PIPE ORGANS

Alkmaar Holland St.Laurenskerk 1646 Hagebeer / Schnitger Organ

2010-11-08T12:21:00.000-05:00

AD SOLIUS DEI GLORIAM

1545 - 1639

Dietrich Buxtehude (1637-1707): Wir danken Dir, Herr Jesu Christ (BuxWV 224) Gabor Soos - organ Alkmaar (NL), Grote Sint Laurenskerk Van Hagerbeer/ Schnitger organ a'=415 Hz Equal temperament

Jan Pieterszoon Sweelinck (1562-1621) Piet Kee at the Schnitger organ in St. Laurenskerk (Alkmaar)

J. S. Bach 2 chorales Nun Komm der Heiden Heiland BWV 661 Herr Jesu Christ, dich zu uns BWV 709 Organist: Manuel Tomadin

Johann Sebastian Bach (1685-1750)

1. Chorale Prelude "Lobt Gott, ihr Christen, allzugleich" BWV 732
2. Chorale Prelude "Valet will ich dir geben" BWV 736

Gustav Leonhardt at Jacobus van Hagerbeer/Frans Caspar Schnitger organ of the Laurenskerk in Alkmaar

Summary of the history and description of The Van Hagerbeer-organ St. Laurenskerk, Alkmaar

Details of the history of this organ can be found at: http://www.schnitger.nl/index.php?id=172

1637-1639 / Preparations

A small instrument, built in 1545 by Claes Willemsz. from Haarlem, placed above the south-entrance in the choir of the church, was dismantled in the 17th century. Its pipes were removed around 1640, to be used in a new large organ. On the 25th of October 1638 an agreement was signed with the famous organ-builders Van Hagerbeer. It was decided to construct a new, much larger organ, in which the pipes of the small organ from 1545 could be included.

1639-1646 / The building of the Van Hagerbeer-organ

In 1639 the organ-builders started their work at Alkmaar. According to the contract an instrument with three manuals and pedal, supplied with 31 stops should be built. The instrument had cost the enormous amount of 52.095 Dutch guilders, which also included retention of the existing building for the bellows at the west-end of the nave.

Stop list according to organist Gerhardus Havingha (1727) after the completion in 1645(?) by Jacobus van Hagerbeer.

Bovenwerk(II)

Prestant 8’
Bourdon 16’
Holpyp 8’
Quintadena 8’
Octav 4’
Opene Fluyt 4’
Echo Holfluyt 4’(from c)
Super Octav 2’
Nassat 1 ½’
Gemshoorn 1 ½’
Sexquialter II(from c’)
Tertiaan 4/5’
Sifflet 1’
Trompet 8’
Vox Humana 8’(from c)

Rugpositief(I)

Prestant 8’
Quintadena 8’
Octav 4’
Fluyt 4’
Super Octav 2’
Fluyt 2’
Nassat 1 ½’
Quintanus 1 ½’
Sifflet 1’
Tertiaan 4/5’
Sexquialter II(from c’)
Mixtuur III-IV
Scherp IV
Trompet 8’

Hoofdwerk(III)

Prestant (B/D)24’
Prestant (B/D)12’
Octav 6’(4’?)
Tertiaan [1 3/5’]
Mixtuur (B/D)
Scherp (B/D)IV-VI
Groot Scherp
Trompet 8’

Pedaal

Prestant 8’
Octav 4’
Trompet 8’

Compass Bovenwerk and Rugpositief: C-d’’’
Compass Hoofdwerk: C-d’’’, Prestant 24’ and 12’: FF,GG,AA,BB,HH,C-d’’’
(according to the specification of 1639 all the Hoofdwerk stops could have this extended compass!).
Compass Pedaal: C-f ’ for own stops, attached to Hoofdwerk: FF,GG,AA,BB,HH,C-f
Split keys for d# and a# on all manuals
Transposing mechanism (to play a natural higher)
Tuning: mean-tone temperament
Soundboards: spring-chests
Wind supply by six diagonal bellows
Pipe materials: lead, except for the resonators of the Trumpets which were made from painted iron sheets.

1652-1653 saw some large alterations and some additions by Jacobus van Hagerbeer.

The organ-case was designed by the painter/architect Jacob van Campen (1595-1657). The case of the Rugpositief was made in the workshop of Van Hagerbeer in Leiden, but the main case was constructed by Jacob Jansz. Turck at Alkmaar. ’AD SOLIUS DEI GLORIAM’, (‘only God be honoured’) can be read underneath the organ-balcony.

The paintings at the outside of the hinged doors were made by the painter Caesar Boethius van Everdingen (born in Alkmaar around 1617 and buried at the St. Laurenskerk in 1678). It took him about seven months to finish these gigantic paintings with a surface of more than 70 square meters!

Renovations between 1646 and 1722

1652-1653 / Large alterations by Jacobus van Hagerbeer
1684-1685 / Restoration by Duytschot

On the 5th of July 1683 the mayors of Alkmaar decided that the organ had to be repaired: an agreement for the restoration was signed with Johannes Duytschot and his father, Roelof Barentsz. Duytschot, organ-builders from Amsterdam. These very able organ-builders can be seen as continuing the Van Hagerbeer-tradition. They carried out the following work:

-The supply of six larger bellows
-The keyboards from the Hoofdwerk and Bovenwerk were reversed (Hoofdwerk was III and became II, Bovenwerk was II and became III)
-A new pedal-board was made
-A coupler Rugwerk-Hoofdwerk (probably divided) was added
-The Trumpet 8’ on the Hoofdwerk was changed into a Basuyn 16’ with 30 pipes, corresponding with the three separate Pedal stops: the bass function of the Pedaal was reinforced.(These changes can be related to a new kind of organ-accompaniment during the congregational-singing; because of the large congregations which assembled in the town churches in Holland in the second half of the 17th century, powerful accompanying instruments were required on which a melody (the ‘Voys’) could be brought out as clearly as possible; for this reason many organs were modified and increased in sound volume at the time and couplers - often divided between bass and treble - were added).
-On the Bovenwerk the Bourdon 16’ was replaced by a Baarpijp 8’ (this beautiful stop is still extant), bass pipes were added to the Quintadena 8’ and a new Vox Humana 8’ was made (now the beloved ‘Dutch Trio’, Baarpijp, Quintadena and Vox Humana was complete!)
-Finally wind-leakages were mended and the whole instrument was tuned.
A smaller restoration by Duytschot was carried out in 1704, on which occasion the draw-stops of the Rugpositief were placed in their own case (originally they were placed above the upper keyboard).

The repositioning of the wind-chests in 1722

Havingha concludes in his description that anyone with some knowledge about the arrangement of organs, can clearly see how chaotic the structure of the old instrument had been. It seems likely that the changes and additions made by Jacobus van Hagerbeer in 1652-53 meant a considerable increase of the complexity of the instrument.

1722 1725 / The rebuilding by Frans Caspar Schnitger

1722 / A new town-organist

On the 22nd of April 1722 Egbert Enno Veldcamps, town-organist of Alkmaar since 1702, died after a short illness. On the 3rd of September of the same year Gerhardus Havingha (1696-1753), until then organist at Appingedam and son of Petrus Havingha (organist at the Martinikerk, Groningen), was appointed organist. With his arrival a new and important period in the history of the organ of Alkmaar commenced. It was Havingha who introduced the North-German organ-builder Frans Caspar Schnitger (1692-1729) in Alkmaar. Havingha had many complaints about the Van Hagerbeer-organ, for example:

-The technical layout of the instrument was too complicated
-The wind-supply was insufficient
-The pedal-division was much too small
-The (mean-tone) temperament in which the organ was tuned gave too many restrictions
Moreover, Havingha was familiar with the North-German style of organ-building and -playing, he knew a number of organs built by Frans Caspar’s famous father Arp Schnitger (1648-1719), and, last but not least, he knew the impressive organ at the St. Michaelskerk, Zwolle, begun by Arp Schnitger in 1718 and completed in 1721 by Frans Caspar.

Proposals for a renovation
In three stages Havingha convinced the municipality of Alkmaar about the necessity of a large renovation.
His first report is called ‘Necessary Reparation’ and the second ‘Necessary and powerful Reinforcement of the large Organ of the city of Alkmaar’. After some days of deliberation by the mayors, Havingha was asked to combine his reports in a new specification, and: he was allowed to ‘summon the builder of the organ at Zwolle’; the introduction of Frans Caspar Schnitger to Holland was a fact!

1723-1725 / The rebuilding by F.C. Schnitger

The contract between the town-council and Frans Caspar Schnitger was completed on the 7th of May 1723. The specification had been drawn up by Havingha. Within the existing cases an entirely new instrument should be built, equipped with slider-chests, new tracker action and three additional bellows. Originally the organ should get 52 stops, but finally 56 stops were supplied. Suitable pipes from the old organ could be used again. The pitch had to remain unchanged (‘netto Camer of Houbois thoon’: a’=415 Hz.). Nothing was said about the tuning. Much progress was made with the work and in the summer of 1725 the rebuilding was finished.

The examination report was dated the 9th of August 1725 and was full of praise, particularly about the stops which were supplied in addition to those specified in the contract. It was also emphasized that Schnitger’s new Vox Humana (Rugpositief) was better than the old one made by Duytschot (Bovenwerk): Schnitger’s superiority to the Dutch organ-builders had to be clear!

Specification of 1725

Bovenwerk (III)

Praestant 8’
Baarpyp 8’
Rohrfluit 8’
Quintadena 8’
Octaav 4’
Fluit Dous 4’
Spitsfluit 3’
Superoctaav 2’
Speelfluit 2’
Sexquialtera II
Scherp IV
Cimbel*) III
Trompet 8’
Hautbois 8’
Vox Humana 8’
Tremulant

Groot Manuaal (II)

Praestant 16’
Praestant 8’
Praestantquint 6’
Octaav 4’
Quinta 3’
Octaav 2’
Flachfluit*) 2’
Ruyschpyp II
Tertiaan II
Mixtuur VI
Trompet 16’
Viool di Gamba 8’
Trompet 4’

Rugpositief (I)

Praestant 8’ I-II
Quintadena 8’
Octaav 4’
Nasaat 3’
Fluit 4’
Superoctaav 2’
Quintfluit 3’
Waldfluit 2’
Quintanus 1 ½’
Mixtuur V-VI
Sexquialtera II
Cimbel III
Tregter Regaal 8’
Fagot 8’
Vox Humana*) 8’
Tremulant

Pedaal

Principaal 22’
Rohrquint 12’
Octaav 8’
Quinta 6’
Octaav 4’
Nachthoorn*) 2’
Ruyschpyp III
Mixtuur VIII
Basuin 16’
Trompet 8’
Trompet 4’
Cornet 2’

*) stops supplied in addition to those
specified in the contract

Schnitger’s rebuilding of the Van Hagerbeer-organ meant no less than an earthquake in the Dutch organ-landscape. With the breakthrough of Schnitger in Holland and the death of Johannes Duytschot in 1725 the Dutch school of organ-building, connected with great names as Van Covelens, Niehoff, De Swart, Van Hagerbeer and Duytschot, came more or less to an end. Furthermore, a number of foreign organ-builders (mostly from Germany) arrived and filled the gap. Among them were Rudolph Garrels, Christian Vater, Jacob François Moreau (from Flanders), Christian Müller, Albertus Anthoni Hinsz and Johann Heinrich Hartmann Bätz. In their instruments they reached a synthesis between their own native traditions and the style and aesthetics of the Dutch school. One of the most famous examples of such a synthesis is the Christian Müller-organ (1738) at the St. Bavokerk, Haarlem, at its completion examined among others, by Gerhardus Havingha.

The 18th Century

In 1729 Frans Caspar Schnitger dies at the early age of 36 years. The maintenance and tuning of the organ were taken over by Nicolaas Willembroek in 1731 and Christian Müller (1690-1769) in 1734, who also carried out repairs in 1734 and 1751. In 1753 Gerhardus Havingha dies at the age of 56 years, after an engagement of more than 30 years as town-organist and carillonneur of Alkmaar.

1779-1780 / Preparations for a restoration

Town-organist Michael Körnlein complains about several items of the instrument which were not in a satisfactory condition and for which he partly blamed Pieter Müller (son and successor of Christian Müller), who was at that time responsible for the maintenance of the instrument. Several organ-builders were consulted, but finally a contract was signed with Johannes Strumphler on the 5th of June 1781.

1781-1782 / Restoration by Johannes Strumphler

The 19th century / Restorations by Van Gruisen, Ypma, Naber and Witte
After some smaller repairs in 1794 by J.M. Gerstenhauer and J.C. Deijtenbach (a former assistant of Strumphler) in 1804, a restoration was carried out by Albertus van Gruisen & Son from Leeuwarden in 1823-24. Only scarce information about this restoration is available, but probably Van Gruisen changed the Quintanus 1 ½’ (Rugwerk) into a Flageolet 1’ and added a pedal coupler.

1843-1844 / Restoration by Dirk Sjoerds Ypma

1851-1853 / Possession of the organ is handed over to the church

After an argument in the town-council about the future cost of repairs of the organ, a committee was founded. Much to their surprise it was discovered that, according to a law of 1798(!), the possession of the organ should have been handed over to the church long ago. The town-council agreed on the 23rd of February 1853 with the change of ownership.

1854 / Restoration by C.F.A. Naber

1897-1898 / Restoration by Johan Frederik Witte

The 20th century: Restoration 1947-1949 / Restoration 1982-1986

The organ in danger
In 1899 the maintenance of the organ was appointed to Ypma but also requests from other organ-builders were taken into consideration (e.g. from the organ-builders Spanjaard and Pels from Alkmaar).
In 1921 an electric blower was installed. In the meantime the condition of the building deteriorated. The situation soon became dangerous. In 1923 a restoration was started, but in 1927 further work was stopped. The restoration resumed in 1940 on a much larger scale.In this period there was also a lot of discussion about the organ, even a large restoration was considered.

-In 1929 Hendrik Wicher Flentrop (Zaandam) asked to be invited to do the restoration and regular maintenance. The churchwardens decided, however, to wait until the restoration of the church was finished.
-H.W. Flentrop was given the contract for the maintenance of the organs of the St. Laurenskerk and Kapelkerk in 1935.

In 1939 he restored the Van Covelens-organ. In 1940 Hendrik Wicher Flentrop retired and was succeeded by his son Dirk Andries.

1939-1946 / Preparations for a restoration.

In 1939 there was contact between the architect Van der Kloot Meyburg and Flentrop about the large organ. At the time the architect was only discussing a dismounting and remounting of the organ. Flentrop, on the other hand, preferred an entire restoration. In his first offer from 1939 Flentrop mentiones an amount of 9600 guilders for dismounting and remounting, including a new wind-supply. In 1941 Flentrop made a proposal for a restoration in which he also gives some historical information about the instrument. Flentrop wanted to re-establish more or less the original specification and restore the instrument. The cancelled stops should be placed on a separate cone-chest. The total cost was to be 15.000 Guilders.

1941-1943 / The loss of the original wind-supply

According to the plans of the architect the 17th century building for the bellows had to be demolished: in his view it didn’t belong to the original gothic building and so it had to disappear. As nobody seemed to regret the loss of the authentic wind-supply, the nine old bellows (six by Duytschot and three by Schnitger!) were sawn into pieces in November 1941, and so a very important historical part of the organ disappeared.

1944-1946 / Dismounting

In January 1944 the organ was dismantled on the request of the restorers of the church. All parts were packed in chests and stored in the southern part of the transept. It is a well-known fact that many organs of historical importance have survived the 19th and early 20th centuries due to a lack of money. This certainly applies to the organ at Alkmaar; it escaped entire renewal or demolishing in 1854, 1898 and around 1930.
However, in 1944/1945 the instrument was in danger again. Organist Dr.P. Brommer of the St. Laurens- kerk proposed in 1944 to give the mixtures and reeds electric action. Later on, after having visited the Gonzalez-organ in the cathedral of Notre Dame at Reims in 1945, Brommer developed a plan for a practically new organ with four keyboards in which the old pipework would be placed in the old case.

1947-1949 / Restoration by D.A. Flentrop

Immediately after Easter 1947 Flentrop started the restoration of the instrument. Shortly before it had been discovered that many parts of the organ (especially the wind-chests) had been seriously damaged by melting water. In the autumn of 1947 Anton van der Horst was appointed as advisor. The cooperation between Flentrop and Van der Horst became of very great importance. In November 1947 they made a proposal aimed at a return into the original state as much as possible, without additions. A new modern wind-supply was also included. The pipework of the stops that were not returned to the disposition were stored in the bellows room. No decision had been taken about the Quint 6’ and 3’ on the Hoofdwerk (no pipes were placed at that moment) and the Principaal 32’/24’(Pedaal). On the 20th of September 1949 the church and the organ were taken into use again. It is most remarkable that finally, after so many disgraceful plans, the restoration was completed in such a relatively simple way. However, some serious losses have to be regretted:
-The loss of the entire wind-supply.
-The removal of the plastering from the walls of the church, which resulted in a considerable deterioration of the acoustical circumstances in the church.
-The rather rough way (even though with the best intentions) in which the pipework was treated.

