Johnstown, Pennsylvania
Immaculate Conception RC Church

Organ by Adam Stein, ca. 1900

NOTES

Here are transcriptions of the rest of my notes from a visit to Johnstown in 
September of 1980:

ETHNICITY: Immaculate Conception began, and continued for many years, as a 
predominantly German parish, served by priests of the Order of St. Benedict.

BUILDINGS: the present yellow brick building is the parish's second church. The 
first was dedicated December 8, 1859 on a lot across the street from the 
present building. No word about an organ (if any) in that church. Construction 
on the foundations of the present church had just begun when the famous 
Johnstown flood (and fire) of May, 1889 struck the town. The present building 
has a cornerstone date of 1907. The "1900" on the organ's nameplate is very 
possibly the contract year.

CONSOLE ADDENDA (refer to previously posted stoplist):
   Stop labels  of all three divisions include division abbreviations --
      Gr., Sw., Ped.   
   Pedal board is flat and straight.
   Mechanicals: knobs above Sw. manual and "on-or-off" buttons in key slips for 
      all couplers.
   Composition pedals: 
      Swell Piano, Swell Forte
      Full Organ
      Great Piano, Great Forte
      Great to Pedal coupler (reversible -- making three ways to operate this coupler!)  
      "Full Organ" draws all stops except Great Diapason 16, Cornopean, Cornet, and Resultant.

LAYOUT: Both manual divisions are on N chests with C at the left.
Notes #1-30 have Roosevelt-style pneumatic assists. Pedal Bourdon and Diapason 
are on pairs of slider chests, divided c/c# on each side of the manual 
divisions; each Diapason chest has two sliders, making a total of four sliders 
moved when the stop is operated.

PIPEWORK SCALES, ETC: (In chest sequence, front to rear)

Great OD 16'  Not practical to measure scale; spotted metal from #30; bottom 6 notes are
              "monkey quintes" in the style of Hutchings or Pfeffer.
Spitzflöte    Common metal except bass; 1/3 taper
OD 8'         Spotted metal except bass; sc43
Gamba         "Pure" tin (no spots); zinc bass
Doppelflöte   Double mouths from TC; no metal trebles
Flute Oct.    Spotted metal; harmonic from #25 >
15th          Spotted metal; sc70 (inscribed)
Quinte        Spotted metal; sc65 (inscribed)
Octave        Spotted metal, zinc bass; sc58 (inscribed)
Trumpet       Spotted metal/zinc; none harmonic; 12 OMTs; CC 4 1/2"

Cornopean     Spotted metal/zinc; 13 harmonic, then 122 OMTs; CC 5 1/4"
Oboe          Spotted metal/zinc; no caps; CC 3 1/2"
Gemshorn      Spotted, cylindrical; high cutup; heavy nicking; sc63
Flute Harm.   Common metal; harmonic from #25 >
Std. Diap.    All wood; no bored stoppers; concave languids. CC marked
                        "#23"
Aeol.         Spotted metal; 12 quintadena basses; sc58
Vox Cel.      (also marked "Aeoline") Spotted metal; sc60; from TC
Salic.        "Pure" tin; zinc basses, 4 outside box; sc60
Open D.       Common metal, zinc basses; sc 44 (inscribed)
Bourd. 16     "Gedeckt" proportions; no bored stoppers; no OMTs
Cornet        Labeled "Dol. Cor." @ CC: 12 - 40mm; 15 - 35mm;  17 -
20.5mm

All of the above data are from my 1980 visit, when I did not have a "secretary" 
to take notes. Scales are from best practical measurement unless indicated as 
"inscribed."

I have rarely seen an organ of this period with such magnificent quality of 
construction, or heard one with such elegance combined with kaleidoscopic color 
and satisfying ensemble. It deserves a worthy location and a conscientious and 
respectful restoration. And maybe a 16' wooden Trombone.

[Posted to PIPORG-L January 16, 2009 by Cullie Mowers.]