For centuries the pipe organ has stood alone as the only instrument which can effectively lead singing in the vast spaces of churches and cathedrals. To this day it remains unsurpassed in this regard. The Constitution on the Sacred Liturgy (1963) states "...the pipe organ is to be held in high esteem, for it is the traditional musical instrument that adds a wonderful splendor to the Church's ceremonies and powerfully lifts up the spirit to God and higher things."

In the superb acoustical space of St. Thomas the Apostle Catholic Church stands a magnificent pipe organ around which has flourished an outstanding music program, including the St. Thomas Choir and Chorale, the St. Thomas Concert Series, and the Festival of Organ and Dance. Inspirited by a corps of cantors, the parishioners have mastered a repertoire of more than one hundred seventy hymns and five Mass settings.

The St. Thomas organ boasts over 3,600 pipes ranging in length from thirty-two feet to three-eighths of an inch. Handcrafted from copper, tin, wood, lead, and zinc, this diverse array of pipes emanates a wide spectrum of tone colors: ethereal strings, brilliant trumpets, noble horns, haunting clarinets and oboes, thunderous pedal tones, and delicate flutes.

The 1,900 pipes located behind the rood screen are readily seen from the pews, but the remaining 1,700 sound from two recessed chambers high in the east wall of the loft thereby disguising the true size of the instrument (1,200 square feet). If all the pipes were laid end to end, the resulting line would span the length of twenty-eight football fields!

The tonal resources of the organ are controlled from the three-keyboard console placed on a movable dolly in the front of the sanctuary. Here an elaborate assemblage of devices affords the organist maximum expressive control over the pipes.

The original 1924 W.W. Kimball organ was primarily designed to accompany the loft choir, not lead the congregation. Its 1,400 pipes spoke from deep side chambers which resulted in an overall dark and unfocused tone. Such was the prevailing influence of the theater organ of that era. The organ console, located behind the rood screen, faced away from the sanctuary; the organist had to rely on a system of mirrors to coordinate the music with the elements of the Mass.

By 1970 the Kimball organ was plagued with numerous mechanical problems. Many fine leather pouches that admit wind to the pipes had rotted away, and silver electrical contacts that relay the organist's commands to the pipes had vaporized after decades of use.

By the late 1970s the organ had deteriorated to a state of total unreliability. Hundreds of pipes did not speak, while scores of others could be silenced only by stuffing rags beneath them! No longer could the organ provide a spiritually uplifting complement to the liturgies. And so it was that the D.W. Skinner Organ Co. was engaged to rebuild the instrument.

Following an extensive fund-raising campaign supported by countless contributors and volunteers, a new organ console and electrical system were installed in October 1981. To project sound directly into the sanctuary, nearly two thousand organ pipes were erected in the front loft, and an ongoing program of releathering, additions, and improvements was implemented.

Thus was born a versatile musical instrument providing reliable support for all facets of liturgy at St. Thomas Church. Moreover, the organ efficaciously manages the literature of all eras whereby the organist may enhance the beauty of the Mass with a wide variety of preludes, postludes, and communion meditations.

In its concert role, the organ is used for recitals and is featured in performance and recording with such notable ensembles as the Chicago Symphony Orchestra, the William Ferris Chorale, and Italy's Orchestra Sinfonica Haydn di Bolzano e Trento.

Mozart proclaimed the pipe organ to be the "King of Instruments." But the myriad components working together to produce the instrument's incomparable grandeur require meticulous and systematic maintenance.

Since the inception of its rebuilding, every effort has been made to ensure that the organ continues to function in the highest state of reliability. Mechanical problems have been solved immediately lest they escalate, the complex electrical system has been updated periodically, and tuning and regulation of the pipes have been continual as climatic conditions vary.

Just as we are confident that our beautiful landmark church will inspire worship for generations to come, so we must prepare to bestow our exquisite instrument on the worshippers of the future. Expert financial planning is needed to ensure that the organ remains a state-of-the-art liturgical instrument and never again falls into a state of dilapidation. The St. Thomas Organ Endowment Fund has therefore been created to sustain the organ into the twenty-first century and beyond.

In the past, numerous monetary appeals for organ maintenance and rebuilding have occurred, and in each case the parishioners and friends of St. Thomas Church have been generous. However, ad hoc fund drives are not an efficient means of financing the preservation of the instrument and other long-term projects.

The advantages of the St. Thomas Organ Endowment Fund are clear. Necessary organ maintenance and upgrading will be financed by the interest generated from this permanent and independent fund while the capital continues to grow. Furthermore, contributors to an endowment not only enjoy significant tax benefits, but are guaranteed that their gifts will be used exactly as prescribed.

The St. Thomas organ is truly a treasure for the people of our parish and a resource envied throughout Chicago. All parishioners and friends are heartily invited to learn more about this extraordinary instrument and provide for its longevity through donations to the St. Thomas Organ Endowment Fund. For more information, contact Thomas Weisflog, Director of Music at St. Thomas the Apostle Catholic Church.