Cover feature

Martin Ott Pipe Organ Company, Inc., St. Louis, Missouri
Trinity Evangelical Lutheran Church, Spring, Texas
Opus 68, b. 1991

From the builder
Trinity Lutheran is a large Missouri Synod Lutheran Church located in Spring, Texas, north of Houston. The area was settled by Germans who brought with them their Lutheran faith and customs. The church, founded in 1874, is still located on its original property. As the church has grown, sanctuaries have been removed and new ones have been built. In 1991, our Opus 68 began as the hope of Melvin Schiwart, the music director at the time. Mr. Schiwart had been to Germany. He wanted a good quality German organ for Trinity Church, and his search led him to our firm. A mechanical action organ with a detached console was designed. Although the organ has German influences, it is an eclectic instrument in style and adapts well to its American environment. In 1994, the 49-rank, 39-stop organ was installed in the previous sanctuary’s balcony.
The church membership grew through the 1990s, and the organ continued to be an important part of worship. As plans were made for a new sanctuary, the congregation decided to relocate the organ into the new church. Moving the instrument to the new space enabled the church to keep ties with their past. The organ and the church bell were the only items moved from the old church to the new one. The cost for moving the organ was a small fraction of what a new instrument would cost.
From the very beginning, our firm was invited to participate in the design of the new worship space, specifically the layout of the balcony. We worked with architect John Gabriel, of Gabriel Architects, Inc., and acoustician Scott Riedel, of Scott R. Riedel & Associates, Ltd. The new sanctuary has 44,000 square feet and seats 1,325 parishioners in the nave. Of special concern was how the existing organ could be best incorporated in the new building both visually and acoustically. The music is performed from the “west balcony” opposite the chancel with the altar, pulpit, baptismal font and lectern. Mr. Gabriel designed the large new balcony to accommodate the organ, the choirs, and the orchestral musicians. He was enthusiastic about the organ project and understood the physical and logistic needs. The overall design of the organ remained unchanged. Crown molding was added to give the instrument a stronger visual presence in the new room. We also have added a 32′ Bombarde, a 32′ Untersatz, and a Zimbelstern with a rotating star. As the instrument was reassembled, we thoroughly cleaned every part. The reed pipes were disassembled and completely cleaned before reassembly.
Trinity Lutheran was very enthusiastic about the project. During the weeks we spent reconstructing the organ and voicing, many parishioners would visit to see the progress. Among these visitors was singer-songwriter Lyle Lovett, born near Trinity Church, who asked us many questions about organ building. Mr. Lovett attended Texas A&M University where he studied journalism and German. He also spent time in Germany for his studies. Through his conversations with me, Mr. Lovett learned that the Ravinia Festival in Chicago owned an Ott portative organ; and at the July 12, 2008 concert at this festival, Mr. Lovett used the organ for several pieces in front of a full capacity audience.
The revoiced and visually altered instrument at Trinity Lutheran Church certainly brings vigor in sight and sound to this new sanctuary. We have many people to thank for their assistance in the project: Senior Pastor Richard Noack, Dr. William Brusick, Mr. Melvin Schiwart, and all of the Trinity Lutheran parishioners who were supportive and helpful. I would like to thank all who worked on Opus 68.
1994: John Albright, Albert Brass, James Fantasia, Jeffery Fantasia, Richard Murphy, Earl Naylor, Martin Ott, Thorsten Ott, Mary Welborn. On-site help: new choir risers designed by Jack Rimes, built by Gerhardt Pipho and Melvin Schiwart; riser banisters by Rick Davis; pipe shades in organ towers painted by Duane Schiwart.
2008: James Cullen, Bill Dunaway, Marya Fancey, Larry Leed, Aleksandr Leshchenko, Eileen McGuinn, Earl Naylor, Martin Ott, Inna Sholka. On-site help: Paul Jernigan, Shawn Sanders.
—Martin Ott
Martin Ott Pipe Organ Company

From the acoustical consultant
Trinity Lutheran approached Riedel for consultation in architectural acoustics and sound system design services in August 2001. Our goal for acoustic design was to develop a space that supports and enhances the Lutheran liturgy. Important considerations include reverberation period, HVAC noise control, noise control between spaces and from the outdoors, sound projection from the music area, support for musical ensemble and congregation hymn singing, and speech intelligibility.
The completed Trinity Lutheran sanctuary has a reverberation time, during unoccupied conditions, of 3.5 seconds. This generous reverberance provides excellent sound distribution and enhancement of organ and traditional choral tone. It also benefits Lutheran liturgical practices, encourages congregational sung and spoken participation, and gives a strong sense of listener envelopment.
Excellent speech intelligibility is achieved through innovative sound system technologies and careful design practices. Digitally steerable line array speakers provide very clear sound in this reverberant environment with minimal visual intrusion. A digital signal processor automates the system and replaces older multiple component technologies.
While the organ and traditional choir are an integral part of the congregation’s worship life, the growing use of contemporary instruments in Trinity Lutheran’s music ministry will necessitate a lower reverberation period at times. Treatment options have been presented to facilitate a more contemporary music service, and may be implemented by the client. These treatments include adding modest sound absorbing wall surfaces in select areas of the room.
A flutter echo reflection pattern is audible in the center aisle, resulting from the smooth, curved “barrel vault” ceiling profile favored by the architect. This curve focuses sound energy toward the center aisle of the room, such that the flutter effects are much less noticeable in the congregation seating areas. The overall room shape is cruciform, with organ and choir located at the end of the long axis of the space, in a rear gallery; this facilitates a full and even distribution of musical sound throughout the environment.
We are honored to be part of the Trinity Lutheran Church design team, and we are proud to have assisted in creating an environment that enhances the Ott organ, all in the service of the church.
—Scott Riedel
Scott R. Riedel & Associates, Ltd.

From the minister of music
In May 2007, I was blessed to receive a call from Trinity Lutheran Church in Spring, Texas. One month later, after serving as minister of music for fifteen years at Grace Lutheran in St. Petersburg, Florida, I accepted the call to Trinity. Like Grace, Trinity is a benchmark church in the community that puts a high value on the role of music in quality worship. Throughout the northwest Houston area, Trinity is known for its particular strength in traditional, liturgical worship. To this end, an instrument was sought that would be capable of leading and enhancing this style of worship. All roads inevitably led to Martin Ott.
I am blessed to be the recipient of the hopes, the dreams and the fortitude of a congregation and former minister of music who put such high value on quality music and the instrument that will lead it for generations. Although I had studied on a Holtkamp tracker organ, I had never had the privilege of playing a Martin Ott instrument until my pre-call interview in March 2007. The organ, located in the former sanctuary, looked and sounded spectacular; and yet, it was unfinished. The missing extensions of the two 32′ stops and the absence of any crown molding on the casework were testament to the inevitable expansion that still lay ahead. For myself, one who has been trained in and enjoys improvising on hymns and hymn tunes, the variety of colors and the wide dynamic range made this organ a especially thrilling instrument to play. As a composer, it is also fair to say that having an organ like this is like having a world-class orchestra at your disposal.
While the organ’s weekly mainstay is the leading of over a thousand worshippers in great works of hymnody, our music ministry also calls upon the organ to gently accompany a soloist, add equal support to a majestic brass choir, and blend into and uphold the mighty forces of a full orchestra and chorus. All of these our organ does effortlessly. In this way, I am confident that the Ott Opus 68 pipe organ can provide the style of high quality music that Trinity has come to expect and appreciate over its many years of great musical leadership.
But the blessings don’t end here. While it is a rare opportunity for an organist to meet the creators of their instrument, it is indeed even rarer to have the opportunity to work close at hand with them. Because of the relocation of the organ, I have had the distinct privilege of establishing a close-knit relationship with Martin Ott and his highly skilled team. Over the four months of planning and physically moving the organ, I began to see the care and craftsmanship and the sheer love that Martin has for his instruments and for the churches that will be led by them. During even the most stressful moments of the project, his focus and faith in the outcome never wavered. This instilled great comfort in all of us, knowing that the end result would be beyond everyone’s imagination.
As minister of music at Trinity Lutheran Church, I can speak for all when I say that we are indeed fortunate to have Martin Ott’s Opus 68, which has the potential to bring the highest level of both sacred and secular music to its listeners—leading worship, lifting song, inspiring creativity, enhancing the Word, and energizing the soul.
—William R. Brusick, D.Mus.
Minister of Music
Trinity Evangelical Lutheran Church, Spring, Texas

