University Baptist Church
Austin, Texas
R.A. Colby Inc.
Johnson City, Tennessee
Stoplist
By Brad Colby
We all have instruments that we think of as friends—those that bring a smile to our face each time we hear them. No matter our mood, we’re instantly transformed, and our day goes from dull and routine to bright and new. That is exactly what happens each time I sit in the pews and hear the organ at University Baptist Church in Austin, Texas.
There are so many distinctive aspects to this congregation, and the sanctuary itself, that we had to incorporate unique touches in renovating the organ. When he designed the space, the architect Albert Kelsey (1870–1950) drew upon his memories of the sunrise along the Colorado River and chose pink Etowah marble for the baptistry. Above this, the chancel arch is more akin to a clamshell design found in Art Deco buildings. This feature aids the organ’s projection, giving refined clarity to the upperwork and a visceral feel to the Pedal—though not without a pleasing purr.
The history of the organ at University Baptist is as fascinating as the development of the architectural elements. In 1921, when the congregation first met in the new sanctuary, worship was led with a two-manual reed organ. A few years later, the church purchased a used theater organ, which ignited a congregational love for the pipe organ. In the decades that followed, an amateur builder enlarged the instrument to 80 stops. By the early 1960s, this collection of chests and pipes needed more care than nonprofessionals could provide, and Otto Hofmann, a pioneering local disciple of the Organ Reform Movement, was contracted to harmonize the collection of ranks into a reliable, cohesive instrument. The repurposed organ was voiced in North German style, with open toes and low wind pressures. Hofmann remained personally connected to the University Baptist organ for the remainder of his career, often making changes or improvements to keep the instrument functioning. Following his passing, the organ lacked a champion for its ongoing care, and it gradually fell into disrepair.
In early 2017 we were invited to evaluate the instrument’s resources and present our recommendations. The electrical systems were failing, and no substantial consideration had been given to the tonal scheme since the organ was voiced in 1963. The musical needs of the church had evolved over the years, yet the character of the instrument had not. Our proposal called for a complete reimagining of all tonal and mechanical aspects to create a new organ—with the hope of incorporating portions of the original. We have often built new instruments from the ashes of existing ones, and I cannot think of a single instance in which we discarded everything. We approach each project with the understanding that every pipe had its place when it was first designed, and we work tirelessly to find a home for extant pipework within the new vision. The final specification utilized 24 of the best ranks from the Hofmann.
While there was a tremendous amount of excitement surrounding the project, the finances of the church forestalled its progress, and many feared it would stay dormant indefinitely. But in 2018 the baton of director of music was passed to Jonathan Castillo, who would shepherd the project to its eventual completion; moreover, the fortuitous sale of a piece of property gave the finance committee the breathing room necessary to address some of the more pressing issues facing the congregation, and priority was given to the organ. At last, the wait was over, and the vision for the new instrument began to be realized.
While the Hofmann console had tongue tabs, the new console employs a more elegant, traditional drawknob style. The space required for drawknob side jambs, especially when coupled with the expanded specification, added to the width of the console. This posed a design challenge, given the limited space available in the choir loft and the console’s placement in a dedicated pit almost two feet deep. Adhering to the strict ergonomic requirements of Colby consoles, we designed this one to fit into the limited space without compromising the comfort of the organist. The base of the console fits snuggly, and from the keydesk up, a slight cantilever provides the space required to comfortably fit all controls.
Every instrument presents unique challenges and trials. At University Baptist, there were several ranks from the Hofmann that had good potential but lacked the body or character to properly perform in their original divisions. Our goal is always to make a stand-alone pipe organ with digital augmentation, if the chamber allocation and budget allow. Since the early 1990s, Colby has utilized digital additions, a practice that has become a core part of our tonal philosophy. It provides the freedom to select complementary stops and colors without fear of budgetary or space constraints.
Tireless arguments are made for and against the use of digital voices in an instrument, but our responsibility is to the music and the people we serve. In this case, with new pipework and properly rescaled existing ranks, the Great was given the proper power and balance to provide the essential foundational core. Rescaling and relocation allowed much of the Hofmann Great pipework to be placed in the Swell and Choir, and when combined with new pipework, these divisions are now well rounded in the American Classic style. Digital voices were interspersed to complete the harmonic development and provide much-needed color. The existing flamed-copper Trumpet en Chamade was originally overpowering, but with the instrument’s increased breadth and dynamic range, it now balances well with the rest of the organ. The new Tuba Mirabilis in the Choir gives the organist another power reed, under expression, with more fundamental and less brilliance than the chamade. This provides the luxurious opportunity to contrast one with the other or to have multiple voices to solo above full organ.
We love creating our instruments, and we appreciate the staff and customers who work alongside us during the process. We have made lifelong friends with many of the people at University Baptist Church, and we are grateful for their enthusiasm and hospitality throughout this journey. It takes a village to raise a child, and in the same way, our musical offspring are dependent on a host of individuals to be truly successful. We appreciate the opportunity to work with this church to provide a resource for the enhancement of worship and a gift to the community.
Brad Colby, vice president of R.A. Colby Inc., is a third-generation organbuilder with an MBA degree from Duke University. He is also an active member of the American Institute of Organbuilders and the American Guild of Organists.