1974-1982 / Preparations for a new restoration

From 1960 on a gradually increasing number of defects were found in the organ, especially the condition of the wind-chests worsened. The tuning of the instrument gave many problems and was unreliable. This manifested itself at the most in the wind-chests of the Pedaal; the tuning of the four reed stops became almost impossible. The organ-committee of the Reformed Church was asked for advice. This resulted in a report dated the 18th of July 1974. As proposed, advisors were appointed soon: Klaas Bolt and Jan Jongepier. The church- wardens added the organist of the church: Piet Kee.
A.C.M. Luteijn writes October 1980: ‘In spite of all the defects the sound of the organ is still majestic’. The organ recitals could therefore be continued.

At first a restoration in phases was considered, starting with the wind-chests of the Pedaal, but soon it was realized that a better solution was to tackle the restoration of the whole instrument completely.
After much deliberation and investigation the first offer for the complete restoration of the instrument by Flentrop Orgelbouw was presented on the 8th of February 1978.
It was decided to return, with a few exceptions, to the situation of 1725. The modern wind-supply would be replaced by a reconstruction of the old system. A committee with the name ‘ORGEL 78’ was founded to raise money for the tremendous cost (around 3.000.000 guilders) of the restoration. In 1978-79 the instrument and the archives were inspected thoroughly by the advisors and in 1980 a full historical report was published, combined with proposals for a restoration of the instrument. A new offer from Flentrop Orgelbouw followed on the 1st of September 1980. The order was given to Flentrop on a festive meeting on the 29th of March 1982.

1982-1986 / Restoration by Flentrop Orgelbouw

The dismounting of the instrument started in the autumn of 1982. The research of the pipework was started in January 1983. As a result the original places and functions of all the pipes could be ascertained. Further it was realized that the sound character had been spoiled by the continuous curtailing of the pipes in the course of time (in order to increase the pitch to a’=440 Hz.). It was decided to return to the original low pitch (i.e. the so-called ‘Camer of Houbois thoon’, a’=415 Hz. =half a tone below normal pitch).
The remounting of the instrument started in June 1984. The revoicing of the pipes could start on the 3rd of June 1985. This delicate work lasted, with an interruption during wintertime, more than a year.

The following stops were repaired or reconstructed:

Rugpositief

Quintadena 8’ Corrections to the cut-up of the pipes
Quintfluit 3’ Reconstructed (partly with the original pipes)
Quintanus 1 ½’ Moved back to the original place
Sexquialter II Made 5 1/3’-3 1/5’ again in the treble (with original pipes)
Cimbel III Reconstructed into the original composition

Hoofdwerk

Quintpraestant 6’ Reconstructed from the original pipes
Quint 3’ New, made in the style of van Hagerbeer
Tertiaan II Made 5 1/3’-3 1/5’ again in the treble (with original pipes)
Mixtuur VI New, in style and composition of 1725
Viool di Gamba 8’ Placed back to original place
Trompet 4’ Place changed with Viool di gamba, 12 highest pipes renewed

Bovenwerk

Sexquialter II Made 5 1/3’-3 1/5’ again (with original pipes)
Cimbel II Reconstructed into original composition

Pedaal

Principaal 22’ Situation of 1725 reconstructed (sounds as a Quint 21 1/3’)
Rohrquint 12’ C-E new, the other pipes refashioned and placed back on original places
Octaaf 8’ Change of place with Rohrquint 12’
Quinta 6’ Refashioned, pipes placed back on original places
Mixtuur VIII Was made VI, original composition reconstructed

General repairs to the pipework

The pitch of the instrument was slightly increased at each restoration. Moreover, modern tuning arrangements had been made. The original low pitch (a’=415 Hz.) was reconstructed by restoring all the pipes to their original lenghts.
The wind pressure was established at 76mm water pressure: after several experiments and discussions this appeared to give the best results. During the revoicing the changes which had been made during the restorations of 1897-98 and 1947-49 to the foot openings, the languids and the positions of the upper lips were corrected.

The present specification

Specification since 1986 with dates of the pipework

Rugpositief (I)

Praestant 8’ (Tr.II) 1782 (front)/1646/1725
Quintadena 8’ 1646 (1782/1949/1986)
Octaav 4’ 1725
Nasaat 3’ 1725
Fluit 4’ (1545/1646)1725
Superoctaav 2’ 1725
Quintfluit 3’ 1646/1986
Waldfluit 2’ 1646/1725/1986
Quintanus 1 ½’ 1725/1986
Mixtuur V-VI 1725
Sexquialtera II 1725
Cimbel III 1725
Fagot 8’ 1725
Vox Humana 8’ 1725
Tremulant

Groot Manuaal (II)

Praestant 16’ (1545)1646
Praestant 8’ 1646
Praestantquint 6’ 1646(1782/1986)
Octaav 4’ 1646
Quinta 3’ 1986
Octaav 2’ 1646
Flachfluit 2’ 1646/1725
Ruyschpyp II 1646/1725
Tertiaan II 1725
Mixtuur VI 1986
Trompet 16’ 1725
Viool di Gamba 8’ 1725

Bovenwerk (III)

Praestant 8’ 1646
Baarpyp 8’ 1685
Rohrfluit 8’ 1725
Quintadena 8’ (1646)1725
Octaav 4’ (1646)1725
Fluit Dous 4’ (1646)1725
Spitsfluit 3’ 1725
Superoctaav 2’ 1646
Speelfluit 2’ 1725
Sexquialtera II 1725
Scherp IV 1725
Cimbel III 1725
Hautbois 8’ 1725
Vox Humana 8’ 1725
Tremulant

Pedaal

Principaal 22’ 1646
Praestant 16’ 1646
Rohrquint 12’ (1545/1644)1725(1782/1949/1986)
Octaav 8’ 1646
Quinta 6’ (1646)1725(1986)
Octaav 4’ 1646
Nachthoorn 2’ 1725
Ruyschpyp III 1725
Mixtuur VIII 1725(1986)
Basuin 16’ 1725
Trompet 8’ 1725
Trompet 4’ 1725

Compass Manuals: C-d'''
Compass Pedal: C-d'
Manual couplers: Rp+GM, Rp+Bw, GM+Bw
Pedal couplers: P+Rp, P+GM (added to the specification of 1725)
Four cut-out valves
Pitch: a'=415 Hz
Equal temperament
Wind pressure: 76 mm

Dates and makers of the pipework

1545: Claes Willemsz. (reused material from the former small choir-organ)
1646: Galtus, Germer and Jacobus van Hagerbeer
1685: Roelof Barentsz. and Johannes Duytschot
1725: Frans Caspar Schnitger
1782: Johannes Strumphler
1949: D.A. Flentrop
1986: Flentrop Orgelbouw

For a very interesting detailed history of this instrument written by Frank van Wijk, Bergen NH, we refer you to: http://www.schnitger.nl/index.php?id=172

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YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:
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Bux 229 Alkmaar St. Laurens Gabor Soos plays Vater unser im Himmelreich (BuxWV 229)
Bux 148 Alkmaar St. Laurens Gabor Soos plays Praeludium in g (BuxWV 148)
BWV contrapuntus 18- Helmut Walcha Alkmaar
JS Bach: Toccata, Adagio & Fugue in c major (H. Walcha ...
Canon alla Ottava, alla Decima, alla Duodecima (H. Walcha)
Die Kunst der Fuge: Contrapuncuts XIV (H. Walcha)
Die Kunst der Fuge: Contrapuncuts XII (H. Walcha)
Die Kunst der Fuge: Contrapuncuts XI (H. Walcha)
Die Kunst der Fuge: Contrapuncuts XI (H. Walcha)
Die Kunst der Fuge: Contrapuncuts X (H. Walcha)
Die Kunst der Fuge: Contrapuncuts XIII (H. Walcha)
Die Kunst der Fuge: Contrapuncuts VIII, IX (H. Walcha)
Die Kunst der Fuge: Contrapuncuts VI, VII (H. Walcha)
Die Kunst der Fuge: Contrapuncuts I, II, III (H...
JS Bach: Prelude and Fugue in E minor BWV 533
Bux 223 D. Buxtehude: Wie schön leuchtet der Morgenstern (P. Kee)
Bux 137 Alkmaar St. Laurens Piet Kee
JP Sweelinck: Echo Fantasia (Piet Kee)
Bux 153 Alkmaar St. Laurens Piet Kee und Buxtehude
Bux 192 D. Buxtehude: "Herr Christ, der einig Gottes Sohn" BuxWV 192
Bach Praeludium et Fuga e-moll - Leonhardt - Schnitger organ
Bux 159 Alkmaar St. Laurens
Bux 143 Alkmaar St. Laurens
Bach Toccata d-moll - Leonhardt - Schnitger
BWV 661 - BWV 709 - Alkmaar organ Manuel Tomadin
JP Sweelinck: Engelsche Fortuyn (P. Kee)
Bux 149 Alkmaar St. Laurens

Crystal Cathedral Organ Garden Grove, CA

2010-10-30T12:04:00.003-04:00

The Cathedral pipe organ, made possible by a gift from the late Hazel Wright of Chicago, is the third largest church pipe organ in the world. Conceived by famed organ virtuoso Virgil Fox, the organ unites the Aeolian-Skinner organ from Avery Fisher Hall of Lincoln Center in New York City with the Ruffatti organ built for the former sanctuary in 1977.

There have been numerous additions and refinements by noted organ builders. There are 287 ranks of pipes and over 16,000 individual pipes, all playable from two five-manual consoles. White oak cases hold the nearly 11,000 pipes in the chancel area. Included there is a rank of forty-four 32-foot pedal pipes, originally in the organ at Bovard Auditorium at the University of Southern California-a gift of the Mt. Olive Lutheran Church of La Crescenta. The South Balcony divisions of the organ contain 5,000 pipes, and in the East and West Balconies are 549 horizontal trumpet pipes-the largest collection of such pipes in the world.

The church's 273 rank, five manual pipe organ is one of the largest in the world.[7] Constructed by Fratelli Ruffatti and based on specifications by Virgil Fox and expanded by Frederick Swann, the instrument incorporates the large Aeolian-Skinner pipe organ built in 1962 for New York's Avery Fisher Hall, and the Ruffatti organ which had been installed in the church's previous sanctuary. Swann was organist at the Crystal Cathedral between 1982–1998.

DISPOSITION: Click here

Ray Ash - Great Is Thy Faithfulness Played on the Hazel Wright Organ at the Crystal Cathedral, Garden Grove, CA

Albi Cathedral FRANCE 1736 Christophe Moucherel

2010-10-20T09:34:00.000-04:00

The Gothic Cathédrale Ste-Cécile of Albi, built in the 13th century in the heart of Cathar country, is the largest brick building in the world. Perched high on a hill above the River Tarn, it looks more like a fortress than a cathedral - and that's no accident.

History

Construction on the Cathedral of St. Cecilia began in 1282 under the direction of Bernard de Castanet (1277-1307), who was Bishop of Albi and Chief Inquisitor. It was built as a defensive fortress and statement of strength after the Albigensian Crusade (1209-1229), a holy war waged by the Catholic Church against the heretical Cathars and the count of Toulouse. Construction was mostly done by 1383, but the cathedral was not fully complete until 1492.

Watch this video to view the cathedral inside and out:

Mary Prat-Molinier plays the Grand Jeu by Jean-Jacques Beauvarlet-Charpentier on Albi Cathedral organ.

The fantastic Bombarde stops are perhaps the most shockingly brilliant I've ever heard.

With 19 ranks of reeds, Albi cathedral has an incomparable selection of Trompette variations for the organist to choose from. The sound is as orchestral as a Baroque organ can be .This sounds like Mozart and is the Quartetto by the French composer Jean-Jacques Beauvarlet-Charpentier played by the resident organist since 1968, Mary Prat-Molinier.

The origin of the classic organ whose actual case remains, is attributed to Christophe Moucherel (1736). This gigantic organ (width : 16.2 m) has been restored by Francois & Jean-Francois Lepine (1747), Joseph Isnard (1779), Antoine Peyroulous (1824).
It was then transformed into a romantic organ by Claude brothers (1840), Thibault Maucourt (1865), Puget Co. (1904).
After the study of the Historic Organ Committee in 1960s, they confirmed a restauration to a classic instrument by Schwenkedel in 1971 and by Bartholomeo Formentelli in 1977 who restored it in 1981.

Specification

I Positif dorsal (C1, D1-D5)

Montre 8'
Bourdon 8'
Prestant 4'
Flute a cheminee 4'
Nazard 2' 2/3
Doublette 2'
Tierce 1' 3/5
Larigot 1' 1/3
Cornet V ranks (C3-D5)
Fourniture VI ranks NB1
Trompette 8'
Cromorne 8'
Clairon 4'

II Grand orgue (C1, D1-D5)

Montre 16'
Bourdon 16'
Montre 8'
Bourdon 8'
Prestant 4'
Flute a cheminee 4'
Grosse tierce 3' 1/5
Nazard 2' 2/3
Doublette 2'
Quarte de nazard 2'
Tierce 1' 3/5
Cornet V ranks (C3-D5)
Fourniture V ranks (2' 2/3)
Cymbale V ranks (1')
Bombarde 16'
Premiere trompette 8'
Deuxieme trompette 8'
Clairon 4'

III Bombarde (C1, D1-D5)

Cornet V ranks (C3-D5)
Bombarde 16'
Premiere trompette 8'
Deuxieme trompette 8'
Trompette 8' (C3-D5) NB3
Voix humaine 8'
Clairon 4'

IV Recit (C3-D5)

Flute 8'
Cornet V ranks
Trompette 8'
Hautbois 8'

V Echo (C2-D5)

Bourdon 8'
Prestant 4'
Nazard 2' 2/3
Quarte de nazard 2'
Tierce 1' 3/5
Fourniture III NB2
Cromorne 8'

Pedale (C1, A0, D1-F3) NB4

Flute 16' (A0)
Flute 8' (A0)
Flute 4' (A0)
Bombarde 16'
Trompette 8'
Clairon 4'

Accouplement Pos/G.O. sur Grand Orgue
Accouplement G.O/Bom sur Bombarde
Tirasse Bombarde
Tremblant doux
Tremblant fort
Rossignol

NB1 : = Fourniture III (1' 1/3) + Cymbale III (1/2')
NB2 : = Cymbale III (1/2')
NB3 : = Trompette en chamade 8' (C3-D5)
NB4 : C#1 key sounds A0 only for reed stops

YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THE ALBI ORGAN BY CLICKING ON THE LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.

Albi cathedral organ Beauvarlet-Charpentier
Recital on 5 manual Baroque organ at Albi Cathedral
Organ Francis Chapelet improvise à Albi
André Isoir joue Marchand à Albi
André Isoir joue Dandrieu à Albi
ALBI = Les orgues

Hertogenbosch St. Jan Cathedral Heyeman 1621 organ using older pipes

2010-10-17T09:22:00.000-04:00

The great organ

HISTORY

The archives of the "Illustre Lieve Vrouwe Broederschap" (Illustrious Lady Brotherhood) show that already in the 14th century there is mention of an organ in the Cathedral of St. John 's-Hertogenbosch.

It is known that in 1533 Henry Niehoff built an organ that was destroyed by the tower fire in 1584. During the Twelve Years' Truce the current major organ was built at the west wall. It is one of the jewels of St. John's Cathedral.

The case, made in the years 1617-1620, is considered one of the most impressive in the world. The monumental architectural design is of an unparalleled majestic beauty. Exceptionally rich are the sculptures and carvings. The whole arsenal of the Dutch renaissance ornamentation designs are displayed there. Artists Frans Simonsz, carpenter, and sculptor Georg Schysler have made this artwork.

The sonorous part of the instrument has a turbulent history.

Florentius Hoque from Grave was the first builder. His work was not found adequate and was twelve years later enhanced by father and son Hagerbeer (1634) and was praised by the judges who said: "our organ excels all organs in the Netherlands".

In the beginning of the l8th century the organ was restored and enriched with some stops by Cornelis Hoornbeeck and Christian Müller. In the seventies the instrument became disfunctional. The young German builder from Nijmegen, A G F Heyneman, built a new instrument in the years 1784-1787 in the style of early-and late-rococo classicism, using the old pipes.

In 1902 a total conversion took place to the taste of that time by the brothers Franssen. The mechanical system was replaced by pneumatics, the Swell was emptied and many stops were added. The instrument had 72 stops and was the largest in the Netherlands. It received slider chests and electro pneumatic action. The result was unsatisfactory.

Since 1961 the church has been under restoration and when the pulpit, the choir stalls and altar were restored, it was also decided to restore the organ to the state of 1787. There was sufficient historical knowledge about the instrument and many ranks of old pipes and were still present.

Flentrop

A new mechanical Tracker action was built, the pipes were extended to the old historical pitch, and missing pipes were created in the old style and some new stops were added.

When the Flentrop firm completed this work in 1984 the instrument, although significantly smaller than after 1953, has become far more eloquent and restored to its former glory. Between September 2003 and January 2004, all pipes were stripped of oxidation, grime and dirt. The scaffolding, required to tune the front pipes, has been used to also clean and wax the entire organ case.

The historic pipes of Hoque (1622), Hagerbeer (1634), Hoornbeeck (1718), Müller (1722), Heyneman (1787), Vollebregt (1870) and the new pipes of Flentrop now (again) offer a combined exquisite beauty of sound, which will impress guests and visiting organists.

source

Bach Praeludium 548, Koopman, St. Jan Cathedral organ in Hertogenbosch with most of the pipes and case dating back from 1550 till 1650.

