 1498 (1934)
• George Jardine & Son (c.1895)
228 West 45th Street (1870-1895)
► II/20 George Jardine & Son (1886)
• Unknown Builder (1870)

See also the Ernest White Studio.

The Society of the Free Church of Saint Mary the Virgin in the City of New York was incorporated on December 3, 1868. Father Thomas McKee Brown had the vision to build a church in New York City dedicated to expressing the full witness of Catholic thought in ritual and teaching within the Episcopal Church. A year after his ordination, Father Brown brought his plan to Bishop Potter, who suggested that a church was needed near Longacre Square (renamed Times Square in 1905) on the west side of what is now Midtown. John Jacob Astor gave three lots on West 45th Street between Seventh and Eighth Avenues, “stipulating that the Church should be free, and positively orthodox in management and working.”


228 W. 45th St. (1870-1895)

On April 6, 1868, the cornerstone was laid for the first church, located at 228 West 45th Street (today the site of the Booth Theatre). The rector and trustees named the church for Saint Mary the Virgin, the Blessed Mother of Jesus, openly challenging one of the uglier anti-Catholic prejudices of the day, and making no mistake that this was to be an Episcopal Church in the full Catholic tradition. The first church was designed by William Hallet, and was dedicated on December 8, 1870 (the Feast of the Conception of the Blessed Virgin Mary). Bishop Potter was unable to officiate at the service, perhaps due to his ambivalent if not negative views on Saint Mary’s, and his place was taken by the Rt. Rev. Horatio Southgate, the Episcopal Church’s former missionary bishop to the Ottoman Empire.

Father Brown spared no expense in celebrating the Eucharist with full ritual, including a choir of 40 voices and a small orchestra. At a time when the principal service in Episcopal churches was Morning Prayer with the Eucharist only celebrated four times a year, Father Brown, heeding the Tractarian view that “it is the Mass that matters,” moved quickly from celebrating the Eucharist every Sunday to celebrating it every day.

By 1890, the congregation had outgrown the church on West 45th Street. In 1892, the late Miss Sara L. Cooke, a member of the parish, left the church a legacy that eventually amounted to $700,000, in addition to real estate. Father Brown and the other trustees decided to use this legacy to fund a new church on an eight-lot parcel running through from 46th to 47th Streets. The new complex was to include a Rectory at the 47th Street end of the lot, a Clergy House (for curates and assistants), and Mission House (for the Sisters). The style would be French Gothic, with a church seating 800 persons.

c.1910 photo of the Church of St. Mary the Virgin - New York City (The Architectural Record, May 1910)

The architectural firm of Napoleon LeBrun & Sons was hired to design the new church. In order to place all the buildings and a church with a lofty interior on the lot, the trustees accepted LeBrun’s recommendation to consider a novel construction method never before tried on a building of such size. LeBrun proposed using a skeleton of iron beams that would bear the weight but create little bulk. LeBrun used cut stone to face the exterior portions which would be visible from the street, and brick was used for the work that would be obscured by the other buildings in the cluster.

Church of St. Mary the Virgin - New York City

The cornerstone for the new church was laid on December 8, 1894. The completed church was to be 60 feet wide and 180 feet long, and the nave was to be 80 feet from floor to ceiling and 46 feet wide, surrounded on the east and west sides by 22 stone piers forming the interior support for the clerestory. Outside the piers, on each side, was to be an ambulatory 6 feet wide. The chancel, at the north end of the building, was to be 48 feet deep, terminating with the marble high altar moved from the former church.

Church of St. Mary the Virgin - New York City (photo: Steven E. Lawson)

Today, St. Mary the Virgin is widely-known for its solemn liturgies with pageantry, supported by glorious choral and organ music in the reverberant church. Due to the copious use of incense, the church is fondly and irreverently known as "Smoky Mary's." In 1996-97, the interior of the church was redecorated with vivid colors, including cobalt blue vaulting with gold stars.

See also the Ernest White Studio, a page containing information about the organs installed in the Parish House during the tenure of Ernest White, who was for 25 years associated with the Church of St. Mary the Virgin as organist and choirmaster.

Aeolian-Skinner Organ, Op. 891 (1932) at Church of St. Mary the Virgin - New York City (photo: John Rust)

Aeolian-Skinner Organ Company, Inc.
Boston, Mass. – Opus 891 (1932), 891-A (1942)
Revised by Mann & Trupiano (1988-2002)
Electro-pneumatic action
4 manuals, 95 registers, 63 stops, 92 ranks


Chancel console


	Rebuilt gallery console

The 1995 rebuilding and addition of 17 ranks were made by Mann & Trupiano of Brooklyn, under the direction of Lawrence Trupiano, and with the assistance of many others. The original four-manual Aeolian-Skinner console was completely rebuilt with new drawknobs and keyboards; it was relocated to the chancel but later returned to the rear gallery. A rebuilt three-manual Holtkamp console that can control most of the organ was added in the chancel. From 1988-2002, a total of 32 ranks were added to the organ. An 8' Bassoon was added to the Positif Division in 2008.

