Cover feature

Martin Ott Pipe Organ Company, St. Louis, Missouri

Opus 104: Zion Lutheran Church, Portland, Oregon


From the Organbuilder

In March of 2000, Mrs. Helen Hollenbeck, director of music at Zion Lutheran Church in Portland, Oregon, contacted our company about a new pipe organ. I was invited to come to Zion Lutheran Church to see the facilities and to meet with the organ committee.

In July of 2000, I visited Zion for the first time. I was impressed with the fine architecture of Pietro Belluschi—his design of the church is outstanding. At the time the new church was built, limited funds for a pipe organ were available. Zion decided to purchase a used organ. Mr. Belluschi installed this instrument on the choir balcony behind a radiating wall; the radius of this wall is 30 feet.

The organ committee, under the advice of their design architect, Mr. Joachim Grube of Portland, expressed their wish to keep the design of the new organ as Mr. Belluschi had originated. I agreed with the committee’s intention, and shortly after our meeting I submitted a proposal for the musical needs of Zion along with a visual design drawing. I kept the visual design simple but elegant. The new organ is now located again behind the radiating wall. A newly constructed organ chamber houses the organ apparatus and the pipes. The previous openings in the wall have been greatly enlarged, and the new organ case features the pipes of the Hauptwerk Prinzipal 8' and some pipes of the Pedal Oktavbass 8¢ exposed in the façade.

The layout of the divisions is symmetrical: the Great division is to the left and right side behind the façade pipes; the Swell division is centered above the keydesk of the organ; the Pedal division, which has the tallest pipes, is to the back of the organ chamber and centered behind the Swell division. The tonal design will support the strong musical tradition of the Lutheran church. The instrument is flexible and will be able to support congregational singing, choral anthems, and solo organ literature for preludes and postludes. The façade pipes are 75% tin, which contributes to the bright sound. The wooden pipes are made of poplar, spruce and mahogany.

We are especially grateful to the congregation for their enthusiasm and assistance. Many members spent a hot Sunday afternoon unloading the organ with our organ builders. We are thankful to the organ committee who facilitated the organ building process.


The following craftsmen participated in the construction of the organ for Zion Lutheran Church, Opus 104:


Alexander I. Bronitsky

James Cullen

William Dunaway

Eileen M. Gay

Bryan Hanlen

Alex D. Leshchenko

Richard Murphy

Martin Ott

Sascha Ott

Inna Sholka

Jeffrey Spitler

—Martin Ott

Orgelbaumeister

From the Director of Music and Organist

“You give it to them; they gather it; you open your hand, and they are filled with good things.” (Psalm 104:29)

As we gathered at Zion for the organ dedication, we were reminded of the many blessings that God showers upon us. We celebrated the gift of a new pipe organ—an instrument that will be used to praise God, lead His people in worship, give opportunity for teaching music and organ playing, and provide outreach to the Portland community. This was a huge undertaking for Zion Lutheran Church and, for most of us, a once in a lifetime experience.

When I became director of music and organist at Zion in 1998, I never dreamed that I would become involved in a pipe organ building project. What a journey it has been! The search committee spent hours researching and visiting instruments. There were endless meetings, much prayer, and lots of hard work needed to define the type of instrument that would best serve Zion’s congregation. One of the most critical elements was the historical nature of Zion’s building. The elegant simplicity of the Belluschi architecture would, without a doubt, become the inspiration for the design of the new organ case. Also, the tonal resources would need to be eclectic so that all styles of music—from Renaissance to the twenty-first century and beyond—could be played authentically. It was important that the organ live for the future, as well as for the past and present. With this in mind, the search went out to find a builder who would work with the specific needs of the Zion congregation. Martin Ott immediately connected with us by his understanding of Pietro Belluschi’s design philosophy.

I first became familiar with Martin Ott and his work when I attended the dedication of the two Ott pipe organs at the Mt. Angel Abbey in Mt. Angel, Oregon. Later, when I was preparing to complete work on my master’s degree, I chose to perform my graduate recital on the gallery organ at Mt. Angel Abbey Chapel. The Ott Opus 104 at Zion is just as inspiring and a great blessing to play.

It has been such a privilege to be part of this project. It took an enormous team effort. For this, I am grateful for the support and encouragement of Zion’s members and friends, as well as Zion’s pastors—Stephen Krueger, Paul Hilgendorf, and Ty Miles. I am also extremely thankful for the fundamental understanding that is present here at Zion, for the importance of music in the life of this congregation that was so critical to the building of this new organ. For all of this, God is to be praised and glorified! We have indeed been “filled with good things.”

—Helen Hollenbeck

From the Architect

I hope my work has gone unnoticed. As people experience the sound and sight of the new organ and appreciate the improved lighting and the renovated choir loft finishes I hope it never appears that any design work occurred.

It was the goal of the renovation plans to restore the design of the building’s original architect and to feature the work of the organ designer without introducing any additional aesthetic elements. A significant effort has been made by the design and construction teams to affect this transformation, but I hope this work appears transparent. I hope that the sanctuary will continue to be viewed as the work of Pietro Belluschi, now featuring an organ by Martin Ott.

Architectural consulting for this project was begun in 2000 by Joachim Grube of the Portland firm Yost Grube Hall. Mr. Grube collaborated with Pietro Belluschi in designing several Portland churches and has served Zion as a friend and advisor since Belluschi’s death in 1994. Mr. Grube assisted the congregation’s organ committee in selecting an organ design that would be complementary to the distinctive architectural character of the space. Following this preliminary planning, while the organ awaited fabrication, I began the work of planning and preparing the second floor of the sanctuary for the instrument’s arrival.

Renovation of the choir loft and organ chamber began following Easter services in 2005. Two weeks were spent removing hazardous materials that were used in the building’s original construction and following this abatement the rear wall of the choir loft was removed in order to extract the old organ. Marceau and Associates Pipe Organ Builders recovered all of the original pipes to be reused in other organs, while the largest rank of pipes was stored and reinstalled in our new instrument. Further demolition was done in the organ chamber before the curved wall was rebuilt in a configuration to accommodate the new organ.

Rebuilding these spaces provided an opportunity to improve lighting and accessibility of the choir loft for use in performances. The original risers were removed and the original tile floor finish was replaced to provide a uniform floor level allowing flexibility of movement by the choir and instrumentalists. A select group of original light fixtures was removed and replaced by improved fixtures and controls that will allow for multiple lighting scenes, which can be adjusted to complement varying musical arrangements.

Thank you to all of the members of the design, construction and organ building teams for your efforts and cooperation in providing this wonderful improvement to Zion’s worship space.

—Craig Rice, AIA

History of Zion’s New Organ

In 1999, the new organist/choir director and minister of music, Helen Hollenbeck, presented an evaluation of Zion’s current organ. Her personal experience with the instrument, in addition to her discussions with previous Zion organists, especially Tim Drews, pointed up major deficiencies in both the physical and musical quality of Zion’s pipe organ. Its condition had been deteriorating over the previous decade so that it was no longer possible to maintain it as the fine instrument it once was.
The board of trustees formed a committee to determine the possibility of getting a new organ for Zion. The question was whether Zion should purchase a used instrument, as it had done in the past, and attempt to fit it to our sanctuary, or contact a builder and have a new organ built to fit our needs and the marvelous acoustics of our church. In order to best serve the needs of the congregation, it was decided that a new organ be built, if possible.

