Cover Feature: Quimby restoration at Kansas State University

July 27, 2022
Austin organ


Austin Organs, Inc., Opus 2352 (1961), housed in All Faiths Chapel on the Kansas State University campus, was one of the earliest American Classic performance organs to appear at an academic institution in the region and certainly the first that was larger than thirty ranks. This organ, designed by James B. Jamison, tonal architect at Austin Organs, Inc., from 1933 to his death in 1957, reflects the builder’s tonal ideals of the 1950s, which differed in some ways from those of the American Classic movement. Jamison’s contributions to the profession have been largely overlooked. His dedication to his ideals and Kansas State University’s organ project have left a lasting impression that was a labor of love. The story that unfolds contains details about Jamison’s life that appear in print for the first time and lend credence to the thought that Opus 2352 may very well be his last will and testament to the organ world.

History of All Faiths Chapel

In early 1947 plans were announced to build All Faiths Chapel with an accompanying chime tower as a memorial to the 5,000 Kansas State University students and alumni who had served in World War II. The new chapel design was to feature two wings, the smaller of which would contain about 68 seats and be used as a meditation chapel. Funds for the construction of this space were provided by the Danforth Foundation of St. Louis, Missouri. Groundbreaking services for the meditation chapel were held in October 1947, and the chapel was dedicated two years later on October 9, 1949, and named Danforth Chapel.

The initial seating arrangements for All Faiths Chapel were for 545 people, 465 of which would be seated on the main floor and 80 in a balcony. Fundraising efforts for All Faiths Chapel progressed at a slow rate: $118,813 was raised by December 1949, and by late 1952 $157,000 was available for the chapel. It was decided that a more contemporary architectural design would replace the original design, which, according to chairman Arthur Peine, had “priced itself out of the market.” The All Faiths Chapel addition was designed by Charles W. Shaver, a church architect and trustee of the Kansas State University Foundation, and Theodore Chadwick, professor of architecture at Kansas State University.

Early history of the All Faiths Chapel organ

A pipe organ for the new chapel was included in the early plans and must have surely been a dream for the new assistant professor of music Robert Hays who was hired as the organ faculty member at Kansas State University in 1946. Hays was insistent from the beginning that Austin should build the new organ in All Faiths Chapel. Furthermore, he insisted that James Jamison design the organ and that Richard Piper, newly appointed tonal director at Austin, voice the organ. The first known letter between Kansas State University and James Jamison is dated September 19, 1952, from music department chair Luther Leavengood extending an invitation for Jamison to view the plans for All Faiths Chapel and to submit a design.1 Leavengood also revealed that the proposed expenditure for the organ was $28,000–30,000.2

After about seven months of correspondence between Kansas State University and Jamison, Dean Roy Seaton wrote to Jamison to tell him that only $31,000 was available for the organ, $7,000 less than he had proposed to the university during the previous seven-month interim.3 While the $7,000 in and of itself wasn’t an insurmountable sum, construction bids had not yet been awarded for All Faiths Chapel, and therefore Dean Seaton warned that “an excessive cost plus the $7,000 might force a revision of our plans—a lesser organ, cheaper seats, etc., or postponement until more money could be raised. We do want you to understand, however, that you are our chosen builder. . . . We should also like to send to you the completed plans for scrutiny before they are let out for bids.”4

Jamison first visited Kansas State University about a year later in late 1953 or early 1954, and in a letter dated January 28, 1954, he presented Hays with the first stoplist proposal for the All Faiths Chapel organ, which was influenced by Austin’s recent, successful installation at Zion Reformed Church in Lodi, California.5 This stoplist was modeled after Jamison’s “Minimum All-Purpose American Organ,” defined by Jamison as “the smallest organ that will adequately play any classic organ literature properly, accompany a dignified church service, congregational singing, mixed or boy choirs, [and] facilitate transcription and improvisation.”6 Jamison also made the following comments about the stoplist:

Do not worry about the apparent light Pedal. It is not, really, at all. The 16′ Spitzprincipal is a Violone in its low octave and is a true independent pedal register except in full organ . .  . The Clarinet on the Pedal is a surprise—most useful. The 16′ Dolce plus 16′ Gedeckt approximate a Bourdon—and are far more musical—because the Dolce yields definition.