Great Organ (Manual II) – 61 notes

Salicional (TC)

Flûte couverte

Principal

3 1/5

Grosse Tierce

Montre

2 2/3

Octave Quinte

Diapason *

Doublette

Flûte harmonique *

Fourniture III-V ranks

245

Bourdon

Cymbale III ranks

183

Violoncelle *

Harmonics V ranks

305

5 1/3

Grosse Quinte

Trompette harmonique

Prestant

Swell Organ (Manual III) – 61 notes, enclosed

Flûte conique

Plein jeu V ranks

305

Principal

2 2/3

Cornet III ranks

183

Bourdon à cheminée

Bombarde

Salicional

Trompette

Voix céleste

Hautbois

Viole sourdine

Voix humaine

Prestant

Clairon

Flûte courte

Tremolo

2 2/3

Nasard

Swell 16'

Octavin

Unison Off

1 3/5

Tierce *

Swell 4'

Positif Organ (Manual I) – 61 notes, enclosed

Salicional

2 2/3

Plein jeu IV ranks

244

Principal *

Musette

Flûte traversière

Trompette *

Gambe

Cromorne

Gambe céleste

Clarinette

Prestant *

Bassoon [added 2008]

Flûte d'amour

Chalumeau

Gemshorn

Tremolo

2 2/3

Nasard

Positif 16'

Piccolo

Unison Off

1 3/5

Tierce

Positif 4'

1 1/3

Larigot

Cloche fou (Zimbelstern)

Bombarde Organ (Manual IV) – 61 notes

Violonbasse (Contre basse)

PED

Bombarde *

Diapason

Trompette harmonique *

Flûte harmonique

Clairon harmonique *

Viole (ext. PED Contre basse)

Tremolo

Viole Celeste

preparation

Bombarde 16'

Mounted Cornet V rks * (a22-d51)

150

Unison Off

Bombarde 4'

Grand Choeur Organ (floating)

Trompette (TC)

—

Trompette (49 notes)

—

Trompette *

Pedal Organ – 32 notes

Resultant

—

Flûte conique (ext SW)

Flûte ouverte *

Salicional (ext PO)

Contre basse

5 1/3

Fourniture IV ranks

128

Principal

2 2/3

Carillon II ranks (fr. Fourniture)

—

Bourdon *

Grand Cornet IV ranks

128

Flûte conique

Bombarde (1-12*)

Salicional

Bombarde (fr. 32' Bomb.)

—

10 2/3

Grosse Quinte (fr. Grand Cornet)

—

Bombarde

Diapason

Musette

Contre basse (fr. 16')

—

Trompette harmonique

Bourdon (fr. 16')

—

Trompette (fr. 32' Bomb.)

—

Flûte conique

Musette

Salicional

Clairon (fr. 32' Bomb.)

—

Doublette (fr. Fourniture)

—

Musette

Contre basse (fr. 16')

—

* new pipes installed 1988-2002

Couplers

Swell to Pedal 8', 4'

Bombarde to Swell 8'

Great to Pedal 8'

Grand Choeur to Swell 8'

Positif to Pedal 8', 4'

Great to Positif 8'

Bombarde to Pedal 8', 4'

Swell to Positif 8', 4'

Grand Choeur to Pedal 8'

Bombarde to Positif 8'

Swell to Great 16', 8', 4'

Grand Choeur to Positif 8'

Positif to Great 16', 8', 4'

Great to Bombarde 8'

Bombarde to Great 16', 8', 4'

Swell to Bombarde 8'

Grand Choeur to Great 8'

Positif to Bombarde 8'

Reversibles

Swell to Pedal (thumb & toe)

Swell to Positif (thumb)

Great to Pedal (thumb & toe)

Bombarde to Positif (thumb)

Positif to Pedal (thumb & toe)

Great to Bombarde (thumb)

Bombarde to Pedal (thumb & toe)

Swell to Bombarde (thumb)

Swell to Great (thumb)

Positif to Bombarde (thumb)

Positif to Great (thumb)

16' Manual Stops Off (thumb)

Bombarde to Great (thumb)

32' Pedal Stops Off (thumb & toe)

Bombarde to Swell (thumb)

Sforzando (thumb & toe)

