The Spectacular Gabler Organ at Weingarten

The 1750 organ at Weingarten Abbey, Germany, is a baroque organ by Joseph Gabler with 4 manuals and nearly 7000 pipes, including a 49 rank pedal mixture "La Force" on the bottom pedal C.
















HISTORY and SPECIFICATION Weingarten (Basilica)

In 934, Duke Henry founded an abbey that was transfered in 1053 to today’s site and was named “Weingarten”. Since 1056, Benedictine monks have settled here and built a new church and cloisters in 1124, one of the largest in Swabia. Since 1712, plans were underway to built the abbey church that is still in use today. The church was completed and consecrated in 1724. It is the largest baroque church north of the Alps. The architects were Christian Tumb and Peter Schreck. The west facade with the two towers as well as the dome above the crossing were built after plans of Donato Giuseppe Frisoni. The frescoes in the vaults and ceilings have been created by Cosmas Damian Asam, the choir stalls (1724) are carved by Joseph Anton Feuchtmayer. The towers house seven large bells (a″ - c-sharp′ - e′ - f-sharp′ - g-sharp′ - b′ - c-sharp″. There is an additional bell in the North tower (Hosanna bell, b°, weight of c. 6.500 kg, from 1490). Since 1922, 120 years after the secularisation of the abbey, Benedictine monks from Beuron are back in Weingarten Abbey.

to hear the spectacular vox humana:

BWV 1056

Earliest organs for the previous churches have been mentioned in the 13th century, replaced by new organs in 1561 and 1613. When in 1715 the old minster had been dismantled and was replaced by the present abbey church in 1724, plans were made for the building of a representative new organ. In 1729, the abbey chapter’s attention was drawn to a young organ builder, Joseph Gabler, who at that time just was working at the rebuiling of the organ in Ochsenhausen. Gabler was asked to repair the Weingarten choir organ, and after he done these works successfully and also completed the new organ in Ochsenhausen in 1733, it was decided in 1737 to ask him to built the new organ in Weingarten.




In a first contract from 1737, the organ should comprise 60 stops and some percussion stops like Glockenspiel, Cimbala, Rossignol, playable on four manuals and pedal. The compasses should have on the manuals C-c3, in the pedal C-g°, with all 12 chromatic notes in the lowest octaves . The wind supply system in the North tower should have 12 bellows. Most parts of the organ should be playable within three years.


But on December 2, 1737, a fire in the cloister buildings ruined these plans, because the abbey carpenters had to work exclusively at the rebuilding of the destroyed buildings. So, Gabler was asked to build a new choir organ in the meantime. But since the carpenters could not deliver these cases before the end of the year 1742, the completion of this organ was delayed, too. Nothing is left from this choir organ today, except for the wonderful baroque cases. Behind the facades, the organbuilder Reiser built a new organ with 46 stops on three manuals and pedals in 1937.

-

With a third contract, it was tried in 1741 to get the dead-locked negotiations for both organs moving again. Gabler was promised 10.000 guilders, but had to carry out further works without payment, such as some carvings in the facade, manufacturing the ivory keyboards and building a 3-stop procession organ.



In this contract, we can see Gablers sense for constellations of numbers:

Great Organ: 76 stops = 6666 pipes
Choir Organ: 24 stops = 2222 pipes
Total: 100 stops = 8888 pipes



After a fourth contract, dating in 1746, and a total time of 13 years of building the organ, finally, the great organ was completed and inaugurated on June 24, 1750.

DISPOSITION

Hauptwerk (I) C-c3

Praestant 16’
Principal 8’
Rohrflöte 8’
Octav I-II 4’
Superoctav II 2’+1’
Hohlflöte 2’
Mixtur IX-X 2’
Cimbalum XII 1’
Sesquialter VIII-IX 1 1/2'
Piffaro III-VII 8’
Trombetten 8’

Oberwerk (II) C-c3
Bourdon I-III 16’
Principal Tutti 8’
Violoncello I-III 8’
Coppel 8’
Hohlflöte 8’
Unda maris 8’
Salicional 8’
Mixtur IX-XII 4’
Octav douce 4’*
Viola II 4’+2’*
Cimbalum II 2’+1’*
Nasat 2’*

Echowerk (III) C-c3
Bourdon 16’
Principal 8’
Flöten 8’
Quintatön 8’
Viola douce 8’
Octav 4’
Hohlflöte II 4’(f)
Piffaro doux II 4’
Superoctav 2’
Mixtur V-VI 2’
Cornet V-VI 1’
Hautbois 8’ (new)