From the pastor
The dream for a fine pipe organ at Trinity Lutheran Church began in the mid 1980s with our former (now retired) minister of music, Melvin Schiwart. His vision was that we would have a mechanical key action instrument ideally suited to lead robust congregational singing. In response to Mr. Schiwart’s leadership and vision, the congregation decided to establish a special organ fund to bring the project into reality.
Mr. Schiwart interviewed a number of leading organ builders in the United States and in Europe. In the early 1990s the congregation selected Martin Ott of St. Louis, Missouri, to design and build Trinity’s pipe organ.
Martin Ott’s Opus 68 was installed in our former sanctuary in 1994. In June 2008 it was moved into Trinity’s new 1425-seat sanctuary. The organ was expanded with additional stops and enhanced with beautiful casework.
The sanctuary has a classic basilica design and is constructed with internal surfaces that provide a rich reverberation. These features optimize the blessing that is the organ. Martin Luther commented that music often inspired him to preach. I must say that a rousing presentation by a capable organist of Ein feste Burg, At the Lamb’s High Feast We Sing or Crown Him with Many Crowns has definitely inspired my preaching on more than one occasion!
The wonderful marriage of our organ and our new building has yielded many blessings. Our current minister of music, Dr. William (Bill) Brusick, and our pastors enjoy our worship planning sessions. It is fun and energizing to find creative ways to maximize the impact of this superb instrument.
Leading worship in the Name of the Trinity is a high and holy calling. Our magnificent organ is integral to our worship and enhances our worship immensely. It is a great treasure and we are keenly aware that we must exercise faithful stewardship of it to the glory of Jesus Christ.
—Rev. Dr. Richard C. Noack
Senior Pastor
Trinity Evangelical Lutheran Church, Spring, Texas

Trinity Evangelical Lutheran Church, Spring, Texas
39 stops, 49 ranks, 4 extensions

HAUPTWERK (Manual II)
16′ Bordun 56 pipes oak
8′ Prinzipal 56 pipes 75% tin
8′ Rohrflöte (1–12 Bdn) 44 pipes 40% tin
4′ Oktave 56 pipes 75% tin
4′ Nachthorn 56 pipes 40% tin
22⁄3′ Quinte 56 pipes 50% tin
2′ Oktave 56 pipes 75% tin
Mixtur IV–V 255 pipes 75% tin
8′ Trompete 56 pipes 50% tin
8′ Horizontale Trompete 56 pipes 80% tin
4′ Schalmei 56 pipes 75% tin
Zimbelstern  5 Schulmerich bells

SCHWELLWERK (Manual III)
8′ Viola 56 pipes 50% tin
8′ Viola Celeste tc 44 pipes 50% tin
8′ Holzgedackt 56 pipes oak
4′ Prinzipal 56 pipes 50% tin
4′ Gemsflöte 56 pipes 40% tin
Sesquialter II mc 64 pipes 40% tin
2′ Oktave 56 pipes 50% tin
Scharf III–IV 214 pipes 75% tin
16′ Dulzian 56 pipes spruce
8′ Trompete 56 pipes 75% tin
Tremulant

POSITIV (Manual I)
8′ Holzprinzipal 56 pipes oak
8′ Bleigedackt 56 pipes 25% tin
4′ Rohrflöte 56 pipes 40% tin
22⁄3′ Nasat 56 pipes 50% tin
2′ Nachthorn 56 pipes 40% tin
13⁄5′ Terz 56 pipes 75% tin
11⁄3′ Quinte 56 pipes 75% tin
Zimbel III–IV 180 pipes 75% tin
8′ Krummhorn 56 pipes 50% tin
8′ Horizontale Trompete (from HW)
Tremulant

PEDAL
32′ Untersatz (ext Subbass) 12 pipes spruce
16′ Prinzipal 30 pipes 75% tin
16′ Subbass 30 pipes oak
8′ Oktavbass (ext Prinz 16′) 18 pipes 75% tin
8′ Pommer (ext Subbass) 12 pipes oak
4′ Choralbass 30 pipes 50% tin
Mixtur IV 120 pipes 75% tin
32′ Bombarde (ext16′) 12 pipes spruce
16′ Posaune 30 pipes spruce
8′ Trompete (from Hauptwerk)
4′ Schalmei (from Hauptwerk)

Couplers
Schwellwerk/Hauptwerk
Positiv/Hauptwerk
Schwellwerk/Pedal
Hauptwerk/Pedal
Positiv/Pedal

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

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'

Taylor & Boody Organbuilders, Staunton, Virginia

Goshen College, Goshen, Indiana

About the organ.

Designing an organ for Rieth Hall at Goshen College was a
pleasure. The opportunity to place the organ in the traditional location, high
in the rear gallery, was ideal both visually and aurally. The form and
proportions of the hall, with its austere yet warm and inviting interior,
called the organbuilder to respond with similar clarity and restraint. The
ample height of the room suggested a plain, vertical configuration of the
instrument, on which natural light from the clerestory windows would fall
gently. Everything about the hall spoke of its solid construction and honesty
of materials, qualities that we strive to reflect in our organs. Likewise the
acoustical properties of the hall, so warm and reverberant and at the same time
intimate and clear, allowed the organ’s tone to develop freely without
being forced. The result is an endearing musical instrument that is
aesthetically inseparable from the space in which it stands.

Initial inspiration for the Goshen case came from the organ
built by David Tannenberg in 1774 for Trinity Lutheran Church in Lancaster,
Pennsylvania. While only the case and façade pipes of that lovely
instrument have survived, they constitute the finest example we have in our
country of south German case architecture from the 18th century.
Tannenberg’s use of the double impost, with its Oberwerk division
gracefully placed as a reflection of the Hauptwerk below, was typical of organs
in his native Saxony and Thuringia. Other exterior influences from that time
and place include the two swags that bracket the center tower, and the broad
lower case that supports the full width of the impost and omits the spandrels
common to earlier styles. Apart from its simple springboard moldings, the
Goshen case is relatively flat and plain by comparison with its historical
counterparts. Its only bold three-dimensional element is the polygonal center
tower. The small pointed towers in Tannenberg’s design are here merely
implied by the V-shaped arrangement of foot lengths in the tenor fields. The
use of six auxiliary panels to raise the smaller pipe feet above the impost
moldings adds interest to the design. The considerable height of the lower case
was determined by the need for a passageway over the 2-foot concrete riser
behind the organ. This height gave space between the console and impost for the
eventual inclusion of a small Brustwerk with several stops for continuo
accompaniment. Cabinets for music storage are built into the back on both sides
of the lower case.

Another aspect of the design reminiscent of 18th-century
south German traditions is the position of the windchests in relation to the
action. The two windchests of the Hauptwerk are spaced apart from the center of
the case by the width of the keyboards. This leaves room for trackers of the
Oberwerk to reach their rollerboard without blocking access to the Hauptwerk
action and its pallets. It also provides optimum space for 8’ bass pipes
at the sides and leaves room for tuning the tenor pipes of the Hauptwerk with
only minimal obstruction by the Oberwerk rollerboard. The windchests for the
Pedal are located behind the case at the level of the impost, a placement that
Tannenberg could also have used.

Both the playing action and stop action are mechanical. The
manual keys are hinged at the tail and suspended from their trackers. There are
no thumper rails to hold the keys down, so they are free to overshoot slightly
when released, as is the case in traditional suspended actions. Trackers,
squares and rollers are all made of wood. There is no felt in the action. Keys
are guided by pins at the sides. Together these details combine to give a
feeling of buoyancy and liveliness reminiscent of antique instruments. The aim
is not so much to provide a light action as to arrive at one having the mass
and friction appropriate to the size and character of the organ. Such an action
may need occasional minor adjustment of key levels with changes in humidity,
but this is a small price to pay for the advantages gained over more sterile
modern alternatives. 