Adjustable Combinations

Bombarde Organ	Pistons 1-2-3-4-0 (thumb)
Swell Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)
Great Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)
Positif Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)
Pedal Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb); 2-8 (toe) [Pedal 1 stud became NEXT]
General	Pistons 1-2-3-4-5-6-7-8-9-10-11-12 (thumb & toe)
General	Pistons 13-14-15-16-17-18-19-20 (thumb)
	General Cancel (thumb)
	Set (thumb)

Piston Sequencer

+ (Next) Piston (toe) – replaced Pedal 1 toe stud

Mechanicals

Swell Expression

Bombarde Exp. to Swell Pedal

Positif Expression

Bombarde Exp. to Positif Pedal

Bombarde Expression

Necessary indicators

Crescendo Pedal


	Mitred 32' Euphone pipes at back

Aeolian-Skinner Organ Company, Inc.
Boston, Mass. – Opus 891-A (1942)
Electro-pneumatic action
4 manuals, 76 registers, 54 stops, 80 ranks

Extensive revisions and several additions were made in 1942 by G. Donald Harrison as Aeolian-Skinner's Opus 891-A, under the influence of then-organist Ernest White. Further tonal alterations were made later by Ernest White and others. One notable addition was the Euphone, a free-reed stop rescued from the Frank Roosevelt organ (1889, Op. 400) built for the Chicago Auditorium Theatre. Installed about 1949 by Larry Phelps of Aeolian-Skinner, the Euphone was available at 16' pitch on the Great with a 12-note 32' extension in the Pedal. According to G. Donald Harrison, the Euphone (seen in the photo at right) "proved to be very disappointing and unreliable." The Euphone was ultimately removed (c.1995) and the Pedal 16' Bombarde was extended to 32' by 12 new full-length pipes.

Following are the specifications of the organ as revised in 1942 by the Aeolian-Skinner Organ Company, but showing the 32-16 Euphone unit.

Great Organ (Manual II) – 61 notes

Principal

3 1/5

Grosse Tierce

Quintaton

2 2/3

Octave Quinte

Principal

Doublette

Bourdon

Fourniture III-V ranks

245

Quintaton (fr. 16')

—

Cymbale III ranks

183

5 1/3

Quint

Harmonics V ranks

305

Prestant

Euphone

Flute Couverte

Swell Organ (Manual III) – 61 notes, enclosed

Flute Conique

Plein Jeu V ranks

305

Geigen Diapason

Cornet III ranks

183

Bourdon à Cheminée

Bombarde

Salicional

Trompette

Voix Céleste

Oboe

Viole Sourdine II ranks

146

Vox Humana

Prestant

Clairon

Flute Courte

Tremolo

Salicet

Swell 16'

2 2/3

Nazard

Unison Off

Salicetina

Swell 4'

Positif Organ (Manual I) – 61 notes, enclosed

Salicional

1 3/5

Tierce

Flute Traversiere

1 1/3

Larigot

Gamba

Cymbale IV ranks

244

Gamba Celeste

Musette

Viole

Clarinet

Viole Celeste

Cromorne

Spitzflöte

Chalumeau

Gemshorn

Tremolo

Flute d'Amour

Positif 16'

2 2/3

Nazard

Unison Off

Piccolo

Positif 4'

Bombarde Organ (Manual IV) – 61 notes, enclosed

Viole

preparation

Clairon Harmonique

preparation

Viole Celeste

preparation

Tremolo

preparation

Orchestral Flute

preparation

Bombarde 16'

Grande Fourniture VII rks

prep.

Unison Off

Bombarde

preparation

Bombarde 4'

Trompette Harmonique

preparation

Pedal Organ – 32 notes

Contre Basse

Fourniture IV ranks

128

Quintaton

Carillon II rks [Fourniture]

—

Diapason

Grande Cornet IV ranks

128

Salicional

Euphone (ext. GT)

Flute Conique

Bombarde

Contre Basse (fr. 16')

—

Basson

Quintaton

Musette

Flute Conique

Trompette (fr. Bombarde)

—

Salicional

Musette

Contre Basse (fr. 16')

—

Clairon (fr. Bombarde)

—

Quintaton

Clarion

Salicional

Musette

Quintaton

Couplers

Swell to Pedal 8', 4'

Bombarde to Swell 8'

Great to Pedal 8'

Swell to Positif 16', 8', 4'

Positif to Pedal 8', 4'

Bombarde to Positif 8'

Bombarde to Pedal 8', 4'

Great to Bombarde 8'

Swell to Great 16', 8', 4'

Swell to Bombarde 8'

Positif to Great 16', 8', 4'

Positif to Bombarde 8'

Bombarde to Great 16', 8', 4'

Reversibles

Swell to Pedal (thumb)

Swell to Positif (thumb)

Great to Pedal (thumb & toe)

Bombarde to Positif (thumb)

Positif to Pedal (thumb)

Great to Bombarde (thumb)

