Whilst returning to Winter Term at the Guildhall School of Music in London in 1976, I first saw the instrument that was to come to Central Lutheran Church. Much was being said about the work of Brombaugh and Associate’s, so I stopped in Germantown, Ohio to visit the shop. During my time in Ohio, I visited Brombaugh’s organs in Toledo and Oberlin. The organ for Central Lutheran was in the shop. The main case was standing to wind chest level; the upper case had not been assembled nor any pipes installed. Looking back 25 years, I did not envisage spending so many years in Eugene playing this instrument. A visit with University of Oregon faculty member John Hamilton in London, whilst I was completing my studies there, brought me to Eugene for graduate work. I arrived in 1976 just weeks after trucks came, bringing the organ to the Northwest. Eugene has a unique environment for organists who enjoy instruments with strong historical roots. Jürgen Ahrend’s largest instrument in the Western Hemisphere (3 1/2 manuals, 38 stops) is located at the School of Music’s Beall Concert Hall, a two-minute walk from Central Lutheran Church.
It is difficult at best to give an accurate impression of this fine instrument through words, pictures and small sound bytes. It is fair to say that no one at the church could have envisaged the impact it would have upon our Parish, Eugene and the Pacific Northwest. During the summer of 2000, I attended the Göteborg Organ Academy in Gothenburg, Sweden. I was amazed at the number of organists from around the world who know this instrument specifically and Brombaugh’s work in general.
There are many notable aspects of this instrument. Much has been written about the lack of appeal organs in general have for the average person nowadays. The reaction of people seeing the Brombaugh organ for the first time does not support this view. One can physically see wonder and awe on visitor’s faces as they first notice the striking casework and façade pipes. Furthermore, they are enthralled by the majestic and colorful sounds that come forth. It is a new experience for many.
The organ has a bold voice in the church, ideal for providing the support and leadership for congregational singing. I often hear the comment from the congregation that “it makes us want to sing.” One of John Brombaugh’s great talents is his ability to coax rich musical sounds from organ pipes. The organ at Central Lutheran Church bears this out. Each stop has a unique and colorful sound. There is not a mediocre pipe in the organ; one can very quickly notice that John spent nine months on site completing the final voicing after the organ was in place. It is definitely not a factory-built organ that had two weeks of on-site tonal finishing. The principals are rich and full-bodied that fills the church with a warm “vocale” sound. The Organo Pleno, or Principal chorus generously bathes the listener without any shrillness. Coming in both the stopped and open pipe version, the flutes are each unique, colorful, and warm, employing generous scales. Only two of the flute stops are wood: the Brustwerk’s Oak Gedeckt 8’ and Blockflöte 4’. The other wood stop, an Oak Gamba 8’ on the Great, has a gentle wooden principal sound which is very useful. The reed stops add a breath to the pallet of color. The Great Trumpet is a full, bold lyrical sound. The Ruckpositive’s Dulcian is fiery and full of personality. The Brustwerk’s Rankett is delightful and puts a smile on everyone’s face. The Pedal Division’s Posaune (Trombone) 16’ has leathered shallots which gives a strong and rich fundamental pitch. It serves not only the Organo Pleno sound but also smaller choruses, i.e., Great Principals 8’, 4’.and 2’. Adding the other three pedal reeds produce a reed chorus of much depth and magnitude, perfect for the North German organ literature and French toccatas from the 19th and 20th Centuries.
The balance between the stops is also very noteworthy. Remarkably, it is a simple organ to register. To some organists, the stop list might seem to limit significantly the repertoire that can be played. In actuality, this is not the case. The instrument handles a wide variety of styles, due mainly to the warm and musical sounds of the stops. I play a wide variety of organ literature for recitals and services.
The French suspended action is very light and facile even with both manuals coupled into the Great. Most organists are surprised with the responsiveness that they find between the action and the winding system. It is an instrument that is very expressive with much nuance.
Another outstanding quality of the instrument is reliability. During a twenty-year period, there have been perhaps five or six problems that I could not repair. The tuning system also follows historical models: the principal and open flute pipes are cone tuned; the stopped metal flutes have soldered tops and are tuned by moving the ears. During the instrument’s first 25 years, the flue pipes have only been tuned three times.
Five organists have served the congregation since the contract for the organ was signed: Greg Teeter (1972-78), Paul Olson (1978-1981), Rebecca Brauer (1981-1984), and Dr. Andrew ElRay Stewart-Cook (1984- to the present). Patricia McCombs Cook became Assistant Organist in 1996. We offer a special word of appreciation to Lyle Jacobson (1919-1994) and Greg Teeter for their efforts, which led to the successful completion of the project.
It is a great privilege to work with a great instrument. One is always aware of the beauty and craftsmanship that is the hallmark. We thank God for this instrument. May its remarkable voice bless our Parish for many centuries.
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