The committee began to contact builders, not only in the Portland area, but also in the Northwest and in other areas of the country. Builders who expressed an interest in working with us were contacted. Not only did they come to Zion to see the building and experience its sound, but the committee in turn visited several of their instruments to see and hear how the organs fit their surroundings, both visually and musically. Because Zion is listed on the National Historic Registry, it was necessary that the builder produce an instrument to fit our musical and visual aesthetics as well as remain within our financial means.

Three organ builders were chosen and asked to submit proposals. The builder who seemed to fit us best in all categories was the Martin Ott Pipe Organ Company of St. Louis. In September 2001, the board was presented with the committee’s findings and at the same meeting they charged the committee to contract with Mr. Ott to begin work on the Zion instrument, to begin raising the money for the purchase of the new organ, and to handle the remodel of the balcony to accommodate the organ. Delays in fund-raising and getting approval from the State of Oregon for the renovations pushed back the date of the new instrument.

In spring of 2005, a contractor was engaged to work with Zion and Martin Ott Pipe Organ Company to assure that the balcony would accommodate the new instrument. The organ was delivered to the church on Sunday, June 5, and the congregation was there to greet it and help unload the thousands of pieces that make up this musical puzzle. Assembly began the very next day, June 6, 2005. Tonal finishing was begun on July 17 and the organ was consecrated to the Glory of God and the edification of all on Sunday, August 14, 2005.

The inaugural concert was played by David Dahl on September 30. Concerts continue this season: November 20, Helen Hollenbeck; February 19, Portland AGO chapter members; April 30, Tim and Nancy Nickel, Prokofiev: Peter and the Wolf; June 18, Jonas Nordwall.

—Charles P. Kovach

Chair, Zion Organ Committee

Ott Opus 104

30 stops, 40 ranks

HAUPTWERK

16' Bordun 56 pipes

8' Prinzipal 56 pipes

8' Rohrflöte 56 pipes

4' Oktave 56 pipes

4' Nachthorn 56 pipes

22/3' Quinte* 56 pipes

2' Oktave 56 pipes

13/5' Terz* 56 pipes

Mixtur IV 224 pipes

8' Trompete 56 pipes

Tremulant

SCHWELLWERK

8' Viola 56 pipes

8' Viola Celeste TC 44 pipes

8' Bordun 56 pipes

4' Prinzipal 56 pipes

4' Traversflöte 56 pipes

Kornett II TC 88 pipes

2' Flöte 56 pipes

11/3' Quinte 56 pipes

Mixture IV 224 pipes

16' Bombarde* 56 pipes

8' Trompette 56 pipes

8' Krummhorn 56 pipes

Tremulant

Zimbelstern

PEDAL

16' Offenbass 30 pipes

16' Subbass 30 pipes

8' Oktavbass 30 pipes

8' Pommer 22 pipes

4' Choralbass 30 pipes

Mixtur IV 120 pipes

16' Posaune 30 pipes

8' Trompete* 30 pipes



*prepared for

Couplers

HW/Ped with reversible thumb & toe pistons

SW/Ped with reversible thumb & toe pistons

SW/HW toe piston

Accessories

Attached keydesk, AGO standards

Case made of oak

Mechanical key action

Electric stop action

Combination action with 128 levels:

HW 1-2-3-4-5-6 thumb

SW 1-2-3-4-5-6 thumb

PED 1-2-3-4-5-6 thumb & toe

General 1-2-3-4-5-6-7-8 thumb & toe

Cancel–thumb

Set–thumb

Tutti–thumb & toe

Tuning after Fisk I

Martin Ott Pipe Organ Company, Inc., St. Louis, Missouri
St. Mark’s Lutheran Church,
Aurora, Illinois

From the builder
When a church expresses interest in a new pipe organ for their sanctuary, the organ builder will visit the client’s building and pay careful attention to the acoustical and visual environment so that the new instrument will fit both the building’s architecture and the congregation’s musical needs. Our design philosophy has always been to match the organ to the room; it is tailored tonally and visually to the space. We cannot overstate the importance of the acoustics of the building in organ design. A properly designed room yields an environment that enhances the sound of the organ—allowing stops to blend when needed yet allowing solo stops to speak above the accompaniment. The most successful design produces an instrument that complements the architecture and has just the right balance of sound.
In designing our instrument for St. Mark’s Lutheran Church in Aurora, Illinois, we faced challenges from multiple unknowns: the church was not yet built.There were detailed plans from architect Richard Kalb, of Cone, Kalb & Wonderlick, Architects, Chicago, Illinois, and preliminary proposed surface response analysis from liturgical acoustician Scott Riedel, of Scott R. Riedel & Associates, Ltd., but some site-specific challenges could not be properly resolved until the building was completed. It is not uncommon for contractors to fall behind schedule during construction due to the nature of the work, and consequently the organ builder must be flexible and willing to alter the organ’s design if necessary.
We were first approached for this project by organist Rosalie Cassiday, of Aurora, who served as advisor to the organ committee. She and the organ committee had visited our Opus 89 at Marmion Abbey, also in Aurora. The abbey hosts an annual Bach concert that draws a full house. It should be noted that the Marmion Abbey organ is smaller than the one designed for St. Mark’s Church. But after hearing the instrument at the abbey, Ms. Cassiday and the organ committee were very enthusiastic about our visual and tonal proposal for St. Mark’s.
Working from the architect’s plans, we designed an organ case that would be proportional to the room. The sanctuary at St. Mark’s has primarily a linear design, which led us to introduce curves as a contrasting feature in the organ’s design. For the quarter-sawn cherry pipe shades, we designed a vine that divides into three branches and winds throughout the organ. Pipes were omitted from the façade and placed inside so that the vine appears to grow from the impost toe-boards through the three towers of the organ. Mr. Kalb adapted this motif and incorporated it into the liturgical furniture. During the design phase of the pipe shades, each leaf was individually drawn in AutoCAD so that no two leaves are alike. The file was then converted to CNC code and cut by a CNC router. The organ case is built of red oak with a clear finish. The curves of the three towers were created by gluing thin planks of solid oak around a form.
The Ott organ was delivered in early October on a Sunday after the church service, and the congregation helped carry in the organ in parts into the newly constructed nave.
One of the unforeseen challenges we faced during the organ installation was the HVAC system, which needed some fine-tuning. At start-up, HVAC system components were too loud and introduced intrusive ambient noise. Happily, this was corrected, with input from acoustical consultant Scott Riedel. After the noise difficulties were solved, we were able to focus on voicing the instrument.
A well-made organ is comfortable to play, pleasing to the ear even after lengthy practice time, and encourages the organist to grow in technique and artistry. An organist will not want to practice if the instrument is awkward to play and the stoplist does not support the vast majority of organ literature. Few organists have the time to seek out a variety of instruments upon which to practice, so they need an instrument that is artistically beautiful and stylistically practical. Literature is not the only important factor in tonal design. Today, we are seeing a resurgence in the art of improvisation. A well-made organ will encourage the organist to try new ideas and sounds in improvisation. Practicing upon a limited instrument or a poorly constructed one will limit the organist’s imagination and prevent the growth of improvisation skills.
The stoplist can adequately support a wide variety of organ literature and provide fertile ground for improvisation. Many times the same stop can be used in a chorus or as a solo voice. For example, the 4′ Harmonische Flöte could be played down an octave as a solo flute voice or used with 8′ stops for accompaniment. Our instruments reflect the varied cultural background of our American musical heritage, which is a consortium of multiple ethnicities and traditions.
We were indeed fortunate to have good working relationships with architect Richard Kalb, acoustician Scott Riedel, and music director Kristin Young. Moreover, Senior Pastor Wayne Miller, who is now Bishop of the ELCA, Metropolitan Chicago Synod, was very supportive of the pipe organ selection and design process and made the instrument a priority of the St. Mark’s building project, not an afterthought.
—Martin Ott