Bach Fuga 548, Koopman, St. Jan Cathedral organ in Hertogenbosch with most of the pipes and case dating back from 1550 till 1650.

Slghtly unequal following Sorge 1760 temperament.
La = 415 Hz.

Bach 547, Koopman, St. Jan Cathedral organ in Hertogenbosch with most of the pipes and case dating back from 1550 till 1650.

Bach BWV 533, Koopman, St. Jan Cathedral organ in Hertogenbosch with most of the pipes and case dating back from 1550 till 1650.

HISTORICAL SUMMARY

The organ is the product of various builders from 1550 till about 1760. It contains some of the most strange and unique pipes ever heard from the early Renaissance. All the pipes and stops are original from 1550 till 1760. The case is obviously original, all in dark wood with incredible sculptures and details more in the Gothic style than the Barque one.

The organbuilder is Hendrik Niehoff, the famous Organbuilder from Brabant who completed the organ in the St. Jans Cathedral in 's-Hertogenbosch in 1543.

Since the 1530s Hendrik Niehoff lived in 's-Hertogenbosch and worked at the following:

's-Hertogenbosch, Sint Jan (1533/1540, 1545 organ sold to Friesland )
's-Hertogenbosch, Sint Jan, Towerorgel (1540, 1584 destroyed by fire)
's-Hertogenbosch, Sint Jan (1548)
's-Hertogenbosch, Sint Jan, Doxaalorgel (1566, 1584 destroyed by fire)

source: http://nl.wikipedia.org/wiki/Hendrik_Niehoff#Hendrik_Niehoff

In 1543 on the South-West wall opposite the in 1525 erected chappel a for that time large organ was built. This instrument is still the basis for the present organ.

The main project of the current organ was built by Heyeman between 1617 and 1621 using older pipes, since then many others repaired and modified it. Among the mysterious co-re-builders are probably Mueller and maybe also Garrels, F.C. Schnitger and maybe even Hinsz. But the pipes come from much older era and it has a very ancient sound.

Organ rebuild by Flentrop (1984) it was brought back to its original Baroque condition.

's-Hertogenbosch, St.-Jan,
Hocque, 1618,
case Hagerbeer, 1635,
case Heyneman, 1787,
restored 1980-1984 Flentrop

DISPOSITION

I Rugpositief C–f3

Praestant 8′
Bourdon 8′
Quintadena 8′
Fluyttravers 8′
Octaaf 4′
Fluyt dous 4′
Super Octaaf 2′
Flageolet 1′
Mixtuur V
Sexquialter II
Trompet 8′
Dulciaan 8′
Tremulant

II Hoofdwerk C–f3

Praestant 16′
Bourdon 16′
Praestant 8′
Holpyp 8′
Octaaf 4′
Teriaan 31/5′
Quint 3′
Super Octaaf 2′
Mixtuur VII
Trompet 16′
Trompet 8′

III Bovenwerk C–f3

Quintadena 16′
Praestant 8′
Roerfluyt 8′
Viola di Gamba 8′
Octaaf 4′
Open fluyt 4′
Quintfluyt 3′
Open fluyt 2′
Super Octaaf 2′
Sexquialter II
Carillon III
Cornet V
Trompet 8′
Vox Humana 8′
Hautbois 8′
Tremulant

Pedaal C–f1

Praestant 32′
Praestant 16′
Bourdon 16′
Octaaf 8′
Gedekt 8′
Octaaf 4′
Bazuyn 16′
Trompet 8′
Clairon 4′
Cornet 2′

A Romanesque church used to stand on the spot where the St. John now resides. Its construction is thought to have started in 1220 and was finished in 1340. Around 1340, building began to extend the church, from which its current gothic style came. The transept and choir were finished in 1450. In 1505, the romanesque church was largely demolished, leaving only its tower. Construction of the gothic St. John was finished about the year 1525.

San Domenico Benedictine of Rieti the great Formentelli 2009 organ Dom-Bedos

2010-10-03T18:50:00.000-04:00

Occasional Oratorio

Organo Dom Bedos-Roubo di Rieti - improvvisazione su tema in stile barocco, nel gusto di J.F. Handel

Piccolo divertimento fatto sul grande Organo Formentelli Dom-Bedos di Rieti
San Domenico Formentelli Benedictine Dom Bedos
Little fun on the great Formentelli organ Dom-Bedos of Rieti
Rieti San Domenico Formentelli baroque Benedictine Dom Bedos Luca di Donato

Introduction

After the extraordinary undertaking the restoration of the church of San Dominic and its reopening to the church, the Committee St. Domenico, led by the pastor of the church, Monsignor Luigi Hinny, has decided to equip the great basilica with an organ as prestigious as that which accompanied in the past.

The Church of San Domenico: The dark years: the ruins of St. Dominic.

In 1810 the French government seizes the entire complex, ousting the religious who are to leave the convent. In 1862 The religious community is suppressed and the new structure receives ownership of land. The convent is used as a military barracks while the church is used as a stable. Don Mariano Pandolf draws up, in those years a timely and heartfelt chronicle of the vicissitudes suffered by the church, later taken over by his nephew Don Vincent Woods. From its chronicles how the church was reduced at the mercy of everyone: the reed organ, famous because of special twisted pipes, is disassembled by the boys who played in the street as fifes. Fourteen altars are all destroyed, stolen marble, the library sacked, bells sold to a stranger claiming to recast.

Piccola Toccata Improvvisata sul Grande Organo Dom-Bedos della Basilica di San Domenico in Rieti.

From 1924 to 1940 the church was used as a sawmill. In 1966 Dr Luisa Mortari, director of the Museo Civico di Rieti, performs a partial restoration and the posting of the few paintings remaining today kept partly in the Museum and the Diocesan Museum. In 1979, due to the earthquake and neglect, the roof collapsed and the building is overgrown.

Improvisation on the theme of "La Majesta" by Telemann.
Performed on the monumental organ Formentelli Sun-Bedos the Church of San Domenico in Rieti. The trumpets are placed on an Chamade wrestplank left to right in during the recording because of the place of the recovery came sharp and clear just sounds right.

Recovery

Dominic lives

On 8 June 1994 the Municipality of Rieti, who had San Dominic, entrusted it to Bishop Luigi Bardotti, pastor of Saint Lucia, for return to worship. The church is in complete state of abandonment, but Don Louis did not lose heart and starts the Committee for the recovery of the building. Within a short time work starts: it reconstructed roof trusses wood beams and cleaned the walls, the floors redone brickwork and relocated five new bells. At last On December 18 1999 the church of San Domenico is reopened for worship and becomes part of the churches of the great Jubilee of the third millennium.

Recovery: San Domenico relives

The meeting with Bartholomew Formentelli: why the organ of St. Dominic is called Dom Bedos -Roubo

The idea of building a Dom Bedos Organ dates from April 2000, when some members of the Committee, participating in the blessing of the largest organ of the Jubilee in Santa Maria degli Angeli in Rome, know the craftsman of the instrument, Bartholomew Formentelli, organ builder in Pedemonte Verona.

Filippo Tigli Improvvisazione sul Te Deum di Charpentier

Formentelli has a reputation for exquisite work, following the ancient rules of the organ art. He brought back new life to the great (1735) Moucherel organ in Albi. Formentelli builds and restores getting impressive, warm and atavism sounds. At an encounter with the organ builder the idea was born or make an organ by following the directions of two treaties of the eighteenth century:

"L'art du Facteur d'Orgues "of the Benedictine Dom François Bedos de Celles and
"L'Art du Menuisier Carrosier" Monsieur Le Fils Roubo.

First

explicated in detail the entire process of building an organ,starting from its construction up to the choice of construction materials,

second

shows a drawing of "Buffet du Grand Orgue" ideal.

In the Dom Bedos each step is meticulously described, by merging pipes up to the rules of maintenance and choice of stops during execution. This is a rigorous publication of reference for builders.

"L'Art du Menuisier Carrosier" Monsieur Roubo Le Fils, dating back to 1768, is a treatise on carpentry and sculpture wood on which it based the design of the "dress" external case which plays the aesthetic role, but also has a key role in the sound quality, as is the case for any musical instrument.

On 15 January 2004 the contract was signed between the organ-building workshop for Bartholomew Formentelli and the committee San Domenico. Immediately after the commencement of work that can be said to be essentially complete with inauguration given on 8 December 2008 by SE Cardinal Tarcisio Bertone, Vatican secretary of state. The organ was completed in all its registers in November 2009.

Great French Offertory on a Theme by Delalande. Performed on the monumental Formentelli organ of the Church of San Domenico in Rieti. the organ is still under construction, is not complete with all the registers and the tuning is not definitive. the organ looks great, it is bright in sound, vigorous in the reeds, warm in foundations and brilliant as a starry sky in ripieni. the mechanics are elegant and precise. A real round of applause to the Master organ builder Formentelli who has built a real piece of history! God bless this work. Formentelli put this in vivo Dom Bedos had only dreamed of.

Interludi al Dixit Dominus, eseguiti sul monumentale organo Formentelli Dom-Bedos della basilica di San Domenico in Rieti

Papal Dom Bedos organ - Roubo Benedict
The organ-Dom Bedos Roubo called "Papal" why and state donated to His Holiness Benedict XVI.

It's a classic French organ, with five keyboards and pedal 30 keys, It has 57 registers and 4054 pipes, It has a console that matches the great historical organs of France and Northern Europe. The "French" pedal of the Dom Bedos-Roubo, was conceived according to the French music of the eighteenth century and therefore ill-suited to perform music or nineteenth polyphonic pieces on the pedal. For this reason, it was considered necessary to provide the Dom Bedos-Roubo with with a "German" second pedal, it undoubtedly extends the musical literature executable. The two pedals are interchangeable depending on the music you will have to perform.

The monumental walnut case (13.5 meters) is waxed and decorated with wooden carvings depicting flowers and cherubs, by Sergio dall'intagliatore Bellani.

Some reed pipes are placed horizontally (En Chamade), typical of the southern tradition of France and Spain. In the facade the register Montre 32 foot dominates. The pipes are tin (Montre, Plein Jeux and Ance 35%) and lead, hammered and planed by hand. The reeds are made of brass reeds "laiton Graitè" (hammered obtained more layers) according to the age-old practice of France and Europe

The GRAND'ORGUE (II clavier Montre de 32') of the large organ is based on a 32 foot. The console is behind the Positive Tergal. In Europe there are only two other "brother" organs to Rieti with five keyboards with the third "En Chamade" the Moucherel organ of Albi and the Dom Bedos organ of Bordeaux.

Organo Dom Bedos-Roubo Rieti - Filippo Tigli: Improvvisazione nel gusto nord germanico

Console five keyboards Dom Bedos Organ-Roubo

DISPOSITION

GRAND'ORGUE (II clavier, 53t)

1) Montre de 32 '
2) Montre de l6 '
3) de Montre 8 '
4) de Bourdon 16 '
5) de Bourdon 8 '
6) Flute de 8 '
7) Prestant
8) Doublette
9) Gros Nazard
10) Grosse Fourniture 3 rgs
11) Fourniture 5 rgs
12) Cymballe 6 rgs
13) Grosse Tierce
14) Nazard
15) Tierce
16) Grand Cornet
17) Trompctte 8 '
18) Clairon 4 '
19) Voix Humaine 8 '

POSITIF DE DOS (I clavier53t)

1) de Montre 8 '
2) à Chemineè de Bourdon 8 '
3) Prestant 4 '
4) Doublette
5) Fourniture 4 rgs
6) Cymballe 3 rgs
7) Flute de 4 a Bottle '
8) Nazard
9) Quart de Nazard
10) Tierce
11) Larigot
12) Cromorne 8 '
13) Trompette 8 '
14) Clairon 4 '
15) by Cornet 5 rgs Do3

RESONANCE (III clavier) 53 t

20) Bombarde 16 '
21) Bataille Trompette en Chamade
22) Clairon 4 'en Chamade
23) Cornet 5 rgs

RECIT (IV clavier) 35 touches

1) Flutes de 8 '
2) Cornet de5 rgs
3) Hautbois 8 '
4) Trompette 8 '

PEDAL - 29 touches

1) Flute de 16 '
2) Flute de 8 '
3) Flute de 4 '
4) Bombarde 16 '
5) ière Trompette 8 '
6) IIere Trompette 8P '
7) Clairon 4 '
8) Gros Cormorne 4 '

ECHO (V clavier) - 42 touches

Avec touts les ANCES LA-1 sur le Do1 #
1) de Bourdon 8 '
2) Prestant 4 '
3) Doublette
4) Fourniture 3 rgs
5) Nazard
6) Tierce
7) Musette

ACCESSORIES

Rossignol en Amour (10 pipes, immergées dans l'eau)
Tremblant doux to G.O. Positif Récit
Accoupplement -G.O. on POS - Accoupplement Res sur GO - GO Accouplement sur le
Pedalboard - pulled IIIeme du clavier sur le Pedal - Diapason: 415 Hz at 20 ° C
Pedals 29 pedal Francaise (CF) - Allemande 28 Pedal pedal (CE)
Temperament: inequities, 4 just major thirds (do-mi, fa-la, sol-si, re-fa #), 2
scenes of the Wolf "(B major and C # major)
TOTAL PIPES = 4054

The choice of temperament and 'was a compromise must be compared to
medium tone desired by Dom Bedos. It would limit very much
music performed. Therefore, after consultations with the Maestro and Colamarino
Hadrien Jourdan, Formentelli proposed and implemented a temperament
Inequities, at 415 Hertz with just four major thirds (do-mi, fa-la, I resolved
; Re-fa #). Even the literature of J.S. Bach is executable. Some agreements
(B major and C # major) have the effect of "fifth of the wolf."

ARCHETTURA the Dom Bedos-Rouba

source

1) Socket: contains 2 of the 4 bellows el'elettroventilatore.
2) Singer: It is accessible from behind the organ by means of a scale that
"The guillotine" because it measures the scale of the scaffold. Ironic
metaphor for the Organ, going up the "guillotine", is preparing to undergo the opinion of the public. 5 keyboards (console) are placed between the Tergal positive and the great organ and are not visible from the nave.
3) Positive Tergal is inserted into a wooden railing and in itself capable of playing alone or together throughout the instrument, it is' triggered from the keyboard.
4) Great Organ: Beyond the Great Organ (II keyboard), this part also contains the pedal placed in the two side towers and Recitative (IV keyboard). Inside the base are two bellows with their electric
5) Echo Organ, operated by the fifth console keyboard. Located behind the Positive Tergal that prevents the public to see the organist
6) side towers, are the pipes of the pedal, that are driven by pedals
7) the main tower where the pipes are bigger. The central tower, corresponding to "LA", is about 7 meters high.
8) Console, hidden by Positive Tergal, has 5 keyboards, 57 registers.
Pedalboard "French" interchangeably with "German".
9) Organ of recitative, hidden in the central tower, is driven from the IV keyboard in the console: the echo, using his right hand to perform singable or actual response

PIPE ORGANS: San Domenico Formentelli Benedictine Dom Bedos

Francis Chapelet improvisation at the Dom Bedos/Barthelemy Formentelli organ in San Domenico Church (Rieti, Italy)

Filippo Tigli la marsigliese.avi

Filippo Tigli Improv in stile ottocentesco su tema di Smetana

Filippo Tigli impr su tema di J S Bach BWV1060

Grote Sint-Michaëlskerk Zwolle 1721 Schnitger Organ

2010-09-09T09:26:00.000-04:00

Builders Frans Caspar and Johann Georg Schnitger
Completed 30 September 1721

HISTORY

The first organ

The first indication of the presence of an organ in Great or St. Michael’s Church is from 1505. It is not clear who 'Johan meister' (master Johan) was, who was responsible for that instrument. He could have been any of the following: Johan at Damme; Johan Jacobsz. of Bilstein, Jan Graurock or Jan van Covelens.
The organ had three manuals with Pedal: a Blokwerk (no separate stops; 32-34 ranks) playable as the Hoofdwerk (main manual; 24-foot); a Bovenwerk (upper manual) with 4 or 5 stops and a Rugpositief (back positive) with four voices.
In 1641 it was felt the time had come to modernise the organ. The organ builder Jan Morlet III from Arnhem was instructed to provide a scheme for the conversion. He found an inventive way to make the lowest two ranks from the Blokwerk independent and playable on the pedals. The Blokwerk was left as it had been. The work was completed in 1643.

Johann Sebastian Bach (1685-1750) Passacaglia et thema fugatum in C minor BWV 582
1. Passacaglia

Wouter van den Broek at the Schnitger organ of the Michaelskerk in Zwolle

Johann Sebastian Bach (1685-1750) Passacaglia et thema fugatum in C minor BWV 582
2. Thema fugatum

Wouter van den Broek at the Schnitger organ of the Michaelskerk in Zwolle

When the tower collapsed in 1682 the old organ was damaged irreparably. There was evidently no money available for the repair and rebuilding of the organ nor for the construction of a new organ, because the instrument was dismantled and put into storage in anticipation of better times.
The church was thus deprived of a main organ for many years, until in 1718 Bernard Huet, a Zwolle burgomaster and doctor, made a generous donation for the construction of a new organ. His brother Thomas then added a further contribution for the organ.

