R. A. Colby, Incorporated, Johnson City, Tennessee; Saint Cecilia Catholic Church, Houston, Texas
Brad Colby is a third generation organbuilder holding an MBA from Duke University. He is also an active member in the American Institute of Organbuilders and the American Guild of Organists.

Entering the grounds of Saint Cecilia Catholic Church in Houston, one is immediately enveloped by an atmosphere where art, nature, and spirituality converge in harmonious splendor. The meticulously curated landscape features thoughtfully placed artworks that guide visitors toward a central three-stone waterfall, inviting contemplation of the Holy Trinity. Towering oak trees extend their majestic branches overhead, forming a lush canopy that shelters vibrant seasonal flower beds and ivy-clad walls. These elements coalesce to create a serene environment, seamlessly transitioning visitors from the tranquil outdoors into the sacred interior of the sanctuary.
Upon entering the narthex, one’s attention is drawn to a prominently positioned baptismal font, situated between the chapel and the main sanctuary. Overseeing this sacred space is a statue of Saint Cecilia, the revered patroness of music, symbolically safeguarding each newly baptized member of the congregation. As one proceeds toward the chancel, architectural elegance becomes even more pronounced. A gracefully curved, pure white apse wall embraces the entire chancel area, providing a pristine backdrop that beautifully contrasts with the warm hues of the brick walls and the rich tones of the mahogany pews. Suspended above the main altar is an oiled bronze crucifix, serving as the focal point for the fan-shaped nave seating arrangement.
The profound symbolism and striking visuals of the apse and crucifix naturally call for an instrument of equal inspiration, both musically and aesthetically. An organ, in this context, transcends its role as a mere musical instrument; it becomes an integral component of the worship experience. It is not solely about the sound it produces, but about the ambiance it creates, the enhancement of the liturgical experience, and the emotions it evokes within the sacred space. These intangible feelings begin to form in one’s mind creating a musical experience even before the first chord resonates.
With this vision in mind, the concept of the new organ at Saint Cecilia Catholic Church began to materialize. The existing instrument, originally from the Co-Cathedral of the Sacred Heart in downtown Houston, had been lovingly preserved and transferred to Saint Cecilia by Father Francis Macatangay. While it served the parish faithfully for many years, it became evident that a more grandiose instrument was necessary to match the level of music Andrew Meinen, director of liturgy and music, has made integral to Saint Cecilia.
To ensure the new organ would meet the church’s liturgical and musical needs, the church engaged Michael Ging as the project consultant. Dr. Ging, a distinguished organist and consultant, brought a wealth of experience to the endeavor. His academic credentials include a Doctor of Musical Arts from the University of Houston, a Master of Music from Rice University, and a Bachelor of Music from the Oberlin Conservatory of Music. Throughout the project, Dr. Ging’s comprehensive vision ensured the instrument would not only support the liturgy but also excel in a wide range of organ repertoire.
The fan-shaped design of the sanctuary presented unique challenges in determining the optimal location for the new organ. It was imperative that the instrument blend harmoniously with the choir’s voices, ensuring a cohesive musical experience for the congregation. Positioning the organ above the choir area was deemed ideal. Interestingly, the large structural steel beam, which blocked the visuals of the existing façade, proved advantageous, as it reflects sound back into the choir area, providing natural acoustic feedback and enhancing the choir’s performance.
The new organ’s final specification resulted in a three-manual instrument with two enclosed divisions. Father Francis envisioned uniting ranks from Houston instruments that had lost their original homes. Embracing this sentiment and with Dr. Ging’s approval, we selected the finest ranks from three different instruments: the original organ from the Co-Cathedral of the Sacred Heart, the organ from Saint Mary’s Seminary, and the organ from Fourth Church of Christ, Scientist (all three originally by Henry Pilcher’s Sons). These ranks, combined with new pipework and digital additions, culminated in the final specification.
After addressing the challenges of the organ’s placement, the focus shifted to harmonizing the instrument with the sanctuary’s visual grandeur. The design features a suspended façade that serves as a visual focal point. Symbolism in all aspects of the design is meant to inspire as the eyes are drawn upward with each grand sweep of the twenty-foot-tall façade. Polished aluminum was chosen for the pipes to represent the idea that each of us must reflect the divine in the world. A custom, hand-carved, four-foot-tall lyre, finished in oiled bronze, is centrally positioned on the reflective façade, echoing the bronze accents throughout the sanctuary and honoring Saint Cecilia’s association with music.
Bringing these elements together cohesively and in a timely manner was essential to the project’s success. To achieve this, we partnered with the talented team at Patrick J. Murphy & Associates, whose expertise in mechanical design and tonal finishing was invaluable. They embraced the challenge with meticulous attention to detail, carefully restoring the original pipework to like-new condition and seamlessly integrating it with new ranks to form a unified musical voice.