From the consultant
When Kristin Young, director of music, asked me to be a consultant to the organ committee in selecting a new pipe organ, I was pleased to accept. This vibrant and growing parish needed a new worship space and wisely planned for a new and larger pipe organ from the beginning of their building project. The organ would need to: 1) be an assertive and warm leader of congregational singing; 2) accompany choral and instrumental ensembles with sensitivity and flair; and 3) possess the beauty and brilliance to play a wide variety of organ repertoire.
The committee considered several builders in the United States and Canada. We visited churches in Wisconsin and Illinois, and the committee decided on mechanical action for its beauty of sound, ease of playing, and long life of the instrument. The Martin Ott Pipe Organ Company of St. Louis was chosen to build an organ of three divisions with two manuals and 32 ranks.
The new organ is a delight to both the ear and the eye. The rich and warm principals, gentle yet lively flutes, colorful solo stops, and fiery reeds create an ensemble of surpassing beauty. When the pedal reeds are added to the plenum, the effect is electrifying; heads turn in the congregation. The organ case is striking and elegant and brings visual pleasure to the listener.
As an organist, it is rewarding to hear and feel the beautiful sounds of this instrument. The console is easy to play, and 30 minutes easily stretches into an hour or more. Congratulations are due to the people of St. Mark’s and also the builder, Martin Ott.
—Rosalie Cassiday

From the pastor
“Through the grapevine”
As a parish pastor and as a former professional musician, it has always been one of my deepest hopes that I might have a chance to provide a home for a fine pipe organ. But the practicalities of congregational life in our post-modern North American environment work relentlessly to make that hope a dim and remote possibility. For those of us working to energize and renew traditional mainstream Christian life, there has been, for many years now, tremendous pressure to abandon traditional musical and liturgical styles in favor of something that feels more immediate and accessible to popular culture.
But in 1994, God was kind enough to call me to serve a congregation in Aurora, Illinois, that was not particularly attached to the idea of cutting itself off at the root from tradition. To the contrary, in fact, we found that our growth (doubling in attendance from 250 to 500 in ten years) came largely from those who were seeking the depth and breadth they experienced in a warm but distinctly liturgical worship experience.
This appreciation for “rootedness” led us to an organic understanding of the church and its ministry, which seemed to us to be eloquently expressed in Christ’s image of his relationship to the disciples as a living grapevine. The grapevine, in fact, has provided the metaphor for St. Mark’s entire organizational structure. And it has indeed proven to be fruitful. It should not be surprising then, that in 2003, as we designed and planned a new 600-seat worship space, the energy of the congregation returned to a valuing of both life and rootedness, and there was never a serious question that a fine pipe organ would be an essential element in the vision.
When our organ search team was finished with its exploration of fine organs and Orgelbaumeisters, the contract was awarded to Martin Ott of St. Louis, and Martin graciously invited our staff and me, as well as our architect, into a collaborative design process. This process led to the creation of Opus 106. The creation of the instrument was itself an expression of the ideals of life, growth, transformation, and adaptation that we have tried to capture visually in the grapevine patterns of the screening and in the organic shape of the triune casework. But for all its visual beauty, the true depth and wonder of the power of life embodied in this extraordinary instrument can only be experienced in listening to it speak, and proclaim its profound witness as it leads the people of St. Mark’s in prayer and song.
I have now moved on to become a synodical bishop in our church, a leave-taking that involved no small amount of grief and loss. But I have moved on with a great dream fulfilled and a new world of friendship and collegiality with Martin and his staff. These things now are also deeply rooted in my heart as we grow each day toward the promise of resurrection.
—Bishop Wayne N. Miller
Metropolitan Chicago Synod, ELCA

Martin Ott Pipe Organ Company
St. Mark’s Lutheran Church, Aurora, Illinois
26 stops, 32 ranks

GREAT
16′ Lieblich 61 pipes cherry
8′ Prinzipal 61 pipes 75% tin
8′ Rohrflöte 61 pipes 60% tin
4′ Oktave 61 pipes 75% tin
4′ Nachthorn 61 pipes 40% tin
2′ Oktaveflöte 61 pipes 40% tin
11⁄3′ Mixture IV 244 pipes 75% tin
8′ Trompete 61 pipes 75% tin
Tremulant
Sw to Gt

SWELL
8′ Viola 61 pipes 75% tin
8′ Viola Celeste tc 49 pipes 75% tin
8′ Gedackt 61 pipes 40% tin
4′ Prinzipal 61 pipes 75% tin
4′ Harmonische Flöte 61 pipes 40% tin
Kornett II 122 pipes 40% tin
2′ Oktave 61 pipes 75% tin
11⁄3′ Larigot 61 pipes 40% tin
2′ Plein Jeu III 183 pipes 75% tin
16′ Bombarde 61 pipes 75% tin
8′ Trompete 61 pipes 75% tin
8′ Oboe 61 pipes 75% tin
Tremulant

PEDAL
16′ Subbass 32 pipes spruce
8′ Oktavbass 32 pipes 75% tin
8′ Pommer 32 pipes 40% tin
4′ Choralbass 32 pipes 75% tin
16′ Posaune 32 pipes 75% tin
8′ Trompete 1–12 Gt 20 pipes 75% tin
Gt to Ped
Sw to Ped

Mechanical key action
Electric stop action, incorporating a combination action with 32 levels

Photo credit: Thorsten Ott

Cover Feature

Fenris Pipe
Organ, Kilkenny, Minnesota

Good Shepherd
Lutheran Church, Rochester, Minnesota

Project Scope

In the spring of 2002 we were contacted by Jeff Daehn, organ consultant for
Good Shepherd Lutheran Church in Rochester, Minnesota. The church was beginning
a project that encompassed doubling the size of the 1980s-era sanctuary, as
well as additional classroom and mechanical upgrades. Bids had come in somewhat
higher than anticipated, and consequently some project cutbacks were necessary.
Chief of these was all funding for the organ project.

For many years the church had been the home of Hinners Opus #537, I/9.
style="mso-spacerun: yes"> This had been somewhat undersized for
the room and certainly was not adequate for the remodeled space, which now
seats 350. The organ committee decided to part with their Hinners, which now
resides at Madonna Towers in Rochester, Minnesota. (For an account of Opus
#537's 100th birthday party see The Diapason, August 2003, page 3.)

We met with music director/organist Cynthia McLaren to discuss the
parameters of the project. The new instrument would be used primarily for
Sunday services, with some teaching also being done. This instrument would need
to be able to lead a congregation, be versatile, be reliable, aesthetically and
physically fit into a conceptualized space in the front of the sanctuary, and
be built on an erratic timeline determined by funding, or rather, lack thereof.