Wind is supplied by two single-fold wedge bellows (3’ x
6’) fed by a blower located in a small room below the organ. Natural
fluctuations of the wind pressure in response to the playing contribute to the
lively, singing quality of the organ’s sound. A wind stabilizer can be
engaged when unusually heavy demands on the wind system call for damping of
these fluctuations. The organ’s single tremulant is made in the old-fashioned
beater form. On seeing a tremulant puffing away in one of our organs, a
Japanese friend remarked that the organ was laughing! It is useful to think of
an organ’s wind as its breath and the bellows as lungs, for the
instrument’s appeal is closely tied to our perception of its lifelike
qualities. 

The tonal character of an organ is rarely revealed by its
stoplist. This is particularly true in an instrument of only twenty-four stops.
Once the builder accepts the constraints of a given style and the essential
registers have been chosen, there is usually little room or money left to
include stops that would make a modest design appear unique on paper.
Fortunately for the art, the musicality of the organ is not bound by its
stoplist; rather, it is determined by a host of other complex factors. These
can be partially defined in the technical data of pipe scaling and
construction, general design parameters, materials and the like, but in reality
much more rests on the elusive criteria of experience, skill and taste of the
builder. Taken together this means that each new organ, albeit small, presents
fresh opportunities for artistic expression. It is important that all the pipes
speak promptly, be they reeds or flues, except in the case of strings, which
gain charm from their halting speech. It is less important that the pipes
produce precisely the same vowel sounds from note to note, for here variety
adds refreshing character and interest to the organ.

At Goshen we chose to voice the 8’ Principal to be
somewhat brighter and richer in overtones than has been our wont. This was
achieved by giving the pipes lower cutups than was customary in German and
Dutch organs of the 17th century and before. The five distinctly different
8’ flue stops on the manuals deserve special mention. Although all
followed scaling patterns we have used frequently in the past, when voiced they
proved to be unusually satisfying, particularly in combination with each other.
Whenever the 16’ Bordun is used with them a magical new dimension is added
to the sound. If, for example, one draws the Bordun with the Viol da Gamba, the
effect is that of a quiet 16’ Principal. Used with the Spillpfeife the
Bordun reverts to its role as a flute. In an organ of this size it is crucial
that every stop work as well as possible with every other. Following south
German practice, both 8’ and 4’ flutes on the Hauptwerk are made in
the same form. This duplication of flutes within the same family was not the
custom in the north, where lower pitched flutes were usually stopped and those
above them progressively more open. The Oberwerk configuration at Goshen with
its two stopped 8’ registers and partially open 4’ Rohrflöte is
typical of the northern tradition. We look forward to the day that the 16’
Violonbass with its cello-like speech can be added to the Pedal.
style="mso-spacerun: yes"> 

The distinctive musical effect of the Goshen organ is
strongly colored by the use of the recently released Bach-Lehman temperament
described in the accompanying article. Because the completion of the organ in
February coincided with the publication in Early Music of Bradley
Lehman’s treatise on J. S. Bach’s temperament, we chose to tune the
organ according to his plan. Here was the ideal opportunity to try the
temperament on an organ built in Germanic style and at the same time to honor
Dr. Lehman as a distinguished Goshen alumnus for his work in this field. The
experiment has been a fascinating one. It has provided a place to hear
Bach’s organ music as we have not heard it before. We are honored to have
played a part in translating the dry mathematical numbers of this temperament
into the vibrant sound of the organ. 

With few exceptions the many parts of the organ were
constructed from raw materials in our Virginia workshop. Through the skills of
each craftsman the design moved from an idea to paper and then through raw wood
and metal into a large and impressive object. Note by note the tonal picture
has been filled in by voicing and tuning until in the end we experience a new
instrument with an identity all its own. We hope that it will give pleasure to
those who play and hear it far into the future.

--George Taylor

The organ project at Goshen College

“Dienlich, Ordentlich, Schicklich, Dauerlich”

In 1999 we were asked by the organ consultant for Goshen
College, Roseann Penner Kaufman, to make a proposal for the new Goshen College
Music Center. As with any new project, I went to Goshen full of excitement at
the promise of participating in what was to be a spectacular project. My
enthusiasm was short-lived when I saw the design for the recital hall. It was a
standard fan-shaped, sloped-floor, small college recital hall, with theatre
seats and carpet in the aisles. The space for the organ was planned in a niche
at the back of the stage. The design would have been fine for small chamber
recitals, but it was not a proper home for an organ. The prospects for the
organ looked bleak. We would not have felt productive or inspired. We always
say that the room is more than half the organ. I took a deep breath and told
the Goshen committee what I thought of the plan. The committee listened and
asked us to offer suggestions on how the recital hall might be designed to work
best with the musical programs envisioned for this space.

I returned to Staunton eager to develop a plan. One of the
first things I did was to research the Mennonite Quarterly Review for articles
describing historical Anabaptist worship spaces. I hoped that the essence of
these rooms would lead me to an aesthetic that would tie the new hall to the
old tradition, which would, in turn, also be good for music, especially the
organ. My research acquainted me with four German words used to express the
qualities of the historical spaces: dienlich, ordentlich, schicklich and
dauerlich--serviceable, orderly, fitting and lasting. I also found prints
of the interiors of some of these churches. Rectangular in shape with open
truss timber roof framing, clear glass windows, galleries on several sides,
rough stone floors, moveable chairs, unadorned, honest and powerful, these
spaces had all the qualities that I was looking for. They also had enduring
musical-acoustical qualities and so many are used today for concerts.

The simple sketch that I made went first to the Goshen organ
committee who, led by Doyle Preheim and Chris Thogersen, embraced the plan.
Then the concept went to Rick Talaske and his team of acousticians. They
transformed the plan into practical geometry and surface treatments to make the
space an acoustical success. Mathes Brierre Architects took the acoustical plan
and translated it into a visual design that evokes the warehouse or
brewery-turned-church concept of the early Dutch Mennonite spaces. Schmidt
Associates worked through the technical details with Casteel Construction to
conceive the simple pre-cast concrete panels and graceful curved steel arches
that make the hall appealing in its architecture, superior in acoustical
performance and straightforward and durable in construction. There was creative
and sensitive work done by a Goshen group concerned with decor and furnishings.
The result is successful beyond our expectations. The collaboration of all the
partners made the project exceed the ability of any one of us.

Once the hall was underway, we scheduled a meeting at St.
Thomas Fifth Avenue in New York with a group from Goshen and Calvin and Janet
High from Lancaster, Pennsylvania. We had a great day in New York showing
everyone our organ in the gallery of St. Thomas. The Highs’ enthusiasm
for the St. Thomas organ and the Goshen Music Center paved the way for their
generous gift that underwrote the cost of the organ.

We realized that the floor area of Rieth Hall was small in
relation to the height. We saw that if there could be the addition of one more
bay to the length there would be significant improvement in the proportions of
the space and at least 50 more seats could be added. Again, the Goshen design
group supported our suggestion. At a time in the project when the building
committee was attempting to control costs and squeeze performance out of every
dime, they found the funds for this most important late addition.
style="mso-spacerun: yes"> 

I predicted at the time we were creating the designs for
Rieth Hall, that the unique qualities of this space would have something to say
to the Goshen students about music and worship. This prediction has been
realized. First, there is genuine enthusiasm for a cappella singing in Rieth
Hall, encouraging this wonderful Mennonite tradition. Second, there has been a
spontaneous seizing of the space by the students for their own student-directed
Sunday worship. In this age of searching for the right path in worship and
liturgy, of debating the influence and appropriateness of mass media and
popular music for worship, we have built something at Goshen College that
reaches across the span of time to those Mennonite roots. Led by the seemingly
old-fashioned qualities of dienlich, ordentlich, schicklich and dauerlich, we
have made a  music space and organ
that inspire and excite us to make music and to celebrate and serve our God and
Creator.

