Cover feature (November 2005)

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

Cover Feature

Fenris Pipe
Organ, Kilkenny, Minnesota

Good Shepherd
Lutheran Church, Rochester, Minnesota

Project Scope

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

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

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

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

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

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

The Instrument

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

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

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

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

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

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

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

--Wes Remmey

GREAT

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

8' Flauten
Principal 61
pipes

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

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

8' Rohr
Gedackt 61 pipes

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

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

4' Hohl
Flute 61
pipes

Sesquialtera
II (Swell)

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

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

2' Fourniture
IV 244
pipes

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

Gt/Gt
4

Sw/Gt
16-8-4

Auto
Pedal

MIDI

SWELL

16' Lieblich
Gedackt 61
pipes

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

8' Harmonic
Flute 49 pipes

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

8' Vox
Celeste TC 49
pipes

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

4' Harmonic
Flute 12 pipes

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

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

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

13/5' Tierce
TC 37
pipes

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

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

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

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

Sw/Sw
16

Sw/Sw
4

Tremolo

MIDI

PEDAL

32' Acoustic
Bass (resultant)

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

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

16' Lieblich
Gedackt (Swell)

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

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

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

4' Choral
Bass (Great)

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

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

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

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

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

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

Gt/Ped

Sw/Ped

MIDI

Multi-level Memory

8 Generals Thumb
- Toe Piston

4 Great Divisionals Thumb
Piston

4 Swell Divisionals Thumb
Piston

Gt/Ped Reversible Thumb
Piston

Sw/Ped Reversible Thumb
Piston

Sforzando Thumb
Piston

Set Thumb Piston

CancelThumb Piston

Swell Shoe

Crescendo Shoe

Photo credit: T. C. Stanley Photography

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

The Behrend
College, Penn State University-Erie

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

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

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

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

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

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

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

The following craftsmen participated in the building of opus 100:

Alexander I. Bronitsky

James Cullen

William Dunnaway

Eileen M. Gay

Marya J. Fancey

Donna Hodges

Alex D. Leshchenko

Earl C. Naylor

Martin Ott

Sascha Ott

Jeffrey Spitler

--Marya Orlowska-Fancey

.

HAUPTWERK

8' Prinzipal
75%
tin

8' Rohrflöte
40%
tin

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

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

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

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

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

Tremulant

SCHWELLWERK

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

8' Viola
Celeste (TC)75% tin

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

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

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

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

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

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

PEDAL

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

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

8' Pommer
(18 pipes) 40%
tin

4' About the Author </p>

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

Hupalo & Repasky Pipe Organs, LLC, San Leandro, California
Zion Lutheran Church,
Piedmont, California

Church history
The Zion Lutheran congregation established itself in Oakland in 1882 and by 1886 had purchased their first house of worship. From the beginning, education and music have been important elements of the church’s mission. To this day, the church provides Christian education for kindergarten through the eighth grade, with music being a large part of the educational program at Zion Lutheran School.
During the 1920s, the congregation renewed their Victorian facilities in Oakland with a new parsonage, parish hall, school, and worship facility. It is here, in the church’s second worship facility, that in 1930 M. P. Möller built their opus 5769. This two-manual organ contained thirty-one registers.
In 2007, Piedmont was named “Best Place to Live” in the United States by Forbes. It was in this residential area surrounded by Oakland that the congregation of Zion Lutheran Church dedicated their most recent site on April 4, 1954. The current church complex is situated atop a high bluff, with a background of stone hills with pockets of dense shrubs and trees. Attached to the Mediterranean-style church is a bell tower, offices, school classrooms, meeting rooms, kitchen, barbeque area, library, and gymnasium. The church edifice is designed to accommodate 350 persons.