I have long championed the augmented Pedal Diapason which we scale very expertly . . . It ‘tells’ in fine fashion and is 97½% as effective as three straight ranks. You will just have to believe me—for it is so. It saves more than enough for the two-rank Pedal mixture!

I ask that you and the school authorities give this proposition careful and deliberate thought. Perhaps it may prove possible to raise the $38,086 it costs, delivered and installed.7

Robert Baker, well-known American church musician (then of First Presbyterian Church in Brooklyn) and organ recitalist, wrote to Hays, “I’m delighted about the news of your getting a new organ—and you will be delighted with what Jamison and Austin do—the Lodi instrument is all he says, and more! One of the best I’ve ever touched. I’ve written a glowing letter to your Mr. Peine and meant every word. Jamison is the smartest man in the field, and I’m trying to get him to write a book.”8 Thank heavens Baker did this since Jamison was able to crystallize his final ideas on organ design in the book Organ Design and Appraisal, which was published shortly after his death.

Groundbreaking for All Faiths Chapel occurred a few months later in the spring of 1954. Jamison visited the Kansas State University campus a second time in November 1955 and prefaced his visit with these words, “I am delighted to learn that the chapel project is on the move and the organ will follow . . . this time I hope we can cinch it. In a way, the delay has not hurt the quality the college will get for we have not stood still but have emphatically improved our work.”9

However, just a few months later (March 22, 1956), Jamison wrote a letter to Basil Austin with shocking news:

I have some bad news. X-ray pictures show I have the dread disease and shall be operated on in about three weeks. The doc says I have an 80% or better chance—as things have been caught fairly early . . . he told me just an hour ago. I suspected it and was mentally as prepared as one can be. I intend to go through with it as courageously as I can and hope he is right in saying I may again be as well as ever. However, I have had my full share and have no complaint. I am glad I have lived to see the firm do so well and on the way to supremacy—as it most certainly is.10

Five days later, Jamison wrote Basil Austin again commenting about some of Austin’s most recent work in California:

The first violence of the shock is wearing off a bit and I feel OK and want to work—and keep from thinking about my trouble. . . . I had word this week from Gray Company that my book is now being put in print—which means—I hope—that it may be out this year. All these [organ] design principles will be clearly stated in it. Let me assure you they will each bear thought. Good stops are not enough—they have to be properly arranged. Then you can bring off effects unheard of in clumsier schemes.  Well—it is 6:45 AM. I had breakfast half an hour ago—and already have written a lot. I have so much to say.11

A little less than three weeks later, All Faiths Chapel was dedicated on April 15, 1956. Still, no significant progress had been made in raising the extra money needed for the organ. Jamison wrote to Basil Austin in January 1957, “I asked Robert Hays to phone Piper while [he is] at Topeka and see if he could run over (50 miles) to Manhattan and size up the [chapel], etc. The college deal burns hot and cold and right now seems to be warm.”12 About three weeks later, Jamison received the news that he would not survive the cancer that had overtaken his body. He wrote Basil Austin, “. . . my check at the hospital yesterday was unfavorable and they have discontinued medicine and told me to [sit] still and fold my hands. I have lost a great deal of weight and am terribly weak.”13 He also mentioned the All Faiths Chapel organ project:

I have a recent letter from the Kansas State University Foundation asking for a complete scheme and price and terms . . . am writing it out this afternoon. At least this prospect is not dead. I never seem to hit the hot ones with real money. Do see to it that Piper goes there when the contract is signed and gets a complete and accurate idea of what to do in scaling, etc. as well as a physical disposition of chests. It’s a great opportunity and ought not to be muffed. They have $19,000 in cash now.14