Wood and the Goshen organ

The traditional pipe organ is a wooden machine. Early on in
our careers as organ builders we realized that getting control over our
materials in both an aesthetic and technical sense was essential to our success
as organ makers. Our first path was to make friends with our neighborhood
sawmillers. One of these was an octogenarian whose experience reached back to
horse logging and steam power. He taught us the value of long, slow, air-drying
of lumber. He also knew the old traditions of sawing, how to take the tension
out of a log, how to saw through the middle of the log and keep the boards in
order so that the cabinetmaker could match the grain. He remembered the methods
of quarter sawing that impart the most dimensional stability to the boards and
in oak bring out the beautiful fleck of the medullary rays. We have built our
own sawmill based on a portable band saw. For quarter sawing, we have built a
double-ended chain saw that can split logs up to 60 inches in diameter. The
half logs (or quarters in extremely large timber) are then aligned on our band
saw and sawn in a radial fashion into boards. This lumber is then air-dried for
a number of years. At the end, we put the wood in our dry kiln and gently warm
it up to stabilize the moisture content at 8% to 10%.

Oak is the traditional wood of Northern European organ
building so it was natural for us to choose white oak for the Goshen organ. We
have long admired the Dutch and German organs dating back to the 16th century.
The earliest organs show only the natural patina of age and no finish; the
concept of finishing wood as in varnishing or oiling came well into the 18th
century. We followed this earlier practice for the Goshen organ. The oak has
been hand-planed to a smooth polish, much smoother than can ordinarily be
produced with sanding. The hand-planed wood will resist dirt. We feel there are
also musical benefits from using wood in its natural state. The case and
carvings together with all the interior parts transmit sound energy and reflect
and focus the sound of the pipes. Also, the open pores and surface
imperfections of the natural wood have an effect on the sound reflection.

Another aspect of wood use in historic organs is how
efficiently the old builders utilized their wood. Before the age of machinery,
cutting, transporting and converting timber to sawn, dried lumber ready for use
was costly. The best wood was always used for the keyboards, playing action,
wind chests and pipes. The next selection went to the most visible parts of the
case, especially the front of the organ. The rest was used for carvings, heavy
structural members, walkways, bellows framework and back panels. Some of this
wood shows knots, cracks and other defects that might offend our modern sense
of perfection. However, in addition to demonstrating good wood utilization, the
varying density and differences in surface texture of these so-called defects
may indeed benefit the music. How we perceive the sound of an organ is a very
complex and subtle equation. This is one of the wonderful aspects of the real
pipe organ that differentiates it from the sterile sound of the electronic
substitute. We feel it is good stewardship to apply the hierarchy of selection
as practiced by the old masters. We try to use all the wood, through careful
selection, with thoughtful conservation of a vanishing resource.

--John Boody

Acoustic design of Rieth Recital Hall at Goshen College

In 1998, the design team of design architect Mathes Group
(now Mathes Brierre Architects), architect of record Schmidt Associates and
acoustician The Talaske Group (now Talaske) began preliminary work on a new
music education and performance building for Goshen College’s campus.
This project was the College’s greatest building investment to date and
they were determined to do things right . . . with a very modest budget. The
Recital Hall (now Rieth Recital Hall) was slated to house a new tracker organ
of exceptional quality. As acousticians, we offered some general planning
recommendations--not the least of which was a 50-foot ceiling
height--and recommended that the organ builder be hired as soon as
possible.

Enter John Boody of Taylor & Boody, organ builders from
Virginia. John energized the subsequent meetings with some profound advice that
proved to set the final direction for the space. He moved our thinking from a
“fixed” seating configuration to a flexible arrangement based on a
flat floor where seats can face either end of the room. This unique concept
facilitated the accommodation of a conventional “recital hall” or
assembly arrangement with musicians or presenters on a small stage. The cleverness
of the concept is the seats can be turned to face the opposite direction in the
room, offering a classic organ recital arrangement. Furthermore, John
recommended that the proportions of the room would be better served if
lengthened by adding another bay of structure. These fundamental planning ideas
changed the direction of the design in perpetuity.

We embraced these new directions yes">  and identified the many other room acoustics design features
that would support the client’s needs. The 50-foot ceiling height remained,
and we worked with the architects and construction manager to render the room
as a sound-reflective concrete enclosure, embellished with wood. The goal was
to maintain the warmth of sound created by the organ. Within the “theatre
planning” process, we guided and exploited naturally occurring
opportunities for introducing sound diffusing shaping to reflect low- and
mid-pitched sound in all directions--by introducing one side balcony and a
rear balcony, recesses from circulation paths and recesses created by
deeply-set windows. We recommended deliberate articulation of the walls to
diffuse mid- and high-pitched sound. Wood surfaces were detailed to minimize
absorption of low-pitched sound. Retractable velour curtains and banners were
recommended in abundance and specified by Bob Davis, theatre consultant.
Architecturally, curtain and banner pockets were created so the sound-absorbing
materials could be retracted completely on demand. These features make possible
a broad “swing” of the sound of the room from very reverberant for
choral and organ performance to articulate for assembly events or amplified
music performance. Fundamental to the acoustic design was the need for silence.
This was accomplished by structural discontinuities in the building (acoustic
isolation joints) and the proper placement and design of heating and air
conditioning systems.

Within their mission statement, Goshen College states:
“Musical expression is a human manifestation of the divine impulse and,
as such, serves as a window into the individual soul, a bridge between human
beings and a means of corporate religious experience.” In light of the
students adopting the Rieth Recital Hall for their weekly convocations and the
many other uses, we are pleased to say the happy story continues!

--Rick Talaske

Bach temperament

This organ is the first since the 18th century to use Johann
Sebastian Bach’s tuning, as notated by him in 1722 on the title page of
the Well-Tempered Clavier. This tuning method is a 2004 discovery by Bradley
Lehman. The article about this discovery is published in the February and May
2005 issues of Early Music (Oxford University Press), and further details are
at <www.larips.com&gt;.

The layout, dividing the Pythagorean comma, is:

F-C-G-D-A-E = 1/6 comma narrow 5ths;

E-B-F#-C# = pure 5ths;

C#-G#-D#-A# = 1/12 comma narrow 5ths;

A#-F = a residual wide 1/12 comma 5th.

In this tuning, every major scale and minor scale sounds
different from every other, due to the subtle differences of size among the
tones and semitones. This allows music to project a different mood or character
in each melodic and harmonic context, with a pleasing range of expressive
variety as it goes along. It builds drama into musical modulations.
style="mso-spacerun: yes"> 

The result sounds almost like equal temperament, and it similarly
allows all keys to be used without problem, but it has much more personality
and color. In scales and triads it sounds plain and gentle around C major (most
like regular 1/6 comma temperament), mellower and warmer in the flat keys such
as A-flat major (most like equal temperament), and especially bright and
exciting in the sharp keys around E major (like Pythagorean tuning, with pure
fifths). Everything is smoothly blended from these three competing systems,
emerging with an emphasis on melodic suavity.

The following chart shows the relative size of each major
third, resulting from each series of the intervening four fifths. This system
of analysis is from the 1770s, published in the theoretical work of G. A. Sorge
who was a former colleague of Bach’s. The intervals having higher numbers
sound spicier, more restless. In this measurement, a value of 11 would indicate
a major third that is one syntonic comma too sharp (a “Pythagorean major
third,” having been generated by four pure fifths).
style="mso-spacerun: yes">  A pure major third would be represented
here as 0.

Bb-D    6
style='mso-tab-count:1'>             D-F#
    7
style='mso-tab-count:1'>             F#-A#
8

Eb-G    7
style='mso-tab-count:1'>             G-B
      5
style='mso-tab-count:1'>             B-D#
   9

Ab-C    8
style='mso-tab-count:1'>             C-E
       3
style='mso-tab-count:1'>             E-G#
   10

Db-F     9
             F-A
       3
style='mso-tab-count:1'>             A-C#
   9

Equal temperament, as opposed to the variety shown here, has
a constant size of 7 in all twelve of the major thirds.