Brustpositiv (IV) C-c3
Principal doux 8’ (f)
Flaut douce 8’
Quintatön 8’
Violoncello 8’
Rohrflöte 4’
Querflöte 4’
Flaut travers II 4’
Flageolet 2’
Piffaro V-VI 4’
Cornet VIII-XI 2’
Vox humana 8’
Hautbois 4’
Carillon 2’ TF#
Tremulant

Hauptpedal C-d1
Contrabass II 32’+16’(f)
Subbaß 16'
Oktavbass 8’
Violonbass II 16’
Mixturbass V-VI 8’
Posaunenbass 16’
Bombardbass 16’
La force 49f (C) 2’
Carillon ped. 2’

Brustpedal C-d1
Quintatönbass 16’
Superoctavbass 8’ (f)
Flaut douce bass 8’
Violoncellbass 8’
Hohlflötbass 4’
Cornetbass X-XIII 4’
Sesquialter VI-VII 3’
Trompetbass 8’
Fagottbass 8’

Percussion stops: Cuculus, Rossignol, Cymbala, Tympan
Couplers: II/I, III/II, IV/III, IV/I, I/Ped, II/Ped, IV/Ped
Kronpositiv-Copplung, Brustpedal-Copplung
(f) im Prospekt
* placed in Kronpositiv
# placed in console




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

Gabler WeingartenChrist lag in todesbanden Danniel Chappuis
BWV 1056 Gabler Organ Weingarten BWV 1056
BWV 654 Koopman, Gabler organ Weingarten
BWV 653 Koopman, Gabler organ Weingarten, Bach
BWV 645 Wachet auf, ruft uns die Stimme
BWV 645 Johann Sebastian Bach
BWV 645 "Wachet auf, ruft uns die Stimme"
BWV 549 Praludium in C minor (Koopman)
BWV 546 Fuga, Koopman, Gabler organ Weingarten, Bach
BWV 546 Fuga, Koopman, Gabler organ Weingarten, Bach Category: Music Tags:
BWV 546 Fuga Koopman Gabler organ Weingarten Bach
BWV 546 Praeludium, Koopman, Gabler organ Weingarten, Bach
Bach 534 Piet Kee, Gabler in Weingarten (modified Mean tone with mild wolf, Kammerton La = 419 Hz)
Pachelbel - Praeludium, Fantasia Piet Kee, Gabler in Weingarten (modified Mean tone with mild wolf, Kammerton La = 419 Hz)
Concert la mineur Bach-Vivaldi André Isoir Bach prélude & fugue en mi mineur André Isoir
Bach "In dulci jubilo"André Isoir
JL Krebs Gabler Weingarten 3 Gerhard Weinberger
JL Krebs Gabler Weingarten 2 Gerhard Weinberger
JL Krebs Gabler Weingarten 1 Gerhard Weinberger
JL Krebs Gabler iWeingarten Gerhard Weinberger
JL Krebs chorales Gerhard Gnann The immortal legend of Gabler in Weingarten
Gabler Weingarten Vox Humana
Gabler-Organ Weingarten

click to enlarge

Great Paschen Organ in Central Pori Church, Pori, Finland.

The Organ in Central Pori Church

Paschen Kiel Orgelbau GmbH 2007

When the new organ for Central Pori Church was being planned, two main objectives were in the forefront: firstly, to provide the congregation with a versatile and inspiring instrument and secondly, to build an organ of the highest artistic integrity based on the French Romantic tradition.

Organ building prospered in France in the second half of the 19th century. This resulted in a number of brilliant instruments being built in different parts of France, during that period. The inspiration provided by the new style of organ-building, culminated in a significant output of major organ-compositions being created. The most important composers of this style are César Franck, Louis Vierne, Camille Saint-Saëns, Alexandre Guilmant and Charles-Marie Widor.

The organ in Central Pori Church was built by the German organ-building company, Paschen Kiel Orgelbau GmbH. The specification, designed by the Parisian organ specialist Kurt Lueders, has 58 stops on three manuals and pedal. The organ-builders and voicers, Helmuth Gripentrog and Kalevi Mäkinen, were responsible for the voicing of the organ.