Unfortunately, Jamison would not live to see the All Faiths Chapel organ completed, and the scheme that he wrote out that afternoon supposedly did not survive. I feel, however, that a statement from Robert Hays in a letter to James McCain indicates otherwise: “Mr. Jamison devotes a large portion of his book to a discussion of what he calls a minimum, all-purpose American organ. He gives three specifications for this organ, one of which is the identical organ he designed for our chapel.”15 The May 1, 1960, issue of The Diapason also sports this almost identical stoplist when the official announcement of Austin’s building of the All Faiths Chapel organ was announced to the public.16

A month after his letter to Basil Austin, Jamison received a letter from Kenneth Heywood, director of endowment and development at Kansas State University, indicating that a new organ for All Faiths Chapel could not be procured until necessary funds were raised.17 A little less than three months later, on May 29, 1957, James Jamison passed away. He was seventy-four years old.

Project resurgence

Nothing is known about what happened regarding the All Faiths Chapel organ project for the next eighteen months or so until the next wave of correspondence reveals that Kansas State University President James McCain had become aware of the fact that European mechanical-action organs were cheaper than American electro-pneumatic-action organs. In a letter to McCain, Hays reiterated his respect for Austin and Jamison’s vision:

I have always had the greatest respect for Jamison’s knowledge and ability, as I have had the greatest faith in his integrity. . . . Installing an organ in our chapel was a thing Jamison very much wanted to accomplish . . . I think, with respect to future generations of students and teachers as well as the entire community, that the benefits of Jamison’s plans in our behalf should not be abandoned without serious consideration.18

However, it appears that the discussion was not moving quickly enough for McCain, who wrote the following to Luther Leavengood and Kenneth Heywood four months later:

I continue to come across references to the purchase of German organs for chapels similar to ours . . . Unless I am furnished evidence to the contrary, I shall assume that with the money now available we could purchase an organ for our chapel which would be as satisfactory as the $45,000 or $50,000 chapel organ that we originally planned to install in the chapel.19

Six days later, Luther Leavengood began writing universities and churches that had mechanical organs built by Kuhn, Beckerath, and Flentrop. In a letter to an organist that played at a church with a mechanical-action organ, Hays mused, “There are many reasons that I am convinced a foreign organ is not for us and I am prepared to argue for my viewpoint, but the comparison in cost is the point on which I have no information and for which we ask your help.”20

Shortly thereafter, Austin President Frederic Austin delivered bad news to Kenneth Heywood that manufacturing costs had risen 25% since 1957, making it even more difficult for Hays to convince university officials who were not organists that Austin should be selected as the builder of the All Faiths Chapel organ. Hays summarized the results of his study of mechanical-action organs versus American electro-pneumatic-action organs shortly thereafter, with the argument that Jamison and the All Faiths Chapel architects had worked together to design an organ that would be appropriate for the chapel itself and that “no organ can be purchased and then ‘moved in’ as one might buy a piano.”21 However, President McCain remained undeterred, “I am by no means yet convinced that with the money now available we cannot purchase a foreign make organ with as good results as we would get from one American organ to which we appear to be rather arbitrarily committed. If this is the case, it would certainly be tragic to defer action on securing an organ for perhaps 15, 20, or even more years.”22

It truly appeared that the dream Hays and Jamison had formed over five years previously would be doomed to failure. However, the vision for an organ in All Faiths Chapel was kept alive by Marion Pelton, one of Hays’s colleagues in the keyboard area who was herself an organist. Pelton had taught at Kansas State University since 1928 and had an interest in early music fueled by a two-year residency at Columbia Teacher’s College in New York City (1955–1957) where she was exposed to much early music. In May 1959 she began sponsoring Pro Musica Antiqua concerts that featured early music. Pelton relates:

. . . the very first one of these programs, they didn’t have the organ [in All Faiths Chapel] . . . I wanted an organ so badly. . . .
The paper gave me a lot of publicity and I had pictures of the early organs that I had visited over in Europe on these huge white cardboard things. We also had a tea. The idea then was I was trying to raise money for an organ for the chapel. Well, I think I raised about $400 . . . It was just terribly disappointing.”