When we were awarded the contract in October 2002, the sanctuary addition
had just been completed. Load capacities had been accounted for, but the organ
chambers themselves remained unbuilt. The church requested that we segment the
project's construction to allow for fundraising on their part.

Phase I is complete and includes the Great and Pedal divisions, casework and
console. Phase II is the installation of the Swell division.

Leaving such a substantial part of the instrument incomplete is unusual. It
is common to find instruments still awaiting their prepared-for stops, even
though the instrument may have been installed generations ago. For this
scenario we felt a phased project was an option based upon two reasons. First,
the congregation was informed and educated enough to realize that without a
timely conclusion to the project, this would remain an acoustically incomplete
instrument. Second, Cynthia McLaren had been used to playing on a one-manual
instrument for years, and was comfortable continuing to do so in a temporary
capacity. The organ committee's demonstrated commitment to the project, along
with our willingness to work with a flexible construction timeline, allowed the
congregation to have a pipe organ. Without these mitigating factors, this
church would have been a likely candidate for a pipe organ simulator.

The Instrument

The instrument itself utilizes much of the pipework from a 1920s instrument,
including the wooden 16' Principal on façade. The 16' Principal is used
with the 16' Subbass for a 32' resultant. The Great Principal chorus is new,
and all pipework was either voiced or extensively revoiced. The 16' Principal
is on static wind, and the rest of the instrument is voiced on four inches of
wind pressure. Careful reuse of pipework resulted in a substantial savings in
total project dollars.

Windchests, bearers, racking, passageboards, reservoirs, casework and
console are all of new construction from our shop. Winding to 16' Principal in
the façade is supplied by a windtrunk designed and scaled to match note
B12. Notes B12-G32 are located on wind-chests placed in an "A"
arrangement on an elevated catwalk directly behind notes 1-11. Access to
catwalk and chambers is provided by means of a drop-down service ladder. Manual
keyboards are reused and of ivory, rebuilt and married to new keycheeks and keyslips.
Organ switching, blower and pedalboard are new. Casework and console are built
of red oak, stained to match church fixtures. Organ bench is overlength to
assist in teaching.

When designing the instrument, we felt it was important that some of the pipework
be visible to the congregation. We have found that instruments that are
entirely in chambers end up being considered as nothing more than giant
speakers by many parishioners. When the time comes to replace switching or
releather pneumatics, the instrument has not developed a visual identity within
the congregation. These instruments are more likely to be replaced by a pipe
organ simulator. Although important to be visible, it was equally important
that the organ's presence not overpower the space. No one is attending services
to worship the organ.

We painted the wooden 16' Principal to match the walls in the sanctuary.
They provide a textured, yet subordinate backdrop to the elevated cross. Mirror
image chromatic chests, elevated on either side of the chancel, draw the eyes
to the focal point of the space, again, the elevated cross.

Acoustic design is based upon historic tradition, with generous pipe
scaling. The instrument is not overloaded with screaming upperwork, but rather
provides a balanced pyramid of sound. Flute colors are available throughout the
instrument. Each manual division is also provided with mutations.

The room itself is a contemporary styled, geometrically interesting space.
It has a rather unusual shape, shallow and somewhat wide, with seating in
interlocking chairs radiating around the chancel area. Sound egress from the
chamber is via a massive expanse of grillecloth, directly behind the elevated
façade chests. Chambers are bright, with chests and pipework easily serviced.
Walls are taped and painted double 5/8? sheetrock to provide a reflective
surface.

This instrument is the result of sustained effort by music director/organist
Cynthia McLaren, chairman Bob Enger and the organ committee. Fenris
specification and voicing are by Bob Rayburn; design and cabinetwork by Wes
Remmey. Special thanks must be given to Roger Driessen, Barry Lund and Stuart
Ness for all of their efforts in the project.

--Wes Remmey

GREAT

16' Violone
style='mso-tab-count:1'> 49 pipes

8' Flauten
Principal 61
pipes

8' Principal
style='mso-tab-count:1'> 61
pipes

8' Viola
style='mso-tab-count:1'> 12
pipes

8' Rohr
Gedackt 61 pipes

8' Holtzgedackt
style='mso-tab-count:1'> (Swell)

4' Octave
style='mso-tab-count:1'> 61 pipes

4' Hohl
Flute 61
pipes

Sesquialtera
II (Swell)

2' Fifteenth
style='mso-tab-count:1'> (from
Great Mixture)

2' Flautino
style='mso-tab-count:1'> 12
pipes

2' Fourniture
IV 244
pipes

8' Trumpet
style='mso-tab-count:1'> (prepared
for)

Gt/Gt
4

Sw/Gt
16-8-4

Auto
Pedal

MIDI

SWELL

16' Lieblich
Gedackt 61
pipes

8' Holtzgedackt
style='mso-tab-count:1'> 12
pipes

8' Harmonic
Flute 49 pipes

8' Salicional
style='mso-tab-count:1'> 61
pipes

8' Vox
Celeste TC 49
pipes

4' Principal
style='mso-tab-count:1'> 61
pipes

4' Harmonic
Flute 12 pipes

22/3' Nazard
style='mso-tab-count:1'> 61 pipes

2' Octave
style='mso-tab-count:1'> (ext 4' Principal)

2' Flageolet
style='mso-tab-count:1'> 61
pipes

13/5' Tierce
TC 37
pipes

11/3' Larigot
style='mso-tab-count:1'> (ext Nazard)

16' Fagott
style='mso-tab-count:1'> (prepared for)

8' Oboe
style='mso-tab-count:1'> 61 pipes

4' Schalmei
style='mso-tab-count:1'> 12
pipes

Sw/Sw
16

Sw/Sw
4

Tremolo

MIDI

PEDAL

32' Acoustic
Bass (resultant)

16' Principal
style='mso-tab-count:1'> 32
pipes (open wood)

16' Subbass
style='mso-tab-count:1'> 12
pipes

16' Lieblich
Gedackt (Swell)

8' Octave
style='mso-tab-count:1'> (Great)

8' Viola
style='mso-tab-count:1'> (Great)

8' Gedackt
style='mso-tab-count:1'> (Swell)

4' Choral
Bass (Great)

4' Gedackt
style='mso-tab-count:1'> (Swell)

2' Octave
style='mso-tab-count:1'> (Great)

16' Fagott
style='mso-tab-count:1'> (prepared for)

8' Tromba
style='mso-tab-count:1'> 32
pipes

4' Clarion
style='mso-tab-count:1'> 12 pipes

4' Schalmei
style='mso-tab-count:1'> (Swell)

Gt/Ped

Sw/Ped

MIDI

Multi-level Memory

8 Generals Thumb
- Toe Piston

4 Great Divisionals Thumb
Piston

4 Swell Divisionals Thumb
Piston

Gt/Ped Reversible Thumb
Piston

Sw/Ped Reversible Thumb
Piston

Sforzando Thumb
Piston

Set Thumb Piston

CancelThumb Piston

Swell Shoe

Crescendo Shoe

Photo credit: T. C. Stanley Photography

Martin Ott Pipe Organ Company, St. Louis, Missouri, Opus 100

The Behrend
College, Penn State University-Erie

Opus 100 is a wonderful milestone for an organ builder to reach. We had
hoped that our commission for Opus 100 would be a special instrument. When The
Behrend College at Penn State University-Erie contacted us for a bid, we
immediately realized this would be a special situation. Larry and Kathryn Smith
had provided funding for a chapel. The chapel already housed a 48-bell
carillon, a gift of Mr. Smith's parents, the late Floyd and Juanita Smith. Now
the Smiths wanted to commission an organ in honor of their children, Colleen
and Kevin. The picturesque setting of the brick chapel and carillon would be an
excellent location for organ and choral music. This chapel would be a place of
spiritual retreat and renewal for the university community. The organ would
have an important role in this purpose.