The organ façade was designed by Roland Monczynski, Director of the Paschen Organ Factory, who based the design on a combination of the typical characteristics of the French Romantic organ style, with that of the Neo-Gothic architecture of Central Pori Church. The casework and façade is made of oak and houses selected front pipes belonging to the stops Montre 16’ and Montre 8’, both of which are part of the division “Grand Orgue “. The remainder of this division, belonging to the main manual is located behind the façade. The Positif and Récit divisions are enclosed in swell boxes, one on top of the other, behind the Grand Orgue division. The pedal pipes are on both sides of the Grand Orgue division. The largest pedal stops, Soubasse 32´ and Bombarde 32´, are situated at the back wall of the organ case on their own wind chests.

The tonal structure of the organ specification is based on the French Romantic organ tradition and is for this reason, that the instrument’s sound reflects the quality of timbre embodied in a symphony orchestra. Emphasis is on fundamental tone, which is in turn shaped by juxtaposing and the combination of three characteristic stop families (flutes, strings and the numerous colourful and brilliant reed stops). In addition, the first and second manuals include a fully-fledged mixture chorus, e.g. Grand Orgue( the first manual): Montre 16´, Montre 8´, Prestant 4´, Doublette 2´, Fourniture 5r, Cymbale 4r. Additionally the organ has colourful mutation ranks, for example Nasard 2 2/3’ or Tierce 1 3/5’.

All departments of the organ are subdivided into two sections: foundation stops and forte stops. The latter may be prepared thanks to the appel system (foot activated pedal-levers which bring on the previously-drawn stops belonging to this group). In addition to the appel pedals, the organ also possesses a computer-based register memory system, which enables the recording of a nearly countless number of stop combinations.

The pipes of the second and third manuals are enclosed in wooden chambers known as swell boxes, whose sides can be opened and closed progressively to increase and decrease the volume of tone. In addition to the usual couplers, e.g. second to first, the first and third manuals are equipped with suboctave couplers (Octaves graves). All of these devices make great dynamic variation possible; the organist can thereby initiate tremendous crescendo and diminuendo effects.

The tracker action of the organ is mechanical, and the stop action is both mechanical and electrical. All the manuals are equipped with the so-called Barker lever machines to assist the keyboard playing action by means of pneumatics. This way the fundamental principles of mechanical action and those of pneumatic action conjugate most effectively. The mechanical action retains a clear pluck point, without the touch being influenced by the couplers, thus giving the organist the means to control this technically complex late Neo-Romantic organ with all its couplers, double pallets and long action runs, in a musical and sensitive way.

The wind system (12 large bellows), the console design, pipework placement, scaling and voicing were carried out in accordance with the essential characteristics of the French Romantic organ building tradition.
When the new organ for Central Pori Church was being planned, two main objectives were in the forefront: firstly, to provide the congregation with a versatile and inspiring instrument and secondly, to build an organ of the highest artistic integrity based on the French Romantic tradition.

Organ building prospered in France in the second half of the 19th century. This resulted in a number of brilliant instruments being built in different parts of France, during that period. The inspiration provided by the new style of organ-building, culminated in a significant output of major organ-compositions being created. The most important composers of this style are César Franck, Louis Vierne, Camille Saint-Saëns, Alexandre Guilmant and Charles-Marie Widor.

The organ in Central Pori Church was built by the German organ-building company, Paschen Kiel Orgelbau GmbH. The specification, designed by the Parisian organ specialist Kurt Lueders, has 58 stops on three manuals and pedal. The organ-builders and voicers, Helmuth Gripentrog and Kalevi Mäkinen, were responsible for the voicing of the organ.

The organ façade was designed by Roland Monczynski, Director of the Paschen Organ Factory, who based the design on a combination of the typical characteristics of the French Romantic organ style, with that of the Neo-Gothic architecture of Central Pori Church. The casework and façade is made of oak and houses selected front pipes belonging to the stops Montre 16’ and Montre 8’, both of which are part of the division “Grand Orgue “. The remainder of this division, belonging to the main manual is located behind the façade. The Positif and Récit divisions are enclosed in swell boxes, one on top of the other, behind the Grand Orgue division. The pedal pipes are on both sides of the Grand Orgue division. The largest pedal stops, Soubasse 32´ and Bombarde 32´, are situated at the back wall of the organ case on their own wind chests.

