Calendario_2011 Festival ECHO.indd

ALKMAAR
FREIBERG
FRIBOURG
GÖTEBORG
INNSBRUCK
LISBOA
2011
BRUSSELS
TOULOUSE
TREVISO
TRONDHEIM
European Cities of Historical Organs
Sergej Prokofiev
(1891 - 1953)
Peter and the Wolf - Pierre et le loup - Peter en de Wolf - Pierino e il lupo - Peter og ulven
Peter und der Wolf - Pedro e o lobo - Peter och vargen - Pedro y el lobo
op. 67 (1936)
Disegni di Clara Galanti
Transcription for Organ Duet by Roberto Antonello
CD recording: 2010, April 6-7 in Toulouse (France) Eglise Notre-Dame de la Dalbade
CD editing and mastering: 2010, May 4-30 in Treviso (Italy) Teatro Comunale
Organists:
Roberto Antonello
Maurizio Croci
Organ recording:
Pierre Roques
Voice recording, digital editing
and mastering:
Recording supervisors:
Organ assistants:
Stefano Bruzzolo
Felix Marangoni
Roberto Antonello
Matthieu De Miguel
Jean-Baptiste Dupont
Executive producer:
Riccardo Moscatelli
Communication and Press:
Marina Grasso
Graphics and illustrations:
Clara Galanti
Roberto Antonello picture:
Paola Burei
Maurizio Croci picture:
Organ picture:
Massimo Zenari
Alain Andorno
Narrators
Italian:
French:
English:
Norwegian:
Dutch:
Spanish:
Swedish:
Portuguese:
German:
The organs of Europe represent centuries of its rich and varied regional culture.
This calendar is a tribute to these regal instruments, produced by the European Cities of Historical Organs (ECHO),
a non-governmental organisation devoted to the celebration of the unique cultural heritage of the organ.
Calendar produced by: European Cities of Historical Organs
Coordination: Jean Ferrard
Producer: Riccardo Moscatelli
Graphics and illustrations: Clara Galanti
Layout: Mario Rossi - www.deplimax.it
Printed in November 2010, by: TIPOGRAFIA CRIVELLARI 1918
All rights reserved ECHO - European Cities of Historical Organs
All the material has been kindly provided by the ECHO cities
Sergio Grasso
Jean-Jaques Cubaynes
Diana Corona
Trond-Ove Skrødal
Huib Ramaer
Sergio Grasso
Katarina A. Karlsson
Armando Possante
Josephine Hoppe
Photo: © Carl Erik Eriksson, 2009
www.echo-organs.org
TRONDHEIM
www.orgelfest.no
S S M T W T F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
22 23 24 25 26 27 28 29 30 31
january
2011
TRONDHEIM
Ilen church Claus Jensen, 1889
Specification
Hovedverk
C-f’’’
Bordun
Principal
Rörflöite
Octav
Flöite
Octav
Cornet II
Trompet
16
8
8
4
4
2
8
Oververk
C-f’’’
Principal
Gedakt
Gamba
Octav
Spidsflöite
Clarinet
8
8
8
4
4
8
Pedal
C-d’
Ilen church is situated west of central Trondheim in Ila, nestled between the Nidar river and Trondheim fjord. The
building was designed by Eugene Sissenére in simplified neo-gothic style and is built in stone with a wooden ceiling and
shingle roofing. Both the interior and exterior are singularly pure in form. The church was consecrated on 7 June 1889.
The organ by Claus Jensen was completed in June the same year. Jensen migrated to Trondheim in 1837. He built a
significant number of instruments in Trøndelag as well as several important instruments in Oslo, Bergen, Drammen
and Tromsø. Many of his instruments remain in playable condition without restoration. This instrument is the largest
Jensen organ in original condition. Jensen (ca. 1817-1892) is widely recognised as the most significant Norwegian
organ-builder Norway has known.
The tonal ideal of this instrument is clearly inspired by the symphonic organ of the early romantic period. The
pipework is housed within a single, free-standing organ case without an enclosed division. Each division (hovedverk,
oververk and pedal) has its own windchest. Within the organ case, the hovedverk is located in front, directly behind
the facade. The oververk is behind the hovedverk, and the pedal division is located against the back wall of the organ
case. The organ utilises mechanical key and stop action and slider chests. A single space-saving wedge bellows was
installed in the late 1970s which, while providing very flexible winding, does not reflect the intentions of Jensen. Plans
are being made to restore the original bellows, which will be installed in the tower behind the organ. An extensive
documentation of the instrument, which will inform any future restoration, is currently in process.
january
Subbas
Gedakt
Octav
Basun
16
8
4
16
Couplers (hitch-down pedals)
Pedalkoppel (I-P)
Octavkoppel (Sub I)
Manualkoppel (II-I)
Single-acting combination pedals
Forte (draws HV Octav 4 and 2, Cornet II and Trompet 8)
Piano (cancels HV Octav 4 and 2, Cornet II and Trompet 8)
Miscellaneous
Hovedverk ventil
Oververk ventil
Pedal ventil
Calcant vekker
2011
Photo: © Piergiorgio Gregolin
www.echo-organs.org
TREVISO
www.organidimarca.it
S
S M
T W T F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
19 20 21 22 23 24 25 26 27 28
february
2011
TREVISO
Chiesa di S. Agostino
Serassi Brothers, 1858
In our area, in which eighteenth and nineteenth century organs from the Veneto school prevail, an organ from the
Lombardy school is a novelty. The Serassi organ of S. Agostino was built in 1858 and perhaps the fact that a Lombard
organ-maker was engaged is due to the presence in this church of the Somasco Religious Order, which has its roots
in Lombardy. The acoustic frame of instrument differs from the essential rationality of Veneto tradition and is rich
in coloured stops. It is situated in the choir loft above the main door of the church and enclosed in a neo-classical
case decorated with imitation marble. The instrument was recently renovated by the organ-maker Giorgio Carli from
Pescantina (Verona). To arrange a visit, contact the parish church of S. Maria Maggiore.