To complement the clean, traditional architecture of the chapel, we chose a
simple yet dramatic organ design. The oak case and location of the organ
suggests intimacy and warmth. Visually the organ soars to the rafters,
suggesting transcendence. Time-tested methods of construction, such as mortise
and tenon joinery, were used so that the instrument will last for many
generations. Current technologies, such as solid-state combination action, give
the organ versatility. The suspended mechanical action of the instrument allows
the organist careful control of pipe speech. This also places responsibility on
the organist to be precise in articulation. A good organ should inspire the
organist to reach for new musical heights.

The organ stands twenty-five feet high. It comprises 23 ranks, 21 stops, and
more than 1,200 pipes. Manual key compass is 56 notes. The natural keys are
made of grenadil wood, and the sharp keys are of grenadil covered by cow bone.
The pedal keyboards have 30 notes and are made of oak.

Over more than three decades, Martin Ott and his company have been
developing their own style of tonal eclecticism. The tonal design for Opus 100
is an excellent example of the Ott style. The size of the chapel dictated an
instrument of modest size. In this situation, there is no room for waste in the
stoplist. Plenums are possible on both Schwellwerk and Hauptwerk. The IV-rank
mixture on the Hauptwerk is a full, robust addition to the principal chorus.
The clarity and beauty of the 8' stops allows them to be used as solo voices in
chorale and hymn preludes. The organ also includes a simple Krummhorn. This
reed stop is more versatile than an Oboe. When used alone, it is appropriate
for Baroque music or a solo voice in a 20th-century work. When paired with the
8' Viola, its character will sound more Romantic. The pedal's Posaune is robust
but can still be used in lighter textures without overpowering the manuals.

In the signature Ott style, the organ is voiced to be clear and strong
without overpowering the listener. The clear, cohesive tonal design supports
congregational singing, service playing, chamber music, and solo organ
literature. The vast majority of organ literature can be played on this 21-stop
instrument.

The finished organ was first played for donors Larry and Kathryn Smith and
the Behrend College Council of Fellows. For this private demonstration, Karen
Keene, lecturer in organ at Penn State-Behrend, ably assisted us as the
organist. In Mr. Ott's absence, Dennis Unks, a long-time friend and colleague,
explained the construction and tonal layout of the organ. The community had the
opportunity to experience the versatility and beauty of this organ at the
dedication recital by Larry Smith, Organ Department Chair at Indiana
University-Bloomington. Dr. Smith played works by J. S. Bach, Gardner Read,
Gaston Litaize, Paul Hindemith, Darius Milhaud, and Joseph Jongen. The varied
program testifies to the instrument's capabilities.

We are pleased and honored to have our Opus 100 in such a beautiful
environment. Opus 100 is a
summation of the Ott style and a continuation of our artistic growth.

The following craftsmen participated in the building of opus 100:

Alexander I. Bronitsky

James Cullen

William Dunnaway

Eileen M. Gay

Marya J. Fancey

Donna Hodges

Alex D. Leshchenko

Earl C. Naylor

Martin Ott

Sascha Ott

Jeffrey Spitler

--Marya Orlowska-Fancey

.

HAUPTWERK

8' Prinzipal
75%
tin

8' Rohrflöte
40%
tin

4' Oktave
style='mso-tab-count:1'> 75% tin

II Sesquialter
style='mso-tab-count:1'> 40%
tin

2' Nachthorn
style='mso-tab-count:1'> 40%
tin

IV Mixtur
style='mso-tab-count:1'> 75% tin

8' Trompete
style='mso-tab-count:1'> 75%
tin

Tremulant

SCHWELLWERK

8' Viola
style='mso-tab-count:1'> 75%
tin

8' Viola
Celeste (TC)75% tin

8' Bordun
style='mso-tab-count:1'> 30% tin

4' Prinzipal
style='mso-tab-count:1'> 60%
tin

4' Blockflöte
style='mso-tab-count:1'> 40%
tin

2' Oktave
style='mso-tab-count:1'> 75% tin

11/3' Quinte
style='mso-tab-count:1'> 40% tin

8' Krummhorn
style='mso-tab-count:1'> 75%
tin

PEDAL

16' Subbass
style='mso-tab-count:1'> oak

8' Oktavbass
style='mso-tab-count:1'> 75%
tin

8' Pommer
(18 pipes) 40%
tin

4' About the Author </p>

Karl Wilhelm Inc., Mont St. Hilaire, Québec, Canada, Opus 157

St. John’s Catholic Church, Fenton, Michigan

This new 44-stop organ, Opus 157 by Karl Wilhelm Inc., was made possible by the generosity of longtime parishioner Mrs. Alvesta Veness and the William Bowman and Ann McGuire estates, as well as other benefactors and contributors from the congregation and the community. The organ project was led by Rev. David W. Harvey with the assistance of several other parishioners. Dr. David Wagner performed the dedication recital.

The organ consists of four divisions: the Great is in the center above the impost, the Swell is right behind the Great and is enclosed in its own case, the Rückpositiv is in the gallery rail, and the Pedal is on either side of the main case. There are 3,017 pipes in this instrument. The metal façade pipes are 70% tin and 30% lead, metal flute pipes are 40% tin and 60% lead. Open pipes are cone tuned; stopped pipes have fixed caps. The temperament is Bach-Kellner A440. The playing action of the organ is direct mechanical (suspended tracker). There are two manual couplers and three pedal couplers. Manual/pedal compass is 56/30. The stop action is electric and offers a complete set of registration aids featuring 32 levels of solid-state memory. Two cuneiform bellows and one electric blower provide the winding.

— Karl Wilhelm Inc.

Facteurs d’Orgues-Organbuilders

Karl Wilhelm Opus 157

St. John’s Catholic Church

Fenton, Michigan

GREAT C–g’’’

16’ Bourdon

8’ Prinzipal

8’ Rohrflöte

8’ Flute Harmonique

4’ Oktave

4’ Spitzflöte

22⁄3’ Quinte

2’ Superoktave

8’ Cornet V (c’–d’’’)

11⁄3’ Mixtur IV

1’ Zimbel III

8’ Trompette

4’ Clairon


SWELL C–g’’’ (enclosed)

8’ Principal

8’ Gambe

8’ Celeste TC

8’ Hohlflöte

4’ Principal

4’ Flute Harmonique

2’ Waldflöte

22⁄3’ Cornet III (TF)

2’ Mixtur IV

16’ Basson

8’ Trompette

8’ Hautbois

Tremolo


RÜCKPOSITIV C–g’’’

8’ Prinzipal

8’ Gedackt

4’ Prinzipal

4’ Rohrflöte

22⁄3’ Nasard

2’ Doublette

13⁄5’ Terz

11⁄3’ Larigot

1’ Scharf IV

8’ Cromorne

Tremolo


PEDAL C–f’

16’ Prinzipal

16’ Subbass

8’ Prinzipal

8’ Bourdon

4’ Choralbass

22⁄3’ Rauschpfeife IV

16’ Posaune

8’ Trompete

4’ Clairon



Note:

Prinzipal 16’ in the Pedal: C–E, open 8’ wooden pipes and common with Subbass 16’; F–f’, 70% tin and located in the façade.