Got in der Hohe sei Ehr performed by Klaas Jan Mulder

Schnitger

Contact was made with Arp Schnitger through a Zwolle merchant, who invited him to visit Zwolle, and on the advice of the Amsterdam organist and carrillonneur, Evert Haverkamp, he was the one chosen, on 23 December 1718, to build a new organ in the Great Church. After drawing up a draft contract, Arp Schnitger travelled back to Hamburg. Later on his son Frans Caspar Schnitger agreed to some additions to this scheme, and a contract was signed on January 3rd, 1719.

The sum of f 11.000 was assigned to build the instrument, excluding the case. Schnitger was to build an organ with 46 voices — using a portion of the old pipe material — consisting of a Ober (Over) Manual (16-foot), Unter (Under) Manual (8-foot), Rückpositiv (8-foot) and a Pedal (16-foot). All the necessary stone, wood and iron was to be supplied by the city. Workspace was made available in the Church of Our Lady (Onze Lieve Vrouwekerk) for the casting of the new pipes and in April 1719 Arp’s sons Frans Caspar and Johann Georg began the building. Their father, Arp, did not live to see the completed instrument as he died in his hometown, Neuenfelde, where he was buried on July 28, 1719, at the age of 71.

Dietrich Buxtehude - Komm, Heiliger Geist, Herre Gott
Dick Sanderman - Schnitger Organ Zwolle

The final version of the contract was made on 30 april 1720 in order to enlarge the instrument with one more manual — a Borstwerk (Breast division) with 11 stops. The organ was built with a total of 63 stops, according to the ‘Werkenprinzip’, meaning that each werk or division is equally balanced and completely independent.

In September 1721 the organ was inspected by three renowned organists from that time, namely, Evert Havercamp, Nicholas Woordhouder and Aeneas Egbertus Veldcamps. Their report was full of praise for the work of the North German organ builder, but it also included some critical observations and even suggested a few modifications. The Schnitger brothers took no notice of these criticisms. The organ remained unchanged.

The organ case

The case of the organ is also very impressive, both in its design and for its baroque style onamentation.

Maintenance and modifications

Over the centuries the organ was regularly maintained, but it was subject to changes in fashion and at certain times some rather far reaching alterations were made.

Flentrop

After the Second World War it became obvious that a major restoration was necessary. The organ was entrusted to the care of Flentrop, the organ builder from Zaandam, and during 1953-1955 it was restored as far as was possible back to its original state.

Recent maintenance and restoration

During the major cleaning operation in 2000-2001 it was seen that this splendid instrument still had many years of life left of first rate performance, but work would be needed to improve its condition. A scheme of work to restore the organ back to its best began in 2007, the work being implemented in phases

Fantasie en Toccata on Hymn 432 Wat God doet dat is welgedaan by Klaas Jan Mulder

Disposition
Schnitger-organ Grote or Sint-Michaëlskerk

Hoofdwerk

Praestant 16'
Quintadena 16'
Octaaf 8'
Roerfluit 8'
Octaaf 4'
Speelfluit 4'
Nasaard 3'
Octaaf 2'
Ruispijp II st
Mixtuur VI st
Cimbel III st
Trompet 16'
Trompet 8'
Vox Humana 8'

Bovenpositief

Praestant 8'
Holpijp 8'
Quinta 6'
Octaaf 4'
Holpijp 4'
Quint 3'
Octaaf 2'
Woudfluit 2'
Sifflet 1 1/2'
Tertiaan II st
Scherp V st
Viola di Gamba 8'
Trompet 4'

Rugwerk

Praestant 8'
Quintadena 8'
Flûte douce 8'
Octaaf 4'
Fluit 4'
Quintfluit 3'
Octaaf 2'
Sexquialter II
Scherp IV
Cimbel III
Fagot 16'
Schalmey 8'

Borstwerk

Fluit gedekt 8'
Praestant 4'
Roerfluit 4'
Spitsfluit 3'
Octaaf 2'
Woudfluit 2'
Quintanus 1 1/2'
Nachthoorn 1'
Sexquialter II st
Mixtuur IV st
Dulciaan 8'
Regaal 8'

Pedaal

Praestant 16'
Subbas 16'
Octaaf 8'
Holpijp 8'
Octaaf 4'
Vlakfluit 2'
Mixtuur VIII st
Fagot 32'
Bazuin 16'
Trompet 8'
Trompet 4'
Cornet 2'

Couplers

Hoofdwerk-Rugw.
Hoofdwerk-Bovenpos.
Hoofdwerk-Borstwerk
Bovenpos.-Borstwerk (sliding coupler)
Pedaal-Hoofdwerk

6 afsluiters

12 spaanbalgen, waarvan 4 in werking

Tremulant HW-BP-BW
Tremulant RW

Postludium by Marius Monnikendam performed by Feike Asma

Organs Of the St. Laurens, Rotterdam, Holland. Four Organs

2010-07-24T09:57:00.002-04:00

click picture to enlarge
St. Laurens Church in Rotterdam was completed in 1525, and only the walls and tower remained after a German air raid in 1940. The church was rebuilt 1947-1968.

The church has four organs:

click picture to enlarge
the Chapel organ,

Choir organ*, (on lh side of choir, click picture to enlarge)

click picture to enlarge
Transept organ* 3 manuals, 44 ranks.

and the main organ*:
click picture to enlarge
the Hoofd Orgel* (1973) of 85 stops and 7600 pipes. It is the largest organ in the Netherlands.

Improvistation psalm 54 Marcussen & Søn organ of the St. Laurens in Rotterdam. The biggest organ of the Netherlands and also the biggest full mechanical organ in Europe

Improvisatie over gezang 380 Lvk laurenskerk Rotterdam Mei 2008

Three* new mechanical (tracker) organs were built by Danish builders Marcussen & Son and by Sybrand and Jürgen Zachariassen.
Entering Grote Kerk or St Laurenskerk by the main doorway under the tower, visitors are struck by the lightness and beauty of the interior. In the reconstruction most of the windows were glazed with brightly colored glass. The church is a cruciform basilica in the Late Gothic style of the Netherlands, with high, wide aisles and painted wooden barrel vaulting.

The principal organ stands on a marble base on the inside wall of the tower. There is another organ in the south transept and a smaller organ on the north side of the choir.

click picture to enlarge

click picture to enlarge
YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.
Improvisation Organ Laurenskerk Rotterdam, Netherlands
André de Jager - Toccata from Suite Gothique (L. Boellmann)
Feike Asma - Fantasie over de Avondzang
Widor - Symphony Gotique (played by Feike Asma)
Feike Asma plays Jan Zwart (organ)
vers 10 en 16
, Laurenskerk te Rotterdam Wim Velthoven
psalm 42
Organ improvisation
Organ Laurenskerk Rotterdam, Netherlands YouTube - Improv
YouTube - The Holy City psalm 42
Laurenskerk Rotterdam - Stanley - Trumpet Vol. (J.Garbacz)
Laurenskerk Rotterdam - Bach - Fuga a (fragm.) - J.Garbacz
Vierne Choral
Fuga g moll Bach
Four hand organ improvisation Mike Garson&Willem Tanke
Things to come-Willem Tanke, organ
Queen of the sky - Willem Tanke organ
Visions - Willem Tanke. organ
Tu Es Petra/ Solo for the pedals-Willem Tanke,organ
The Word-Olivier Messiaen/Willem Tanke, organ
The Eyes in the Wheels-Olivier Messiaen/Willem Tanke, organ
Entrée/Olivier Messiaen/WillemTanke/counting version
combat de la mort et de la vie pt 2, Messiaen
Marco den Toom - Laurenskerk Rotterdam, TOCCATA CALLAERTS
Improvisatie gezang 380 LVK
Martin Mans 'De Slag bij Waterloo'
Martin Mans 'Rondo in G'
Martin Mans
Improvisation Holy, Holy, Holy You Tube

DISPOSITION

Hoofdwerk: (C-g3)

Prestant 16
Octaaf 8
Open fluit 8
Quint 5 1/3
Octaaf 4
Spitsfluit 4
Octaaf 2
Mixtuur 8-10 st.
Scherp 6-8 st.
Ruispijp 3-4 st.
Cornet 5 st. (a0)
Trompet 16
Trompet 8

Rugwerk: (C-g3)

Quintadeen 16
Prestant 8
Holpijp 8
Quintadeen 8
Octaaf 4
Roerfluit 4
Quint 2 2/3
Octaaf 2
Woudfluit 2

Sifflet 1 1/3

Mixtuur 6-8 st.
Scherp 4-6 st.
Sesquialter 2-4 st.
Dulciaan 16
Trompet 8
Kromhoorn 8
Tremulant

Zwelwerk: (C-g3)

Gedekt 16
Prestant 8
Baarpijp 8
Roerfluit 8
Viola di Gamba 8
Viola di Gamba 8 (zwevend)
Octaaf 4
Open fluit 4
Terts 3 1/5
Roerquint 2 2/3
Nachthoorn 2
Terts 1 3/5
Mixtuur 5-7 st.
Cimbel 3 st.
Bombarde 16
Trompette 8
Voix humaine 8
Clairon 4
Tremulant

Borstwerk: (C-g3)

Gedekt 8
Prestant 4
Blokfluit 4
Nasard 2 2/3
Octaaf 2
Gedekte fluit 2
Octaaf 1
Scherp 4-5 st.
Tertiaan 2 st.
Regaal 16
Kromhoorn 8
Regaal 8
Tremulant

Chamadewerk:

Trompeta magna 16 D
Trompeta brillante 8 B/D
Trompeta de batalla 8 B/D
Orlos 8 B/D
Clarin fuerte 4 B/D
Clarin 2 B

Pedaal: (C-f1)

Prestant 32
Octaaf 16
Open Subbas 16
Gedekte Quint 10 2/3
Octaaf 8
Gemshoorn 8
Roerquint 5 1/3
Octaaf 4
Koppelfluit 4
Nachthoorn 2
Dwarsfluit 1
Mixtuur 10 st.
Ruispijp 5 st.
Cornet 3 st.
Bazuin 32
Bazuin 16
Fagot 16
Trompet 8
Trompet 4
Zink 2

TRANSEPT ORGAN

HISTORY

At the start of the reconstruction of the transept of the church, the possibility of placing an organ in this space is considered. One of the advisors, Dr. Vente was aware of the presence of an organ case of the Bartholomew Church in Schoonhoven in the furniture factory of van den Ende there. This beautiful organ case was an excellent housing for the new transept organ, because of its size and antiquity. The case corresponds to the organ that is depicted in the painting of Lorne (1657).

Left was the question whether such a small case could house a large 44 rank organ. Together with the company Marcussen & Søn of Aabenraa, Denmark, who were to build the organ, a plan was developed. It was necessary to add a Rugpositief to the existing organ case and in a niche in the wall behind the organ, use space to place the subbas 16 '. Also the pedaal and hoofdwerk chests were combined to save space.
Thanks to an extremely compact construction, the present transept organ was created.
The case for the rugpositief was made by cabinet maker Van den Ende from period wood, to match the remainder of the case.

The transept organ enjoys international renown for its beautiful voicing. It is regarded as the last work of Sybrand Zachariassen, which is voiced by himself. It is interesting to mention that the intonation has remained the same since 1959, the year the organ was completed, although since then the choir and the main nave have been restored and added to the transept, hugely increasing the size of the room. The sound has become more beautiful in the enlarged area, which is evidence of the foresight and genius of Sybrand Zachariassen.

The organ was a gift from the German cities of Hamburg, Bremen, Cologne, Düsseldorf and Duisburg at the instigation of the Rotary of West Germany. Under the rugpositief you will find the coats of arms of the cities of Hamburg, Bremen, Cologne, Düsseldorf and Duisburg.

DISPOSITION

Hoofdwerk

Prestant 8’
Roerfluit 8’
Octaaf 4’
Spitsfluit 4’
Octaaf 2’
Mixtuur 5-7-st
Cymbel 8’
Trompet 8'

Rugwerk

Holpijp 8’
Prestant 4’
Roerfluit 4’
Woudfluit 2’
Quint 1 1/3’
Sexquialter 2-st
Scherp 4-st
Dulciaan 8’

Borstwerk

Gedekt 8’
Quintadena 4’
Koppelfluit 4’
Prestant 2’
Blokfluit 2’
Sifflet 1’
Cymbel 2-st
Regaal 16’

Pedaal

Spitsgedekt 16’
Prestant 8’ transm
Spitsgedekt 8’ transm
Octaaf 4’
Mixtuur 6-st
Fagot 16’
Schalmei 4’

Manuaalkoppels
HW+ RW
HW+ BW

Pedaalkoppels
Ped+ HW
Ped+ RW
Ped+ BW

Tremulanten op het Rugwerk en het Borstwerk.
Tractuur: Mechanisch.

CHOIR ORGAN

DISPOSITION

manual
Gedekt 8’
Quintadeen 8’
Prestant 4’
Roerfluit 4’
Octaaf 2’
Fluit gedekt 2’
Mixtuur 4-st
Dulciaan 8’
Tremulant

Tractuur: Mechanisch
Pedaal : Aangehangen.
Koppelingen: Pedaalkoppel

CHAPEL ORGAN

DISPOSITION

Holpijp 8’ B/D
Roerfluit 4’B/D
Prestant 2’
Sifflet 1’
Sexquialter 2-st.

THE PRE-WAR ORGAN BELOW

HET ORGEL IN DE GROOTE OF ST. LAURENSKERK TE ROTTERDAM.

Rotterdam, 1885

Het orgel bezit bijna 5000 pijpen. Het heeft 49 Labiaalstemmen, 9 Vulstemmen en 14 tong werken.

Rotterdam bezit vele merkwaardigheden op allerlei gebied. Voor
den vreemdeling trekt onder meer ook de Groote of St. Laurenskerk
de aandacht.

Dit gebouw wordt dan ook zeer veel bezocht en is voorzeker
een bezoek overwaard. Eenige jaren geleden is het met groote kosten
weer tot zijn vroegeren staat teruggebracht ; het fraaie koor met zijne
antieke banken, marmeren ingang en koperen hek, wekt algemeen
bewondering ; de reusachtige pilaren, ontdaan van de kalklagen, des-
tijds er opgebracht, de geschilderde glazen en dan, hetgeen wel het
voornaamste zal zijn, het prachtige oxaal en het heerlijk orgel dat
daarop rust.

Dit instrument, het grootste van ons land en een der grootsten
zelfs van Europa, verdient wel meerdere bekendheid en eene eenig-
zins uitvoerige beschrijving.

In een oud werk van J. Hess , Organist en Klokkenist te Gouda,
en in 1772 aldaar uitgegeven, staat de dispositie van het orgel,
waarvoor dit in de plaats gekomen is, aldus opgegeven :

Het orgel in de Groote Kerk te Rotterdam met drie Hand-
clavieren en een vrij Pedaal, heeft 44 stemmen.

THE EARLIER ORGAN BELOW

ONDER-MANUAAL.
9 Stemmen.
BOVEN-MANUAAL.
15 Stemmen.
RUGPOSITIEF.
15 Stemmen.
PEDAAL.
5 Stemmen.

Dit werk was dus lang niet gering te schatten, wat overvloed
van stemmen betrof.

In 1792 is men begonnen een nieuw orgel daar te stellen ; de
orgelmaker aan wien dit toevertrouwd was, moet echter niet be-
kwaam genoeg geweest zijn, want toen in 1798 het rugpositief
alleen af was, bleek het zoo slecht gewerkt te zijn, dat men den
orgelmaker noodzaakte het werk af te staan aan H. H. Freytag te
Jroningen. Die bekwame man overleed echter kort na de overgave
en daarna bleef de zaak hangende tot 1821, toen de Heeren
A. Meere & Zoon uit Utrecht de moeilijke taak op zich namen,
het reeds gemaakte verbeterden en in 1828 het werk met drie
klavieren en vrij pedaal afleverden. Toen reeds was het een schoon
instrument geworden dat zich gerust met anderen meten kon; maar
nadat in 1845 de beroemde firma Batz & Co. er nog een klavier
bij vervaardigd hadden (het zoogenaamde echowerk) en het overige
gedeelte vergroot en zóo noodig verbeterd, is het prachtige werk
van dien tijd af als geheel voltooid te beschouwen.

Het Kerkbestuur heeft steeds zorgvuldig er voor gewaakt dat
het werk in goeden staat bleef en er, zoo noodig, geen kosten voor
ontzien.

De ingang voor het orgel is de groote torendeur, waarna men
langs een breede trap van 32 treden het orgel bereikt. Ook van
uit de kerk leiden twee groote deuren onder het oxaal naar het
orgel. Op den achtergrond zijn 16 treden voor de blaasbalgen die
het werk van de noodigen wind moeten voorzien. Vier, minstens
drie man zijn daarvóór benoodigd. Links is een vertrek ten gebruike
der balgentreders , rechts eene nette kamer voor den organist. Kasten
en verdere gemakken bevinden zich eveneens aldaar. Rechts door-
gaande komt men op het eigenlijke orgel, waartoe twee enorm
zware en dikke deuren toegang verleenen. Het is voor een Organist
een waar genot zulk een kolossaal werk te zien en te bespelen.
Vier klavieren (manualen) boven elkander, bijna 4 octaaf, loopende
van C— F, en een pedaal van bijna 2 octaaf, eveneens van C— F.

Alles speelt tamelijk licht, en zelfs wanneer men èn het pedaal
èn de klavieren te zamen koppelen, kan een geoefend speler er
betrekkelijk gemakkelijk op voortkomen.