The tonal structure of the organ specification is based on the French Romantic organ tradition and is for this reason, that the instrument’s sound reflects the quality of timbre embodied in a symphony orchestra. Emphasis is on fundamental tone, which is in turn shaped by juxtaposing and the combination of three characteristic stop families (flutes, strings and the numerous colourful and brilliant reed stops). In addition, the first and second manuals include a fully-fledged mixture chorus, e.g. Grand Orgue( the first manual): Montre 16´, Montre 8´, Prestant 4´, Doublette 2´, Fourniture 5r, Cymbale 4r. Additionally the organ has colourful mutation ranks, for example Nasard 2 2/3’ or Tierce 1 3/5’.

All departments of the organ are subdivided into two sections: foundation stops and forte stops. The latter may be prepared thanks to the appel system (foot activated pedal-levers which bring on the previously-drawn stops belonging to this group). In addition to the appel pedals, the organ also possesses a computer-based register memory system, which enables the recording of a nearly countless number of stop combinations.

The pipes of the second and third manuals are enclosed in wooden chambers known as swell boxes, whose sides can be opened and closed progressively to increase and decrease the volume of tone. In addition to the usual couplers, e.g. second to first, the first and third manuals are equipped with suboctave couplers (Octaves graves). All of these devices make great dynamic variation possible; the organist can thereby initiate tremendous crescendo and diminuendo effects.

The tracker action of the organ is mechanical, and the stop action is both mechanical and electrical. All the manuals are equipped with the so-called Barker lever machines to assist the keyboard playing action by means of pneumatics. This way the fundamental principles of mechanical action and those of pneumatic action conjugate most effectively. The mechanical action retains a clear pluck point, without the touch being influenced by the couplers, thus giving the organist the means to control this technically complex late Neo-Romantic organ with all its couplers, double pallets and long action runs, in a musical and sensitive way.

The wind system (12 large bellows), the console design, pipework placement, scaling and voicing were carried out in accordance with the essential characteristics of the French Romantic organ building tradition.


Paschen organ - Specification

DISPOSITION

I Grand Orgue (C - a ''')

Montre 16
Bourdon 16
Montre 8
Bourdon 8
Violoncelle 8
Flûte harmonique 8fasadi
Prestant 4
Octave 4
Quinte 2 2/3
Doublette 2
Fourniture 5r
Cymbale 4r
Cornet 5r
Basson 16
Trompette 8
Clairon 4

II Positif expressif (C - a ''')

Quintaton 16
Principal 8
Flûte 8
Cor de nuit 8
Salicional 8
Unda maris 8
Prestant 4
Flûte douce 4
Nasard 2 2/3
Doublette 2
Tierce 1 3/5
Plein jeu harmonique 3-6r
Piccolo 1
Cor anglais 16
Trompette 8
Clarinette 8

III Récit expressif (C - a ''')

Bourdon 16
Diapason 8
Flûte traversiere 8
Viole de gambe 8
Voix céleste 8
Flûte octaviante 4
Viole d’amour 4
Octavin 2
Plein jeu 4r
Bombarde 16
Trompette harmonique 8
Clairon 4
Basson et hautbois 8
Voix humaine 8

Pédale (C - f ')

Soubasse 32
Contrebasse 16
Soubasse 16
Basse 8
Bourdon 8
Violoncelle 8
Flûte 4
Bombarde 32
Bombarde 16
Basson 16
Trompette 8
Clairon 4


Pédales de Combinaisons
Effet d’orage
Tirasse Grand Orgue
Tirasse Positif
Tirasse Récit
Anches Pédale
Octaves Graves Grand Orgue
Octaves Graves Récit
Tremolo Positif
Expression Positif
Expression Récit
Tremolo Récit
Anches Grand Orgue
Anches Positif
Anches Récit
Introduction Grand Orgue
Copula Positif/Grand Orgue
Copula Récit/Grand Orgue
Copula Récit/Positif

Computer-based register memory system(Otto Heuss), 3999 combinations, memory stick option.