Prinzipal 8’ shares the first octave with the Prinzipal 16’ in the Pedal.

Prinzipal 8’ of the Positiv has common pipes from C–G# with Gedackt 8’.

Dobson Pipe Organ Builders, Lake City, Iowa

Calvary Lutheran Church, Brookfield, Wisconsin

Dobson Pipe Organ Builders, Lake City, Iowa, has completed its Op. 72 for Calvary Lutheran Church, Brookfield, Wisconsin. Despite the low ceiling height at the rear of the church, a balcony was a part of the original design of the building. As part of a renovation project, the congregation removed the balcony and resolved to place a mechanical action organ in a free-standing position on the main floor. The choir and handbells would then be arranged about the organ.

Even without the hindrance of the balcony, fitting an organ into the broadly V-shaped space proved a challenge. Many different plans were made, finally resulting in a design in which the Swell is located behind and above the choir seating, the Great is placed forward in a separate case and the Pedal is situated behind the Great. The console, placed in the Great case, is so located that the organist can direct the choir. In spite of its seemingly scattered arrangement, the mechanical design of the organ is quite straightforward and all parts are readily accessible for tuning and maintenance. The design of the curving white oak casework echoes the arcing lines of the ceiling, which rises toward the front of the sanctuary.

The tonal design of the organ is intended to inspire enthusiastic congregational singing and to accompany a wide variety of choral literature. The instrument is voiced on a wind pressure of 76 millimeters, which is supplied from a large, parallel-rise reservoir. Tuning is in equal temperament. Metal pipes are made of the usual alloys of tin and lead; all wood pipes are made of poplar and cherry. The key action is mechanical; an electric stop action and multi-level combination action are provided. Several Pedal stops are made available at two pitches through a system of mechanical duplexing.
Calvary was assisted in this project by John Behnke, organ consultant, and Scott Riedel, acoustical consultant. Suzanne and Steve Hibbard were director of music and organist, respectively, at the time of the organ’s construction. Bill Bravener is the current director of music.

—John Panning



Photo credit: Lynn Dobson


GREAT (58 notes)

16’ Bourdon

8’ Prestant

8’ Chimney Flute

4’ Octave

4’ Nachthorn

2’ Fifteenth

11⁄3’ Mixture IV

8’ Trumpet

Swell to Great


SWELL (58 notes, expressive)

8’ Gedackt

8’ Salicional

8’ Celeste FF

4’ Principal

4’ Traverse Flute

22⁄3’ Nazard

2’ Piccolo

13⁄5’ Tierce

11⁄3’ Quinte

8’ Oboe


PEDAL (32 notes)

16’ Subbass

16’ Bourdon (Gt)

8’ Principal

8’ Gedackt (ext)

4’ Choralbass (ext)

16’ Posaune

8’ Trumpet (ext)

Great to Pedal

Swell to Pedal



Tremulant

Zimbelstern

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois, Opus 34

Mt. Pleasant Lutheran Church (ELCA), Racine, Wisconsin

From the designer and builder

Did you know that the Jetsons are parishioners of Mt. Pleasant Lutheran Church, Racine, Wisconsin? You know them: George, Jane (his wife), daughter Judy, and his boy, Elroy. Outside the world of futuristic fiction, they must have had an influence in the design of this church building, which is locally known as “The Space Ship Church.” Built in 1975, it is a dish with an inverted saucer as its roof; large plate glass windows surround its perimeter, filling in the space at which the two join.

This building’s unique shape determines how it is accessed and used—functionally and liturgically. Ahead of its time in terms of accessibility, upon entering at ground level, one enters the lower level fellowship areas and upper level worship area by a series of switch-back ramps that wind around the building’s diameter. Liturgically, this is a church in “three-quarter round,” which presents its own challenges for communion and processional traffic flow.

The building’s shape also determines its acoustical environment, and therefore the limits of a pipe organ’s physical and tonal design. Consultant Scott Riedel guided the church in improving the acoustics and creating a better area for music-making, by altering the shape of the walls facing the congregation, filling in gaps between ceiling beams, and replacing the carpeting in the choir’s seating area with hardwood flooring. And, in fact, sound is now heard more clearly and evenly through the room, especially in the outer ring of seating at the edge of the room’s diameter. But, the remaining carpet and pew coverings do their work too well, absorbing bass frequencies.

We were able to observe this phenomenon clearly before the church’s former organ was removed. The 16¢ pedal sounds were weak in the church, but in the lower level fellowship hall, the tone boomed to overtake normal conversation.

The organ chamber, while perfectly sited across the front of the worship area, is horizontal in nature, with a maximum ceiling height of 14'. Congregational seating comes to within four feet of the organ’s left side; the choral singers are about eight feet from the right side. The wide layout, and very present location of the organ, demanded that the design be practical, and required a very gentle touch in its scaling and voicing. Since the pipes could not be elevated above the congregation’s heads, the sound is produced directly at the level of people’s ears, requiring very refined voicing. The enclosed accompanimental divisions of the organ needed to be located to the right, nearer the choir, which meant that the Great needed to be on the left. People on the left side of the organ would be only four feet away from the Great Mixture. Oh, yes, there were also four steel roof support columns in the organ chamber, which could not be moved, and had to be worked around.

Those of you who have followed our work, or played our instruments, know that our organs have a smooth, warm, pervading, and significantly grand tone. They can be bright when they need to be, but the various stops are not inherently so. (The last thing we want to do is voice the high pitches in the mixtures to be bright!) Our organs are not crowned by high-pitched mixture-work (as in neo-classic organs), but by the heroic blend that results from mixtures and reeds singing together, reinforcing unison pitch. In the case of this church, we needed to fill the entire building (basement included) with bass frequencies, and gradually decrease the intensity of tone as the pitches rose, in order to have the organ sound smooth, balanced in the tonal spectrum, and consonant with our artistic style. To have achieved the balance it has—whether one is sitting next to the Great Mixture, or in the outside ring—is a testament to the organ’s solid construction, painstaking attention to scaling, and countless hours of listening and adjusting the sounds in the church. Our head voicer, Brian Davis, was promoted to the position of tonal director as a result of this organ’s success in the face of such overwhelming challenges.

The visual design’s “prime directives” were to bring order to random asymmetry, lead the eye toward the center of the worship area, emphasize what little verticality the space actually has, and give a dignified prominence to a steel sculpture in front of the organ—the base of the church’s three-bladed steeple, which pierces the roof and ascends to a needle point in the sky.

The three arms of the steeple are of unequal width, connected by horizontal welded rods, and form a sculpture in the nature of a cross. Original descriptions of the sculpture allude to the Trinitarian symbolism of its three blades. The organ chamber is located immediately behind the sculpture, the center portion curved in the outline of the stone font, the sides on a slightly reverse curve as the chamber returns to the side walls. Aside from the planned asymmetry of the steel sculpture, the exact dimensions and precise placement of the organ chamber behind the sculpture could not be ascertained until the old organ was removed and the chamber developed by moving offices and closets previously flanking the former instrument. The chamber space itself was asymmetrical as registered to the centrally located sculpture.