In functional harmony, the Bach tuning sets up especially
interesting contrasts within minor-key music. The key of A minor has the
plainest tonic juxtaposed with the most restless dominant. F minor, a major
third away, has the opposite relationship: troubled tonic, calm dominant. And
C# minor has the average character between these behaviors, where the tonic and
dominant are both moderately energetic. 

In major-key music, the tonics and dominants have characters
similar to one another. The sizes of major thirds change by only 1, 2, or 3
units from each key to its neighbors, moving by the circle of fifths (through
typical subdominant/tonic/dominant progressions). Any change of Affekt is
therefore gradual and subtle, as if we never really leave the home key
altogether but it feels a little more or less tense as we go along.

In any music that modulates more quickly by bypassing such a
normal circle-of-fifths cycle, the contrasts are momentarily startling. That
is, the music’s dramatic harmonic gestures become immediately noticeable,
where the major thirds have changed size suddenly from one harmony to the next.
This comes up for example in the Fantasia in G Minor (BWV 542), Gelobet seist
du, Jesu Christ (BWV 722), and the fourth Duetto (BWV 805), and especially in
music by the Bach sons.

This system turns out to be an excellent tuning solution to
play all music, both before and after Bach’s. It is moderate enough for
complete enharmonic freedom, but also unequal enough to sound directional and
exciting in the tensions and resolutions of tonal music.

A recording will be ready for release this summer, including
music by Bach, Fischer, Brahms, et al.

--Bradley Lehman

A brief history of the organ in the Mennonite Church

Some people might find it unusual to find such a remarkable
organ in a Mennonite college. Aren’t the Mennonites those folks with the
buggies and suspenders? It is true that some Mennonite congregations still take
literally founder Menno Simons’ caution against the organ as a
“worldly” invention, but most, especially in the last fifty years,
have embraced it as a vital contributor to the musical and worship life of the
community. 

The Mennonite Church has its beginnings in the 16th-century
Protestant Reformation. Because of persecution, most of the early worship
services were held secretly, in homes or out-of-the-way places. Mennonites also
believed that the true church existed in small, simple gatherings; therefore,
it was uncommon for early Mennonites to even set aside a separate building for
worship. 

Two hundred years after the beginning of the movement,
churches in Germany and the Netherlands had grown to the point of meeting in
dedicated buildings, and by the 1760s several in urban areas had installed pipe
organs. It was another two hundred years, however, before organs became common
in the Mennonite conference that supported Goshen College. Even now, the organ
is not necessarily assumed to support congregational singing, but contributes
other service music. Organ study is now offered at all of the Mennonite Church
USA-affiliated colleges, and the new Taylor & Boody organ at Goshen will
certainly have a profound impact on the future of worship and organ study
throughout the denomination.

--Roseann Penner Kaufman

Roseann Penner Kaufman, DMA, is adjunct instructor in organ
at Bethel College, N. Newton, Kansas, a four-year liberal arts college
affiliated with the Mennonite Church USA. She also serves as director of music
for Rainbow Mennonite Church in Kansas City, Kansas. Dr. Kaufman served as the
consultant to Goshen College for their organ project.

Specifications for Opus 41

Hauptwerk

16' Bordun (C-D# wood, rest metal*)

8' Principal (77% tin)

8' Spillpfeife

8' Viol da Gamba (77% tin)

4' Octave

4' Spitzflöte

3' Quinte

3' Nasat

2' Superoctave

IV-V Mixtur

8' Trompet

Oberwerk

8' Gedackt (99% lead)

8' Quintadena

4' Principal (77% tin)

4' Rohrflöte

2' Waldflöte

II Sesquialtera

IV Scharff

8' Dulcian

Pedal

16' Subbass (wood)

(16' Violonbass) space prepared

8' Octave

4' Octave

16' Posaune (C-B wood, rest 99% lead)

8' Trompet (99% lead)

Couplers

Oberwerk / Hauptwerk

Hauptwerk / Pedal

Oberwerk / Pedal

Tremulant to entire organ

Mechanical key and stop action

Compass: manual 56 notes C-g''', pedal 30 notes C-f'

Lehman-Bach temperament

Interior metal pipes of hammered alloys

*All unmarked metal alloys of 28% tin, 72% lead

Case of solid white oak

Windchests of solid oak, pine & poplar

Number of pipes: 1604

Wind pressure: 75mm

Wind stabilizer

The builders

George K. Taylor

John H. Boody

Bruce Shull

Emerson Willard

Christopher A. Bono

Kelley Blanton

Chris A. Peterson

Sarah Grove-Humphries

Robbie Lawson

Jeffrey M. Peterson

Larry J. Damico

Holly Regi

Thomas M. Karaffa

Bob Harris

Katie Masincup

Ryan M. Albashian

Kristin E. Boo

Quezon City, Philippines, is the largest and most populated city in metropolitan Manila, with a population of over 2.5 million; at one time it was the capital of the country. In this city is the Central Complex of the Iglesia Ni Cristo (Church of Christ), registered in the Philippines in 1914 by Felix Manalo, and at present administered by the Executive Minister Eduardo V. Manalo. The church has grown to millions of members with congregations in over 100 countries. 

The INC Central Complex includes the central office for the church administration, Tabernacle Hall, College of Evangelical Ministry for future ministers, New Era General Hospital, New Era University, and prominent and rising towards the sky is the largest Iglesia Ni Cristo Temple in the world. Designed by Filipino architect Carlos A. Santos-Viola based on the conception of the then Executive Minister of the church, Eraño G. Manalo, the Central Temple is famous for its Gothic-Moorish architecture, intricate interiors, and its 7,000-seat capacity.  

Under the leadership of Executive Minister Manalo, the church administration set forth in 2012 to study, build, and install a special pipe organ at the INC Central Temple to coincide with the church centennial. The purpose was to further raise the level of worship services, and to praise God with a higher form of hymn singing. This is the first custom pipe organ built for the Iglesia Ni Cristo. We recognized the importance of such a commission and the care and reverence it accorded.

A project of this magnitude required a tremendous amount of planning and coordination. We were pleased to have had the help and assistance of the United States offices of the Iglesia Ni Cristo, coupled with the church administration in Quezon City. Through the course of planning this installation, there were numerous trips, e-mails, faxes, and phone calls that involved the offices in California and Quezon City, Philippines. 

During my first visits, I was able to attend worship services at the Temple. With the members of the congregation and choir in full song, I was able to gauge the acoustics and begin designing a specification that would support their worship. The hymns and music of this church are exclusive to Iglesia Ni Cristo. This is a congregation that worships with full voice; experiencing their services is to be enveloped in worship and praise.

For many years, the organ used by the church was a Hammond electronic organ with its sole flute-biased generator. As opposed to how the organ is typically played in gospel churches, the typical organ registrations emphasized unison pitch and the organ played in a “classical” style with use of the Leslie speakers and mutation drawbars for variation rather than reliance. The organ was used to gently undergird the church music. 

The Central Temple is a massive worship space by any standard. Its architecture is, in a word, stunning. Rich carvings, tracery, and filigree abound in this edifice. Underneath richly brocaded chandeliers, the center core of the Temple seats several thousand; two side chapels alone seat over 1,000 each. Large doors can be drawn closed to divide the Central Temple into three separate spaces. During services, male members of the church are seated on the left, with the women on the right side. The choir loft in the center of the building seats 170. Each of the side chapels contains smaller choir lofts that are utilized for each service and seat 50 choristers each. The organ console sits in the middle of the choir loft with the organist facing outward, without a choir director, during the services. The choirs and musicians are disciplined and well trained to work from music cues honed from rehearsal.

The acoustics of the room are very good due to the hard surfaces, though these are not cathedral acoustics with a long reverb time, but those of a space that is favorable for music and the spoken word. The previous electronic organ was providing enough support for the choir and congregation with two Leslie speakers in this large space. 