Builder: Paschen Kiel Orgelbau GmbH

Specification: Kurt Lueders, Paris, France

Façade: Roland Monczynski, Germany

Technical design: Roland Monczynski

Tonal realization: Helmuth Gripentrog & Kalevi Mäkinen

________________________________________________________________

1761 Johann-Andreas-Silbermann Organ Dom zu Arlesheim Arlesheim/Basel, Switzerland

The 1761 Johann-Andreas-Silbermann Organ Dom zu Arlesheim Arlesheim/Basel, Switzerland

Short preliminary Introduction and History

This famous organ is well-known especially for the complete Bach recordings of Lionel Rogg in 1970.
The cathedral has a Baroque organ built by the German builder Johann Andreas Silbermann, based in Alsace, in 1761. The instrument was restored by Metzler in 1959-62, and is an example of the fusion of French and German organ building styles. The complex restoration and reconstruction was done by the renowned Swiss Metzler organ workshop and was the leading restoration at this time, which had an important influence on all later restorations of baroque organs. The church has a wonderful warm and rich acoustics.

Lionel Rogg performed 1970 Bach's Toccata and Fugue BWV 565 at Arlesheim's cathedral ('Dom von Arlesheim')






Johann Sebastian Bach (1685-1750) Prelude and triple Fugue in E flat major BWV 552 Prelude Lionel Rogg at the Silbermann organ in Arlesheim




Rogg plays Johann Sebastian Bach's prelude and fugue in c minor BWV 549 on the Silbermann organ of Arlesheim.





Johann Sebastian Bach (1685-1750) Prelude (Toccata) and Fugue in E major BWV 566 Lionel Rogg at the Silbermann organ in Arlesheim





Johann Sebastian Bach (1685-1750)

Das Orgelbüchlein
Christus, der uns selig macht BWV 620
Da Jesus an dem Kreuze stund BWV 621
Wir danken dir, Herr Jesu Christ BWV 623
Hilf, Gott, daß mir's gelinge BWV 624

Lionel Rogg at the J.A. Silbermann organ in Arlesheim (Switzerland)





Rene Saorgin playing an organ by Andreas Silbermann in Arlesheim, Switzerland.
Buxtehude Toccata





Johann Sebastian Bach (1685-1750)
Passacaglia and Fugue in C minor BWV 582
1. Passacaglia

Lionel Rogg at the Johann Andreas Silbermann organ of the Domkirche in Arlesheim





Johann Sebastian Bach (1685-1750) Passacaglia and Fugue in C minor BWV 582 2. Fugue Lionel Rogg at the Johann Andreas Silbermann organ of the Domkirche in Arlesheim

DISPOSITION

Hauptwerk

* Bourdon 16'
* Montre 8'
* Bourdon 8'
* Prestant 4'
* Nazard 2 2/3'
* Doublette 2'
* Tierce 1 3/5'
* Sifflet 1'
Fourniture 3fach
Cymbale 2fach
* Cornet 5fach (ab c')
Trompette 8'
Voix humaine 8'

Rückpositiv:

* Bourdon 8'
* Prestant 4'
* Flûte 4'
* Nazard 2 2/3'
* Doublette 2'
* Tierce 1 3/5'
Larigot 1 1/3'
Fourniture 3fach
Cromorne 8'

Récit/Echo:

* Bourdon 8'
* Prestant 4'
* Nazard 2 2/3'
Doublette 2'
Tierce 1 3/5' (Disk.)
Basson/Trompette 8'

Pedal:

* Subbass 16'
* Octavbass 8'
Quinte 5 1/3'
Prestant 4'
Fourniture 3fach
Bombarde 16'
Trompette 8'
Clairon 4'


Tremulant
Koppel Rp/Hw
Koppel Hw/Ped
*Silbermann-Register von 1761

Johann Sebastian Bach playing Johann Sebastian Bach (1685-1750) Thomaskirche (Leipzig)

the new "Bach Organ" built by Gerald Woehl

A notable feature of the Thomaskirche is that it contains two organs. The older one is a Romantic organ by Wilhelm Sauer, built 1885-1889. Since this organ was not suitable for Bach's music, a second organ was built by Gerald Woehl's organ building company from 1999-2000. This "Bach organ" was designed to look similar to the old organ on which Bach had played in the Paulinerkirche.

The St. Thomas Church is one of 2 houses of worship in Leipzig’s city center. Home of the St. Thomas Boys Choir and a place of musical creativity; it is also the final resting place of the famous St. Thomas Cantor, Johann Sebastian Bach.

The St. Thomas Church is one of the earliest places in Europe, which documented organ music during church services. "Organ songs" were mentioned for a Maria Mass in 1384 and in 1392 for the Corpus Christi Mass-indications of a very early fostering of music from the St. Thomas founders of 1212. The organs of Bach's time do not exist anymore. The organ, which can be seen on the west choir loft, was built by Wilhelm Sauer in 1889. Originally, this Romantic period instrument had 63 organ stops. In 1908, more stops were added to give a total of 88 stops. It was later restored and brought back to its original eminence in 2005.