The church’s 1930 Möller pipe organ
Möller’s opus 5769 was brought from the parish’s second church in Oakland, relocated to their present site, and placed in two chambers with separate expression in the rear balcony behind the terraced choir seating area. As there was no façade, the choir “enjoyed” watching the two sets of vertical shades open and close. From the congregation’s vantage point, the organ looked like two rather large jalousie windows caged by wooden framing.
As with many organs of the 1950s and ’60s, Zion’s Möller organ was enlarged with several high-pitched ranks, and some of the original ranks were replaced with neo-Baroque substitutes. With actions and console parts failing, by 2005 plans were underway to provide Zion Lutheran Church with a new and reliable instrument. As part of this plan, many of the ranks of the extant organ were to be incorporated into their new instrument. The 1930 Möller organ with its additions served the parish until it was removed by us in July 2006. With the organ removed, we loaned the church our large seven-rank continuo organ.

Another Möller organ
Also, as part of the plans for Zion’s new organ, the pipework and offset chests were removed from the 1946 Möller organ, opus 7370, at St. Mark’s Lutheran Church in San Francisco. This organ became available because of the retrofitting of the church and plans by the parish to purchase a new Taylor & Boody organ. It was noted that Richard Purvis was the organist at St. Mark’s during the time this three-manual organ of twenty-four ranks was installed. It is with these two instruments (the augmented Möller opus 5769 and opus 7370) that Hupalo & Repasky Pipe Organs rebuilt, rescaled, and revoiced pipework that provided the new organ for Zion Lutheran Church.

Tonal design of the new instrument
Our concerns were to provide the church with a tonally versatile and cohesive musical instrument, which would have a visual presence in the room, and would be reliable and serviceable. Using many ranks from Möller’s opus 5769 and opus 7370, the original conception for Zion’s new pipe organ envisioned a three-manual organ of forty ranks. This organ would have included a Rückpositiv. However, the organ committee decided instead to plan for a large two-manual instrument.
In working with the organist, David Babbitt, it was decided that the new organ would have a Pedal based on a 16′ Principal. The Great would have a 16′ plenum, the Swell an 8′ plenum, and there would be an assortment of unison tone. There would be a wide variety of flute tone (stopped, chimneyed, open, harmonic) represented. Also included in the tonal design was a selection of wide and narrow strings. Mutation ranks would be drawn from the flute and principal families. This two-manual organ would boast five 16′ ranks. Benefiting the Great plenum, a new German-style Trumpet would be built. For the Swell, a harmonic-rich French-style Trumpet would be provided.
Unfortunately, Mr. Babbitt passed away during the planning stages of the organ. This was a great loss not only to Zion, but also to the musical community in the Bay Area. The church soon found an admirable organist/choir director, Dr. David Hunsberger. It was his opinion that the Cornet Composée in the Swell should be a little stronger. Recalling how he enjoyed the sound of the Cornet on the Silbermann-style organ at the University of Michigan, it was decided to change the ranks to the larger scales used by the Fisk company. So, with the help of Stephen Kowalyshyn, we replaced the Swell mutation ranks with pipes based on Mr. Kowalyshyn’s information.
During the installation it was decided that the beautiful Clarinet from opus 7370 was too similar in volume to the Oboe. So, a full-throated Cromorne replaced the Clarinet. John Hupalo also decided to use French “tear drop” shallots in the new Cromorne. The generous inclusion of four reed voices in the Swell division of this moderate-sized two-manual organ provides both variety in color and a progression in volume.
Physical layout
The previous organ at Zion was installed in two non-communicating chambers. With the removal of opus 5769, the in-between area was opened up to allow placement for the Pedal ranks and to allow pitch transfer from one division to the other during tuning. This was virtually impossible on the previous organ. To aid tonal projection, the chambers were lined with two layers of 5/8″ sheetrock and then painted. The Swell chamber was placed in the left, the unenclosed Great in the right chamber, and the Pedal ranks placed in the center area.