However, Mrs. Gabe Sellers, a resident of Manhattan, had a brother, Ernest Nicolay, a Kansas State University graduate who was vice-president and director of the Frito Company in Detroit, Michigan. The very next day, Sellers and her brother Ernest went to visit their mother in Michigan, and Ernest remarked, “Do you know of someplace to give some money to Kansas State University? I have to pay so much tax on so much money and I would be very glad to make them a big gift.”24 His sister, Mrs. Sellers, remarked that she had just been at a concert the day before where they were trying to raise money for an organ.25 Nicolay’s gift was substantial enough that Kenneth Heywood wrote Frederic Austin indicating, “A very substantial contribution has been promised by one of our alumni which, when received, will bring the figure to the point where we can feel justified in obligating ourselves.”26 Hays also wrote to McCain:

Since [Jamison] was willing to include this design [for the All Faiths Chapel organ] in this book as an example of his mature thought, it is my opinion that every effort should be made to place in our chapel the organ he designed for it and which Austin will build to his specifications.

Just as we would get top quality design from Jamison, we would also get top quality construction and long-lasting dependability from the Austin Company. We have had expert opinion on this point, and the longevity and mechanical dependability of the present Austin in the University Auditorium bears out that opinion.27

Finally, in November of 1959, the All Faiths Chapel organ contract between Austin Organs and Kansas State University was finalized. Hays wrote Frederic Austin, “Years ago, when I was impatient and despairing of the outcome of our negotiations with your company, JBJ said to me, ‘These things take a long time; I’ve been through it hundreds of times; do not be impatient and don’t worry, it will come out all right.’ How I wish that he could be here to know that it has ‘come out all right!’”28 Due to what was a slightly reduced budget, the final stoplist had to be altered slightly, much to Hays’s chagrin. Thankfully, the revisions to the stoplist were minor (the Great II Rauschquint was divided into separate 22⁄3′ and 2′ Principal stops), the 8′ Geigen was deleted from the Positiv, and the Pedal Trompette 4′ Pedal Extension (labeled Clarion) and the Swell Trompette borrow were deleted and replaced with a 4′ Krummhorn borrow from the Positiv).

Installation and dedication

The All Faiths Chapel organ was installed by Austin staff member Zoltan Zsitvay, who arrived in Manhattan on August 16, 1961.30 David Broome arrived on August 21 to begin the tonal finishing.31 The first public use of the organ was only five days after Broome’s arrival on August 26 for the wedding of Sara Umberger, granddaughter of Harry Umberger, long-time dean of the Kansas State University School of Architecture. David Broome relates:

We talked with her briefly after the wedding rehearsal the day before. She told us she had set the wedding date late in August, hoping that the organ would be finished by then. She seemed so disappointed that the organ wasn’t ready; so we decided to voice the rest of the flue pipes so it could be used. Broome and his associate worked late that night and began early the next morning with their ‘wedding gift from the Austin Organ Company.’ By 3:00 they’d finished it and could show the organist for the wedding, Mrs. Beth Rodgers, what parts of the instrument she could use.33

Robert Hays played the first formal recital on the instrument Sunday, October 8, 1961. Organist Robert Baker, director of the School of Sacred Music at Union Theological Seminary in New York City, a close friend of Jamison’s and classmate of Robert Hays, played the dedicatory recital Sunday, November 19, 1961. The Manhattan Mercury reported, “an overflow crowd of approximately 1,000 people heard Robert Baker, noted organ recitalist, demonstrate K-State’s new $50,000 pipe organ.” Baker declared that the organ was, “beautifully designed; beautifully placed; beautifully executed.” Baker further commented, “I have played a great many organs, but seldom can I remember an organ of its size as beautifully designed, as beautifully placed, and as beautifully executed.”34 He summed the instrument up as “satisfactory and thrilling.”35 Despite the pageantry and celebration associated with the completion of the All Faiths Chapel organ, Austin personnel at the time must certainly have felt a pang in their hearts for Jamison and his vision for this organ. Perhaps Richard Piper summarizes it best, “For obvious reasons the builder regards the tonal work somewhat as a memorial to Mr. Jamison whom they hold in such high esteem. They sincerely believe the instrument successfully fulfills his great expectations and that were he here today, he would give his unqualified approval to the tonal interpretation.”36