The new Bach-Organ on the north choir loft, situated across from the Bach-Window, was built in the year 2000. This organ is used especially for playing the organ works of Johann Sebastian Bach and was built by the organ manufacturer Gerald Woehl in Marburg. The sound quality of this instrument, with its 61 organ stops on 4 manuals and a pedal board, is similar to the organs built in Middle-Germany during the 18th century. The organ in the University Church St. Pauli, which Bach played during his time in Leipzig, served as the inspiration for the form of the Bach-Organ.
 

The St. Thomas Church dates back to the 12th Century. It was here in 1409 that the University of Leipzig was founded. From 1492 to 1496, the church had the form of a late Gothic hall church. It was also here in 1539 that Martin Luther preached the implementation of the Reformation. For the last 800 years, the St. Thomas Boys Choir has been singing here.




One of the oldest boy choirs in Germany singing Matthäuspassion (St Matthew Passion) by their own cantor from XVII Century - J.S. Bach. However now the choir is led by inimitable Georg-Christoph Biller. This is a very short sequence of originally 3+ hours long musical masterpiece.





The St. Thomas Boys Choir, whose history dates back to the year 1212, is the oldest cultural establishment of the city of Leipzig. Outliving all political, municipal, religious, and educational controversy, 800 years musica sacra has shaped the choir's past.

Through the influence of the many St. Thomas Cantors, including the most famous-Johann Sebastian Bach (Thomas Cantor 1723-1750)-the city of Leipzig and the St. Thomas Church became the center of Protestant church music.

Johann Sebastian Bach (1685-1750) Prelude in A minor BWV 543
Johann Sebastian Bach at his organ, the Neue Bach-Orgel, in Thomaskirche (Leipzig)

The St. Thomas Church is home to the Boys Choir. A choir rich in tradition, they are committed to continue his musical legacy.

Today, visitors from all over the world come to Leipzig to observe church services in the St. Thomas Church, hear a motet from the St. Thomas Boys Choir, or to take pleasure in concerts and organ music.

Romantic organ by Wilhelm Sauer, built 1885-1889

Even amongst the many churches of Europe, St. Thomas in Leipzig, Germany is special; not only has it housed a world famous boys choir but has been the site of considerable music creativity. Composers such as Mendelssohn and Mozart have performed there and Wagner was baptized there, but certainly the greatest works ever done there are the compositions of J.S. Bach.

"Nun danket alle Gott" BWV 657 (J.S. Bach) Ullrich Böhme, Orgel. Ullrich Böhme, Organ.

on  the new "Bach Organ" built by Gerald Woehl

Thomaskirche (Leipzig)

The organ featured in this recital by Mr. Böhme is the new "Bach Organ" built by Gerald Woehl dedicated in 2000 according to the official St Thomas Church.

DISPOSITION OF THE ORGAN

the new "Bach Organ" built by Gerald Woehl

Brustwerk (I)

Grob Gedackt 8'
Klein Gedackt 4'
Principal 2'
Super Gemßhörnlein 2 f.
Quint-Sexta 2 f.
Sieflit 1'

Hauptwerk (II)

Bordun 16'
Principal 8'
Violdagamba 8'
Rohrflöth 8'
Quinta 6'
Octav 4'
Nassatquint 3'
Superoctav 2'
Queerflöth 2'
Sesquialtera 3 f.
Mixtur 6 f.
Cimbel 3 f.
Fagott 16'
Trombetta 8'

Oberwerk (III)

Quintaden 16'
Prinzipal 8'
Gedackt 8'
Gemßhorn 8'
Flauta doux 8'
Octav 4'
Hohlflöth 4'
Hohlquint 3'
Superoctav 2'
Plickflöth 2'
Sesquialtera 3 f.
Scharff 4 f.
Vox Humana 8'
Hautbois 8'
Tremulant

Echo (IV)

Barem 16'
Still Gedackt 8'
Quintaden 8'
Principal 8'
Nachthorn 4'
Spitzflöth 4'
Spitzquint 4'
Octav 2'
Schweitzerflöth 2'
Rauschquint 1' 1/2
Superoctävlein 1'
Cimbel 3 f.
Regal 8'

Pedal

Großer Untersatz 32'
Prinzipal 16'
Violon 16'
Sub Bass 16'
Octav 8'
Gedackt 8'
Quintaden 8'
Superoctav 4'
Bauerflöth 1'
Mixtur 6 f.
Posaun Bass 32'
Posaun Bass 16'
Trombet 8'
Cornet 2'
Glockenspiel 2'

TEMPERAMENT: modified Neidhardt
PITCH: a'=465 with Chorton.