Temperament
Another suggestion of Dr. Hunsberger was that the organ should be tuned in a well temperament. The Thomas Young temperament was chosen for its purer major thirds and playability in all keys. Like a good choral ensemble, this tuning helps the organ lock pitch in the more common keys.

Pipework
It was evident from the first that much of the Möller pipework was of excellent quality, especially the pre-World War II zinc pipes. The wooden pipes were cleaned and refinished. The stopped pipes were releathered. The Great 8′, 4′, 22⁄3′, and 2′ plenum ranks were rescaled as appropriate to the tonal scheme of the organ. The Great principals also received new languids. The removal of the old languids had the advantage of lowering the cut-ups, allowing us to revoice the Great plenum. This turned the old Möller diapasons into clear-toned principals. To provide a tonal contrast to the Great principals, the Swell diapasons are voiced and scaled towards a more neo-Romantic sound. The neo-Baroque 8′ Principal from opus 5769 was rescaled and made into the Great 8′ Gamba. Length and slotting were added to these pipes patterned after the Gambas of Cavaillé-Coll. Besides the two manual trumpets, Cromorne, and the Swell Nazard and Tierce, the other newly made stops for this organ include the Great Harmonic Flute and the Swell mixture.

Chests
Both the new Great and Swell main chests are slider chests with magnet pull-downs. It is our philosophy that these traditional-style chests provide a noticeable ensemble for the pipework. Even Ernest Skinner later in his life recognized the benefits of slider chests, with each note sharing a common channel of wind.
Many of the electro-pneumatic bass offset chests from opus 7370 were releathered and incorporated into the new organ. Given the large size of the pallets, they provide a lightning-fast response for the lower notes of the organ.

Façade
To match the architectural style of the church, it was decided to fashion the façade in the American Craftsman style. The center five-pipe flat is flanked on both sides by three flats of five pipes each. The styles, rails, toe boards, and corbels are of quarter-sawn white oak proportioned in the Craftsman manner. The styles are punctuated with medallions. The molding is highlighted by areas of crimson red.
Starting with low F-sharp of the Pedal 16′ Principal, the façade incorporates the lowest pipes of the Pedal 16′ and Great 8′ Principal. To provide visual uniformity, these zinc pipes were mottled in a terra cotta color, with the upper and lower lips in painted verdigris.

Console and control system
The console is our standard terraced-style, roll-top design, with three rows of drawknobs on either side of the keyboards. The shell is made of quarter-sawn white oak, with French polished European pearwood used in the stop jamb and nameboard area. The drawknobs are of ebony, as are the sharps. The manual key covers are of bone. The console is placed in a fixed central position in the choir loft to provide the organist with space for conducting both choir and instrumentalists.
A computerized system controls the combination action, memory, and the complex switching system of the organ. It provides the organist with a transposer, 99 levels of memory, a piston sequencer, and MIDI In and Out, as well as many programmable features.

Personnel
The following craftsmen assisted in the construction of our opus 3: Mark Dahlberg (technical designer), Robin Fox, John Haskey, Robert Hoffmann, John Hupalo, Bruno Largarce, Gerard Montana, Steve Repasky, Bob Schertle, Lawrence Strohm, William Visscher, Shayne Ward, and David H. Zechman.

Organ dedication
The organ was dedicated to a full house in a solo recital on Sunday afternoon, January 25, 2009 by Stanford University Organist Robert Huw Morgan.
Dedication program:
Dialogue, L. Marchand
Fantasia in f, K. 608, W. A. Mozart
Homage to Handel, S. Karg-Elert
Prelude in E-flat, S. 552, J. S. Bach
An Wasserflüssen Babylon, S. 653, Bach
Sonata V in C, S. 529, Bach
Fugue in E-flat, S. 552, Bach
—Steve Repasky