We decided to design the organ’s façade in three sections, not only to emphasize the Trinitarian symbolism, but to give us some practical constructional flexibility in reconciling the many dimensional variables. Even though everything was accurately constructed in the shop to careful measurements taken once the organ chamber was constructed, we still needed to do more woodworking on-site than we would have liked, or than other situations have ever required.

The center section, being behind the flat-black steel sculpture, needed some visual grounding, but not heaviness. The former organ was basically dark, with lots of black grille-cloth, which made the steel sculpture disappear. We therefore displayed the centrally located large wood pipes in a light, natural finish in the center section, with the horizontal bright polished copper reed resonators wrapping themselves around the sculpture from above and behind. This central display is symmetrical, and acts as a perfect backdrop to gently soften the tension created by the wide-versus-narrow blades of the sculpture in front. The low octave of the 8¢ Pedal Principal flanks this display of the wood pipes, the pipes being mounted on toeboards that follow the curve of the font, to act as a transition to the façade’s side elements.

In order to provide motion, rhythm, and verticality to this horizontal instrument, the left and right sides feature the largest of the polished tin Principal pipes, mounted on casework with a toeboard “sill” lower than that of the center section. The façade pipes’ feet are significantly lower than the windchests in the organ, so we had to hide the chests and reservoirs behind them with black felt to eliminate potential visual confusion. The pipes on the outside edges are supported by arched toeboards, rising above the façade’s sill (or impost if this were an organ case), which we enameled blue to relate to other colors in the room. The largest Pedal Principal pipes we could fit in the façade are from 16¢ FFF, which sit on the floor, to break the horizontal line of the sill and challenge the height of the central steel sculpture. As the compass of this stop ascends, the smaller pipes are racked up on the sill, but the mouth line forms one continuous rising arch, leading the eye inward. Subtle touches of pipe spacing from the edges of the upright casework members were added to subtly influence one’s viewing of the “symmetrically asymmetrical organ.”

The tonal design of this instrument is fairly typical of what we do, with the exception of the four-stop Solo Organ, which is at home on the bottom manual keyboard. The Great, Swell, and Pedal are full and well developed, consonant with our style. The Solo offers some evocative coloristic sounds and the flexibility of a third keyboard in a situation in which there was neither room nor money for a full Choir Organ. Usually our organs’ solo reeds are Tubas. But, in this close acoustic, we were extremely concerned that the high volume, located so close to the listeners, would drive them all out onto Green Bay Road and us out of town on a rail! We therefore opted to make these Trombas, on lower pressure with slightly more open shallots for a relatively dark tone, but at a solo volume in balance with the rest of the organ. The Great 8' Trumpet is truly a luxury. This Trumpet is a beautifully blending chorus reed and also very useful for solo work. The Swell reed battery, though, is what’s worth writing home about! Here’s the power in the organ, beautifully tailored for its uses in a wide variety of contexts, but it is never too loud in the room. The Swell 16' Bassoon, which plays in the Pedal as well, perfectly balances not only the Swell battery, but also the Great full chorus for those many times when it is used as a “pointed” pedal reed and the darker, heavier Trombone would be too much.

It has been a pleasure to work with the people of Mt. Pleasant Lutheran Church, and consultant Scott Riedel, on this new instrument. Pastor Stephen Samuelson, music director Joshua Brown, and the organ committee fell in love with our instruments after hearing the organ we built at St. David’s Episcopal Church, Glenview, Illinois. Their vision for how the new organ would transform their unique worship space was inspiring. It was our privilege to be given the challenges and create something truly beautiful.

—John-Paul Buzard



From the organist and director of music

Like any good Lutheran, I must start with a confession. Five years ago, when I pulled up to Mt. Pleasant Lutheran Church for my first interview, I thought “Who designed this thing, Frank Lloyd Wrong? It embodies disappointing American church architecture with its wide squat room, plenty of carpet and more wasted space than the inside of an SUV!”

Fortunately, like any good Lutheran, I put my trust in God’s abiding grace, and returned to Mt. Pleasant as their organist and director of music to discover the beauty of this building. A ribbon of windows keeps the outside world in plain sight, and the roof line surrounds the building with a crown of thorns. The triune tower rises up from the baptismal font, punctuating this architectural statement, which has served as the church’s very best evangelism tool since its completion 30 years ago!

The church’s former small organ had been assembled in an ad hoc manner through the years, and suffered from the oppressive acoustical environment and poor chamber layout. With the able guidance of Scott Riedel and Associates, the church crafted a plan to remodel the sanctuary, double its reverberation time, and replace the aging organ. The organ committee considered many fine builders. John-Paul Buzard’s warmth of tone, quality of workmanship, and, to quote the Senior Pastor Stephen Samuelson, “bang for the buck,” all contributed to the church’s final selection of his firm.

This unique American church required an equally unique American organbuilder. John-Paul Buzard and his team tackled the church’s twin challenges of odd architecture and unforgiving acoustics with great aplomb. In the process they demonstrated that the best organbuilders, particularly for American churches, need a flexible approach to fit a wide range of applications. From high gothic architecture with grand acoustics to restrained “prairie style” architecture with limited acoustics, John-Paul Buzard has adapted and delivered stunning results while maintaining his tonal style and uncompromising quality.

Opus 34, the result of three years’ careful planning and execution, has both matched and enhanced the sanctuary’s architectural style. More importantly, it has brought an entirely new dynamic to the worship life of the congregation. With a tonal scheme based on a wide array of 8¢ pitches, the organ fully supports the congregation’s singing and easily fills the room with sound. The two complete principal choruses allow the organ to lead congregations of varying sizes, from 10 to 600. The wide selection of reed and flute stops offers ample color and variety for responding to hymn texts and playing repertoire.
The organ was first played for worship on Reformation Sunday 2006, and Mary Preston will play the inaugural recital this month. I am grateful to all of the Buzard staff who worked at a strenuous pace to deliver and install our organ, and to Scott Riedel for his insight and guidance throughout the project. Finally, a special thanks to the staff, worship and music and organ committees, and members of Mt. Pleasant Lutheran Church who had the long-term vision required to undertake this project.

