A Historic Holtkamp Pipe Organ Restoration

Restoring a Historic Holtkamp Pipe Organ: A Journey of Sound and Legacy

An interview with Bryan Mitnaul, Choirmaster and Organist for St. Peter’s Episcopal Church, Lakewood, Ohio, by Dave Tabar

Nestled in the heart of Lakewood, Ohio, a vibrant city on the shores of Lake Erie just west of Cleveland, St. Peter’s Episcopal Church stands as a beacon of community, history, and musical tradition. Known for its pedestrian-friendly streets, proximity to the scenic Cleveland Metroparks, and cultural hubs like the Beck Center for the Arts, Lakewood pulses with energy and charm. At the heart of St. Peter’s lies its historic Holtkamp pipe organ, a musical treasure recently revitalized through a meticulous renovation led by the Schantz Organ Company of Orrville, Ohio. In this exclusive interview, we sit down with Bryan Mitnaul, St. Peter’s Organist and Choirmaster, to explore the journey of restoring this magnificent instrument, its significance to the church and community, and the artistry behind its renewed voice.

Since its founding in 1907, St. Peter’s Episcopal Church has cultivated a rich tradition of musical excellence, with a lineage of remarkable organists and choirmasters shaping its legacy. Bryan Mitnaul, a graduate of the prestigious Oberlin Conservatory, is the latest to carry this torch. His connection to St. Peter’s runs deep, influenced by his studies under two of his predecessors, Bill Porter and Fenner Douglas, both legendary figures in the organ world. “I’ve known of St. Peter’s for most of my adult life,” Bryan shares. “To serve here now is a privilege and a joy.”

Bryan’s career spans over 50 years, during which he has overseen major organ projects at several Cleveland churches, including Euclid Avenue Congregational Church in 1981 and Fairmount Presbyterian Church in 1996. Both pipe organ projects involved collaboration with the Schantz Organ Company, a firm renowned for its work on instruments at prestigious venues like Severance Hall and the Metropolitan Opera. When Bryan arrived at St. Peter’s nearly three years ago, he immediately recognized the need for significant repairs to the church’s aging Holtkamp organ, installed in 1959 as Holtkamp Opus 1722.

The Challenges of an Aging Instrument

At over 65 years old, the St. Peter’s organ was showing its age. “I’m like 70, so I know things start falling apart around sixty-five,” Bryan quips, drawing a chuckle. The primary issue was the pipe organ’s leather components, which he describes as the “living part of the instrument.” The original sheepskin leather, used in the windchests and mechanisms that control the pipe box, had deteriorated over time. “Leather is essential,” Bryan explains. “The Schantz Organ Company uses high-quality sheepskin because it’s durable and pliable, unlike synthetic alternatives that just don’t work as well.”

Beyond mechanical wear, the organ suffered from tonal deficiencies rooted in its original design. Commissioned as a forward-thinking instrument for its time, the Holtkamp organ lacked key features common in liturgical organs, such as a swell box and certain tonal stops. These omissions limited its versatility, particularly for accompanying the church’s choir and supporting the Anglican liturgy, a cornerstone of St. Peter’s worship.

Understanding the Physics of a Pipe Organ

For those unfamiliar with pipe organs, the instrument’s complexity can seem daunting. Bryan breaks it down with clarity: “Most of my knowledge comes from experience—decades of working on organ projects and a bit of study, like a physics of organ building course at Oberlin.” He explains the concept of pitch, central to organ design. “It’s based on eight-foot pitch, or fundamental pitch,” he says. “An eight-foot stop has a pipe that, on low C, is eight feet long. A four-foot stop is an octave higher, and a sixteen-foot stop is an octave lower. A thirty-two-foot stop, which we now have two of, produces those deep, resonant sounds you feel in your chest.”

The pipe organ’s tonal palette includes flue stops, which produce the classic organ sound, and reed stops, which add a distinctive, vibrant timbre. Mutations, such as two-and-two-thirds or one-and-three-fifths stops, enhance harmonics, enriching the instrument’s color. However, the original St. Peter’s organ lacked a crucial component: the swell box.