Hupalo & Repasky Pipe Organs, LLC, 2008, 35 stops, 33 ranks

GREAT
16′ Hohl Flute 61 pipes
8′ Principal 61 pipes
8′ Harmonic Flute 49 pipes
8′ Gamba 61 pipes
4′ Octave 61 pipes
4′ Röhr Flute 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Fifteenth 61 pipes
13⁄5′ Seventeenth 61 pipes
Mixture IV 244 pipes
8′ Trumpet 61 pipes
Chimes 25 tubes

SWELL
8′ Diapason 61 pipes
8′ Stopt Diapason 61 pipes
8′ Salicional 61 pipes
8′ Celeste 61 pipes
4′ Principal 61 pipes
4′ Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Piccolo 61 pipes
13⁄5′ Tierce 61 pipes
Plein Jeu III 183 pipes
16′ Fagot 61 pipes
8′ Trompette 61 pipes
8′ Oboe 61 pipes
8′ Cromorne 61 pipes
Tremolo

PEDAL
16′ Principal 32 pipes
16′ Bourdon 32 pipes
8′ Octave 12 pipes
8′ Bourdon 12 pipes
4′ Choral Bass 12 pipes
4′ Bourdon 12 pipes
16′ Posaune 32 pipes
16′ Fagot Swell
8′ Trumpet 12 pipes
4′ Schalmei Fagot

Couplers
Unison, sub, and super couplers provided on tilting tablets

Accessories
6 general thumb pistons and toe studs
5 divisional thumb pistons for each of the three divisions
Setter and general cancel thumb pistons
Up and down thumb pistons
3 reversible thumb and toe pistons for unison couplers
Reversible thumb and toe pistons for full organ
Crescendo pedal
Zimbelstern: 8 bells

Tuning
Thomas Young

Photo credit: John Hupalo

Hupalo & Repasky Pipe Organs
510/483-6905
www.hupalorepasky.com

David McCleary

What happens when the pastor and organ committee in an active rural church challenge their congregation to support the purchase of a world-class pipe organ? Members at Zion Lutheran Church in Mascoutah, Illinois (adjacent to Scott Air Force Base and some thirty minutes outside St. Louis, Missouri) began by asking how the organ might enrich their worship experience, whether the organ would encourage member participation, and how the organ could be relied upon to expand the church’s reach into the community. In other words, how would investing in a pipe organ aid in the mission of the church? As a matter of faith, while concerns about costs and logistics were seen as important issues, Zion chose to assign a higher value to their conviction that the organ would significantly enhance their experience and provide a springboard for greater community involvement. 

The history of this organ project really began in the late 1990s when the congregation decided to build a new sanctuary. The new building was finished in 2000, but funds for a new or improved organ were not available, so the congregation moved their mid-1950s two-manual, 14-rank Schlicker pipe organ from the much smaller, more reverberant space of the old church building into the new, larger sanctuary, which was plagued with relatively dry acoustics. Once in the new space, the sound produced by the organ was, at best, diminutive and lacked the attributes of foundation, expression, and color. Given its new surroundings and the fact that the congregation follows the Lutheran tradition of “Singing forth with great conviction,” the organ proved to be incapable of leading the congregation. 

Rather than conclude that a more substantial pipe organ was outside the realm of possibility, the newly formed organ committee went to their list of preferred builders and asked that each devise options to provide the church with a workable proposal. Like many churches, Zion Lutheran considered that, while there are advantages to an entirely new organ, costs would be such that the resulting instrument would likely be inadequate and would not materially improve their current situation. The congregation also felt that it was important to respect the role played by the 1950s Schlicker and sought to preserve their musical heritage by incorporating resources from the Schlicker into the new organ.

While our firm is primarily involved with building new organs, we find that an increasing number of clients are coming to us with requests similar to that of Zion Lutheran. In these situations we are asked to commit our expertise to locate and adapt existing resources. Not surprisingly, whether with pipes or the organ infrastructure itself, re-tasking such materials to build an organ that is artistically credible and able to stand on its own merits (much less bear our name) is considerably more difficult than having the luxury of specifying every aspect of a new organ. Regardless, this process is becoming a part of the “new normal” and is something that many organ builders are embracing as they strive to meet the needs of their clients.

