The pipes . . . are located in spacious chambers on either side of the choir gallery. Hand-carved grille work executed by the Joseph Noe Studios, covers the tone openings both into the nave and the gallery.
In designing the Church, the architect, Paul Reilly, successfully achieved an acoustic condition which is particularly sympathetic to the musical requirements of the Sacred Liturgy. Just as the visual impact of the Church interior is one of space, light and rich color, so also the auditory timpact of the chant and hymns, of the antiphon and processional is enhanced by the lofty spatial dimensions. This warm resonance creates and ideal acoustical setting for the organ.
In tonal design, this instrument is a truly American organ. Based on time-proved principles from many lands, it is capable of interpreting the full range of the organ literature from the Renaissance to the present day. The selection of tone colors, and the individual voicing treatment of the pipes have produced a natural and gentle soronity appropriate for choral accompaniment. Each division of the organ has a characteristic harmonic development, or ensemble. The Principal chorus of the Great provides a dynamic anchor, the flues and reeds of the Swell are scaled and voiced along French lines to add a fiery brilliance, and the Choir is developed as a German Positiv. An independent Pedal gives a solid foundation to the whole instrument. Flutes and strings on each manual provide softer accompanimental colors.

The organ in the rear gallery was built in 2005 by the Schantz Organ Company of Orrville, Ohio. Schantz installed their Op. 2258 in two chambers, one on either side of the choir area. Several ranks from the previous M.P. Möller organ, Op. 9213 (1959) were incorporated in this new instrument. Schantz provided a movable three-manual drawknob console.