Bombarde to Pedal (thumb)

Swell to Bombarde (thumb)

Swell to Great (thumb)

Positif to Bombarde (thumb)

Positif to Great (thumb)

16' Manual Stops Off (thumb)

Bombarde to Great (thumb)

32' Pedal Stops Off (thumb)

Bombarde to Swell (thumb)

Sforzando (thumb & toe)

Adjustable Combinations

Bombarde Organ	Pistons 1-2-3-4-0 (thumb)
Swell Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)
Great Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)	Pedal to GT Combs. Dbl. Touch
Positif Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)
Pedal Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb & toe)
General	Pistons 1-2-3-4-5-6-7-8 (thumb & toe)
	General Cancel (thumb)

Mechanicals

Swell Expression

Bombarde Exp. to Swell Pedal

Positif Expression

Bombarde Exp. to Positif Pedal

Bombarde Expression

Combination setter

Crescendo Pedal

Lock for Combination piston setter

Necessary indicators

Adjustable bench with back


	Photo (c.1940) by Ernest White

Aeolian-Skinner Organ Company, Inc.
Boston, Mass. – Opus 891 (1932)
Electro-pneumatic action
4 manuals, 54 registers, 44 stops, 59 ranks

The Aeolian-Skinner organ now in the gallery was installed in 1932, the work of G. Donald Harrison of the Aeolian-Skinner Organ Company. Planning for a new organ dates back to at least May 1929, when the church submitted a plan and photo to Ernest M. Skinner, then head of the Skinner Organ Company. Several months later, Skinner sent a proposed case design (see below). Although the old Jardine organ had been on its "last legs" for many years, the delay in its replacement was primarily due to a lack of financial resources. Finally, at the March 14, 1932 meeting of the Board of Trustees, the Rector announced that G. Donald Harrison of Aeolian-Skinner had offered to build a new organ having four manuals and 86 ranks, but could install the first portion (59 ranks) for a consideration of $25,000 (which was $3,000 less than a proposal offered in 1930). Despite the Treasurer's concerns about the "general conditions of business and finance" brought on by the Great Depression, this was a very good price and the Trustees agreed to proceed, with installation to take place during the summer months. It was further agreed to postpone construction of an organ case, a cost-saving suggestion made by Raymond Nold, Organist & Director of Music. (As of 2012, the organ still lacks a proper case, yet it is hoped that someday funds will become available.) Finally, on April 29, 1932, the contract between Aeolian-Skinner and the Trustees was signed, with Aeolian-Skinner indicating that the organ would be completed by October 9, 1932. The total cost was $28,884 (less a $125 allowance for the old gallery organ and blower), which included removal of the old organ and platform, construction of a new platform and necessary wind and electrical conduits, lighting in the organ area, and preparation of the blower room. Perhaps most importantly, the contract stated that "the organ shall be built under the exclusive supervision of Mr. G. Donald Harrison, especially as regards the tonal ideas."

It should be noted that in January 1932, the Skinner Organ Company had merged with (or "bought out the competition" of) the pipe organ division of the Aeolian Company of Garwood, N.J., a firm best known for its residence organs, forming the Aeolian-Skinner Organ Company. Although both Ernest M. Skinner and G. Donald Harrison were designing organs for the new company, many clients were favoring the specifications by Harrison that were a profound departure from the orchestral tonal palette espoused by Skinner. Harrison had recently completed a notable organ (1931, Op. 851) in Trinity College Chapel, Hartford, Conn., that incorporated a lighter and brighter Choir division on low wind pressure, and a fairly small-scaled metal 32' Bombarde in the Pedal, rather than the large-scaled wood Bombarde that Skinner preferred. The Trinity Chapel organ was a turning point in Harrison's career.

The new organ for St. Mary the Virgin would take Harrison's ideas a few steps further. Raymond Nold, organist of the church, collaborated with Harrison to design an organ that marked "a return to the principles of the classic organ, the organ of the Thomas-Kirche, and the older French and German Builders." Toward that goal, the typical Choir division was replaced by a Positif, and a brilliant Bombarde division would take the place of an orchestral Solo organ. Nold's notes in the Dedication Program stated that emphasis was placed on ensemble, the curbing of 8' Diapason tone and enormous increase in upperwork, transparent French reeds instead of opaque "modern" reeds, and a metal 16' Principal in the Pedal rather than a booming open-wood Diapason. He went on to say, "An interesting detail of the scheme is the Flûte Conique in the Swell organ having, as a distinguished authority remarked, all the good qualities of the Bourdon with none of its faults. In the Pedal organ a Flûte Ouverte, with its clear and beautiful tone, replaces the more usual and commonplace Bourdon." The organ at St. Mary's was Harrison's official start of the "Classical Revival" and the first of his instruments to be called an "American Classic" organ, a term coined by Sen. Emerson Richards. Much has been written about Mr. Skinner's outspoken objections to Harrison's radical designs, scaling, and reeds.