The question associated with these endeavors is always one of determining the extent to which the proposed organ represents the artistic signature of the original builder, or begins to reflect characteristics typically found in one’s own work. While every situation is different, much depends on whether the proposed resource is an intact instrument deemed worthy of restoration, or whether components from multiple organs are to be refurbished and combined with new construction. When restoring and relocating a noteworthy organ, unless there are significant tonal anomalies, we prefer that the organ continue to represent the intent of the original builder. On the other hand, when working with individual components (primarily pipework), we have the opportunity to elicit modifications that better reflect our own preferences. 

Regarding Zion Lutheran, after selecting Parsons, a significant amount of time was spent outlining requirements and refining options. Having previously removed a large Schlicker from Grace Episcopal Church, New York City, Parsons suggested combining portions of the Grace gallery installation with the original Mascoutah Schlicker to form a cohesive three-manual and pedal organ. While the edifice at Grace bears no resemblance to Zion, Mascoutah (in terms of architecture or size), the organ at Grace was known to be underpowered. Wind pressures approaching three inches combined with relatively small-scale pipes proved to be inadequate at Grace. For Zion Lutheran, however, the opposite would be true. 

After carefully selecting stops from both organs, ideas began to form that offered exciting possibilities. Further discussions regarding organ infrastructure solidified the concept of rebuilding Grace Episcopal’s Heissler electric-slider windchests and three-manual console, while stipulating the construction of a new wedge-bellows winding system. The resulting specification also called for incorporating a Peterson ICS-4000 solid-state switching system. As the engineering process unfolded, it was determined that volunteer contractors at the church had the credentials to build the Swell enclosure and develop a simple façade. While these are not aspects of the process that Parsons typically relinquishes to its clients, in this instance it was felt to be appropriate.

With the design of the organ taking shape, discussions shifted to acoustics and environmental concerns. Great care was taken during the planning of the new sanctuary to insure that the space was appropriate and welcoming. However, as a trade-off to what was seen as warm and welcoming, the acoustics of the room suffered and resulted in a drier acoustical environment. The wide shape of the room, combined with an unsealed, multi-faceted wood ceiling, single-layer drywall construction, and carpeted floors, created a lackluster acoustic. In addition, because the organ would occupy a large area at the rear of the choir loft, concerns were raised that temperature stratification would cause tuning problems. Noting the critical nature of these issues, the church wisely organized a group of highly skilled individuals to work with Parsons and manage whatever construction processes might be required. With regard to acoustics, it was determined that the walls of the surrounding organ chamber should be hardened, a protruding closet removed, and ceiling areas over the chamber and choir loft be thoroughly sealed. In addition, plans were made to modify choir risers and replace sound-absorbing carpet in the loft and chancel areas with hard-surface flooring. The church agreed to deal with temperature stratification by installing a micro-climate circulation system designed by Parsons to pull air from the bottom of the organ chamber and distribute it across the top of the organ. Following the installation, the various “fixes” proved to be successful. The organ projects nicely into the room, and tuning is extremely stable. The acoustics, while still not “live,” have improved noticeably. It is important to mention that work associated with acoustical remediation, installation of the micro-climate system, and general site preparation (electrical work, flooring, and painting) was carried out in a thoroughly professional manner by Zion volunteers. 