When we started to lay out the tonal design of the very first pipe organ for the Central Temple of the Iglesia Ni Cristo, several key points would determine the success of the organ. We needed the traditional resources and chorus structure of a pipe organ for religious use; it would be important to support the flute-biased sounds and dynamics that the church had always known; and most of the organ resources should be under expression for full dynamic control of sound. The organ would also need to play common literature with a main support of resources used for choir and congregational singing. Our task was to supply them with enough variety using the different families of principals, strings, flutes, reeds, and solo voices, and then to fill this large worship space with leading sound.

When the Central Temple was built it did not include a location for a pipe organ. We knew that this required major construction alterations within its building and infrastructure. There was a physical limit to the space that was available for organ chambers without adversely impacting the building’s architectural design. During our visit to the Temple, we completed studies of the sightlines and probable chamber elevations as they related to the organ placement to develop a plan for the organ chambers and the façade that would cover the chamber openings. Working with the architect and other members of the church, we formed a plan for the placement of the organ in the building, so that it would look like it had always been there. This task would need to visually complement the grandeur of the current worship space. 

We knew that if we did not support the two choirs and over 1,000 members in each of the side chapels, the organ would be a failure. We also had a situation where the main choir and central console were around the corner from the chapels. The congregants and the choir in the chapels would need to hear the same dynamics that were heard around the corner at the main console. To solve this problem, we chose a unique solution to the organ division placement. We placed the left and right organ chambers between the main hall and the side chapels. We designed large sets of expression louvers that open to the chapels and the main hall. The organ has 56 swell shade frames that hold 290 individual expression shades operated by multiple motors. These motors were addressed through a programmable expression shade software interface, which allowed an acoustic linear progression with the movement of the expression shoes that was balanced between the main hall and the side chapels. This allows a seamless level of expression. In addition to providing dynamic control of the organ stops, we designed the expression shades to direct the sound to various angles of incidence in the building and through refraction uniformly cover the huge space with sound. (The expression shades were regulated so that the registrations for the organ divisions are acoustically balanced between the Main choir loft and the
side chapels.) 

The unique position of the organ chambers in the room opened the possibility of using the left and right stop resources to provide independent instruments for the side chapels. Through careful stop placement and our scaling choices, we were able to provide a duality of voice for the stop registers. The chapel specifications differ from the main console and are designed to support these spaces when the doors are drawn closed and the chapels become independent worship spaces. When the chapel organs are turned on, the division shades for the main core of the Temple close and only express to the chapel. Both chapel organs can be played at the same time. The left chapel is used for weddings. The specification for this instrument is drawn from the resources of the Swell and String organs. The right chapel is used for practice and rehearsal and draws its resources from the Great and Pedal divisions. 

To cover the large organ chamber openings, the choir loft is flanked with matching façade pipes from the 16′ Principal and 16′ Violone. The building is in a known earthquake area, and there was a concern to assure that the pipes would remain in the organ case. As a redundant safety measure, we designed decorative bands in the case design that retain the pipes in their vertical racks even if there were a failure of the retaining hardware. We built the façade pipes out of a polished metal. Their finish takes on the colors and hues of the lighting and architecture and has a softer look that would not have been possible with painted or poly-chromed pipes. The pipes were built with over-length bodies and toes to fill a 24′ height and sit on a 7′ ledge. The façade is fed with transmission tubes from action boxes located in the enclosed chambers. The construction crew completed all of the millwork and tracery. 

To scale an instrument, we generally bring pipe samples into the room to gauge the necessary scales, wind pressures, and pipe treatments that need to be employed. The planning for this instrument was no different. We took over several pipes that were voiced in the Temple, with several members of our staff gauging the carrying ability of these voices in the room. There was remarkably little acoustical fall-off of these voices, even into areas of the rear balcony. These pipes became the guide in our voicing room halfway around the world. This was an instance where your eyes did not want to believe what your ears would tell you about scaling due to the sheer size of the space. The sample pipes represented the reality of what we had to trust in our tonal design of the organ. Before our final week of voicing on site, 4,000 ministerial students and choir members were invited in so that we could get a crucial sound check. This enabled us to finalize voice strength and gauge the shade openings with a room full of people.

To accommodate the gender division in the Temple, the organ divisions are placed so that they provide the proper weight and color to support the men and women’s voices. The Great and Pedal are in the right chamber with the resources focused towards the men. The Swell and String organ in the left chamber focus their voices towards the women. The Choir/Solo chamber area is in the center behind the choir. The middle of this space contained a large LED screen, which is integral to worship here. The Choir/Solo division has three shade openings that open to the right, left, and above the screen. The expression shades in this division are horizontal, with the first points of reflection being the hard ceiling above the choir and organist. The ceiling acts as a diffuser so that sound envelops the choristers without subjecting them to the large dynamics of this division. This allows the organ and choir to uniformly blend their collective voices for support of worship.

We employed generous scales along with an 8′-weighted specification. Wind pressures range from 6′′ to 16′′, with the highest wind pressures in the Solo division, where the large scales and increased wind pressures allow robust voicing for the flue solo stops, such as the Stentorphone, to sing out over the full organ resources and yet be fully contained with closure of the expression shades. We determined that the woodwind-class reeds would be very important to texture the ensemble. The 8′ Clarinet and the 8′ Oboe add color without being aggressive or too tonally forward. All the organ’s reeds use English shallots, which, with their darker, rounder voices, are more appropriate in this acoustic. 

There was a desire for a large solo reed in our tonal design. The organ is tonally capped with the high-pressure 8′ Tromba Heroique. This stop is placed so that it speaks out into the Temple through the center Choir/Solo expression shades. This stop is extended full-length down to the pedal for the supreme 16′ cantus firmus voice.

To pay homage to the flute sounds that the church previously knew, we included a Wurlitzer-patterned Tibia in the Choir/Solo on 10′′ of wind pressure. The String organ has a Tibia Minor and the Great a Flauto Major. Ubiquitous to the sound of these large, stoppered flutes are the manners in which they are affected by tremolo. Unique to the instruments we have built previously, we provided the organ with dual speed tremolos that could independently be regulated for maximum effect with the flue and reed voices. Again, these stops’ style features their unification across multiple pitch registers, which we included in our specification design.

The String Organ was conceived as an extension of the Swell division that can separately be a floating division via couplers. Its multiple timbres range from the pungent Viole d’ Orchestra to the more neutral Violone with pitch registers from 16′ to 4′. Included in this division was an 8′ Flute Celeste II built in the form of a Ludwigtone. It provides the softest ethereal voice in the organ. The multiplicity of strings in this (the String Organ) division not only are of a singular beauty when massed together and colored with the 8′’ Vox Humana but importantly with their edge tones provide a harmonic bridge (without their celesting voices) between the flutes and principal stops. This allows a seamless buildup of the stop resources in this organ.

The organ windchests are a combination of pallet and slider windchests and unit electro-pneumatic windchests. There are a total of 45 windchests throughout the instrument, fed by 26 wind regulators. Dual-curtain ribbed and floating-lid reservoirs were used for the winding system. The wind is raised through four blowers that generate static wind pressure in excess of 22 water column inches.

The main four-manual organ console is mahogany with ebonized mahogany key cheeks and is in a fixed location in the choir loft. The two chapel consoles were built to be lower profile and are two-manual terrace drawknob consoles. These consoles include inbuilt casters and detachable plugs to allow the consoles to be moved and stored when their use is not required.

With an instrument that had three consoles, three separate specifications, differential expression shade control tables, two-speed tremolos, and a requirement for fiber optic data transmission, we turned to Dwight Jones and Integrated Organ Systems. They worked tirelessly to customize their Virtuoso control system to fulfill the specialized requirements of this instrument.