Austin Opus 2352 today

When I arrived at Kansas State University twelve years ago, the switching system of Austin Opus 2352 had recently undergone conversion to Solid State Logic but sounded tonally fatigued. Quimby Pipe Organs of Warrensburg, Missouri, became curators for the organ in the fall of 2010. I was encouraged that Eric Johnson, head voicer for Quimby, felt as I did, that some wonderful results would occur under the right hands and ears if this organ was restored.

After nearly fifty years of regular and sometimes heavy use, the organ was on the verge of needing significant maintenance: note and stop action releathering, pipe cleaning, stenciling, and tonal regulation, new tuning slides (particularly for exposed pipework), wind reservoir repair, and reed cleaning. Funding for the entire project was a significant hurdle to overcome. To help initiate some momentum with the university administration regarding the organ and to provide external validation about the value of this organ to the community, region, and nation, I applied for a Historic Organ Citation from the Organ Historical Society, an award that was granted November 4, 2011, at a fiftieth-anniversary concert featuring the premiere of Daniel E. Gawthrop’s Symphony No. 2: “The Austin.” The plan worked. University administration awarded funds to cover the releathering and reed cleaning aspects of the project that were completed by Quimby in 2014. The remaining aspects of the project were completed by Quimby in 2022, thanks to the support of the Kansas State University Foundation that helped elicit the support of donors who funded the remainder of this project.

Jamison’s thoughts about the disposition and voicing of Austin organs were truly cosmopolitan, perhaps more so than his contemporaries. Even though the All Faiths Chapel organ is only forty ranks, no tonal effect is duplicated. Looking at the Great division, Jamison received inspiration from English organs for the principal chorus. The 8′ Diapason is the largest scale of all members of the chorus, a departure from what others were doing at the time. The 8′ Spitzflöte is a beautiful stop alone or creates a subtle addition to the 8′ Bourdon, perfect for mezzo-piano passages. The 4′ Quintadena, enthusiastically endorsed by Jamison, has now fallen out of favor in some circles but is nevertheless another contrasting color. This division is, in the true sense of American Classicism, reedless.

The basis for the Swell division chorus is an 8′ Hohlflöte, a lovely stop of wood and an unusual inclusion for the time, yet offers a beautiful contrast to the other flute stops. The Nasard and Tierce ranks only go to tenor C, reinforcing Jamison’s idea that they “are justified by their lesser cost and by the fact that rarely are such mutations used below Tenor C.”37 The Swell 8′ Trompette is “of medium scale and blown to optimum timbre . . . darker than that of the [Positiv] Bombarde.”38 The Clarinet is, in Jamison’s words, “not too suave. At 16′ serving as the Trumpet chorus double, it must be very rich harmonically to be right.”39 The 16′ Bass Clarinet is also available as a borrow in the Pedal and serves as a wonderful Pedal reed for Baroque literature.

The enclosed Positiv division follows, in Jamison’s words, “the sensible trend to convert the customary Choir section into a Choir-Positiv.”40 The 8′ Bombarde, the major manual reed, is in this division and was a design element far ahead of its time. Jamison notes the following about this stop’s characteristics:

What color shall it be, and what power? Is it possible to have it right in both qualities if we extend it upward from a balanced Pedal reed? Yes, it is, and the great money saving will not be unwelcome. The requirement is that it be of the same general timbre as the rest of the full organ up to that point. What we seek in employing it as a super chorus reed, as well as the rarely provided solo antiphonal voice, is a final splash of brilliance and power that will extend forte to fortissimo without changing the general color except by brightening it.

This double dictates less power than a genuine English Tuba would have. The ratio sought is one that will add something like 25% to what has gone before; that last final surge of crescendo that marks the true climax. . . .