Whereas the gallery installation at Grace Episcopal included 61 ranks distributed over Great, Swell, Positiv and Pedal divisions, the organ at Zion Lutheran comprises 36 ranks, distributed over the same divisional configuration. Given the abundant resources from Grace, and the original pipework from Mascoutah, Duane Prill, tonal director at Parsons, was able to recast the organ so that while it remains classically oriented, it possesses a broader, more cohesive sound, with well-developed bass and tenor registers, and improved blending capabilities. As with most projects that incorporate recycled pipes, this project involved a labor-intensive process that included major pipe repairs, initiating and reversing miters, rescaling, and a substantial amount of revoicing, regulation, and tonal finishing. In addition, because Schlicker reeds are characteristically unstable, each rank was completely rebuilt to insure optimal performance. From the perspective of the pipe department, when compared with the process of working with new pipes, achieving excellent results with recycled pipes requires as much, if not more effort. Yet, the result of this effort speaks for itself. The new organ features a warm, rich tone with ample power to lead a congregation in vigorous singing, yet also has the delicate nuance to lead choirs or soloists or to shine in solo work. As the congregation at Zion has become accustomed to the new organ, they have responded enthusiastically, with congregational singing increasing noticeably in the months since the organ was installed. The organ is now fulfilling its role of leading the congregation in song. 

It must be said that the successful outcome at Zion Lutheran is truly the result of a collaborative process involving a full range of participants. Pastor Kirk Clayton, with his great passion for liturgy and music, served as an advisor on the project along with members of the organ committee, including Lisa Segelhorst (committee chair and organist), Nancy Peterson (principal organist), Pinky Ahner (organist), David Abuya (choir member), and Karl Bretz (interested layman), with great support and advice provided to the committee by Norbert Krausz. The physical work done in Zion’s building was coordinated by the sanctuary remodeling and acoustics committee, consisting of Mark Krausz (chair), Alan Kneschke, Jennifer Lara, Josh Peterson (choir director), Andy Sax, and Donna Wiesen. Buzz Kandler served as a point of contact between the congregation and Parsons to make sure communication was clear and smooth. 

The committees at Zion and the willing volunteers who put in countless hours of study, consideration, and physical labor joined their efforts with the skilled staff at Parsons Pipe Organ Builders, who devoted their skills wholeheartedly to the height of the organ building art to bring this project to fulfillment. All worked together as partners to create an exceptional pipe organ that has already shown itself to be a great blessing to the congregation’s worship life and is becoming a significant part of the arts and music community in Southern Illinois. And yet, despite the work of many people on the project, perhaps the words ascribed to J. S. Bach summarize the process best: Soli Deo Gloria. 

J. F. Nordlie Company, Sioux Falls, South Dakota
Ida Roberts Memorial Chapel Organ,
Kernersville Moravian Church, Kernersville, North Carolina
Dedicated on May 6, 2007, Moravian Music Sunday

