John Brombaugh

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John Brombaugh, (March 1, 1937) is a master American pipe organ builder, known for his historically-oriented tracker action instruments, most of which are capable of playing at different historical pitches.

1 Personal life and early training
2 Organ building style
3 Brombaugh Organs of Note
4 References
5 External links

[edit] Personal life and early training

Born in Dayton, Ohio, Brombaugh has degrees in Electrical Engineering from the University of Cincinnati and Cornell University specializing in the field of acoustics, in particular musical acoustics.

He then worked as an apprentice under the two leading American tracker action organ builders, Fritz Noack (1964-1966) and Charles Fisk (1966-1967) and then served as a journeyman (Geselle) with the Rudolph von Beckerath firm in Hamburg in (1967-68) to complete his training, especially in making reed pipes. While in Hamburg, Brombaugh used the opportunity for intense study of the many historic organs in the northwest of Germany and adjacent Netherlands.

In June 1968, he established his own firm, John Brombaugh & Co., in the farmlands west of Germantown, Ohio, his home town. In 1977, Brombaugh moved his firm to Eugene, Oregon under the new name, John Brombaugh & Associates, Inc. that continued until completing its final instrument in summer 2005. He built 66 organs that are located in 23 states, Canada, Sweden and Japan and was a teacher to many upcoming younger builders. His development was helped by a grant from the Ford Foundation in Spring 1971 which enabled him to do intense study of about 100 historic organs in Germany, the Netherlands, France, Switzerland, Austria and Italy. He has continued his studies at every possible time since and received the Oregon Governor's Award for the Arts in 1996.

[edit] Organ building style

The majority of Brombaugh organs are tuned in a "Well temperament." This lets them play music composed in any key but, compared with Equal Temperament, favors the central keys used in most organ literature of all periods. Since its introduction in 1978, the "Bach" temperament by Herbert Anton Kellner^[1] has become Brombaugh's standard tuning, though several of his organs are tuned in 1/4 Syntonic comma Meantone where their primary intention is for historically oriented performance of the organ literature older than that of Johann Sebastian Bach's. Many of his easily movable small positives have transposition capabilities to facilitate them to be playable at different pitches; these (excepting his Op. 2 that was made during his apprenticeship with Noack) are his only instruments tuned in Equal Temperament.

Although he has been interested to recover and use many of the lost concepts from the ancient organ-builders (e.g., they only use mechanical key action), he also considers himself a builder of this time who is amenable to the use of the best current construction methods and the use of ideas necessary for the convenience required by organists of our time. For example, his Opus 35 - an organ of 3,250 pipes, 3 manuals and pedal with 46 stops that was dedicated on Pentecost 2001 at the First Presbyterian Church in Springfield, Illinois (of which congregation Abraham Lincoln and his family were members) - is a synthesis of historical and modern techniques.

Among John Brombaugh's contributions to modern organ-building are:

the first use in modern times of an unequal temperament for tuning a large pipe organ in the Western Hemisphere - on his Op. 4 at First Lutheran Church, Lorain, Ohio that was dedicated by David Boe in June 1970. The temperament used was Andreas Werckmeister's IIIrd temperament, Werckmeister's first inventive departure from the ancient Pythagorean or Meantone tunings. This temperament has since been used on many new organs worldwide.
general absence of plywood in the construction of his instruments, especially in the casework and by the earliest return in 20th century organ-building (beginning in 1968) to using only solid wood for the windchest tableboards.
consistent use of fine architectural concepts and details for his case designs, for example, those described by the renowned Renaissance artisan, Andrea Palladio and those found in instruments made by the late Gothic builders. He has also been interested to develop designs with suitable modern styles where appropriate, not just to work only making historically governed copies.
the first use of hammered pipe metal in modern times in the United States, also done for his Op. 4 for Lorain, Ohio.
beginning in 1970 with his Op. 4 for Lorain, Ohio, consistent use of "wedge bellows" in all of his work to provide a slightly unstable winding that gives the organ a more musical character or "life." A few of Brombaugh's instruments have the mechanism needed so the organ's wind could be produced by foot pumping its bellows - the norm before electricity (or other energy sources) could take over this rather boring job.
beginning in 1970, development and use of an electronic "tuning machine" having a CRT display that can be set for any temperament and a reference pitch variable over a 4:5 ratio; the device provides an accuracy of 1/5th cent or 0.1 Hz and is also has with a filter settable to observe the various harmonics individually so all pipes of compound stops (such as the Mixtures and Cornets]]) may be very accurately tuned.
the first use worldwide of the high lead content pipe metal alloy such as was found in the work of Hendrik Niehoff in 16th century north-western Europe for his Op. 19 at Central Lutheran Church in Eugene, Oregon.
the first use of Meantone tuning in a major new organ in the United States (along with Charles Fisk's organ at Houghton Memorial Chapel, Wellesley College) for his Op. 24 organ for Fairchild Chapel at Oberlin College that was dedicated in September 1981 by Harald Vogel.
the general use of "vocale" voicing of the pipes to achieve the tonal beauty so common to the organs in and prior to Bach's lifetime.
first installation into Continental Europe since the 1930s of a new pipe organ built in the United States - the Meantone organ for the Hagakyrkan in Göteborg, Sweden, dedicated by Harald Vogel on 8 March 1992.
first use of the Ruckpositive in a major concert hall organ - by using two Ruckpositive divisions to the left and right so the organist is not hidden from view of the audience in the Toyota City, Japan, Op. 37 instrument inaugurated by Harald Vogel on 11 November 2003.

[edit] Brombaugh Organs of Note

Trinity Evangelical Lutheran Church	Ithaca, New York, USA	Op. 2	1966
First Lutheran Church	Lorain, Ohio, USA	Op. 4	1970
Ashland Avenue Baptist Church (on loan to Sacred Heart Cathedral in Rochester, NY until later new installation at California State Univ, Sonoma)	Toledo, Ohio, USA	Op. 9	1972
First Methodist Church	Oberlin, Ohio, USA	Op. 15	1974
Grace Episcopal Church	Ellensburg, Washington, USA	Op. 16	1974
Central Lutheran Church	Eugene, Oregon, USA	Op. 19	1976
St. John's Presbyterian Church	Berkeley, California, USA	Op. 20	1979
Christ Episcopal Church	Tacoma, Washington, USA	Op. 22	1980
St. Paul's Lutheran Church	Durham, North Carolina, USA	Op. 23d	1977
Fairchild Chapel, Oberlin College	Oberlin, Ohio, USA	Op. 25	1981
Southern Adventist University	Collegedale, Tennessee, USA	Op. 26	1986
Hagakyrkan	Göteborg, Sweden	Op. 28	1992
Iowa State University, Music School Recital Hall	Ames, Iowa, USA	Op. 29	1987
Pilgrim Lutheran Church	Beaverton, Oregon, USA	Op. 30	1987
St. Barnabas Anglican Church	Victoria, British Columbia, Canada	Op. 31f	1988
Christ Church, Christiana Hundred, Episcopal	Wilmington, Delaware, USA	Op. 32	1990
Lawrence University Memorial Chapel	Appleton, Wisconsin, USA	Op. 33	1995
Duke University Memorial Chapel	Durham, North Carolina, USA	Op. 34	1997
First Presbyterian Church	Springfield, Illinois, USA	Op. 35	2001
Toyota City Concert Hall	Toyota City, Aichi Prefecture, Japan	Op. 37	2002