In Memoriam
Martin Pasi
December 21, 1953 - September 6, 2026
With broken hearts and profound gratitude, we share the news that our beloved friend and founding organ builder, Martin Pasi, has died after an extended illness.
Martin Franz Pasi was born on December 21, 1953, in Bregenz, Vorarlberg, Austria, the fifth of six children born to Kassian and Margarethe Pasi (née Streitler).
He began his career as an apprentice organ builder with Rieger Orgelbau in Austria, quickly becoming a skilled pipe maker and voicer. For several years, he voiced organs for Rieger all over the world before settling in North America, working for the firms of Jaeckel, Inc., Karl Wilhelm, Inc., and Fritts-Richards Organ Builders (later Paul Fritts & Co.). In 1990, he opened his own organ building shop in Roy, Washington, completing 29 organs under the banner of Pasi Organ Builders, including landmark cathedral organs in Omaha and Houston.
In 2023, Martin brought his company to a close and moved to Saint John’s Abbey in Collegeville, Minnesota, accompanied by his long-time colleague, Markus Morscher, and bringing with him the equipment and tools of his craft. At Saint John’s, Martin found the unique opportunity to carry forward his tradition of organ building by helping to establish Saint John’s Abbey Organ Builders, a new artisan workshop under the auspices of the Benedictine monks of Saint John’s Abbey. Working alongside his chosen successor, Christian Metzler, Martin guided the workshop in the completion of its first three organs.
Throughout his career, Martin built organs in the so-called “historically informed” tradition of American organ building influenced by John Brombaugh. He was renowned for his skill (and speed) in making pipes, and many young journeyman organ builders came to work with him over the years to learn his method of pipe making. He preferred to make metal pipes of hammered lead with high cutups and “roughed up” languids in pursuit of the “vocale” tone that he loved. If asked about his preference for lead, he would often say it was because he liked how it felt in his hands when he worked with it.
While his conceptual and tonal ideals began in the authentic tradition of the Dutch and North German Baroque, Martin consciously evaded stylistic pigeonholing:
‘The question of eclecticism and style is a very difficult one for me to answer. I don’t think I build organs in a particular style but rather combine styles and organ building methods of the past. Since everything has been done in the past already, the art of building a successful instrument is to bring together the sounds that work best with each other. Once the blending task is accomplished, any music can be played beautifully.’ (Martin Pasi to Kevin Vogt, 31 August 1998)
The result was an oeuvre of instruments with many historical references sifted and distilled through Martin’s highly intuitive imagination, always aware of tradition but free from the “anxiety of influence.” He reveled in the opportunities to build opulent, monumental instruments, organs that are small, intimate jewels, and well-proportioned mid-sized instruments that are both complete and exemplary in their economy.
Martin was adventurous in his use of historic temperaments (e.g. quarter-comma meantone), technological advances (e.g. electric proportional key action), and alternative pipe metals (e.g. aluminum for 16’ façade pipes). His case designs exhibit great variety, ranging from traditional Northern European forms to modern architectural expressions, but always grounded in the integrity of interior order reflected in outward appearance. The materials of his organs are usually presented in ways that conserve signs of natural life and the marks of the maker, congruent with the Arts & Crafts movement—and resonant with the Bauhaus aesthetic of the famous Abbey and University Church at his final home in Collegeville.
Martin was cherished by his friends for his gentle demeanor, soft-spoken expressions and charming turns of phrase. He was generous with his time and resources and enjoyed sharing exotic cuisine with friends and colleagues, making friends with local restauranteurs wherever he installed organs. He was not afraid to share his strong opinions, and he remained curious and passionate about many aspects of history and culture until the end of his life.
He was especially supportive of young talent in organ building and in music, and he sought to cultivate collegial relationships with his organ building colleagues with whom he frequently competed for contracts. He deeply appreciated the freedom with which organ builders in North America share information and wisdom, prizing collective growth in the art and craft of organ building above the protection of trade secrets. He delighted in many simple pleasures of life, from baking bread to reading daily “Far Side” cartoons. Seeing his granddaughter growing up was his ultimate joy.
Martin was especially proud of his daughter, Maurine. A trained woodworker, she followed in his footsteps into organ building, first moving to Austria to work at Rieger Orgelbau and later returning home to work alongside her father at Pasi Organ Builders. Her return brought Martin great joy, and he was proud to see her carry forward the craft he had devoted his life to. Maurine’s carvings adorn Abbey Opus 1 & 2, and we hope that she will continue this work and carry his tradition forward for many years to come.
Martin was preceded in death by his parents, Kassian and Margarethe (Streitler) Pasi, and brothers, Günter Pasi and Gebhard Pasi. He is survived by his beloved daughter Maurine Pasi (Adam Garnich) and granddaughter Juniper, Maurine’s mother Barbara Pasi, siblings Irmgard Vorhofer (Rudolf), Elisabeth Pasi, Gotthard Pasi (Sabine), sisters-in-law Gertrud and Brunhilde Pasi, cherished nieces and nephews, and many treasured colleagues and friends.
Private services and interment will be held at Saint John’s Abbey in Collegeville, Minnesota. Public memorial celebrations will be planned for later in the year.
Memorial gifts in honor of Martin and his legacy may be made to Craft Emergency Relief Fund (CERF+).