From the builder
My first encounter with Kernersville Moravian Church was a short visit in 1991. At the request of the newly appointed organist and choir director, Wayne Leupold, I made a visit to look at the new sanctuary under construction and talk about a new organ and placement in that room. It was a bit early to evaluate acoustics, with only a slab of concrete, half-completed masonry walls, and steel structure reaching to the open sky; however, the space, volume, and materials indicated by the architect’s prints showed much promise of an exciting room. Several more visits of introduction, planning, sales, and contract negotiations ensued, and in June 2003 we dedicated a new mechanical-action organ of three manuals with 40 ranks of pipes comprising its tonal resources. The promise of a new pipe organ that Wayne Leupold had envisioned when accepting the job at Kernersville Moravian Church, some 12 years earlier, was a reality.
It was first during the design of the new sanctuary organ that Wayne started to talk with me about what might be done with the organ in the now “Historic Chapel,” the original sanctuary of the Kernersville Moravian Church, built in 1867. Wayne had originally shown me the organ that he played in the chapel in 1991. It was an undistinguished four-rank unit organ tucked away in a makeshift organ chamber. The instrument was built in 1950 of supply-house parts, without builder identification. It was already suffering with reliability issues, but had a dedicated service technician to keep it functioning and a skillful organist to hide the problems. As I remember, we spent little time looking at it.
The “Historic Chapel” had seen many changes since its construction, originally built as a simple, yet elegant, rectangular room; the chancel and nave occupied the space with little architectural definition. Any music being made within these walls would have had a wonderful presence. The high plastered ceiling, wooden floor, and hard walls would have given the spoken word and music space in which to bloom. Throughout the years changes had been made to provide space for an ever-growing congregation and “modernize” the church. At one point a balcony was added to provide more seating, and at another, carpet and padded pews were deemed necessary. In 1950 a major building project was completed, adding a parish hall, kitchen, and yet further changes to the chapel. At this point, a room that had been a kitchen was opened in back of the chancel. This new space became the choir loft and home for the then new organ’s console, with the pipes speaking through a small tonal opening high and to the right. Unfortunately, the barrel-vaulted ceiling and low stage-like proscenium of this choir room did nothing to project the sound of the choir or enhance the acoustics of the room.
Our discussions regarding a new organ for the “Historic Chapel” started during our installation of the new sanctuary organ. Considered by many a “pipe dream,” the talk focused on design of the casework and—given the Moravian connection with David Tannenberg—the appropriateness of that style of cabinetry in the room. The “Historic Chapel” was now used for one weekly Sunday morning service and smaller weddings and funerals. Music was accompanied by piano, as the 1950 four-rank unit organ was unreliable and deemed no longer economically serviceable by the local technician.
In June 2004 Ida Roberts, whose initial gift started the organ fund for the sanctuary organ, died at the age of 104. One of Ida’s greatest worries was that she might not live long enough to see the new sanctuary organ complete. She lived long enough to hear the sanctuary organ in recital several times, and evidently she must have enjoyed her investment, for when her bequest was made public in September 2004, the church found that she had left a large amount of money to the organ fund. Since the debt on the sanctuary organ had been retired, it was decided that a portion of the money Ida had left would go to purchase an organ for the “Historic Chapel.”
It was at this point that I, my tonal designer and voicer Eric Grane, and Wayne started to have serious talks regarding budgetary restraints and what we needed to accomplish in the tonal design of the chapel organ. Of course, the visual and tonal design would have to reflect something of the Moravian heritage. This was even more emphasized by the recent awareness of the restoration of the 1800 Tannenberg organ in Old Salem. The instrument would have to serve the needs of the church in leading hymns and playing appropriate literature. The church had recently started identifying those interested in studying organ performance and providing lessons. It was realized that the new organ would be used as a practice instrument and must be similar in key compass and console configuration and contain similarities in tonal warmth and color with the sanctuary organ. Eric and I determined that with rescaling and careful voicing we might be able to use three of the four ranks of pipes in the existing chapel organ without detriment to the tonal quality of the new organ. This of course helped stretch our funds and pleased those that wanted a connection to the past and/or a more “green” instrument. A contract for the chapel organ was signed in July 2005.
There were those who wanted the organ to be placed in the choir loft area to preserve seating. The organ committee and I successfully argued that this placement would damage the sound and beauty of a new organ and continue to hamper the choir’s efforts. We compromised somewhat on the position of the new free-standing organ in order to preserve as much space as possible on the chancel floor. The Great and Pedal pipes stand within the casework projecting into the chapel, with the swell box at the very front of the “choir room” speaking through the façade of the Great. If anything, the position of the free-standing swell box helps the desired effect. The carpet and several rows of pews were removed from the chancel area, and hardwood floor installed. This helps project the organ’s sound and creates a marvelous space for musicians and the choir to perform.
The tireless beauty of but a few well-voiced stops in a small pipe organ never ceases to amaze me. Their limitations are only subject to the creativity of the artist playing the keys. I learned this from my wise teachers including Fritz Noack and Gene Doutt over 30 years ago, and strive to incorporate this tonal beauty into every instrument I build.
The greatest compliment I can receive is to be asked to build a second instrument for a church just having purchased one from me. I thank Kernersville Moravian Church for their trust and appreciation of my work.
—­John F. Nordlie

Those having contributed to the construction of this instrument include John F. Nordlie, design; Eric J. Grane, voicing; Paul E. Nordlie, construction; Dale Krause, construction; Arnie Bortnem, pipe shades; Betsy Oerter, installation; Neil Oerter, installation.
Suppliers include Gebruder Kaes, Bonn, Germany, flue pipes; Matters Inc., Haskell inserts; Aug. Laukhuff, blower; Klaus Knoeckel, console lighting; Eastern Organ Pipes, oboe.