Aan weerszijden treft men 45 registerknoppen aan, het Werk
heeft 90 registers, waarvan 72 sprekende stemmen.

Wanneer de Organist voor zijn instrument zich plaatst, heeft
hij het positief achter zich. Niettegenstaande het rugwerk het eerst
vervaardigd is, bevindt het positief zich nog in een zeer goeden
staat, hetgeen wel voor een groot gedeelte te danken is aan de
firma Batz & Co., aan wien de jaarlijksche stemming en het onder-
houd van het orgel steeds is opgedragen.

De beste stemmen van het rugwerk zijn : Fluit Dolce 8 voet,
Fluit Travers (discant) 8 voet. Bourdon 16 voet. Trompet 8 voet,
Cornet 6 sterk, de eigenaardige klank der Hobo 8 voet, en het
onderste gedeelte der Fagot 16 voet. Verscheidene deuren maken
den toegang tot het pijpwerk gemakkelijk.

Achter de klavieren op het portaal vindt men de deur No. I,
waarin het regeerwerk der drie bovenste manualen, van het pedaal
en registers zich bevindt. Het regeerwerk van het rugpositief gaat
natuurlijk onder den vloer van het orgel door naar de windlade van
het rugwerk.

Om het pijpwerk van hoofdmanuaal en pedaal te bereiken, moet
men een 28 treden hooge trap beklimmen, in het midden afgesloten
door een deur, waarbij weder toegang tot het regeerwerk, waarna
men door deur No. II de C-lade der Bazuin 32 voet, No. IV
de Cis-lade der Bazuin 32 voet, en door middel van deur No. III
het pijpwerk van hoofdmanuaal en pedaal bereikt. Alles is zoo
geplaatst dat de verschillende pijpen goed te bereiken zijn.

De 16 en 8 voets labiaalstemmen van het hoofdklavier klinken
bijzonder fraai, het geluid der 8 voeten is sterk en liefelijk, der
16 voeten deftig en vullend. Ook de andere stemmen zijn zonder
onderscheid zeer goed van geluid. Trompet 16, Dulciaan 16 en
Trompet 8 voet zijn heerlijke tongwerken. Hun geluid is, zou haast
kunnen gezegd worden, onverbeterlijk. Het onderste octaaf der
Trompet 16 voet, is van hout

De reusachtige pijpen der Prestant 32 voet , in het front staande,
moeten wel terstond ieders aandacht trekken. De grootste dier
pijpen weegt 500 pond. Het is daarom wel te verklaren dat de
geheele kast waarop het pijpwerk rust van het zwaarste hout, zoo
dik en soliede mogelijk vervaardigd is. De Subbas 32 voet (even
als Prestant 32) in het pedaal heeft niet minder kolossale pijpen;
deze zijn echter van hout. De groote C is 10 Meter lang. Bazuin
32 voet doet in lengte en zwaarte voor de twee andere 32 voeten
niet onder. Deze stem (van Engelsch Tin) even als Prestant en Subbas
32 voet, op tijd gebruikt, maakt een overweldigende indruk. Het
geluid der Bazuin 16 voet, is zeldzaam schoon en kernachtig vol;
ook de andere stemmen van het pedaal, vooral de drie 16 voets
Labiaalstemmen klinken zeer goed. Trompet 4 en 2 - voet onder-
scheiden zich door vlugge aanspraak en helder geluid.

Om het derde klavier van binnen te zien, moet men weer
hooger klimmen. Eerst 18 treden en men komt aan deur No. V,
de kast waarin het regeerwerk voor het derde en vierde klavier
zich bevindt, alsmede de bovenste gedeelten der 32 voets pijpen;
daarna verleent deur No. VI toegang langs een 13 treden hooge
trap aan het derde klavier-pijpwerk, afgesloten door deur No. VII;
aan weerszijden van de kast ziet men de toppen der 32 voets pijpen.

Heerlijke stemmen vindt men op het derde klavier. In de
eerste plaats een Vox-Humana 8 voet, die zeer schoon is en in de
kerk een prachtig effect maakt, de Schalmei 8 voet, Viola di Gamba
8 voet, Quintadeen 16 voet, Prestant en Holpijp 8 voet, allen fraai
van geluid en een goede uitwerking doende in de kerk ; octaaf 4
en 2 voet zijn zeer helder, Openfluit 4 voet, zeer geschikt voor Solo,
en het Carillon, schoon pijpwerk zijnde, bootst het klokkenspel be-
driegelijk na. Nog 18 treden hooger en men staat voor de kast
(deur No. VIII) waarin zich het prachtig Echowerk bevindt.

Dit werk staat bijna aan den zolder der kerk en is bijna geheel
ingesloten door een dichten houten kast. De verschillende geluiden
die men er aantreft zijn heerlijk. Viola di Gamba, Bourdon, Sali-
cionaal of Holpijp 8 voet, allen klinken zeldzaam schoon en de Vox
Angelica spant hierin wel de kroon. Het geheele Echowerk maakt
een heerlijk effect. Dit orgel is ook het eenige in ons land dat in
het bezit is van een zoodanig Echowerk.

Het geheele werk maakt op den toehoorder een indruk die
niet spoedig verloren gaat, en wanneer één orgel in ons land ge-
schikt is om bij den toehoorder de meest verschillende gewaarwor-
dingen op te wekken, dan is het voorwaar wel het orgel der
Groote of St. Laurenskerk te Rotterdam.

Het orgel bezit bijna 5000 pijpen. Het heeft 49 Labiaalstemmen,
9 Vulstemmen en 14 tong werken.

De Prestanten en Bazuinen zijn allen van zuiver Engelsch Tin.
Het orgel heeft ongeveer ƒ 120.000, het oxaal daarenboven ƒ 90.000
gekost.

Het front maakt een zeer grootschen indruk en het beeld-
houwwerk wordt door kenners zeer geroemd. De groote Engel,
met een bazuin in de hand , die het kunstwerk bekroont , is
5 Meter hoog.

Het oxaal waarop het orgel rust verdient niet minder bewondering;
het bestaat uit 12 marmeren pilaren waarachter weder wit mar-
meren pilasters staan ; onder het orgel bevinden zich nog aan weers-
zijden marmeren borden met de namen der Kerkmeesteren, die het
orgel lieten bouwen ; in 't Nederlandsch en in 't Latijn. Alles is
met hekwerk afgesloten.

Dat èn oxaal (de marmeren pilaren toch zijn uit Italië naar
Rotterdam vervoerd) èn orgel schatten gekost hebben, en steeds
kostbaar zijn wat onderhoud betreft, zal ieder licht begrijpen. Ge-
lukkig dat H.H. Kerkvoogden er niet voor terugdeinzen, wanneer
het noodig is, reparaties aan een en ander te laten geschieden.
In 1885 (October) wordt het geheele werk uit elkaar genomen,
schoongemaakt en zoo noodig verbeterd door de firma Bütz & Co.
De dispositie zal echter dezelfde blijven.

M. H. VAN 'T KRUIJS.
Rotterdam, Januari 1885.

VERZAMELING VAN Disposities van verschillende Orgels
IN NEDERLAND, BENEVENS EENE KORTE BESCHRIJVING VAN HET ORGEL
IN DE Groote Kerk te Rotterdam DOOR M. H. VAN 'T KRÜIJS,
Organist der Groote of St. Laurenskerk te ROTTERDAM.

Rotterdam, 1885

VOORREDE.

Steeds vond ik een eigenaardig genoegen in het
zien en bespelen van voor mij vreemde orgels, en reeds
sedert eenige jaren verzamelde ik voor mijzelf de
disposities der orgels van eenigen omvang. Het was
mij natuurlijk slechts doenlijk een betrekkelijk klein
getal orgels te zien, en daardoor had mijne eigene
verzameling alleen voor mij waarde. Eenigen tijd
geleden echter trof ik den Uitgever dezes, en die,
zelf organist zijnde, had reeds eenigen tijd geleden het
plan opgevat een dusdanig werkje het licht te doen
zien. Ziedaar in een paar woorden de aanleiding tot
de uitgave van dit boek. Ik stond den Uitgever
gaarne ter zijde, heb de verschillende disposities ge-
rangschikt, mijne eigene verzameling er bij ingelascht
en eene korte beschrijving van het orgel, dat ik thans
bespeel, er aan toegevoegd.

Dat dit werk zeer onvolledig is, ik zal de eerste
zijn die het beken; dat er in de verschillende opgaven
fouten geslopen zijn, kan ik evenzeer terstond melden,
immers verscheidene door mij ontvangen opgaven
waren zoo onduidelijk gesteld, dat het mij slechts met veel
moeite gelukken kon, uit een en ander wijs te worden^

In de eerste plaats wil ik thans langs dezen
weg mijn oprechten dank betuigen aan hen, die mij
blijken van sympathie gaven bij het vernemen van
deze uitgave.

Hoewel ik vrees dat het werk hun te onvolledig
zal toeschijnen, moet ik verklaren dat het ondoenlijk
was zonder te hooge kosten te maken, meer disposities
te verkrijgen. In de tweede plaats dank ik Heeren
Organisten die terstond bereidwillig waren mij de
opgave toe te zenden.

Steeds zal het mij welkom zijn op- of aanmer-
kingen te ontvangen, die zullen dan ter harte geno-
men worden in geval er eene tweede druk noodig
mocht zijn.

Ik heb de disposities naar de grootte gerang-
schikt en de mij toegezondenen, groot en klein zonder
onderscheid, hierin opgenomen. Van kritiek over een
en ander onthield ik mij ; de ervaren orgelkenner zal
terstond kunnen zien welke disposities al of niet goed
gesteld zijn. Enkele aanmerkingen door Organisten bij
de opgave gevoegd, liet ik onveranderd.

Of dit werkje eenig nut zal stichten? Ik zou
het gaarne wenschen. In elk geval meen ik niet te
veel te zeggen , wanneer ik hoop dat menig Organist
deze uitgave niet onwelkom zal wezen , en dat het
ook het zijne (als is 't nog zoo weinig) er toe moge
bijdragen tot die kennis, die ieder degelijk Organist
van zijn instrument moet bezitten.

De orgeldisposities waarbij de namen der Orga-
nisten staan, heb ik bijna allen van genoemde Heeren
persoonlijk ontvangen. Anderen daarentegen, waarbij
de Organist niet vermeld wordt, nam ik over uit
Seidel's „Het Orgel en deszelfs samenstel," vertaald door
Meijer (Groningen 1845) of uit mijne eigene verza-
meling; diegene welke ik niet meer nauwkeurig wist
of mondeling ontving, heb ik van een f voorzien.

Achter het werk is een bladwijzer gevoegd. Het
woord discant achter cornet liet ik als overtollig weg.
Dat ik van het grootste orgel van Nederland eene
kleine beschrijving gaf, zal mij niemand ten kwade
duiden, hoop ik; het uitmuntende werk verdient wel
eenige meerdere bekendheid dan het tot dusver te
beurt viel.

M. H. VAN 'T KRUIJS.
Rotterdam, Januari 1885.

TOtLICHTING BIJ DE HERDRUK

Manus Hendrik van 't Kruys (1861-1919) behoort tot de negentiende-eeuwse organisten- generatie, die zich in de Nederlandse orgelgeschiedenis een blijvende plaats heeft verworven.
Na zijn studies aan de Koninklijke Muziekschool te 's-Gravenhage — o.a. bij W. F. G. Nicolaï — te hebben voltooid, werd Van 't Kruys in 1884 tot organist aan de Grote- of St. Laurenskerk te Rotterdam benoemd, als opvolger van Samuel de Lange Sr. Het vergelijkend examen werd afgenomen door Richard Hol, W. F. G. Nicolaï en L. F. Brandts Buys.
In 1897 vertrok Van 't Kruys naar Groningen, waar hij tot 1905 als "Directeur van de Muziekschool, het Orkest en de Zangvereeniging" werkzaam was; de organist Hendrik de Vries werd tot zijn opvolger in Rotterdam benoemd.

Tot de collegae-tijdgenoten, die door de vermaardheid van hun spel of door publicaties op de voorgrond zijn getreden, behoren o.a. J. Worp, H. P. Steenhuis, J. B. C. de Pauw, Joh. Wagenaar, Willem Petri, Wülem de Vries en Jan Zwart. Ook de publicist en orgel- historicus J. W. Enschedé was een tijdgenoot van Van 't Kruys.

Als componist (koor- en orgelwerken, opera's, symfonieën en kamermuziek) is Van 't Kruys vrijwel onbekend gebleven. Zijn betekenis voor het Nederlandse muziekleven ligt voornamelijk in hetgeen hij op orgel-organisatorisch terrein tot stand heeft gebracht en wel gedurende zijn Rotterdamse ambtsperiode. Verschenen de "Disposities" in 1885, in 1886 volgde de uitgave van het tijdschrift "Het Orgel", sinds 1904 het maandblad van de Nederlandse Organisten Vereniging (N.O.V.) Het initiatief tot de oprichting van de N.O.V. werd in 1889 genomen door Jos. A. Verheijen, J. B. Litzau, M. Boltes en Van 't Kruys, die eveneens deel uitmaakte van het voorlopige bestuur, dat in 1890 werd gekozen.
De dispositieverzameling van Van 't Kruys is te beschouwen als een poging het Nederlandse orgelbezit te inventariseren; de uitgave hiervan sloot een periode af van ruim honderd jaar, waarin belangrijke dispositieverzamelingen het licht zagen of in handschrift bewaard gebleven zijn, b.v. Hess 1774 (heruitgave 1945»), Knock 1788 (heruitgave 1959), Hess 1907 (naar het handschrift van phn. 1815), G. W. Lohman plm. 1830 (handschrift*),
Meijer 1845 en het handschrift van G. W. Broekhuyzen.

Om de aktualiteit van dit werk te verhogen, werd in de "Bladwijzer" (pag. 169-174) een codering aangebracht (zie pag. 175); de tekst van de disposities, de voorrede en het orgelhistorisch overzicht bleef ongewijzigd. De weinig fraaie afbeelding van het orgel in de Grote- of St. Laurenskerk te Rotterdam is komen te vervallen.

AMSTERDAM, ZOMER 1962 HERM. S. J. ZANDT

1. ƒ. H. Besselaar, Het Orgel in de Groote Kerk te Rotterdam, Rotterdam, 1931, pag. 19 en 23.

2. Gedenkboek van het Congres der N.O.V. gehouden 3-5 September 1931 te Amsterdam t.g.v. haar veertig-jarig bestaan. Steenwijk, 1932, pag. 181 ev.

3. Herm. S. J. Zandt, Joachim Hess, "Kunstrijk en beroemd Orgel- en Klokken-Speeler" en zijn broer, de orgelmaker Hendrik Hermanus, in "Het Orgel", 58e jaargang na. 1 jan. 1962, pag. 1-10. ,

4. Dr. Gustav Fock, Een tweetal aanvullingen op Hess' Dispositiën uit 1774, in Het Orgel", lubileumnummer J890-V'>6n. pag. 47-61.

Waltershausen 1741 Trost Organ Germany

2010-07-17T16:36:00.000-04:00

HISTORY

After building a big, splendid baroque-styled round church, it was natural to complete it with an adequate organ, and Heinrich Gottfried Trost (1681-1759) received the contract, although the city fathers initially favoured another master. The Court Architect of the Duchy, Johann Eberhardt Strasburger, was brought to Waltershausen to define the architectural shape of the organ case. The well known organ expert of the time, Jacob Aldung, wrote about this organ: « The town has obtained the materials. The work is very beautiful… ».

On another page is written that Trost, after spending 20 years making the organ in Waltershausen, probably left it unfinished and left the city fathers annoyed as well. Various reasons for this can be suggested: poor scheduling of his workshop operations, financial problems, etc. On the other hand, the maintenance and care work required by the Duke in connection with his privilege as court organ maker, which Trost had to give priority to, hindered the punctual completion of new works. Thus he became hopelessly indebted. The disputes in Waltershausen during the building process peaked to such a level that one of his tradesmen exaggeratedly said: « Trost is cheating the city fathers. One should place him under arrest and hang him on the gallows ».

Trost’s first design for the organ in Waltershausen is dated February 8, 1722. The dedication of the completed organ is not precisely documented; it was probably in May 1741. Furthermore, it is not clear whether Trost or another organ maker completed the work. The presence of Trost in Waltershausen is documented for the last time in the year 1730 although it is unthinkable that the organ was finished by this date. These historical facts seem very strange when one considers what a significant organ project is involved. In the case of similarly placed organ, such as Zacharias Hildebrandt’s organ in the St. Wenzelskirche in Namburg (also a city organ project), there was a crowning completion ceremony with famous examiners (such as Bach and Silbermann) and an opulent feast of organ music. No report of anything of this kind has been handed down to us about Waltershausen.