Due to inevitable delays and perhaps detailed attention to voicing, the first phase of the organ was not completed until January 1933. At last, the highly anticipated organ was dedicated at 8:30 pm on Wednesday, January 11th, in a recital performed by Palmer Christian, eminent Professor of Organ and University Organist of the University of Michigan. Christian's program included works by Benedetto Marcello, Arcangelo Corelli, J.S. Bach, Philip James, Karl Weigl, Jean Huré, Sigfrid Karg-Elert, Joseph Jongen, Max Reger, and Charles-Marie Widor. A few weeks later, a series of four recitals was played by Ernest White, who would become organist of the church in a few years. In 1934 recitals were given by Hugh Porter and E. Power Biggs, and in the fall of that year a series of eight recitals (arranged by Raymond Nold and impresario Bernard LaBerge) was played to a packed church by Günther Ramin, Charles M. Courboin, Winslow Cheney, Carl Weinrich, Virgil Fox, Charlotte Lockwood, E. Power Biggs, and Palmer Christian.


Proposed Case by Skinner Organ Co. (Sept. 8, 1929)		Proposed Case by G. Donald Harrison (1930s)

Following are the specifications of Aeolian-Skinner Opus 891 as it was originally designed and installed in 1932:

Great Organ (Manual II) – 61 notes

Principal

Flute Ouverte

preparation

Principal

3 1/5

Grosse Tierce

Diapason

preparation

2 2/3

Octave Quinte

Flute Harmonique

preparation

Doublette

Gemshorn

preparation

Harmonics V ranks

305

5 1/3

Quint

Double Trumpet

Principal

Trumpet

Octave

preparation

Clarion

Swell Organ (Manual III) – 61 notes, enclosed

Flute Conique

Plein Jeu V ranks

305

Principal

Sesquialtera IV ranks

244

Rohrflöte

Bombarde

Salicional

Trompette

Voix Celeste

Oboe

Viole Sourdine

Vox Humana

Voix Eolienne

Clairon

Octave

Tremolo

Flute Triangulaire

Swell 16'

Salicet

Unison Off

Salicetina

Swell 4'

Choir Organ (Manual I) – 61 notes, enclosed

Salicional

1 1/3

Larigot

Geigen Principal

Sesquialtera V ranks

305

Flute Traversiere

Contra Fagotto

preparation

Viole

Trumpet

Viole Celeste

Clarinet

Spitzflöte

Clarion

preparation

Gemshorn

Tremolo

Flute d'Amour

Choir 16'

2 2/3

Nazard

Unison Off

Piccolo

Choir 4'

1 3/5

Tierce

Bombarde Organ (Manual IV) – 61 notes, enclosed

Viole

preparation

Clarion

preparation

Viole Celeste

preparation

Tremolo

preparation

Orchestral Flute

preparation

Bombarde 16'

Grande Fourniture VII rks

prep.

Unison Off

Double Trumpet

preparation

Bombarde 4'

Trumpet

preparation

Pedal Organ – 32 notes

Principal

Flute (fr. 16' Fl. Ouv.)

—

Contre Basse

preparation

Flute (fr. 16' Fl. Ouv.)

—

Flute Ouverte

Harmonics IV ranks

preparation

Diapason

Contre Bombarde

preparation

Salicional

Bombarde

Spitzflöte

Double Trumpet

10 2/3

Quint

preparation

Fagotto

Octave (fr. 16' Princ.)

—

Trompette (fr. 16' Bomb.)

—

Flute (fr. 16' Fl. Ouv.)

—

Trumpet

Violoncello

preparation

Fagotto

6 2/5

Grosse Tierce

preparation

Clairon (fr. 16' Bomb.)

—

5 1/3

Octave Quinte

preparation

Clarion

Doublette (fr. 16' Princ.)

—

Fagotto

Couplers

Swell to Pedal 8', 4'

Bombarde to Swell 8'

Great to Pedal 8'

Swell to Choir 16', 8', 4'

Choir to Pedal 8', 4'

Bombarde to Choir 8'

Bombarde to Pedal 8', 4'

Great to Bombarde 8'

Swell to Great 16', 8', 4'

Swell to Bombarde 8'

Choir to Great 16', 8', 4'

Choir to Bombarde 8'

Bombarde to Great 16', 8', 4'

Reversibles

Swell to Pedal (thumb)

Swell to Choir (thumb)

Great to Pedal (thumb & toe)

Bombarde to Choir (thumb)

Choir to Pedal (thumb)

Great to Bombarde (thumb)