If this extension of the pedal register has this fortunate manual effect, how does the voice fit into the Pedal field and function? The answer is—in the best possible way. For the correct register is the French Bombarde, playable at 16′, 8′, and 4′ on Pedal and at 8′ on Choir. Thus it is in, but not of, that section. There is nothing so dramatically and forcefully effective as this type of tone for forte-fortissimo Pedal.

In an organ such as we plan, which will prove to need 33 to 35 registers, it should always be enclosed, making it much more useful and applicable to various demands. The Bombarde is so superior to the more fundamental Trombone that there can be no hesitation in choosing between them. Added to the Pedal fluework, it imparts a drama and a decisive edge that a weightier reed cannot equal, again demonstrating the ‘rich bass’ principle. Played solo against full manual flues it realizes an effect the English organ cannot manage—a magnificence of intensity rather than substance.41

Jamison’s aforementioned effects of this stop are completely realized on the All Faiths Chapel organ. Its enclosure truly lends an amazing degree of flexibility that greatly enhances its use in an organ of moderate size such as this, in addition to its ability to be unison, sub- and super-coupled to the Great and unison and super-coupled to the Pedal.

The Pedal division’s flexibility belies its size. Jamison discusses the design of the 16′-8′-4′ Diapason chorus:

The 56 pipe unit set . . . can all be regulated to approximate fairly closely the octave-by-octave power balances of three normal independent sets. The general character is crisp, rather than full, consistent with the bright-bass full-tip (pedal-manual) timbre progression. The power is similar to that of the Great [8′ Open Diapason], which is the really important item, but the quality is firmer. When both Great and Pedal flue choruses are drawn, we have on the Great an impressive aggregation of various unisons and fifths, moving here and there; and below, on the Pedal, is our unit stop at 16′-8′-4′ plus Mixture (another group of unisons and off-unisons) moving contrariwise to or in conjunction with the manual work; we are supposed to be able to tell, in this grand, forte mêlée, if the Pedal is unified, independent, or half and half—or if the 4′ is a scale larger and louder than the 8′—though which 8′ and which 4′ is not certain—or if the extended Pedal 8′ is two scales smaller than the Pedal 16′!42

Jamison also utilized this same idea for the 16′-8′-4′ Pedal stopped flute rank, and its effects are equally effective. The 16′-8′ Spitzflöte unit borrowed from the Great fills in the mezzo-forte gap in the Pedal beautifully. The bottom octave of the 16′ Spitzflöte is a string that provides the additional harmonic foundation to the bass line that is missing in the 16′ Lieblich Gedeckt. When one factors in the division’s other stops (two-rank Pedal mixture and reeds), it has more than enough to stand on its own!

In summary, my twelve-year working relationship with this organ encompassing both teaching and performance has reinforced my beliefs that Jamison’s “Minimum All-Purpose American Organ” is exactly what it claims to be. Quimby Pipe Organs and its staff are convinced of this organ’s design and role in the organ world and have done all they can to retain its integrity and quality. Their work has been top-notch. When the organ was new, Richard Piper mused, “It is truly said that time is the only yardstick by which beauty can be measured. Austin believes this organ will endure.”43 It has endured nobly for over sixty years and given the care and further use it will receive, I have full confidence that its music and legacy will endure for many years yet to come.

—David C. Pickering, DMA, AAGO

Professor of Music, Kansas State University


1. Letter from Luther Leavengood to James Jamison, September 19, 1952.

2. Ibid.

3. Letter from Roy Seaton to James Jamison, May 8, 1953.

4. Ibid.

5. Letter from James Jamison to Robert Hays, January 28, 1954.

6. James B. Jamison, Organ Design and Appraisal (New York: H.W. Gray, 1959), 93.

7. Letter from James Jamison to Robert Hays, January 28, 1954.

8. Letter from Robert Baker to Robert Hays, July 19, 1953

9. Letter from James Jamison to Robert Hays, July 29, 1955.

10. Letter from James Jamison to Basil Austin, March 22, 1956.

11. Ibid., March 27, 1956.

12. Letter from James Jamison to Basil Austin, January 18, 1957.

13. Ibid., February 9, 1957.

14. Ibid.

15. Letter from Robert Hays to James McCain, October 13, 1959.

16. “College in Kansas Orders New Austin,” The Diapason, May 1, 1960, p. 7.