J.S.Bach Toccata, Adagio & Fugue in C dur - Toccata

J.S.Bach Toccata, Adagio & Fugue in C dur- Fugue

Why is this organ in Waltershausen nevertheless famous? Regarding this we should cite first of all Trost’s outstanding concept. Although the organ was made in the first third of the 18th century, it nevertheless has all the traits and delicateness of the gallant style. Trost enriched the organ making of his time enormously with new instrumental features which are also to be found in this organ. Furthermore, it has all of the features that marked organ building in Thuringia at this time: emphasis of the fundamental tonality and at the same time of solemnity, a great supply of labial eight foot voices in the manuals, transmission stops from the great organ to the pedals, mixtures with thirds, unusual stop designs such as Unda maris and Doppelflöte. It also has, however, typical long-established voices such as one expects to find in Thuringia: Violonbass, Viola di gamba, Flaute douce, Sesquialter, Cymbelstern. Naturally the sonorous lingual voices are there too, as Adling especially emphasised: « The work is very beautiful, especially the reeds pipes. » In general, Trost placed high value on the interior and exterior beauty of his organs as an expression of the aesthetics of the Age of Enlightenment.

This can be experienced in Waltershausen if one not only looks at the magnificent organ case, of which the beauty is unfortunately obscured by columns in front of it, but also by discovering the interior of the organ. There one finds, for example, turned supports of the framework or the wonderfully shaped wooden pipes.

Organ music and organ playing were determining elements of the Lutheran liturgically influenced church services in Thuringia. The organ did not just have a high place high up above the pulpit and altar as an embodiment of heavenly music. It was also an active partner in the verbal profession of faith. Aside from its soloistic and choir accompanying functions, it played an important role in florid music and ensemble music with other instruments. This practice received special attention in Thuringia, even in the smallest towns. The Trost organ is especially suitable for the performance of music in the gallant style because of its beautiful flute stops and the enormous variability of the individual voices. Furthermore, this type of Trost organ was definitely highly regarded by Johann Sebastian Bach.

Brief history summary

1722 Contract with Trost for a two manual organ
1723 Contract for a three manual organ and start of construction
1735 Departure of Trost from Waltershausen; the organ remains unfinished
1755 Completion of the organ by an unknown organ maker
1835 Repair by Knauff from Grosstabarz
1850 Gilding of the organ carvings donated by Johann Daniel Kestner
1853-55 Modification by Johann Michael Hesse from Dachwig
1896 New bellows by Hugo Böhm from Gotha
1958-59 Modification by Hermann-Eule Orgelbau from Bautzen
1994-98 Restoration by Orgelbau Waltershausen GmbH

DISPOSITION

II. Hauptwerk

1Portun-Untersatz 16'
1Gross Quintadena 16'
1Principal 8'
1Gemshorn 8'
1Viol d' Gambe 8'
1Portun 8' 1
1Quintadena 8'
1Unda maris 8'
1Octava 4' 2
1Salicional 4'
2Röht-Flöta 4'
1Celinder-Quinta 3'
1Super-Octava 2'
1Sesquialtera 2 2/3' II
2Mixtura 2' VIII
Fagott 16'
1Trompetta 8'

I. Brustwerk

1Gedackt 8'
1Nachthorn 8'
1Principal 4'
1Flöte douce II 4'
1Nachthorn 4'
1Gemshorn 4'
1Spitz-Quinta 3'
1Nassad-Quinta 3'
2Octava 2'
1Sesquialtera 2 2/3' II
2Mixtura 2' IV
2Hautbous 8'
Tremulant

III. Oberwerk

Flöte Dupla 8'
1Vagarr 8'
4Flöte travers 8'
1Lieblich Principal 4'
1Spitzflöte 4'
Gedackt-Quinta 3'
1Wald-Flöte 2'
1Hohl-Flöte 2'
Vox humana 8'
1Geigen-Principal 4'

Pedal

2Gross Principal 16'
1Sub-Bass 16'
1Violon-Bass 16'
1Octaven-Bass 8'
2Celinder-Quinta 6'
Posaunen-Bass 32'
1Posaunen-Bass 16'
1Trompetten-Bass 8'
3Quintadenen-Bass 16'
3Viol d' Gamben-Bass 8'
3Portun-Bass 8'
3Super-Octava 4'
3Rohr-Flöten-Bass 4'
3Mixtue-Bass VI

Legend:

1 original pipework
2 partially original pipework
3 by transmission
4 playing 4'

Other details:
o Cymbelsterne: 2 (C, G)
o Couplers:
by hooks: OW/BW, BW/P
shove coupler: BW/HW
by wind: HW/P Tremulant: HW, OW, BW
o o Modified meantone temperament: a=466.8 HZ @ 15o
o Wind Pressure: 69mm

BWV 565 J. S. Bach, Toccata and Fugue in d minor, Hans-Andre Stamm Organ

Organ St. Paul London

2010-07-14T09:16:00.000-04:00

The late Christopher Dearnley (1930-2000) playing Two Trumpet Tunes by Purcell, played in the glorious acoustics of St Paul's cathedral, London in 1967. This recording lets us hear the organ when it was still in the care of Henry Willis III, before it was subject to its major overhaul in the 1970s.

Christopher Dearnley plays Allegro Marziale by Frank Bridge. The last picture in the video shows a workman from Manders Organs standing in front of the Pedal 32' Bombarde which is mounted horizontally above the 32' Open Wood in the dome!

Christopher Dearnley playing a fanfare by Sir Arthur Bliss.

On 19 December 1694, a contract was signed with the eminent immigrant organ builder from Germany, Bernard Smith, to supply an organ for the new Cathedral of St Paul's which by then was completed up to the point where the East end of the building could be used. The agreed figure for the new organ was £2,000, at the time quite a substantial sum of money for an organ.

Queen Elizabeth II celebrated her Golden Jubilee in 2002, having acceded to the throne in 1952. The week of celebration culminated in a national service of thanksgiving at St. Paul's Cathedral.

It would appear that he was prepared, at his own expense, to increase the size of the instrument beyond that for which he was contracted. In particular, he wished to extend the key compass downwards to include manual pipes at 16ft pitch. Wren had however already designed the case into which the organ was to be built, and the extra space (which the enlarged compass required) led to the famous altercation between Wren and Smith, the former terming the organ a "confounded box of whistles".

The Smith organ was placed on a screen in the Quire as was usual at the time, with both an East and West front. The East facing front had a Chaire case, and the organ had three manuals, the third being a short compass Echo organ, possibly enclosed in a box, but not one that could be opened and closed, of course.

In spite of its modest size, being only 27 stops, it remained virtually unaltered until 1830 by which time it must have appeared very old fashioned. J C Bishop made several improvements at around this time but the lack of power displayed by the instrument must have become very apparent with the introduction in 1858 of the Sunday evening service, with its emphasis on congregational participation. This new service, together with the effects of the Tractarian movement, led to the re-siting of the organ in 1860 to a new home behind the stalls on the North side of the Quire.

The famous organ builder, Henry Willis, who had established himself with his organ for the Great Exhibition of 1851, carried out minor modifications in 1863 and then went on to build an essentially new instrument for the Cathedral in 1872. Some 200 pipes of the original Smith organ were retained, a handful of which remain in use to the present day. The original Wren case was sawn in half, modified, and placed against the pillars supporting the dome, where they remain. The organ then had four manuals.

Father Willis' organ employed the new and ingenious pneumatic action, a system which was to find rapid acceptance and use elsewhere. Clearly, the organ enhanced and confirmed Father Willis' reputation as the pre-eminent organ builder of his time, but he was keen to carry out further enlargements of the organ. In 1897 and 1900, significant additions were made to the organ. The entire Pedal Organ was moved up into the north-east quarter dome, leaving space behind the Choir Stalls for a new and more modest Pedal Organ together with an enlarged Solo division. Two additional Open Diapasons were added to the Great Organ, and a four-stop Altar Organ was built and placed on top of the Choir stalls one bay East of the Pedal and Solo. The tour de force must, however, have been the introduction of a family of Solo Tubas, placed in the quarter dome. None of this would have been possible without the use of electric action, pioneered by Father Willis at Canterbury Cathedral some years earlier.

In 1925 the instrument fell to the consequences of the discovery that the dome was in danger of collapse. The organ was dismantled and re-erected in the north nave aisle, with the Wren cases once more being modified. The organ was moved back to its usual home in 1930, together with the new console which had been built for it. By now the instrument had electric action throughout, and a few useful additions were made including enlargement of the modest Chancel Pedal section, a third 32ft stop in the pedal and the introduction of the "Willis" Trompette Militaire. This stop was in fact imported from America where it was a common feature in theatre organs.

During World War II, the organ was dismantled for safe keeping and stored in the Crypt under the North Transept, the very spot where an unexploded bomb came to rest, having crashed through both the roof and Cathedral floor. Significant damage resulted, but thankfully mostly restorable. Soon after the war the organ was re-instated. The astonishing effect of the Dome Tubas and Trompette Militaire had not gone unnoticed, and it was decided to try something similar with a dome chorus. A chorus of Lewis pipework salvaged from a bombed London church was installed in the south-east quarter dome and, unsuited as the pipework was for such a large building, it was effective in offering greater encouragement to congregational singing.

St Paul's Cathedral, Royal Trumpets

Christopher Dearnley performs his own Fanfare on the Royal Trumpets at the west end of the cathedral. The recording was made in1977, just after a massive 5-year reconstruction of the instument by Noel Mander. Dearnley was cathedral organist from 1968 to 1990.

The organ received some remedial work in the 1950s and 1960s but the material was fast reaching the point where something more radical was required. In the late 1960s, a committee was formed by Christopher Dearnley, including the then surveyor to the Cathedral, Bernard Fielden, and Cecil Clutton. A number of options were discussed, including the possibility of reinstating the organ onto a restored screen close to its original position. This ambitious scheme was not undertaken but an almost as ambitious re-appraisal of the organ and its strengths and weaknesses was, which resulted in the instrument as it stands today.

Efforts had been made in the past to increase the effectiveness of the organ in the nave, somewhat to the detriment of the original Willis work. It was now recognised that these attempts were misguided.

The partial effectiveness of the dome chorus was however noted, and it was decided that a new and more generously scaled dome chorus should be built to cater for the requirements of the congregation under the dome and at the front of the nave, aided by a new west chorus to assist the singing at the back of the nave. This allowed the Chancel organ to concentrate on that at which it excelled, the accompaniment of the choir and for services in the Chancel.

Andrew Lucas playing a spectacular version of Garth Edmunson's Toccata on Von Himmel Hoch. Here the organ's full might is unleashed for the second half of the piece, it has been said that the dome division contains enough power to send audiences running for cover if the organist is not careful! The west end royal trumpets get an airing here too.

Andrew Lucas was born in 1958 and studied with John Birch and Herbert Howells at the RCM, after graduation studied with Peter Hurford and later with Piet Kee. he began at St Pauls cathedral in 1980 as a student organist and became sub-organist in 1985, and finally Sub organist and assistant Director of Music in 1990-1998. Since leaving St Pauls, he has gone on to become Master of Music at St Alban's Abbey.

The Great Organ was reduced to a state closer to its original 1872 specification, with the addition of a quint mixture for use where the Willis tierce mixtures were less suitable. The usefulness of the Great Organ was enhanced by a new north choir section, scaled and voiced to act as a happy extension of the Willis work, releasing the south choir to continue its prime role as an accompanimental division. The north choir occupies the space which up until then had been reserved for the console, and a new console was placed above the south choir stalls. The Swell Organ, as is so often the case in such instruments, had emerged almost entirely unscathed from the vagaries of changing fashion, but a Vox Humana was added for extra colour.

Those parts of the organ behind the north choir stalls, the Solo and Chancel Pedal, were rearranged to improve egress, and the Chancel Pedal, which had undergone successive changes in an effort to improve its effectiveness, was entirely remodelled and enlarged to provide a more effective and independent Pedal department to complement the rest of the Chancel organ.

The most visible addition to the organ was the provision of three new west Trumpets on the gallery high above the West door. These were intended for occasional use for special services and royal occasions but have found favour with many recitalists as well. Few are the Celebrity Recitals where they do not receive an airing.

The rebuilding work started in 1972 and was completed in 1977 in time for HM The Queen's Silver Jubilee. All new soundboards (with exception of that of the dome tubas) were employed, as well as a new console and action and new reservoirs. Throughout the re-building programme, the majority of the organ was in operation. Even the change from the old console to the new was achieved between evensong of one day and the next!

Minor works have been undertaken on the organ since its 1970s re-build. A multiple-level capture system has been installed, and a new Willis-style Claribel Flute has been re-instated on the Great Organ in the place of the Choir Principal which had been moved to the Great in 1930.

The south choir has regained its Principal, together with a Bourdon 16, a Flûte Harmonique 4 and a Corno di Bassetto. The organ was cleaned in the 1980s but apart from this there has been little call for any further changes, which has to be a tribute to those primarily involved in the work of the 1970s (Christopher Dearnley, the late Cecil Clutton, Noel Mander and Ian Bell) in the thoughtful search for a solution which would satisfy the musical demands of the Cathedral whilst respecting the historic material of its organ.

Christopher Herrick recorded Dr. Wills' majestic fanfare in 1969, on the V/107/136 Schmidt/Willis/Mander (well it wasn't Mander until a few years later -- his rebuild was completed in 1977).

DISPOSITION

Great 24 (17)

Double Open Diapason 16
Open Diapason I 8
Open Diapason II 8
Stopped Diapason 8
Claribel Flute 8
Quint 5 1/3
Principal I 4

Principal II 4
Flute 4
Twelfth 2 2/3
Fifteenth 2
Mixture III 1 3/5
Fourniture IV 1 1/3
Mixture III 05-Apr
Trombone 16
Trumpet 8
Clarion 4

Swell 15 (13)

Contra Gamba 16
Open Diapason 8
Lieblich Gedackt 8
Salicional 8
Vox Angelica 8
Principal 4
Fifteenth 2
Cornet III 1 3/5
Contra Posaune 16
Cornopean 8
Hautbois 8
Vox Humana 8
Clarion 4
+ Schweller
+ Tremulant

South Choir 14 (13)

Contra Viola 16
Bourdon 16
Open Diapason 8
Claribel Flute 8
Violoncello 8
Dulciana 8
Principal 4
Flûte Harmonique 4
Gemshorn 4
Lieblich Gedackt 4
Flagolet 2
Sesquialtera II 2 2/3
Corno di Bassetto 8
+ Tremulant

North Choir 13 (10)

Chimney Flute 8
Principal 4
Nason Flute 4
Nazard 2 2/3
Fifteenth 2
Blockflute 2
Tierce 1 3/5
Larigot 1 1/3
Sharp Mixture IV 03-Feb
Trumpet 8
+ Tremulant

Pedal 16 (13)

Open Diapason 16 Tr. Great
Open Metal 16
Bourdon 16
Viola 16 Tr. Choir
Principal 8
Flute 8
Fifteenth 4
Flute 4
Mixture IV 2 2/3
Contra Posaune 32
Ophicleide 16
Posaune 8
Clarion 4

Solo 11 (11)

Open Diapason 8
Flûte Harmonique 8
Viola 8
Viola Celeste 8
Concert Flute 4
Piccolo 2
Tuba 8 17", *
Corno di Bassetto 8
Cor Anglais 8
French Horn 8
Tuba Clarion 4 15", *
+ Schweller (außer *)
+ Tremulant (außer *)

V. Manual 21 (14)

Double Open Diapason 16
Open Diapason I 8
Open Diapason II 8
Octave 4
Super Octave 2
Quartane II-III 1 1/3
Mixture IV 1 1/3
Cymbel III 1
Double Tuba 16 25-30"
Contra Posaune 16
Tuba 8 25-30"
Trompette Militaire 8 25-30"
Trumpet 8
Clarion 4

West Section 10 (7)

Open Diapason 8
Octave 4
Super Octave 2
Mixture IV 1 1/3
Royal Trumpet 16 15-25"
Royal Trumpet 8 15-25"
Royal Trumpet 4 15-25"

Devin Wozencraft - Playing at St. Paul's Cathedral, London

On June 25th, 2009 I had the rare opportunity to play the famous organ at St. Paul's Cathedral in London, England. I was part of a British Organ Seminar that allowed a small group of us to learn & play some of the most renowned churches & cathedrals in England (like this one). A big "thank you" to Simon Johnson, head organist of St. Paul's for allowing me and our group this amazing opportunity.

Abbey Church of Saint-Ouen Organ, Rouen, France

2010-07-08T08:14:00.000-04:00

Rouen, Abbatiale Saint-Ouen

This organ is one of Cavaillé-Coll's most magnificent works and one of the most beautiful from the symphonic period.

The Abbey Church of Saint-Ouen already had an organ in the 16th century that was destroyed by the Huguenots in 1562. In 1630, a new instrument was built by Crespin Carlier upon plans prepared by Titelouze. It was an 8-ft instrument with two 48-note manuals and a 12-note independent pedal.

Ben Van Oosten plays Widor's Toccata from Symphony No. 5 Op. 42 No. 1

Orgue: Cavaillé Coll, St. Ouen, Rouen

Ben Van Oosten plays Widor's Allegro from Symphony No. 6 on the great Cavaillé - Coll of St. Ouen, Rouen

Louis Vierne (1870-1937) 24 Pièces de Faintaisie: Suite II (op. 56, 1926) Toccata Ben van Oosten à l'orgue Cavaillé-Coll de Saint-Ouen, Rouen

Louis Vierne (1870-1937) 24 Pièces de Faintaisie: Suite III Carillon de Westminster
Ben van Oosten à l'orgue Cavaillé-Coll de Saint-Ouen, Rouen (IV, 64)

This organ was revised and enlarged twenty years later by Thomas Morlet; a dorsal positive was added and the main organ case went from an 8-ft 3-turrets into a 16-ft 5-turrets instrument.
After the 1683 hurricane, the organ was repaired by Jean Brocard and Jacques Cherel. Charles Lefebvre worked on it in 1724. Other important works were carried out by Nicolas Collar in 1733. In 1741, the organ was dismantled by Jean-Baptiste Martin Lefebvre. The date of reassembly is unknown.
In July 1803, it is stated that “only the montre is left, eventhough some pipes are missing, all inside stops, mechanical parts, windchests, wind ducts have been dismantled, sacked and removed, there is nothing left in the organ case”.