Bombarde to Pedal (thumb)

Swell to Bombarde (thumb)

Swell to Great (thumb)

Choir to Bombarde (thumb)

Choir to Great (thumb)

16' Manual Stops Off (thumb)

Bombarde to Great (thumb)

32' Pedal Stops Off (thumb)

Bombarde to Swell (thumb)

Sforzando (thumb & toe)

Adjustable Combinations

Bombarde Organ	Pistons 1-2-3-4-0 (thumb)
Swell Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)
Great Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)	Pedal to GT Combs. Dbl. Touch
Choir Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb)
Pedal Organ	Pistons 1-2-3-4-5-6-7-8-0 (thumb & toe)
General	Pistons 1-2-3-4-5-6-7-8 (thumb & toe)
	General Cancel (thumb)

Mechanicals

Swell Expression

Bombarde Exp. to Swell Pedal

Choir Expression

Bombarde Exp. to Choir Pedal

Bombarde Expression

Combination setter

Crescendo Pedal

Lock for Combination piston setter

Necessary indicators

Adjustable bench with back

Original organ in present building: George Jardine & Son New York City – Opus 1139 (1896) Electro-pneumatic action 3 manuals, 34 registers, 32 stops, 33 ranks Two consoles (gallery and chancel) The first organ in the present edifice was the work of George Jardine & Son of New York City. In fact, Jardine used their 1886 instrument from the previous church as the nucleus of a redesigned organ that was enlarged from two to three manuals and equipped with electric action. Most of the organ was installed in the rear gallery, but the Choir division was enclosed in a chamber above the right side of the chancel. Two consoles were provided: one in the gallery and one in the chancel. Unfortunately, the novel use of electricity proved unreliable after a few years and the organ became mechanically unreliable. This organ created quite a stir, as reported in the Musical Courier (Dec. 18, 1895): "The new Jardine organ in St. Mary the Virgin's Church, New York City, which has just been completed, is one of the remarkable organs ever built. The great, swell and pedal organs are located up in the gallery, and the choir organ at the other end of the church, over the altar, at a distance of 200 feet. There is a console up in the gallery, also one at the chancel end, each equipped with three manuals, with the full number of stops, couplers and accessories, and playable at either point. It is built entirely on the electro-pneumatic system. The touch of the keys is as easy and quick as that of a piano. The bellows are in the crypt, driven by two powerful electric motors. The organ embraces all the new and most improved features, many of which have been lately introduced by Mr. Jardine from Europe. The organ contains 60 stops and accessories, five of the stops being of 16 foot tone. The organ was opened last Sunday by Dr. Geo. F. Prentice, organist of the church, and all those who heard it pronounced it one of the finest instruments ever built, especially in its deep foundation tones, exquisite solo stops and the many facilities enabling the organist to produce with ease every variety of tonal effect." An item about the first public recital appeared in Musical Courier (Feb. 12, 1896): "On Sunday evening last February 9, the first recital on the new electric organs built by George Jardine & Sons, in the church of St. Mary the Virgin, West Forty-sixth street, was given. A large number of New York's leading musicians assembled to do honor to the occasion, and several prominent organists played, among them being Geo. B. Prentiss, Mus. Doc., Gerrit Smith, Mus. Doc., H.B. Taylor, William Edward Mulligan, and Mr. Edward G. Jardine, who was heard in a composition, Thunderstorm, of his own. The program was interestingly arranged and brilliantly performed, making of the event a completely auspicious one in organ annals." The following specification is from an organ notebook of Lynnwood Farnam (1885-1930), concert organist of the early 20th century.

Great Organ (Manual II) – 58 notes
16	Double Open Diapason	58	4	Octave	58
8	Open Diapason	58	4	Harmonic Flute	58
8	Doppel Flöte (wood)	58	2	Piccolo	58
8	Melodia (wood)	58	8	Clarinet (TC)	46
8	Viola di Gamba	58

Swell Organ (Manual III) – 58 notes, enclosed
8	Open Diapason	58	2	Flageolet	58
8	Lieblich Gedeckt (wood)	58		Cornet, 2 ranks	116
8	Clariana	58	8	Trumpet (TC)	46
8	Aeoline	58	8	Bassoon (bass)	12
4	Violina	58	8	Choir Oboe (TC)	46

Choir Organ (Manual I) – 58 notes, enclosed (located in chancel chamber)
16	Bourdon Bass (wood)	12	4	Octave	58
16	Bourdon Treble (wood) (TC)	46	4	Boehm Flute	58
8	Open Diapason	58	2 2/3	Quintina	58
8	Salicional	58	2	Super Octave	58
8	Dolce	58	8	Vox Humana	58
8	Gross Flute (wood)	58

