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Zion Evangelical United Church of Christ - Indianapolis, IN

Preserving a Legacy...

The chancel organ at Zion Evangelical United Church of Christ was built in 1933 for Kimball Recital Hall, Chicago. The organ was purchased by Zion and installed in the church in 1940 by Kimball. In 1955, the instrument was enlarged with the addition of an antiphonal division by Casavant, which includes a horizontal fanfare trumpet. Small additions in subsequent years brought the instrument's tonal resources to a total of 63 ranks of pipes. With additions to the chancel and gallery organs during our renovation, the instrument now contains 66 ranks of pipes.

A very complete tonal architecture is complimented by a wealth of coloristic sonorities. The instrument stands today as a splendid example of American Romantic organbuilding as practiced before World War II. Its sound is articulate and refined, but with the warmth and peculiar grandeur that was the hallmark of the great organs of this period.

The organ at Zion has been the hub of a very active church music program, which continues under the leadership of organist/choirmaster Jonathon Block. It has also been used extensively as a recital instrument. Many of the world's leading recitalists have been featured in programs at Zion.

The instrument was a particular favorite of American organ virtuoso Virgil Fox, who performed in recital at Zion several times. Whenever Fox had the occasion to be in the Indianapolis area, he would schedule practice time, often late into the night, at Zion. At these times, the great recitalist would take sandwiches with him, and doze in the pews.

The organ was also used by Butler University's Jordan School of Music as a teaching and recital instrument. The late Dr. Mallory Bransford, who served Zion as organist and choirmaster for many years, was also head of the organ faculty at Butler, and his students studied and perfected their art on the big organ at Zion.

After over sixty years of this constant use, the Zion organ was in need of serious renovation.

Clearly, this organ was a superb example of its style, and tonally successful. Given this fact, we felt that any major redefining of its essential character would detract rather than enhance. Therefore, we concurred with the church's wish that emphasis be placed on tonal and mechanical restoration. Apart from a few sensible additions, planned and executed in sympathy with the original design, the original tonal structure of the organ was preserved.

Over a period of eight months, the organ was completely disassembled and painstakingly restored. Windchests, reservoirs, tremulants, and expression actions were releathered and mechanically restored. During this process, action leaks that had made the action of the organ sluggish, were repaired and sealed with new gasketing. Then, the entire instrument was reassembled, winded, and tested.

Although the pipework was in generally excellent condition, minor damage to some of the metal pipes was repaired. Changes that had previously been made to the scales of some stops, especially the mixtures, were reversed, restoring the original sound. The leather packing on the stoppers of all the wood pipes was replaced. Extensive work was done on the reeds, especially the Antiphonal Trompette en Chamade, which was completely revoiced with new French reeds. Visible pipes in the Antiphonal division were refinished, and two of the Antiphonal windchests were replaced.

The four-manual console required special effort. All the internal workings except the manual keyboards and the pedalboard were replaced. The ivory coverings on the manual keys were polished, and new sharp caps of solid ebony were installed. The interior stop jambs were replaced with new jambs of solid cherry. New stop drawknobs of rosewood, as well as rosewood pedal caps, were installed, along with a new music desk and lighting.

A major problem in the organ had been the electrical switching systems. These were replaced with new solid-state actions, and the organ completely rewired. Together with the rebuilding of the Kimball windchests, these new solid-state actions have made the action of the organ quick and responsive - a great improvement over its previous condition.

The Zion organ was rededicated with a November 1999 recital featuring internationally famed recitalist Michael Murray, perhaps the most notable organist to have studied, practiced, and performed on the great Kimball instrument.

Since that time, the organ has been featured regularly in recitals, and will be heard in 2007, when the Organ Historical Society holds its annual convention in Indianapolis.

Reynolds Associates is proud to have had the opportunity to work with the congregation at Zion to preserve this truly magnificent instrument for future generations.

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