17. Letter from Kenneth Heywood to James Jamison, March 9, 1957.

18. Letter from Robert Hays to James McCain, January 14, 1959.

19. Letter from James McCain to Luther Leavengood and Kenneth Heywood, April 2, 1959.

20. Letter from Robert Hays to Betty Louise Lumby, April 15, 1959.

21. Letter from Robert Hays to James McCain, May 26, 1959.

22. Letter from James McCain to Robert Hays, May 29, 1959.

23. Byron Jensen, College Music on the Konza Prairie: A History of Kansas State’s Department of Music from 1863 to 1990 (Ed.D. diss., Kansas State University, 1990), 409.

24. Ibid., 409–410.

25. Ibid, 410.

26. Letter from Kenneth Heywood to Frederic Austin, June 5, 1959.

27. Letter from Robert Hays to James McCain, October 13, 1959.

28. Letter from Robert Hays to Frederic Austin, November 30, 1959.

29. Zsitvay was a distinguished member of the Hungarian National Track and Field Team, winning the University World Championships in the Pole Vault in Paris in 1946.

30. Letter from Donald Austin to Robert Hays, August 3, 1961.

31. Ibid.

32. “Memorial Organ,” K-Stater, October 1961, 7.

33. Ibid.

34. “Expert Praises K-State Organ,” Manhattan Mercury, November 20, 1961.

35. Ibid.

36. Richard Piper, “Stoplists,” The American Organist (May 1962), 23.

37. Jamison, 134

38. Ibid., 115.

39. Ibid.

40. Ibid., 151.

41. Ibid., 105–106.

42. Ibid., 121.

43. Richard Piper, “Stoplists,” The American Organist (May 1962), 23.


Quimby website:

University website:

Photo credit: Tom Theis



16′ Contraspitzflöte (ext 8′) 12 pipes

8′ Diapason 61 pipes

8′ Bourdon 61 pipes

8′ Spitzflöte 61 pipes

4′ Octave 61 pipes

4′ Quintadena 61 pipes

2-2⁄3′ Octave Quint 61 pipes

2′ Super Octave 61 pipes

1-1⁄3′ Fourniture IV 244 pipes


8′ Hohlflöte 68 pipes

8′ Viola 68 pipes

8′ Voix Celeste (TC) 56 pipes

4′ Prestant 68 pipes

4′ Rohrflöte 68 pipes

2-2⁄3′ Nasard  (TC) 49 pipes

2′ Flageolet 61 pipes

1-3⁄5′ Tierce (TC) 49 pipes

2′ Mixture III 183 pipes

16′ Bass Clarinet (ext 8′) 12 pipes

8′ Trompette 68 pipes

8′ Clarinet 68 pipes

4′ Hautbois 68 pipes



8′ Nason Flute 68 pipes

8′ Dolce 68 pipes

8′ Dolce Celeste (TC) 56 pipes

4′ Nachthorn 68 pipes

2′ Oktave 61 pipes

1-1⁄3′ Larigot 61 pipes

1′ Zimbel III 183 pipes

8′ Krummhorn 68 pipes


8′ Bombarde (Pedal)


16′ Diapason 56 pipes

16′ Spitzflöte (Gt)

16′ Lieblich Gedeckt 56 pipes

8′ Octave (ext 16′)

8′ Spitzflöte (Gt)

8′ Lieblich Flöte (ext 16′)

4′ Fifteenth (ext 16′)

4′ Flöte (ext 16′)

2-2⁄3′ Mixture II 64 pipes

16′ Bombarde 80 pipes

16′ Bass Clarinet (Sw)

8′ Trompette (ext 16′)

4′ Krummhorn (Pos)

Normal assortment of couplers

32 voices, 40 ranks, 2,458 pipes

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