Pedal Organ – 30 notes
16	Open Diapason (wood)	30	8	Violoncello	30
16	Bourdon (wood, in chancel)	30	16	Trombone	30

Couplers, &c (stops over Swell)
	Pedal at Octaves			Swell to Chancel
	Swell to Pedal			Chancel to Great Sub
	Great to Pedal			Swell to Great Octave
	Chancel to Pedal			Swell Tremulant *
	Swell to Great			Chancel Tremulant *
	Chancel to Great			Stop Switch *
				* stops on left
Accessories
	2 composition pedals to Chancel			Balanced swell to Swell
	2 composition pedals to Swell			Balanced swell to Chancel
	2 composition pedals to Great

Organ in St. Joseph's Hall of present building:

Martin Bohling
New York City – Opus 1 (1960s)
Direct-electric action
2 manuals, 26 registers, 6 stops, 8 ranks

In the 1960s, an organ was built for St. Joseph's Hall by Martin Bohling, who was the organ curator at the time. Bohling's Opus 1 had eight unified ranks on direct-electric action. At an unknown time the organ was moved to St. Mark's Episcopal Church in Teaneck, N.J.

Hauptwerk (Manual I) – 56 notes

Praestant

2 2/3

Nasat (TC)

Gedackt

Rohr Floete

Praestant

Mixtur III ranks

Gedackt

Krumm Horn

Positiv (Manual II) – 56 notes

Gedackt

1 1/3

Larigot

Praestant

Sifflet

Rohr Floete (1-12 Ged.)

Scharf II ranks (Mixtur 8ve)

Praestant

Krumm Horn

Pedal Organ – 32 notes

Gedackt

Rohr Floete

Praestant

Mixtur III ranks

Gedackt

Krumm Horn

Praestant

Krumm Horn

Gedackt

Krumm Horn

Stop Analysis
		Pipes
16	Gedackt	80
8	Praestant	80
2	Rohr Floete	61
1 1/3	Larigot	56
	Mixtur [22-26-29]	168
16	Krumm Horn	68
	Total	513

Organ in St. Joseph's Hall and Theatre of present building: Casavant Frères, Limitée St. Hyacinthe, Québec, Canada – Opus 1498 (1934) Electro-pneumatic action 2 manuals, 26 registers, 6 stops, 6 ranks The second organ in St. Joseph's Hall was built in 1934 by Casavant Frères for the Paul A. Fancher residence in Clinton, N.Y. In 1945, Mr. Fancher donated the organ to the church, in memory of his wife, Edith. The organ had two manuals and six unified ranks, and was entirely enclosed (except for the 8' Open Diapason on the Great). At some point, the organ was moved to the theatre on the second floor of the parish house. In 1992, the organ was sold to a private individual in Canada.

Great Organ (Manual I) – 61 notes, enclosed
16	Bourdon (TC)	4	Octave
8	Open Diapason *	4	Flute
8	Stopped Diapason	2 2/3	Twelfth
8	Salicional	2	Piccolo
8	Dulciana		* outside swell box

Swell Organ (Manual II) – 61 notes, enclosed
16	Contra Salicional (TC)	4	Dulcet
8	Stopped Diapason	2 2/3	Twelfth
8	Salicional	2	Piccolo
8	Voix Celeste	1 3/5	Tierce
8	Dulciana	8	Oboe
4	Violina		Tremulant
4	Flute

Pedal Organ – 32? notes
16	Bourdon	4	Dulcet
8	Stopped Flute	16	Bassoon
8	Viola

Couplers
	Great to Pedal
	Swell to Pedal
	Swell to Great

Pedal Movements
	Balanced Swell Pedal
	Crescendo Pedal

Organ in St. Joseph's Hall of present building:

George Jardine & Son
New York City (c.1895)
Unknown action

The Memorial booklet of the Church of St. Mary the Virgin, published in 1895, states, "In St. Joseph's Hall is a fine large organ." Specifications of this organ have not yet been located.


	Chancel showing Jardine organ at left

Organ in first church at 228 West 45th Street:

George Jardine & Son
New York City (1886)
Mechanical action
2 manuals, 19 stops, 20 ranks

The organ in the original church building was built in 1886 by George Jardine & Son of New York City. This organ had mechanical action and was installed on the left side of the chancel. Following is the program from the "Dedication and Exhibition" of the organ on October 3, 1886:

1.	FANTASIA	Jardine
	(Displaying the solo stops, and the power and variety of the organ)
	Mr. Jardine
2.	OFFERTOIRE IN D	Batiste
	Mr. Wm. E. Mulligan
3.	FUGUE	Messe
	Mr. J. Rosenthal
4.	SOLO	Selected
	Mr. R. R. Warren
5.	a. SCHERZO (D major)	Lemaigre
	b. ALLEGRETTO (B minor)	Guilmant
6.	THUNDER STORM	Jardine
	Mr. Jardine
7.	FANTASIA IN E FLAT	St. Saens
8.	POSTLUDE	Batiste
	[no performer listed for last two pieces]