Preparing the organ for its safe transit required careful disassembly and packing. It was very important that the load centers of the packed shipping containers be carefully calculated. This required that every part of the organ be weighed and a packing plan developed for the shipping containers. There was a narrow window to pack each shipping container so that all of the organ materials would be in transit on the same ship. We built an outline of a shipping container in our factory and virtually “packed” each container within that footprint. This allowed us to rapidly pack each container as the four trucks showed up in order at our shipping dock. The “virtual” containers were purposely staged in the reverse order to facilitate quick loading of the four actual containers, which arrived in succession over a four-day period. The organ weighs 43,543 pounds and required almost 8,000 pounds of packing materials. In all there were 608 individual packages and crates ranging from 5 to 1,380 pounds. There are a total of 3,162 individual pipes in the instrument, which were packed into 87 trays and 39 crates. The organ was packed into four shipping containers to begin its route from the port of Savannah, Georgia, to Manila. Our staff, led by Art Schlueter, Jr., arrived just ahead of the shipment to receive it at the Temple. 

The first challenge to the installation was getting the organ parts into the Temple. The primary worship space is actually on the third story of the building. The stairwells and elevators were too constricted to allow the movement of large items such as the multiple consoles, the main chests, and the façade pipes. Early in our first visits it became clear that the only method for the movement of the mass of organ parts would be to open a large hole in the upper rampart of the building and bring in an overhead crane to hoist these materials. A large scaffold deck was built outside, to allow a landing area for the organ parts that were then manually placed in the building. 

As we arrived to install the organ, major portions of the building were still under renovation to be ready for the centennial celebration of the Iglesia Ni Cristo. Over 100 workers labored around the clock to complete all of the tasks at hand. The members of the Iglesia Ni Cristo administration worked with us to develop a plan where our work could be congruous with their work schedule and provided considerable assistance with the movement of materials from the containers to a marshaling area in the side chapels. Adding to the complexity of the work in the Temple, the scheduled services were ongoing, with only the side chapels taken out of service. We want to thank the Iglesia Ni Cristo for their considerable assistance to assure that we were able to complete our work with the ongoing construction and renovations in the edifice. Without coordination, communication, and support this project could not have been accomplished.

The work to install and voice the instrument was completed in multiple trips that spanned several months of time. The work was completed with two separate teams, with staff members in Georgia providing technical support. The members of the church construction crew assisted with the installation. This allowed us to teach how the organ was installed and how to adjust and regulate the organ parts and actions. Several members of this group showed a specific aptitude for the organ work and were further trained about the pipe organ and its systems. This team now serves in a support role for basic tuning and adjustments at the Temple. With each return tuning trip, our staff has worked to further their skills and abilities.

Members of our firm that traveled overseas to complete this project included Art Schlueter, Jr., Arthur Schlueter, III, Rob Black, John Tanner, Marc Conley, Pete Duys, Bud Taylor, Patrick Hodges, Jay Hodges, and Jeff Otwell. Considerable shop assistance to the completion of this project was provided by staff members Shan Dalton, Barbara Sedlacek, Bob Weaver, Ruth Lopez, Kelvin Cheatham, Mike DeSimone, Al Schroer, Dallas Wood, and Steve Bowen.

When we arrived onsite to begin the installation, members of the church told us that the administration had requested them to treat us like family. Nothing could have been truer. While we were away from family and friends, the Iglesia Ni Cristo worked tirelessly to support us as we worked to install the instrument in their Temple. 

Three weeks before the centennial of the Iglesia Ni Cristo, Executive Minister Eduardo V. Manalo officiated on Saturday, July 5, 2014, at a special worship service at the INC Central Temple In his homily the Executive Minister said, “The installation of the new pipe organ at the Central Temple is in line with the church’s desire to fulfill the biblical teaching that God should be praised and glorified.”

The organ was played by Dr. Genesis Rivera, who said it was a great blessing for him to be the first one to play the pipe organ in that special worship service. The church very generously hosted Art Schlueter, Jr., and Pete Duys to be in attendance. We would like to publicly thank the Iglesia Ni Cristo and its leadership for their beneficence. 

We are humbled to have been chosen for such a grand commission, to build a one of a kind instrument to the worship and praise of God, for the Central Temple of the Iglesia Ni Cristo. 

—Arthur E. Schlueter, III

 

Cover photo: Courtesy of Iglesia Ni Cristo 

Cornel Zimmer Organ Builders, Denver, North Carolina
The Community Church at Tellico Village, Loudon, Tennessee

From the director of music
This pipe organ is such a wonderful addition to our music ministry, and we are all excited about the ways in which it has already begun to enhance our worship. Cornel Zimmer Organ Builders has done an outstanding job restoring and creating a versatile and complete instrument from quite a diverse collection of historic pipework. In many respects, the organ reflects the nature of this congregation. People come to this community from all over the country, from various denominational and faith backgrounds. Rather than trying to conform to a particular creed or list of beliefs, and instead of spending time arguing about those differences, the people of this church simply start doing things together—good things, like building Habitat for Humanity houses, working in multiple ministries for the poor or our child advocacy center, and being the body of Christ to each other and to our community. I think all of that starts with worship, and our music each week is one of the unifying factors of the worship of our congregation. Cornel Zimmer Organ Builders has done the same with this pipework, finding ways to maintain the individual character of the sounds while shaping them to work together to create something more beautiful and effective.
—Rev. Dr. John R. Orr

From the senior pastor
Cornel Zimmer Organ Builders has brought to life an amazing musical instrument that enhances our worship services in ways we never imagined. The sweeping design of the exposed pipes is aesthetically majestic. The rich tones of the organ seem to enfold us acoustically with voices from the distant past as well as the here-and-now. As one parishioner recently said, “It’s like we are part of the music and the music is a part of us!”
But the new pipe organ provides more than beautiful music. It embraces us with deeper meaning. Worshipers lift up the hymns, knowing they are a part of a chorus of “voices” that first sang the songs of faith in Brooklyn, New York, in the mid-19th century and are now singing again in the 21st century in Loudon, Tennessee. The pipe organ connects us to a larger community of faithful people from north and south, past and present, Catholic and Protestant. This beautiful Cornel Zimmer instrument magnificently captures and expresses the essence of our church that seeks to be “as inclusive as the love of God.”
—Rev. Martin C. Singley, III

From the chair of the organ committee
The organ project of the Community Church at Tellico Village (Loudon, Tennessee) began, as many projects do, with a group of members who envisioned the day when their church could replace their digital organ with an authentic pipe organ. In 2003, the church began a serious effort to provide additional space for a growing membership and space for a new pipe organ. Soon, this informal group received the blessing of the church council to become the ad hoc pipe organ committee attached to the music committee. After investigating several organ companies and types of organs, Brad Rule of B. Rule & Co. suggested that we purchase an 1862 Henry Erben organ that was rescued from a church in Brooklyn, New York by the Organ Historical Society. By the fall of 2003, we did acquire the Erben from the Organ Clearing House and transported it from their New Hampshire warehouse to a storage facility in Tellico Village. Our intention was to purchase not only a historically interesting pipe organ but also a pipe organ costing significantly less than an all-new instrument.
Henry Erben was considered one of the most eminent organ builders of the nineteenth century. Additionally, the committee noted that Erben was a key participant in the mid- to late-19th century “Golden Age” of American pipe organ building. He adhered to classical principles that included significant ensembles of eight-foot stops, gentle voicing, and low wind pressures, producing a tone that is bright, free sounding, and decidedly unforced.
As happens with church projects, the expansion plans were delayed for about six years. The good news is that, instead of expanding our current sanctuary with many potential drawbacks such as inefficient physical design and undesirable acoustics, it was decided to build a completely new sanctuary that would seat over 800 members. We carefully designed the new sanctuary to provide the best possible space and location for the organ. This front and center location, facing the longest axis of the room, not only provides good sound projection for the congregation and accompaniment for our vocal and handbell choirs, but also adds a traditional focal point for people sitting in the pews. The floor of the organ platform is constructed of concrete, and the walls of concrete block, with a solid finish of old-fashioned smooth plaster.
Of course, after six years, the original pipe organ committee added new members to form the musical instrumentation team. This team visited with and interviewed several organbuilders, and finally selected Cornel Zimmer Organ Builders of Denver, North Carolina. Cornel Zimmer Organ Builders was very much interested in our project and the use of the 1862 Henry Erben as the centerpiece for an organ substantial enough to meet the needs of our fairly large worship space and our somewhat frugal budget. In every respect, they met and many times exceeded our expectations. Not only did they embrace the uniqueness of our Erben pipes, but they also provided other appropriate, and in some cases historically interesting, stops from a variety of used organs to create an organ that is a joy to hear and that meets the needs of our significant music ministry. This assemblage of pipes, with various backgrounds working together to form a unified voice, mirrors one of the most basic concepts of our Community Church.
—Lou Livengood