Disposition Sauer-Orgel 1908/2005

 

I. MANUAL (25 STIMMEN)	2. MANUAL (21 STIMMEN)
Principal 16fuß	Salicional 16fuß
Bordun 16fuß	Gedackt 16fuß
Principal 8fuß	Principal 8fuß
Geigenprincipal 8fuß	Schalmei 8fuß
Viola di Gamba 8fuß	Salicional 8fuß
Gemshorn 8fuß	Harmonica 8fuß
Dulciana 8fuß	Dolce 8fuß
Doppelfloete 8fuß	Flûte harmonique 8fuß
Flute harmonique 8fuß	Konzertfloete 8fuß
Flauto dolce 8fuß	Rohrfloete 8fuß
Gedackt 8fuß	Gedackt 8fuß
Quintatön 8fuß	Octave 4fuß
Quinte 5 1/3fuß	Salicional 4fuß
Octave 4fuß	Flauto dolce 4fuß
Gemshorn 4fuß	Quinte 2 2/3fuß
Rohrfloete 4fuß	Piccolo 2fuß
Violini 4fuß	Cornett 3fach
Octave 2fuß	Mixtur 4fach
Rauschquinte 2fach	Cymbel 3fach
Mixtur 3fach	Tuba 8fuß
Cornett 2-4fach	Clarinette 8fuß
Scharf 5fach
Groß-Cymbel 4fach
Trompete 16fuß
Trompete 8fuß

 

HISTORY 

Thomaskirche (Leipzig)

December 12, 1409	Foundation of Leipzig University in the Monastery of St. Thomas
September 14, 1477	The oldest bell “Gloriosa” was cast
1482-1496	Renovation of the nave into a late Gothic style hall church
June 24, 1519	Service held for the beginning of the Leipzig Debate between Martin Luther and Johannes Eck
May 25, 1539	Martin Luther gives a sermon, introducing the Reformation to Leipzig
1541	Closing of the monastery and destruction of its buildings
1723-1750	Johann Sebastian Bach is cantor in Leipzig
April 11, 1727	First Performance of St. Matthew Passion by Bach on Good Friday
1732	Renovation of the St. Thomas School
May 12, 1789	Wolfgang Amadeus Mozart plays the organ at St. Thomas
1806	Troops under Napoleon store munitions in the church
1813-14	St. Thomas is used as a military hospital during the Battle of Leipzig (“Battle of Nations”) when Napoleon was defeated
August 16, 1813	The composer Richard Wagner was baptized[1]
April 4, 1841	Bach’s St. Matthew Passion performance repeated by Felix Mendelssohn
September 16, 1842	Founding of “Gustav-Adolf-Werk”, an organization whose mission continues to be providing support for minority protestant churches throughout the world.Website for the Gustav-Adolf-Werkes e. V., Leipzig
April 23, 1843	Dedication of the Bach Memorial; built under Mendelssohn’s direction
November 26, 1848	Commemoration of the life of Robert Blum takes place in the St. Thomas Church
1884-1889	Renovation of the church in the Neo-Gothic style
1885-1889	The Sauer organ is built
1902	Closing of the St. Thomas School
1904	The church superintendent’s house is built on the site of the St. Thomas School
1908	Dedication of the Bach statue designed by Carl Seffner
1917	The last tower keeper moves out of the bell tower apartment
December 4, 1943	The bell tower is damaged by fire bombs dropped by Allied bombers
1950	Bach’s grave is moved to the St. Thomas Church
1961-64	Interior renovation of the church
1966-67	Schuke organ installed
1991	Initiation of the complete restoration of the church
1993	Dedication of the restored Paulus altar
1997	Installation of the Mendelssohn window
1999	Removal of the Schuke organ
June 11, 2000	Dedicaton of the restored St. Thomas Church with the new Bach organ
July 28, 2000	Celebration of the 250th anniversary of Johann Sebastian Bach’s death
October 18, 2008	Dedication of the copy of the Felix Mendelssohn statue across from St. Thomas