Great Organ (Manual I) – 58 notes

Double Open Diapason

Melodia (wood)

Open Diapason

Flute Harmonic

Violin Gamba

Principal

Doppel Flute (wood)

Piccolo

Swell Organ (Manual II) – 58 notes, enclosed

Open Diapason

Flageolet

Clariana

Cornet, 2 ranks

116

Aeolina

Trumpet (TC)

Lieblich Gedackt (wood)

Bassoon (bass)

Violino

Vox Humana

Pedal Organ – 27 notes

Open Diapason (wood)

Bourdon (wood)

Couplers & Mechanicals

Swell to Great

Forte to Great Organ

Great to Pedal

Piano to Great Organ

Swell to Pedal

Bellows

Swell Tremulant

Balance Swell

Organ in first church at 228 West 45th Street:

Unknown Builder
(1870)
Mechanical action

Accounts describing the dedication of the first building mention an organ. No further information is available.

Sources:
     Aeolian-Skinner Archives web site: http://aeolianskinner.organsociety.org/
     Babin, Kyle. "Music at the Church of Saint Mary the Virgin, New York City (1868-Present), and Its Importance in the History of Sacred and Secular Music." New York: Manhattan School of Music doctoral thesis, May 2008.
     Babin, Kyle. Specification of Casavant Frères Organ (1934) in St. Joseph's Hall.
     Barnes, William Harrison. The Contemporary American Organ: Its Evolution, Design and Construction (Sixth Edition). New York: J. Fischer & Bro., 1956.
     Callahan, Charles. The American Classic Organ - A History in Letters. Richmond: The Organ Historical Society, 1990. Aeolian-Skinner shop notes dated October 12, 1955.
     Dolkart, Andrew S. and Matthew A. Postal. Guide to New York City Landmarks (Third Edition). New York City Landmarks Preservation Commission. Hoboken: John Wiley & Sons, Inc. 2004.
     Dunlap, David. From Abyssinian to Zion: A Guide to Manhattan's Houses of Worship. New York: Columbia University Press, 2004.
     Farnam, Lynnwood. "Organ Notebook" with specification of George Jardine & Son organ (1896). John de Lancie Library, The Curtis Institute of Music, Philadelphia. Courtesy Sally Branca, Archivist, and Jonathan Bowen.
     Kinzey, Allen, and Sand Lawn, comps. E.M. Skinner/Aeolian-Skinner Opus List. New Rev. Ed. Richmond: The Organ Historical Society, 1997.
     Memorial of the New Church on the 25th Anniversary of the Parish, Feast of the Conception of the Virgin Mary 1895. New York: The Board of Trustees of the Church of St. Mary the Virgin, 1895.
     Musical Courier (Dec. 18, 1896). Item about the George Jardine & Son organ, Op. 1139 (1896). Courtesy Larry Trupiano.
     Musical Courier (Feb. 12, 1896). Item about the first recital on George Jardine & Son organ, Op. 1139 (1896). Courtesy Larry Trupiano.
     Ogasapian, John. Organ Building in New York City: 1700-1900. Braintree: The Organ Literature Foundation, 1977. Stoplist and Dedication Program (Oct. 3, 1886) of George Jardine & Son organ (1886).
     Read, Newbury Frost. The Story of St. Mary's. New York: The Board of Trustees of the Church of St. Mary the Virgin, 1931.
     St. Mary the Virgin web site: www.stmvirgin.org
     Trupiano, Larry. Specification of Martin Bohling organ, Op. 1 (1960s) in St. Joseph's Hall.

Illustrations:
     The Architectural Record (Vol. XXVII, No. 5, May 1910). Exterior (c.1910).
     Ave (Dec. 1969), newsletter of St. Mary the Virgin. Proposed case by G. Donald Harrison for Aeolian-Skinner Organ, Op. 891 (1932).
     Glück, Sebastian. Photo (c.1986) showing mitred 32' Euphone.
     Read, Newbury Frost. The Story of St. Mary's. Exterior and chancel of 45th Street church.
     Rust, John. Color photos of interior; rebuilt gallery console (1995); Holtkamp chancel console.
     St. Mary the Virgin Archives. Chancel boy choir (1900).
     Trupiano, Larry. Drawing of proposed case (Sep. 8, 1929) for Aeolian-Skinner Organ, Op. 891 (1932).
     White, Ernest. Photo (c.1940) of Aeolian-Skinner organ, Op. 891 (1932).

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