The limited space on the organ platform posed unique design challenges, particularly in optimizing chamber layouts given the heavily sloped roof line. To navigate these complexities, we employed advanced laser dimensioning technology, developing a precise three-dimensional model of the chamber space. This precision model allowed the designers to visualize the entire instrument within its architectural setting, ensuring proper tonal egress while maintaining ease of access for future maintenance.
The console’s design drew inspiration from the chancel furnishings, despite being located at the opposite end of the nave. This intentional design choice serves as a reminder that the organ supports the liturgy, reinforcing its integral role in worship. At Father Francis’s request, custom-carved lyres adorn the console, symbolizing that music serves a higher purpose.
The organ was dedicated on November 21, the eve of Saint Cecilia’s feast day, by Cardinal Daniel DiNardo, then Archbishop of Galveston-Houston. Borja Asensi Flores, the principal organist of Saint Cecilia, delivered a masterful recital showcasing the instrument’s dynamic range.
This project has been a thrilling journey from the outset, allowing us to integrate the organ into the architecture while creating an inspiring instrument to support the liturgy. As with all our endeavors, we’ve forged lifelong friendships with many individuals. We are eternally grateful to Father Francis Macatangay, Andrew Meinen, Borja Asensi Flores, Dr. Michael Ging, and the entire team at Patrick J. Murphy & Associates.
—Brad Colby
Builder’s website: www.racolby.com
Church website: saintcecilia.org
Photo credit: Jim Greipp
GREAT (Manual II)
16′ Double Diapason*
8′ Principal 61 pipes
8′ Gemshorn 61 pipes
8′ Harmonic Flute*
8′ Melodia 61 pipes
4′ Octave 61 pipes
4′ Flute d’Amour 61 pipes
2′ Super Octave 61 pipes
V Grand Cornet*
1 1⁄3′ Mixture IV 244 pipes
8′ Trumpet 61 pipes
Great Sub 16′
Unison Off
Great Super 4′
Chimes*
Zimbelstern
8′ Processional Trumpet*
SWELL (Manual III, enclosed)
16′ Lieblich Gedeckt (ext 8′ Stopped Flute, 1–12 digital)
8′ Diapason 61 pipes
8′ Stopped Flute 61 pipes
8′ Salicional 61 pipes
8′ Salicional Celeste (TC) 49 pipes
8′ Flute Celeste II*
4′ Principal (ext 8′ Diapason) 12 pipes
4′ Harmonic Flute 61 pipes
2 2⁄3′ Nazard 61 pipes
2′ Piccolo 61 pipes
1 3⁄5′ Tierce 61 pipes
1 1⁄3′ Larigot (ext Nazard) 6 pipes
2′ Chorus Mixture III 183 pipes
16′ Cornopean*
8′ Cornopean*
8′ Oboe*
8′ French Horn*
8′ Vox Humana 61 pipes
4′ Petite Clairon*
Tremulant
Swell Sub 16′
Unison Off
Swell Super 4′
8′ Processional Trumpet*
CHOIR (Manual I, enclosed)
16′ Dulciana (ext 8′ Dulciana, 1–12 digital)
8′ Viola Pomposa*
8′ Hohl Flute 61 pipes
8′ Dulciana 61 pipes
8′ Unda Maris (TC) 49 pipes
4′ Geigen Octave 61 pipes
4′ Flute (ext 8′ Hohl Flute) 12 pipes
4′ Dulciana (ext 8′ Dulciana) 12 pipes
2′ Recorder*
8′ Cornopean* (Sw)
8′ Clarinet*
8′ French Horn* (Sw)
4′ Petite Clarion* (Sw)
Tremulant
Choir Sub 16′
Unison Off
Choir Super 4′
Harp*
8′ Processional Trumpet*
PEDAL
32′ Untersatz*
32′ Contra Violone*
16′ Open Diapason 20 pipes (1–12 digital)
16′ Bourdon 32 pipes
16′ Lieblich Gedeckt (Sw)
10 2⁄3′ Quint (Sw Lieblich Gedeckt)
8′ Open Diapason (ext 16′) 12 pipes
8′ Violin Diapason (Sw)
8′ Bass Flute (ext 16′ Bdn) 12 pipes
8′ Stopped Flute (Sw)
8′ Salicional (Sw)
4′ Choral Bass (ext 8′ Open) 12 pipes
4′ Flute d’ Amour (Gt)
32′ Contra Bassoon* (in Swell chamber)
16′ Contra Trumpet (Gt, 1–12 digital)
16′ Cornopean* (Sw)
16′ Bassoon* (in Swell chamber)
8′ Trumpet (Gt)
8′ Cornopean* (Sw)
8′ Clarinet* (Ch)
4′ Clarion (Gt)
8′ Processional Trumpet*
*denotes Walker digital
29 pipe ranks, 15 digital ranks, 38 stops, 1,753 pipes