The organ is rebuilt at that period using parts coming from instruments in St. Godard, St. Vigor and St. Jean. Major works were carried out from 1823 to 1839 by Pierre-François and then by Paul-Louis Dallery.
Called upon to examine the instrument, in 1851, Aristide Cavaillé-Coll ranks it among the largest instruments in France. The organ then had 50 stops over 5 manuals and pedal. From 1851 to 1882, repairs and alterations were made : installation of a new blower, removal of the echo manual, and installation of an enclosed récit.

Carillon-Sortie by Henri Mulet (1878-1967) recorded in St Ouen, Rouen by Andreas Meisner.

In 1888, “a fundamental and complete restoration of the mechanical and instrumental sections of the organ” is awarded to Aristide Cavaillé-Coll. The famous organ builder will execute a complete rebuilding of the instrument keeping old stops only if they were in good condition (approximately 20). Inaugurated on April 17, 1890 by Charles-Marie Widor, this magnificent organ (in the « Michelangelo » style, as would say the organist at St. Sulpice) stands today almost intact in spite of the 1941 restoration (Debierre-Gloton) and the one in 1955 (Beuchet- Debierre).
The organ case is listed as “Historical Landmark” as of February 5, 1970 while the instrumental portion is listed as such as of October 20, 1976.
This instrument is the last masterpiece in a long series of organs built since 1840 in St. Denis Basilica and one of the most beautiful from the symphonic period.

Michel Chapuis. St-Ouen. 'Grand Jeu Classique' Improvisation.

The Récit manual, the largest ever built by the organ builder, is an organ by itself with its twenty stops. On the main manual (Grand-Orgue), there are two stops placed en chamade just under the front pipes.

Prelude #2, op. 99. Recorded in 1973. Pierre Labric, the titulaire at St. Ouen for many years, is organist.

DISPOSITION

II. Grand-Orgue		I. Positif
Montre	16'	Montre	8'
Bourdon	16'	Bourdon	8'
Violon-basse	16'	Gambe	8'
Montre	8'	Unda maris	8'
Diapason	8'	Dulciane	4'
Bourdon	8'	Flûte douce	4'
Flûte harmonique	8'	Doublette	2'
Salicional	8'	Plein-Jeu	V
Prestant	4'	Cor anglais	16'
Trompette en chamade	8'	Trompette	8'
Clairon en chamade	4'	Cromorne	8'
		Clairon	4'

III. Récit (expressif / enclosed)		IV. Bombarde
Quintaton	16'	Grosse Flûte	8'
Corno dolce	16'	Flûte	4'
Diapason	8'	Doublette	2'
Cor de nuit	8'	Fourniture	V
Flûte traversière	8'	Cornet 16' (c1)	V
Viole de gambe	8'	Bombarde	16'
Voix céleste	8'	Contre-Basson	16'
Voix éolienne	8'	Trompette	8'
Flûte octaviante	4'	Clairon	4'
Viole d'amour	4'
Quinte	2 2/3'
Octavin	2'
Carillon	I-III
Cornet (c1)	V
Tuba Magna	16'
Trompette harmonique	8'
Clarinette	8'
Basson-Hautbois	8'
Voix humaine	8'
Clairon harmonique	4'
Tremolo

Pédale
Soubasse	32'
Contre-basse	16'
Soubasse	16'
Basse	8'
Violoncelle	8'
Bourdon	8'
Flûte	4'
Contre-bombarde	32'
Bombarde	16'
Basson	16'
Trompette	8'
Clairon	4'

Other details:

Console : en fenêtre
Manual compass : 56 notes
Pedal compass : 30 notes
Combination pedals: 19
Expression pedal: Récit
Pneumatic key action with the help of Barker machines except for the Positif (mechanical key action)
Mechanical stop action except for the reeds on Bombarde which are globally either on or off using a combination pedal (pneumatic system)
Couplers :
BOM/GO 8; REC/GO 16,8 ; POS/GO 8; GO 16
REC/POS sur REC; BOM/REC, REC 16,4
POS/PED, GO/PED, REC/PED
Reeds ON :
POS, BOM, PED
Fixed combination pedals :
Chamades
Jeux de combinaison (REC)
Trémolo (REC)
Expression (REC)
The Orage combination pedal has been removed.

This is a short recording of Mr. Roth at the console playing Cathédrales by Vierne.

Johann Gottfried Silbermann 1734 organ in Ponitz

2010-06-28T18:22:00.035-04:00

Already in 1734 the final completion of the church was made prior to Gottfried Silbermann, the contract for which Ponitz church to build an organ. In September of that year signed contract are already indications about the future organ contain accurate. This certificate was signed by Carl August from the Planitz, Dorothea of Schönburg born of Zehmen and Christiana Sibylla of the Planitz born of Zehmen than the customer as well as by Gottfried Silbermann. The original of this document is now untraceable. The detailed content of the contract, however, is evident from a contemporary copy. Only in 1996 discovered the handwritten copy of contract at an auction in London. Today this document is located in the Saxon State Library, one copy exists in the Ponitz parish archive. With the discovery of this copy was the first time clearly that the organ was enlarged with the treaty of 1737.

Johann Sebastian Bach (1685-1750)

Prelude and Fugue in E minore BWV 548
1. Prelude

Bernard Foccroulle at the Johann Gottfried Silbermann organ in Ponitz

DISPOSITION OF THE ORGAN

Hauptwerk
Bordun 16 Fuß
Principal 8 Fuß
Rohr-Flöthe 8 Fuß
Viol di Gamba 8 Fuß
Octava 4 Fuß
Spitz-Flöthe 4 Fuß
Quinta 3 Fuß
Octava 2 Fuß
Tertia 1 3/5 Fuß
Mixtur 4fach
Cornett 3fach

Oberwerk
Principal 8 Fuß
Gedackt 8 Fuß
Quintadehn 8 Fuß
Octava 4 Fuß
Rohr-Flöthe 4 Fuß
Nassat 3 Fuß
Octava 2 Fuß
Gemßhorn 2 Fuß
Sesquialtera 1 3/5 Fuß
Quinta 1 1/2 Fuß
Suffloeth 1 Fuß
Cymbeln 2fach
Vox humana 8 Fuß

Pedal
Principal-Baß 16 Fuß
Posaunen-Baß 16 Fuß
Octav-Baß 8 Fuß

Calcantenglocke
Nebenzüge
Tremulant im Hauptwerk
Schwebung im Oberwerk
Pedalkoppel (seit 1884)
Manualschiebekoppel

Organ Martini Kerk Schnitger Groningen

2010-06-27T21:46:00.004-04:00

Great musicians such as Bach, Handel etc. wrote their music for the organ as an expression of their faith.

They express:

You are my God, and I will praise You; You are my God, I will exalt You. Psalms 118:28 NKJ

May you, as you listen to these magnificent instruments, in thought be transported to also glorify your maker.

Soli Deo Gloria

Georg Böhm (1661-1733)

Chorale Prelude "Aus tiefer Not schrei ich zu dir"
Chorale Prelude "Vater unser im Himmelreich"

Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen

Georg Böhm (1661-1733) Partita "Freu dich sehr, o meine Seele"

Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen

Georg Böhm (1661-1733) Partita "Freu dich sehr, o meine Seele"

Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen

Organ builder Jürgen Ahrend discusses his restoration of the Arp Schnitger pipe organ at the Martinikerk, Groningen, Netherlands. Musical improvisation by Sietze de Vries.

Celebrated performers like Marie-Claire Alain, Ton Koopman, Gustav Leonhardt, Michael Radulescu, Wim van Beek and Harald Vogel have played the organ in recent years and consider it to be one of the finest instruments in the world both because of its excellent playability (mechanics by Jürgen Ahrend) and its wonderfull sound, in the individual stops (some dating back to the 15th century) as well as in the majestic full organ.

Johann Ludwig Krebs: Von Gott will ich nicht lassen. Played by Liga Vilmane (Latvia)

The organ is the only instrument in the world that still possesses orginal 32-foot prestant pipes originally manufactured by the great Arp Schnitger in the years 1690/91.

HISTORY

The Martinikerk organ in Groningen can look back on a long and eventful history. The church itself acquired its present form in the early 16th century. The original three-aisled cruciform basilica dates from around 1220 and was enlarged in around 1425 with the addition of a high Gothic chancel. Some twenty-five years later the nave was rebuilt, resulting in the Gothic hall church that we know today. A Renaissance chapel was added next to the north tympanum at the beginning of the 16th century. Meanwhile, the tower had been struck by lightning in 1465 and collapsed. Rebuilding work on it was not completed until 1550. Ninety-six metres high, this Martinitoren is the pride of the town.

The Martinikerk's first organ dates from around 1450. This instrument was rebuilt in around 1482, probably by Johan ten Damme. Expert advice was provided by the famous humanist Rudolph Agricola, who was Groningen's town clerk at this time. It must have been a particularly fine organ as the present instrument still contains a number of pipes dating from 1482, attesting to their exceptional quality This Gothic organ was altered, enlarged and rebuilt in the Renaissance style in 1542 by an unknown builder. It was further rebuilt and enlarged by Anthoni Verbeeck in 1627/8, by Jan Helman in 1685-90, by Arp Schnitger in 1691/2, by Frans Caspar Schnitger and Albertus Anthoni Hinsz in 1729/30 and again by Hinsz in 1740.

Marie-Claire Alain plays extracts from Fantasy and Fugue in G minor BWV 542 at the Schnitger organ in Martinikerk (Groningen) and she speaks about Johann Sebastian Bach.

Jan Helman was still working on the instrument when he died in 1690, and it was left to Arp Schnitger - arguably the most famous organ builder of his day - to sort out the resultant problems. Schnitger needed three whole days to draw up a plan fur restoring the organ to working condition. This plan was submitted to the town council on 9 June 1691. Schnitger's assistants started work in July and the instrument was formally handed over in February 1692. That same month a new contract was drawn up with Schnitger for two large pedal towers that were to include a new 32' Prinzipal in addition to the existing pedal pipes. This commission, too, was energetically taken in hand and by December 1692 the enlarged instrument was finished. The cases for the new pedal towers were the work of the cabinet maker Allart Meijer, who often collaborated with Schnitger in Groningen. The Martinikerk now boasted a large Baroque organ in the north German style.

In 1728 a new organist was appointed in the person of Jacob Wilhelm Lustig. A native of Hamburg, he was to remain the Martinikerk's organist until 1796. And it was he who expressed the wish that the instrument should be restored and enlarged, a task entrusted to Arp Schnitger's son, Frans Caspar, in 1728. The work involved not only repairing and renovating the instrument but, above all, adding a new Rückpositiv, installing new slider-chests for the main manual and replacing parts of the Pedal. Frans Caspar died in March 1729 and the work was completed by his master journeyman Albertus Anthoni Hinsz. Hinsz was also responsible for repairs in 1740, when the opportunity was taken to add seven new stops to the Rückpositiv, space having already been left for them at the time of the rebuilding work of 1729-30. The result was a sizeable instrument of 47 stops.

In the course of the 19th century, the instrument was repeatedly repaired, rebuilt and enlarged. By 1854/5 the organ had 52 stops, but of these only 27 dated from the period before 1740. The instrument suffered appallingly at the hands of a whole series of builders during the first half of the 20th century, with the result that it was now felt to be more or less beyond rescue and scarcely worth regarding any longer as a valuable historic organ.

In 1971 the organ was removed while the church itself was restored and the question inevitably arose as to whether a restoration or reconstruction was still possible or meaningful. After detailed surveys a plan was drawn up that envisaged restoring the instrument to its 1740 state, while retaining a number of later changes, at least to the extent that these could be incorporated into the design in a sensible and harmonious way.

Many doubted whether this plan was feasible, but, acting in consultation with the organ expert Cornelius H. Edskes, the master organ builder Jürgen Ahrend succeeded in transforming this ruin back into an exceptional instrument. The work was carried out in two stages, with the Rückpositiv and Oberwerk being restored in 1976/7 after extensive preparatory work. Only when it had been established that the result was a success were the main manual and Pedal restored in 1983/4. By the time that the instrument was again playable in mid-1984, there was unanimous agreement that the Martinikerk organ had risen like a phoenix from its own ashes.
by Paul Peeters and translation Stewart Spencer

OVERVIEW

1450	Building of a great organ
1482	Rebuilding of the existing Gothic organ, presumably by Johan then Damme (with Rudolf Agricola as his adviser)
1542	Alteration in Renaissance style
1564	Enlargement by Andreas de Mare
1627-28	Enlargement by Anthoni and Adam Verbeeck
1685-90	Alteration by Jan Helman
1691-92	Rebuilding and enlargement (32'-pedal towers) by Arp Schnitger
1728-30	Alteration and enlargement (new Rugpositief) by Frans Caspar Schnitger and Albertus Anthonie Hinsz
1740	Large-scale repairs after subsidence, and enlargement with seven new stops by Hinsz
1808-1912	Numerous modifications by Lohman, van Oeckelen and Doornbos
1938-39	Alteration (electrical action and re-voicing) by J. de Kof
1971	Disassembly because of restoration
1976-84	Restoration, partial reconstruction by Jürgen Ahrend from Leer/Loga (based on the 1740 situation). Adviser was Cor H. Edskes.

DISPOSITION

Rugpositief

Praestant 8'
Quintadena 16'
Bourdon 8'
Roerfluit 8'
Octaaf 4'
Speelfluit 4'
Gedektquint 3'
Nasard 3'
Octaaf 2'
Fluit 2'
Sesquialtera II
Mixtuur IV-VI
Cimbel III
Basson 16'
Schalmei 8'
Hobo 8'

Manuaal

Praestant 16'
Octaaf 8'
Salicet 8'
Quintadena 8'
Gedekt 8'
Octaaf 4'
Gedektfluit 4'
Octaaf 2'
Vlakfluit 2'
Tertiaan II
Mixtuur IV-VI
Scherp IV
Trompet 8'
Viola da Gamba 8'

Bovenwerk

Praestant I-III 8'
Holfluit 8'
Octaaf 4'
Nasard 3'
Sesquialtera II
Mixtuur IV-VI
Trompet 16'
Vox Humana 8'

Pedaal

Praestant 32'
Praestant 16'
Subbas 16'
Octaaf 8'
Gedekt 8'
Roerquint 6'
Octaaf 4'
Octaaf 2'
Nachthoorn 2'
Mixtuur IV
Bazuin 16'
Dulciaan 16'
Trompet 8'
Cornet 4'
Cornet 2'

Couplers: Manuaal + Rugpositief, Bovenwerk + Manuaal
2 tremulanten
Keyboards: C-c'''
Pedal: CD-d'
Pitch: a' = 465 Hz
Temperature: Variant of Neidhardt

Johann Sebastian Bach (1685-1750)

Fantasia in G major BWV 571
1. [Allegro]
2. Adagio
3. Allegro

Ton Koopman, organ Fantasia g-dur BWV571 Schnitger orgel Martinikerk

Nun komm, der Heiden Heiland" (BWV 659)J.S. Bach; Organist Pieter Pilon

8 Short Preludes and Fugues Prelude and Fugue in C major

Johann Sebastian Bach

Prelude and Fugue in do major BWV 553

Praeludium und Fuge c-dur BWV 553

1. Ton Koopman at the Garrels organ of the Grote Kerk (Maassluis)
Equal Temperament. Pitch: a'=440 Hz.

2. Ton Koopman at the Schnitger organ of the Martinikerk (Groningen)
Modified Neidhardt Temperament. Pitch: a'=466 Hz.

YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.
Groningen Martinikerk - Bach - BWV 659 Pieter Pilon Schnitger Organ
Bach 596 Koopman Schnitger organ Groningen
Bach 595 Koopman Schnitger organ Groningen
Bach 592 Koopman Schnitger organ Groningen
Bach 561 - Koopman - Schnitger Groningen
Bach 551 Koopman Schnitger organ Groningen
Praeludium BWV 548 - Schnitger in Groningen, M...
Praeludium BWV 544 - Schnitger in Groningen, M...
Praeludium BWV 543 Martinikerk Wolfgang Ruebsam
Bach 536 Koopman Schnitger Goningen
Martinikerk Krebs, Von Gott will ich nicht lassen.
MP3:
Ach bleib bei uns, Herr Jesu Christ"

Man: Rf8,Sf4 (left hand) Rp: P8,O4,Sesq,S8 (right hand) Ped: S16,O8

Praeludium

Man: P16,O8,O4,O2,M,Sc,T8 Ped: P16,S16,O8,Rq6,O4,O2,M,Baz16,D16

"Allein Gott in der Höh' sei Ehr'"

Organ St. Bavo Haarlem

2010-06-16T18:36:00.001-04:00

Christian Müller Organ 1735 -1738.

The organ builder Christian Müller and the sculptor Jan van Logteren, both of Amsterdam, built the instrument in 1735 -1738. With its sixty-four stops and imposing 32 foot pedal towers it was for many years the largest organ in the world.