From the organbuilder
During the summer of 2008, Cornel Zimmer Organ Builders was approached by the musical instrumentation team of Tellico Village Community Church. The team had been formed for the purpose of choosing an instrument for their new sanctuary, which was still in the design stages. They presented us with several criteria and asked for our recommendation. The resulting dialogue introduced us to an enthusiastic group of individuals committed to having the best possible instrument for their new worship space. Their enthusiasm was immediately contagious, and the potential for an exceptional instrument in a fine room became clear.
The committee had previously purchased the pipework and some internal components from an 1862 instrument by Henry Erben. The pipework had been in storage near the church since 2003, and the committee was hopeful that some or all of the pipework could be incorporated into a new instrument. We were intrigued by the possibility of working with pipework from this era and, with the help of 15 volunteers, took a survey of all of the pipework in storage. The instrument, having been removed by Organ Clearing House, was well packed and all pipework was intact. We felt confident that the pipework could be successfully restored and would play a significant role in a new instrument. Of the 26 ranks of Erben pipework, 20 proved suitable for use in a new instrument.
When we were chosen to build the instrument during the design phase of the new sanctuary, we were able to work closely with the architects to plan a space for the organ that would allow maximum tonal egress and ensure easy access for maintenance and tuning stability. The resulting collaboration between all parties gave the organ prime placement, speaking directly down the axis of the nave. The walls behind and around the organ are either solid concrete or double-layered gypsum board, which allows for exceptional clarity and projection.
The new sanctuary can comfortably seat more than 850 and can accommodate more than 1,000 when filled to capacity. It was clear that the 20 Erben ranks would need to be augmented to fill such a large space and, while space was not a limiting factor, budget was. A final specification of 42 ranks was designed, leaving room for future growth. To complement the existing pipework, we built nine new ranks and carefully selected ranks from two other instruments—an early 1900s Haskell instrument and a 1929 Austin—for inclusion in the instrument.
We carefully cleaned and restored all of the existing pipework. Many of the flue ranks had several coats of paint and shellac that needed to be removed. We used a cleaning solution with a butyl de-greaser to strip the pipes down to the bare metal and either applied a clear coat of lacquer where needed or painted the pipes that would be displayed in the façade silver. We repaired and oiled wooden pipes and painted the largest Subbass 16′ and Open Wood 16′ pipes in various shades to accent the pipes. All reed pipes received a complete restoration by Greg Caldwell of Organ Reed Restoration in St. Louis, Missouri.
On an overcast day in late October 2010, an 18-wheeler loaded with 11 tons of organ set off from our shop in Denver, North Carolina, en route to Loudon, Tennessee. Our crew arrived at the same time as the tractor-trailer and was greeted by more than 50 cheering church members, ready to help unload. Young and old joined in the procession of parts and pipes, and the entire truck was unloaded in only a matter of hours. Working around a busy schedule of construction still being completed in the sanctuary, we completed the physical installation of the organ in December, and tonal finishing began in early January. The organ was first used in worship on February 6.
Our tonal approach on the Tellico organ was to maintain the original voicing of the principal and flute choruses in the 1860 Henry Erben pipework. After thorough cleaning and just a few repairs, we found that the flue pipes responded well on three inches’ wind pressure. Principal and flute stops alike speak smoothly with clear articulation at a moderate volume level. The Great division boasts a complete principal chorus from 16′ pitch through the 11⁄3′ Mixture IV. The Swell also contains a complete principal chorus based on the 8′ Diapason, and the Choir has a chorus through 2′. One unique Erben stop, which was quite challenging but a favorite of the Tellico organ committee, is the Bell Gamba that is playable at 16′ and 8′. It takes a prominent place in the visual aspect of the pipe layout and tonally provides a unique string timbre that works well alone or in combination with other stops.
To complete the specification, we carefully selected a number of reed and string stops to blend with the tonal character of the predominant Erben choruses. The Swell Viola and Viola Celeste are voiced on five inches, as are the Oboe 8′ and Trumpet 8′. To give added weight to this division, both the Viola and Oboe are extended to 16′, the resonators of the Petite Bombarde 16′ being full-length. The Open Wood, Subbass and Trombone 16′ also speak on five inches of wind. The Pedal Trombone 16′ is 7″ scale and is extended to 73 notes, allowing it to be played in the manuals. To further enhance the flexibility of this stop, it was made into a floating Tromba “division,” allowing the stop to be played at multiple pitches on all manuals. The Choir reeds are voiced on three inches and include the 8′ Clarinet, the only Erben reed that could be retained. Its somewhat edgy character gives it excellent carrying power, and it blends well with the Choir principals or flute stops to take on many different colors and uses.
The overall pitch of the Erben pipework was about one quarter-step sharp of today’s standard pitch. The Erben scales are moderate, compared to today’s trends, and the cubic volume of the new sanctuary is quite large. Therefore, we decided to rescale most of the stops up one note to achieve the tuning capability for a pitch standard of A=440. All pipework is placed on one level to promote tuning stability.
To work within the budget of the church, we decided to build electric action chests. Our preference, however, is to build pneumatic chests, and we were concerned that placing the pipes directly on electric action would result in difficulties with pipe speech. Our solution was to place all pipework on channeled electric action to help alleviate any unwanted effects on pipe speech. Larger bass pipes and the pipes of the 16′ Trombone are on pneumatic action. This choice of action allowed for judicious borrowing of stops between divisions and some extensions to enhance the flexibility and versatility of the instrument. For added power in the Pedal division, we also chose to include a 32′ resultant. After hearing a successful example of a “smart” resultant on the Fisk organ at St. Peter’s in Charlotte, North Carolina, we asked Peterson to program the resultant to quint the 16′ Subbass when it is drawn, but to then quint the Open Wood 16′ when it is drawn. The results are quite literally earth shaking! From a subtle purr under strings to a throaty rumble under full organ, this use of technology has proven remarkably successful.
Wind for the instrument is provided by a 3-HP Spencer blower and is regulated by reservoirs using both springs and weights to assure a steady wind supply. Solid wood and metal windlines ensure ample wind even under the greatest demands. A Peterson ICS-4000 system controls both the console and pipe drivers.
A respected friend and colleague in the business expressed some concern after hearing our plans for the instrument, wondering if a seemingly disparate collection of pipes could become a cohesive whole. One could easily understand his concern, but through careful selection of pipework and special attention to the scaling and regulation of each stop, the finished organ is indeed a cohesive instrument capable of great power, encouraging the congregation to sing while enveloping but not overwhelming them with sound. Effective swell enclosures allow the softest stops on the organ to speak at a delicate pianissimo and give the organist the ability to create a seamless crescendo. A complete array of couplers and a wealth of color and solo stops give the organist a broad palette with which to “orchestrate” works of many different genres.
Special thanks must be given to ministers, staff, and members of the Tellico Village Community Church, who had the vision to undertake both a large-scale building project and a substantial organ project. It has been a pleasure to be a part of this exciting project and to work with such an enthusiastic group. As many of the pipes in the organ reach their 150th anniversary, it is our hope that these pipes will speak for many more generations to come.
—Nathan Bryson, with contribution from Jim Twyne
Builders involved with this project:
Cornel Zimmer, president
Jim Twyne, tonal director
Nathan Bryson, project manager
George Zong, master cabinetmaker
Eric Molenaar, electrical engineer
Tommy Linder, pipemaker
Joisain Ninaber, pipemaker/cabinetmaker apprentice
Judy Abernathy, wiring/windchests
Morgan Lane, wiring/windchests

Cover photo by Bobbi Miller; all other photos by Rob Dolson.