—Joshua Brown

Buzard Opus 34
33 stops, 40 ranks

GREAT (4" wind)

16' Lieblich Gedeckt

8' Open Diapason

8' Flûte à Bibéron (wide chimneys)

8' Viola da Gamba

4' Principal

4' Spire Flute

22⁄3' Nazard

2 Fifteenth

13⁄5' Tierce

11⁄3' Mixture IV

8' Trompete

Tremulant

Cymbalstern

8' Festival Trumpet (Solo)

Great to Great 16', UO, 4'

Swell to Great 16', 8', 4'

Solo to Great 16', 8', 4'

SWELL (4" wind)

8' Violin Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste (gg)

4' Principal

4' Harmonic Flute

2' Recorder

2' Full Mixture IV

16' Bassoon

8' Trompette

8' Oboe

4' Clarion

Tremulant

8' Festival Trumpet (Solo)

Swell to Swell 16', UO, 4'

Solo to Swell 8'

SOLO (4" wind)

8' Harmonic Flute

8' Flute Cœlestis II (Ludwigtone)

4' Open Flute

8' Clarinet

8' Festival Trumpet (horizontal)

Tremulant

Chimes

Solo to Solo 16', UO, 4'

Swell to Solo 16', 8', 4'

PEDAL (4" wind)

32' Subbass (1–12 digital)

32' Lieblich Gedeckt (1–12 digital) (Gt)

16' Open Diapason (in façade from FFF)

16' Bourdon (stoppered wood)

16' Gedeckt (Gt)

8' Principal

8' Bass Flute (ext 16')

8' Spire Flute

4' Choral Bass (ext 8')

4' Open Flute (ext 16')

16' Trombone

16' Bassoon (Sw)

8' Trumpet (ext 16')

8' Festival Trumpet (Solo)

Great to Pedal 8', 4'

Swell to Pedal 8', 4'

Solo to Pedal 8', 4'

Martin Ott Pipe Organ Company, St. Louis, Missouri
First Presbyterian Church,
Ypsilanti, Michigan

From the builder
In the spring of 2007, I made my first visit to First Presbyterian Church in Ypsilanti. I was impressed by the beautiful, historic church and the massive organ case dominating the front of the sanctuary. The tall, rectangular room with its flat ceiling provides an acoustic that complements musical performances. The sanctuary and nave of the church had recently been renovated. The chancel platform was redesigned to be flexible and provide ample space for the liturgical furniture, choir seating, a small orchestra, and the new organ console.
The first organ for First Presbyterian Church was built in 1899 by George Jardine & Son Organ Company of New York. It had 17 stops and 19 ranks divided over two manuals and pedal. This original instrument was rebuilt in 1948; the playing action was electrified and the pipes were rearranged.
While the original Jardine organ case remains intact, we added oak casework on both sides of the case. The end result is a three-sided organ case that retains the original historical appearance. The actual footprint of the organ is somewhat larger than the original Jardine. During the voicing process, it was apparent that the solid oak panels in the lower front of the organ case were blocking the organ sound. After routing a fleur-de-lis design in many of the panels, the sound now projects into the nave.
The Choir division is located to the left, the Swell division to the right in the lower case, and the Great division centered directly above. The Pedal division is divided among the back and sides of the organ. The Swell and Choir are under expression.
The movable console has been designed to match the organ casework. The drawknobs are within easy reach of the organist. The profile is low so that the organist can communicate with the music director or, if necessary, the organist can conduct from the console.
Several ranks of pipes of the original Jardine organ survived and were available for our use. These pipes served as a starting point for the tonal design of the new instrument. This tonal design was a new direction for our firm. While challenging, this proved to be very rewarding. The Choir consists exclusively of pipes from the original Jardine organ. The new Swell division serves as the link between the Romantic Jardine Choir division and the more robust Great division. Although the organ can be lush and rich, the sound is always clear. This enables the organ to be used for congregational singing, choral accompaniments, instrumental ensembles, and solo organ works. With 40 ranks and four extensions, many different styles of organ literature can be performed with stylistically appropriate registration. We have enjoyed collaborating with consultants Dr. John Weaver and Dr. Gordon McQuere on the tonal design and voicing.
Following are the craftsmen who built this instrument, Opus 110: James Cullen, William Dunaway, Marya Fancey, Larry Leed, Aleksandr Leshchenko, Eileen McGuinn, Richard Murphy, Earl Naylor, Martin Ott, Sean Rice, Inna Sholka.
—Martin Ott

From one of the consultants
In 1899, the eminent firm of George Jardine & Son of New York City installed a new pipe organ in the Presbyterian Church at Ypsilanti, Michigan. Jardine had been a premier American organ builder, with important instruments throughout the northeast. But by the end of the century the firm was nearing its end. In fact, the organ for Ypsilanti was perhaps its last. Some surviving pipes are stamped opus 1260, and others opus 1261. No original stoplist has been found, but the instrument was of modest size, about 17 ranks, with mechanical or tubular pneumatic action. This instrument served the church faithfully for a half century.
By the late 1940s, it was determined that a renovation was needed, and this was done in 1948 by the Lima Pipe Organ Company of Lima, Ohio. Consistent with the style of the times, a new electro-pneumatic action was installed. Only the pipes and blower were retained from the Jardine original. It is not known how much tonal alteration was made, but there appears to have been an unsuccessful attempt at revoicing. It is probable that the extension of the Swell Bourdon to provide some upperwork occurred at this time.
In its new form the organ survived more than another half century. To make it more useful, the original Cornopean was replaced in 1977 with a small-scale trumpet, and a three-rank mixture was added.
By the end of the 20th century, the organ was showing increasing mechanical problems, and its fundamental inadequacies increasingly limited the development of an otherwise strong music program and worship life at First Presbyterian Church. Even so, the quality of much of the surviving Jardine pipework was evident.
An organ committee was appointed to study the situation, and it was deemed desirable to acquire a new instrument, while honoring the legacy of the Jardine organ by incorporating as much as possible of the surviving pipework and retaining the magnificent oak case. A contract was signed with the Martin Ott Pipe Organ Company of St. Louis. The happy result of this project is an outstanding new instrument that, by incorporating the best of the Jardine organ, reminds us of the spirit and generosity of visionary members of the church a century ago.
—Gordon McQuere

Martin Ott Opus 110
Electric slider windchest action with some unit action
35 registers, 40 ranks, 4 extensions

GREAT Manual II (unenclosed)
16′ Bourdon (EP) (ext 8′)
8′ Principal
8′ Rohrflute
8′ Bourdon (EP)
4′ Octave
4′ Flute
2′ Fifteenth
11⁄3′ Mixture IV
16′ Bombarde (Sw)
8′ Trompete

SWELL Manual III (enclosed)
8′ Viola di Gamba
8′ Viola Celeste T.C.
8′ Pommer
4′ Principal
4′ Gedackt Flute Jardine
22⁄3′ Nazat
2′ Fifteenth
2′ Nachthorn
13⁄5′ Terz
11⁄3′ Quinte
11⁄7′ Septime
2′ Plein Jeu IV
16′ Bombarde (EP)
8′ Trompette
8′ Oboe Jardine
Tremulant

CHOIR Manual I (enclosed)
8′ Geigen Principal Jardine
8′ Stopped Diapason Jardine
8′ Salicional Jardine
8′ Salicional Celeste Jardine
4′ Octave Jardine
4′ Harmonic Flute Jardine
2′ Flute Jardine
8′ Clarinet Jardine

PEDAL (EP)
32′ Resultant
16′ Open Diapason (ext 8′) Jardine
16′ Bourdon (Gt)
16′ Subbass Jardine
8′ Octavbass Jardine
8′ Bourdon (Gt)
8′ Subbass (ext 16′)
4′ Choral Bass
16′ Posaune
16′ Bombarde (Sw)
8′ Posaune (ext 16′)
8′ Bombarde (Sw)
4′ Clarion (Sw)
(EP) Indicates electro-pneumatic action

COUPLERS
Great to Pedal 8, 4
Swell to Pedal 8, 4
Choir to Pedal 8, 4
Swell to Swell 16, 4
Swell Unison Off
Swell to Great 16, 8, 4
Choir to Great 16, 8, 4
Great to Great 4