The Swell Box: A Game-Changer

Introduced in England in 1712, the swell box revolutionized organ design, particularly for Anglican worship. “It’s essentially a room with pipes inside, sealed on three sides with louvers on the fourth,” Bryan explains. “These louvers, controlled by a pedal, act like an accelerator, allowing the organist to adjust volume gradually.” This dynamic control is vital for accompanying choirs and performing post-1712 repertoire, enabling nuanced expression that the original St. Peter’s organ couldn’t achieve. “Without a swell box, it was like driving a car with no throttle,” Bryan notes. The renovation introduced this critical feature, transforming the organ’s ability to support the liturgy.

Expanding the Tonal Palette

The renovation also addressed the organ’s limited tonal range. “The original design omitted string tone, which is that soft, undulating sound you associate with church music,” Bryan says. String stops, along with principal, flute, and reed tones, are standard in most liturgical organs, providing a versatile sonic foundation. The Schantz team added these missing elements, including a solo reed stop called the “Tromba,” a bold, trumpet-like sound used for hymns and special effects. “Now, the organ feels complete,” Bryan says. “It’s not just a concert instrument; it’s a liturgical one, built to serve the worship.”

Another innovation was the replacement of the organ’s keyboards with optical keyboards, a first for Schantz. “Everything’s done by light,” Bryan marvels. “It’s incredibly reliable—no mechanical parts to wear out.” This modernization ensures the organ’s longevity, a testament to the craftsmanship invested in the project.

The Restoration Process

The renovation, now in its final stages, involved a complete overhaul. Schantz crafted new pipes, releathered the windchests, and installed the swell box and new stops. Currently, the team is focused on tonal finishing—fine-tuning the pipes to suit the acoustic properties of St. Peter’s sanctuary. “Our room isn’t very live acoustically, so we need more fundamental tone to carry the sound,” Bryan explains. This meticulous process ensures the organ’s voice is perfectly balanced for the space, enhancing both worship and musical performance.

A Personal Connection to Holtkamp

Bryan’s connection to the Holtkamp organ is deeply personal. Growing up in Princeton, New Jersey, he fell in love with the Holtkamp sound through the organ at Nassau Presbyterian Church, installed in 1959 as Holtkamp Opus 1721—just one serial number before St. Peter’s Opus 1722. “That was the first organ I ever heard,” he recalls. “Now, here I am, at the end of my career, playing its sibling. It’s a beautiful full circle.”

The Organ’s Role in Anglican Worship

The Anglican Church has long been synonymous with musical excellence, a tradition rooted in the Church of England. “The organ has supported English choirs since the 14th century,” Bryan notes. At St. Peter’s, an Episcopal church, this legacy continues through Anglican chant and choral works that define the liturgy. The renovated organ, with its new swell division and expanded tonal range, is now equipped to support this tradition fully. “The swell division is the workhorse for choral accompaniment,” Bryan says. “It provides the nuance and color needed for Anglican chant and major choral works, ensuring the organ supports the choir without overpowering it.”

A New Era for St. Peter’s

With the renovation nearing completion, St. Peter’s is poised to enter a new era of musical worship. “This organ will enhance the liturgy in ways the congregation has never experienced,” Bryan says with excitement. The addition of string tone, the swell box, and the deep resonance of the thirty-two-foot stops create a richer, more versatile sound that elevates both worship and community events.

Bryan invites everyone to experience the organ’s grandeur. “Come hear this magnificent instrument,” he urges. “It’s truly special, and it will inspire worshippers and music lovers alike.” The St. Peter’s congregation, supported by the organ committee and the talented choir, has embraced this project as a labor of love, ensuring the organ’s voice will resonate for generations.

A Call to Experience the Music

The restoration of St. Peter’s Holtkamp organ is a testament to the power of music to unite and inspire. From the craftsmanship of the Schantz Organ Company to Bryan Mitnaul’s vision and leadership, this project celebrates Lakewood’s vibrant community and St. Peter’s enduring legacy. Whether you’re a parishioner, a music enthusiast, or simply curious, a visit to St. Peter’s offers a chance to witness the soaring beauty of choral music paired with the majestic sound of a historic pipe organ.

As Lakewood continues to thrive as a cultural and economic hub, St. Peter’s Episcopal Church stands as a reminder of the artistry and dedication that shape its identity. Thanks to Bryan Mitnaul, the organ committee, and the countless supporters who made this renovation possible, the music at St. Peter’s will continue to uplift and inspire for years to come. Visit St. Peter’s to experience this extraordinary instrument, and let its sounds touch your heart.