Soon after its completion the organ became a tourist attraction with international fame and it still is. It was played by G.F. Händel in 1740 and ’50, who travelled to Haarlem especially for this purpose, and in 1766 the ten-year-old Mozart was on the organ.

Dietrich Buxtehude (c. 1637-1707) Praeludium in d-dur BuxWV 139

Piet Kee at the Christian Müller organ of the St. Bavokerk in Haarlem

In the nineteenth and twentieth centuries considarable alterations were made according to the dictates of the time. The purpose of the major restoration of 1959 -1961 by Marcussen & Son was to restore the organ as far as possible to its original state. In the years 1987 - 2000 Flentrop Orgelbouw worked on the voicing of the instrument.

Johann Sebastian Bach (1685-1750)Toccata in F major BWV 540
Marie-Claire Alain at the Christian Müller organ of St. Bavokerk in Haarlem (Holland)

Wachet Auf, J.S.Bach

MOZART ON ST. BAVO

Fantasie In Fa-mineur of W.A. Mozart ,performed by Bernhard Bartelink.

HISTORY

With the organ of Haarlem its maker, Christiaan Müller, a German by origin, has placed himself among the great organ builders not only of his time, but of all times. Although it has been radically restored several times – the last big restoration was carried out in 1959-60 by the Danish company Marcussen – the organ has retained its original concept with yet about 90% of the pipes. During the past years the organ building company Flentrop from Zaandam, that is maintaining the organ, has carried out a number of retunings, through which the sound again closely approaches the original. The sound can be described as broad, prominent, and despite the countless nuances exceptionally homogeneous. Famous is the Cornet, the register that is placed to enable strengthening of the melody of the psalm, and the Vox Humana, or imitation of the human voice, with which Händel was very charmed, as we know. Of course, the superb acoustics of the church contributes to the beauty of the instrument's sound. Händel, Mozart and Mendelssohn number along the many celebrated visitors who have travelled far to play the instrument.

Some technical data: The organ counts more than 5000 pipes, divided over 64 stops, with three manuals and a pedal. The case is made of pinewood and painted in mahogany; all pipes are made of metal (an alloy of lead and tin), the play-register action is mechanical tracker (renewed in 1960). The tuning is even, which is a concession to the present concert practice, in which not only Baroque music, but also music from all style periods is performed. The Müller organ is played mainly in the summer period at the mentioned city concerts and during the church services on Sundays. In the summer the city organ concerts attract many visitors each week.

Buxtehude Prelude and Fugue in D

J.S. Bach - Choral Prelude - BWV 622
"O Mensch Bewein Dein Sunde Gross"

STOPLIST

Hoofdwerk

Praestant 1,2 st.16'
Bourdon 16'
Octaaf 1,2 st. 8'
Roerfluit 8'
Viola di Gamba (conisch) 8' 1
Roerquint 6'
Octaaf 4'
Gemshorn 4'
Quint-praesant 3'
Woudfluit 2'
Tertiaan 2 st. 2'
Mixtuur 4-10 st. 2-8'
Scherp 6,7,8 st. 1 1/2' 1
Trompet 16'
Trompet 8'
Hautbois 8'
Trompet 4'

Rugpositief

Praestant 2 st. 8'
Quintadena 8' 1
Holpijp 8'
Octaaf 4'
Fluit Douce 4'
Speelfluit 3'
Super Octaaf 2'
Sesquialter 2, 3, 4 st.
Cornet 4 st. discant
Mixtuur 6, 8 st. 1'
Cymbaal 3 st. 1
Fagot 16'
Trompet 8'
Trechter regaal 8' 1
Tremulant

Bovenwerk

Quintadena 16'
Praestant 2 st. 8
Quintadena 8'
Baarpijp 8'
Octaaf 4'
Flagfluit 4'
Nasard 3
Nachthoorn 2'
Flageolet 1 1/2'
Sesquialter 2 st.
Mixtuur 4,5,6 st.2' 1
Cymbaal 3 st. (+terts) 1
Schalmei 8'
Dolceaan 8'
Vox humana 8'
Tremulant

Pedaal

Principaal 32'
Praestant 16'
Subbas 16' 1
Roerquint 12'
Octaaf 8'
Holfluit 8'
Quintpraestant 6'
Octaaf 4'
Holfluit 2'
Mixtuur 6-10 st. 2 2
Ruischpijp 4 st. (+terts) 3' 1
Bazuin 32'
Bazuin 16'
Trompet 8'
Trompet 4'
Cink 2'

1) Newly made in 1961
2) Added to the disposition in 1961

All pipes of all stops (64) are made of metal.

Works by Charpentier,Boyce and Derx.

Bist du bei mir J.S.Bach and an improvisation on

YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THE ST. BAVO ORGAN BY CLICKING ON A LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.

YouTube - Feike Asma Liebster Jesu
Pipe Organ splendour
St. Bavo Haarlem: Herre Gud, ditt dyre navn og aere
The Great Organ at Haarlem St. Bavo Church
Bass Pig's Rendition of Danse Macabre for Organ
YouTube - Haarlem St. Bavo Bass Pig's Rendition of Danse Macabre for Organ
JS Bach: Ach Gott Und Herr, BWV 714 (St. Bavo: ...
YouTube - Bach Chorale Prelude at St. Bavo
JS Bach: Chorale Prelude: O Mensch Bewein Dein Sunde Gross, BWV 622
JS Bach: Christ Lag In Todesbanden, BWV 625 (Michael Murray)
Marcello, Organ at St. Bavo in Haarlem, Netherlands
Haydn, Flute Clocks
JS Bach: FUGUE in Eb (St. Anne), BWV 552
James Pollard - Bruhns e minor Praeludium
James Pollard - Bach Prelude C major Bwv545
You Tube Organ at St. Bavo in Haarlem, Netherlands You Tube

Oude Kerk Amsterdam

2010-06-15T15:52:00.002-04:00

Oude Kerk Amsterdam

J.S.Bach - Toccata in C, BWV 566 - MATTEO IMBRUNO

J.S.Bach - Dies sind die heil'gen zehn gebot, BWV 678, MATTEO IMBRUNO

The organ and Sweelinck, a famous 16th century organist on this organ.

Matteo Imbruno plays Sweelinck's Ballo del Granduca

at the Vater-Muller organ of the Oude Kerk of Amsterdam (NL)

The Old Church has a long tradition of having excellent organs and organists. Even during the fifteenth century, an organ was hanging on the west wall (tower wall) of the nave. In 1539, the church acquired a new instrument that was played between 1577 and 1621 by a famous organist by the name of Jan Pieterszoon Sweelinck.

The transept organ, restored to its seventeenth-century composition in 1965, was recently regiven a mean tone temperament, making it one of the best instruments imaginable, to perform the organ music of the Amsterdam 'Orpheus'.

The great organ

The large organ is constructed by Christiaan Vater (1724-1726) of Hannover and is restored by Johan Caspar Muller (the St Bavo-church in the city of Haarlem, NH). Shortly after the completion of the organ the church-tower began to sink (1738-1742). The entire organ needed to be dismantled, and Caspar Muller was chosen to rebuild the organ and to add nine new stops and to double the principals in the treble. In 1869-1870 the organ was revoiced to conform to contemporary taste by C.F.G. Witte

On the original organ (built in 1539 by Hans van Coelen and Hendrick Niehoff) Jan Pieterszoon Sweelinck (1562-1621) made his first musical compositions.

In 1724, the church wardens of the Old Church commissioned Christian Vater, the Hamburg organ builder, to build an entirely new organ to replace the old one. Vater completed this organ in 1726 and the churchwardens were very pleased: the instrument was “absolutely perfect in every way”. In 1738, the tower began to subside. For restoration activities, the organ had to be dismantled. Once the tower had been restored, Caspar Müller was commissioned to re-install the organ. Not only did Müller put it back, but he made major changes as well, his belief being that after its renovation, the organ ‘should speak promptly and forcefully and should be heard during the singing’. The Vater-Müller organ would remain largely unchanged until 1869 when G.F.H. Witte updated it to accommodate contemporary tastes requiring a sound that was less sharp and more rounded. Although Witte changed the sound, hardly a piece of the original material was lost. Since Witte’s renovation, the organ has remained unchanged.

Allegro Organ Concert nr 10

by Georg Friederich

Händel (1685-1759)

Feike Asma plays a toccata on by J. Zwart on the organ of the oude kerk in Amsterdam

DISPOSITION GREAT ORGAN

Hoofdwerk

Prestant 16
Bourdon 16
Prestant 8
Holpijp 8
Quint 5 1/3
Octaaf 4
Roerfluit 4
Roerquint 2 2/3
Octaaf 2
Fluit 2
Sexquialter IV
Mixtuur V-VIII
Scherp IV-VI
Trompet 16
Trompet 8

Rugwerk

Prestant 8
Holpijp 8
Quintadena 8
Octaaf 4
Gemshoorn 4
Quint 2 2/3
Octaaf 2
Woudfluit 2
Cornet V
Sexquialter II-IV
Carillon III-IV
Mixtuur V-VIII
Scherp III-V
Fagot 16
Trompet 8
+ Tremulant

Bovenwerk

Quintadena 16
Prestant 8
Baarpijp 8
Quintadena 8
Viola di Gamba 8
Octaaf 4
Gemshoorn 4
Nasard 2 2/3
Sexquialter IV
Cymbel III
Trompet 8
Dulciaan 8
Vox Humana 8
+ Tremulant

Pedaal

Prestant 16
Subbas 16
Prestant 8
Roerquint 5 1/3
Octaaf 4
Nachthoorn 2
Mixtuur VI
Bazuin 16
Trompet 8
Trompet 4
Cinq 2

beluister dit concert >>

The Old Church Organ has always been admired. It was once mentioned in the famous 18th-century travelogue written by Charles Burney. Even today, it attracts organ enthusiasts – both listeners and players – from all over the world.

The case for the organ was designed by Jurriaan Westerman. Above the organ are the old city seal of Amsterdam with the cargo ship and the city’s coat of arms with the three Andreas crosses.

The small (or transept) organ

This organ was built in 1658 by the famous organ maker Hans Wolff Schonat. In building it, he used some of the pipes taken from another organ at this location that had been built by Hendrik Niehoff.

The small or transept organ of the Oude Kerk in Amsterdam has two blinds with paintings representing musical instruments. These paintings are made by Cornelis Brizé and were completed in 1658 at the time the original organ was ready.

Dutch/Italian organist Matteo Imbruno plays Scheidemann's "Alleluja" at the Transept organ

of the Oude Kerk of Amsterdam (NL)

DISPOSITION TRANSEPT ORGAN

Transeptorgel

Hoofdwerk (C-d''')

Prestant 8'
Holpijp 8'
Quintadena 8'
Octaaf 4'
Quint 3'
Super Octaaf 2'
Gemshoorn 2'
Mixtuur
Scherp
Trompet 8'

Borstwerk

Gedekt 8'
Prestant 4'
Octaaf 2'
Dulciaan 8'

Pedaal (C-d')

Bourdon 16'
Octaaf 8'
Trompet 8'

Tremulant
koppel: Ped + Hw

Toonhoogte
a'=440 Hz

Stemming
1/4 komma middentoon

The instrument was used for concerts commissioned by the city’s administration. During the 18th century, it was used less and less frequently so that when an organ had to be built for the Zuiderkerk in 1821, the pipes from the small organ in the Old Church were used. The case, however, remained behind. In 1964 and 1965, a new organ was built for the old organ case by organ makers Ahrend & Brunzema from the East Friesian town of Loga near Leer. Its disposition was taken from the famous collection of dispositions of Joachim Hess, an organist from Gouda, and dates from 1774. It has become a beautiful instrument with great artistic eloquence and was even enlarged after being retuned in 2001 to a 17th-century mean-tone tuning.

The cabinet organ

The cabinet organ was built in 1767 by Amsterdam organ maker Deetlef Onderhorst, supposedly for a private client. In 1946, the organ was repaired by organ builder A. Blik who also replaced its manual wind chest with an electronic system. In 1977, the organ was completely restored by Adema's Kerkorgelbouw. The restoration included having the cabinet restored and completed and removing the white coat of paint that had been added in 1953.

DISPOSITION CABINET ORGAN
Kabinetorgel

Holpijp 8 vt. gehalveerd
Prestant 8 vt. discant
Prestant 4 vt. gehalveerd
Fluyt 4 vt. Gehalveerd
Quint 3 vt. bas
Octaaf 2 vt. gehalveerd
Sexquialte 2 vt. sterk, discant

After its most recent restoration, the organ was installed in the choir of the Old Church.

Chaconne in F from the 9th Suite "Uranie" by Johann Caspar Ferdinand Fischer at the choir organ of the Oude Kerk (Amsterdam, NL)

Los Angeles (CA): Walt Disney Concert Hall

2010-06-15T15:48:00.000-04:00

4 Manuals, 110 Ranks, 73 Stops (+ 10 Ext. + 20 Tr.),
6134 Pipes
Builder: Glatter-Götz & Rosales, 2004

Frank Gehry Saint-Saens Symphony#3 for Organ

LISTEN TO THE ORGAN:

Part I

WILLIAM MATHIAS: Fanfare

JOSEF RHEINBERGER: Introduction & Passacaglia, from Sonata No. 8 in e, Op. 132

FANNIE DILLON: Woodland Flute Call

CÉSAR FRANCK: Pièce heroïque

Part II

ERIC DeLAMARTER: You raise the flute to your lips, from Four Eclogues.

PAUL DRAYTON: Pavan.

PETER HURFORD: Paean –Samuel Soria

(2003 Dobson/Cathedral of Our Lady of the Angels, Los Angeles, CA) Delos CD 3343

Part III

GEORGE BAKER: Berceuse-Paraphrase

HEALEY WILLAN: Introduction, Passacaglia and Fugue in e-flat

FREDERICK SWANN: 2 Encores (Allegro after Corelli; Trumpet Tune)

Filler–DILLON

DISPOSITION

I. Positive 21 (18)

Quintaton 16
Principal 8
Flûte harmonique 8
Gedackt 8
Gambe 8
Unda maris 8
Octave 4
Hohlflöte 4
Nasard 2 2/3
Super Octave 2
Waldflöte 2
Tierce 1 3/5
Larigot 1 1/3
Mixture IV 1 1/3
Llamada 16 Tr. Llam.
Cor anglais 16
Llamada 8 Tr. Llam.
Trompeta de L.A. 8 Tr. Llam.
Trompette 8
Cromorne 8
Llamada 4 Tr. Llam.
Clairon 4
+ Schweller
+ Tremolo

II. Great 36 (18)

Grand Bourdon 32 Ext., result.
Violonbasse 32 Tr. Ped.
Praestant 16
Bourdon 16 Tr. Ped. Sb.
Violonbasse 16 Ext.
Principal 8
Diapason à pavillon 8
Flûte harmonique 8
Chimney Flute 8
Violoncelle 8 Ext.
Grand Nasard 5 1/3
Octave 4
Spire Flute 4
Grande Tierce 3 1/5
Octave Quinte 2 2/3
Super Octave 2
Corneta magna VII
Grande Fourniture II-III 2 2/3
Mixture VIII 2
Cymbale IV 1
Contre Basson 32 Ext., Fac.
Basson 16
Trompeta de L.A. 8 Tr. Llam.
Basson 8
Basson 4

III. Swell 24 (20)

Bourdon 16
Diapason 8
Flûte traversière 8
Bourdon 8
Viole de gambe 8
Voix céleste 8 CC
Dulciane doux 8
Voix angélique 8 TC
Principal 4
Flûte octaviante 4
Nasard 2 2/3
Octavin 2
Tierce 1 3/5
Piccolo 1
Plein Jeu harmonique III-V 2 2/3
Bombarde 16
Llamada 8 Tr. Llam.
Trompeta de L.A. 8 Tr. Llam.
Trompette 8
Hautbois 8
Voix humaine 8
Clairon 4
+ Schweller
+ Tremolo fast
+ Tremolo slow

IV. Llamarada 17 (9)

Flautado grandioso 8
Octava real 4
Lleno fuerte V 2 2/3
Compuestas V 1 3/5
Llamada 16 Ext.,*
Bombardon 16
Llamada 8 hor., 17",*
Trompeta de L.A. 8 Fac., hor.,* Trompeta armonica 8
Llamada 4 Ext.,*
Clarín armonico 4
+ 2 Campanitas (Glock.)
+ 2 Pajaritos (Nachtigall)
+ Schweller (außer *)
+ Tremolo (außer *)

Pedal 12 (8)

Flûte 32
Violonbasse 32 Facade
Praestant 16 Tr. Great
Subbass 16
Bourdon 16 Tr. Swell
Violonbasse 16 Tr. Great
Grosse Quinte 10 2/3
Octave 8
Flûte 8 Ext.
Bourdon 8 Ext. Subb.
Violoncelle 8 Tr. Great
Super Octave 4
Flûte 4 Ext.
Mixture V 5 1/3
Contre Bombarde 32 Ext.
Contre Basson 32 Tr. Great
Grande Bombarde 16
Bombardon 16 Tr. Llam.
Basson 16 Tr. Great
Trompeta (armonica) 8 Tr. Llam.
Basson 8 Tr. Great
Clarín (armonico) 4 Tr. Llam.
Basson 4 Tr. Great