From the consultant
This is an organ for a vibrant congregation of the Moravian Church in America. Moravians have a strong practice of not only preserving the best of their rich traditions and musical heritage but also being open to quality innovations from the present. The primary impetus in the design of this instrument is for this organ to assist the worship of God by being able to accompany with variety the many hymns that Moravians sing in every worship service. It is the result of a bequest by Ida Herman Roberts, a longtime active member of the church, who taught third grade for many years and died at age 104 without any children. Her will stipulated that half of her bequest be spent for a new pipe organ. It was decided to put the organ in the church’s chapel, an 1867 Victorian-style sanctuary that seats about 250 people. The organ is named in her honor.
The organ features mechanical action. This basic design has been essentially unchanged for many centuries, due to its simplicity, subtle musical expressiveness, and unrivaled durability. If well maintained, this organ should last for hundreds of years. The keydesk is attached to the case.
The tonal design, voicing, and façade is inspired by the 1800 David Tannenberg, two-manual, restored organ in the new auditorium of the Old Salem Moravian museum in Winston-Salem, North Carolina. Thus, the majority of the ranks are scaled and voiced in an early 19th-century American style and possess great refinement and gentleness. Of particular interest is the Gambe 8′ on the Great whose initial speech characteristics are subtly similar to the sound of a bow striking a string on a viola da gamba. To this basic framework a judicious addition of a string Céleste 8′ was made to incorporate a modicum of historical development from the late-19th and early-20th centuries.
Thanks to the artistic skill of builder John Nordlie and his voicer Eric Grane, a beautiful, integrated artistic ensemble has been created. Thus, variety, individuality, and flexibility are artistically combined to achieve great expressiveness and a wonderful unity of ensemble.
—Wayne Leupold
Organist emeritus and organ consultant, Kernersville Moravian Church

Kernersville Moravian Church
J. F. Nordlie Company – Pipe Organ Builders

GREAT
8′ Diapason (70% tin façade)
8′ Flûte Traversière (50% spotted metal)
8′ Gambe (70% tin, 1–8 common bass)
4′ Principal (50% spotted metal)
4′ Flûte d’Amour (50% spotted metal)
2′ Fifteenth (50% spotted metal)

SWELL (enclosed, balanced mechanical swell pedal)
8′ Stopped Diapason (white oak & 50%
spotted metal)
8′ Salicional (revoiced)
8′ Céleste EE (revoiced)
4′ Flûte Harmonique (50% spotted metal)
8′ Oboe (50% spotted metal)
Tremulant
Zimbelstern (hook-down toe lever; 5 bells under expression)

PEDAL
16′ Bourdon (wood, rescaled & revoiced)
8′ Flute (extension of Bourdon 16′)

Couplers (hook-down toe levers)
Great to Pedal
Swell to Pedal
Swell to Great

12 ranks, 13 stops, 703 pipes
Mechanical key and stop action with pneumatic pedal offset chests
32-note AGO concave-radiating pedalboard
Reverse color 61-note keyboards (ebony naturals with bone capped sharps)
Cone-tuned and soldered-fast metal pipework
Modified Bach WTC 1722/Bradley Lehman temperament
Single-rise sprung static reservoir
Double-rise weighted main reservoir
High-speed blower with VFD (variable frequency drive) speed control
Adjustable bench with backrest
Pencil storage drawer
Music desk and pedalboard light