Restoration: 2012-2014. Organ restoration by the Gerhard Grenzing Company (El Papiol, Spain), case and façade pipe restoration by Eric González; financed by the Alfredo Harp Helú Oaxaca Foundation, Marciano Sánchez (from Tlacolula), the community of Tlacolula and the IOHIO; the project was initiated and organized by the IOHIO. (See Tlacolula Restoration)

Before this organ was built in 1791, the church of Santa María de la Asunción Tlacolula had three organs: a large 17th-century organ played in the 1770s and 1780s by the organist Juan Martinez, the founder of the Martínez family dynasty; a medium-sized organ built in 1721, perhaps in a shop in Tlacolula; and a small 2´ organ built for the chapel of the Santo Cristo de Tlacolula in the early 18th century. Although Juan Martinez left Tlacolula in 1786 to assume the position of first organist in the Oaxaca Cathedral, he continued to be involved in Tlacolula affairs. It was probably his decision to have a new organ built, because he knew the deficiencies of the old one. He may have recommended the specifications for the new organ and helped choose the organ builder. Notations in the account ledger of the Cofradía (Brotherhood) del Señor de Tlacolula reveal that the organ was built by the organ builder José Manuel Neri y Carmona, originally from Tamazulapan, for $700 pesos. The gilding cost an additional $200 pesos, financed by selling the medium organ to the indigenous community of Ocotepec in 1792. Juan Martinez probably arranged the sale since he had lived and worked in Ocotepec and knew the condition of the existing organ there. He came from Oaxaca to tune and voice the new Tlacolula organ in 1792, and perhaps he played it for the inauguration.

One of the tallest interior trumpet pipes is incised with the date 1666, and pipes from some of the higher registers may be older than the rest. At the end of the 18th century, $700 pesos could not have covered the construction cost of a complete organ, especially when compared to the cost of the gilding for $200. In fact, there are many examples of organs with recycled pipes which outlast the case and wooden components. Recycling some of the pipework from the earlier organ would have reduced the overall expenditure. However, it was impossible to determine exactly how much of the pipework was made in the 17th century and how much was made new in 1791. Recycling pipes form former organs which outlast the wooden components is Maltese (Dominican) crosses appear on the central façade pipe and the first pallet of the chest; neither was on a recycled component. The date 16N66 is separated by the letter N. It was apparently common to divide dates in half and insert a religious icon in between. However, in this case it was essential since three 6s together signified the beast of the Apocalypse. N for Natividad, referring to the Virgin Mary, supposedly neutralized the controversial number. 

This monumental organ is stylistically an anachronism. It was richly painted, carved, and gilded in baroque style when the neo-classical aesthetic was already influencing organ and church decoration in Oaxaca. Yet it seems that the community of Tlacolula wanted a luxurious rather than an austere instrument, perhaps similar to their previous organ and to complement the baroque interior of the church. The lower case is relatively simple compared to the upper, because it wasn’t visible from the church below. The faces on the façade pipes are similarly out of historical context since this decorative feature was no longer seen in Oaxaca after the last baroque-style organ in Tejupan in 1776. Each face is different on the Tlacolula façade showing a somewhat sad and introspective rather than fierce expression; they alternate between red and blue tones. These finely painted façade pipes, unique among Mexican organs, were made for the new organ, and not recycled from the previous one.  

The registers are not parallel, although it was increasingly common by this time. The left hand follows a standard progression, whereas the right hand doubles the 4´ octave and 2´ quincena pitches, similar to organs such as Tlacochahuaya in the first half of the century. The stop action is peculiar. The registers on the left are engaged by pulling, and those on the right by pushing. It is unknown if this was the original or a modified arrangement. 

Repairs of both organs are cited in 1829 and 1840 by the sons of Juan Martínez, José Domingo and José Nicolas. During later interventions in 1872 or 1878 (or another not cited), the three largest pipes of the large organ were cut to eliminate the short octave, and the pitch was raised from 415 to 440 Hz, as occurred throughout Mexico at the time. These three pipes had protruded from the roof of the central tower, but once cut, only the tallest still protruded and the others were low enough to expose their holes in the roof. This saved money from building a taller case (Chicagua, Tiltepec). New erroneous stop labels were made, which incredibly named five reeds among the seven right-hand stops. An organist rather than an organ builder seems to have been responsible, and he just guessed at the stop names.  The restoration of the organ was impeccable, and its "vocal" sound enchants visiting organists. It is played regularly for the mass and occasionally in concerts. Controlling the woodworm is an ongoing challenge.