Prospect of 19 pipes of the Principale, from C, arranged in spire in one bay.
Keyboard of 58 notes (C-a’’’) with first semitonic octave. The Grand’organo correspond to the superior keyboard, the
Melodium correspond to the lower. It’s placed in a case that could be opened trough vertical shutters. The division
bass-soprani is situated between b-c’. Desk pedalboard with 18 pedals, with 16 real notes (C-eb), pull-down from the
Grand’organo. The last two pedals push the Terza Mano and the Rollante.
The Promoting Committee of the Treviso Organ Festival has always had the main aim of recover the unique heritage
of historical mechanical instruments located at the city. This important action of sensitizing the audience and the great
support of public and private entities (in primis the Cassamarca Foundation and its Chairman Mr Dino De Poli) has
allowed the restoration of many organs. This activity has become a point of concern in the national and international
sphere, generating a sort of Treviso model for regions and cities with similar assets.
Currently Treviso is visited by many organ classes from all the best European Music School and Conservatories and
frequently hosts groups of foreign scholars and organ lovers from Europe, Corea and USA. Many international musical
institutions and Academies hold courses about the Italian musical literature, including the organ heritage of Treviso.
More than the restoration of ancient instruments Treviso has a great tradition of new mechanical organs’ building,
in particular has to mentioned the organ in Renaissance style placed into the Auditorium-church Santa Caterina and
the Zeni organ at Salgareda inspired by the French model of Cavaillé-Coll and Puget: two unique samples in Italy for
their sound characteristics.
Specification
II. Grand’organo
C-a’’’
Principale bassi
Principale soprani
Principale bassi
Principale soprani
Ottava bassi
Ottava soprani
Quintadecima
Decimanona
Vigesimaseconda
Vigesimasesta
Vigesimanona
Trigesimaterza e sesta
Contrabassi con ottave al Pedale
16
16
8
8
Istromentazione
Corni da caccia soprani
Cornetto II
Fagotto bassi
Trombe soprani
Violoncello bassi
Corno inglese soprani
Viola bassi
Flauto reale soprani
Ottavino soprani
Voce umana soprani
Clarinetto soprano
Tromboni al pedale
16
8
8
4
16
4
8
2
2
16 (combinato)
I. Melodium
C-a’’’
Ottava bassi
Viola bassi
Violoncello soprani
Flauto in ottava soprani
Violetta soprani
Voce flebile soprani
4
4
8
4
8
8
Pedals for
Fagotto
Corno inglese
Ottavino
Gelosia dell’Eco
Tiratutti
Combinazione libera alla lombarda
february
2011
Photo: © Jean-Baptiste Dupont
www.echo-organs.org
TOULOUSE
www.toulouse-les-orgues.org
S
S M
T W T F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
19 20 21 22 23 24 25 26 27 28 29 30 31
march
2011
TOULOUSE
Église-musée des Augustins
Jürgen Ahrend, 1981
La première mention d’un orgue dans l’église du couvent des Ermites de Saint Augustin de Toulouse
remonte à l’année 1504. Un deuxième orgue était installé dans la chapelle Notre-Dame de Pitié.
Au XVIIIe siècle, l’orgue de l’église est en très mauvais état, « aussi uzé qu’antique ». En 1766, on
réceptionne des travaux dus au facteur Grégoire Rabiny, installé à Toulouse, mais né en Allemagne.
Quand arrive la tourmente révolutionnaire, l’instrument est à nouveau mal en point. Transformée en «
Museum du Midi de la République » par décret du 27 août 1795, l’église ne semble plus contenir d’orgue
digne d’intérêt lorsque Jean-Baptiste Micot, facteur d’orgues, Jacques Belin, menuisier et François
Cammas, architecte, effectuent leur « inventaire et estimation des buffets d’orgues appartenant à la
République », le 14 juin 1796, à la demande de l’Administration Municipale de la Commune de Toulouse.
Il faudra attendre les années 1970 pour voir germer l’idée d’un nouvel orgue dans l’église du musée, sous l’impulsion
de Xavier Darasse avec la complicité de Denis Milhau, conservateur du musée, et le soutien de la Ville de Toulouse.
On fit appel au facteur allemand Jürgen Ahrend pour créer un orgue s’inspirant des instruments
baroques de l’Allemagne du Nord. Le buffet en chêne orné de volets peints, selon une tradition des XVIe
et XVIIe siècles, est placé sur une tribune spécialement aménagée, et a été décoré par Pierre Belin.
Cet instrument se veut l’interprète idéal des œuvres de compositeurs tels que Dietrich Buxtehude, Franz Tunder,
Heinrich Scheidemann, etc. mais aussi de l’œuvre d’orgue de Jean-Sébastien Bach. Son harmonisation, particulièrement
remarquable, permet également d’aborder avec succès de nombreux autres répertoires, qu’ils soient baroques ou…
contemporains.
Jean-Claude Guidarini
Specification
I. Rückpositiv
C-f’’’
Praestant
Gedackt
Oktave
Rohrflöte
Oktave
Waldflöte
Sesquialtera II
Scharf IV
Dulzian
8
8
4
4
2
2
8
II. Hauptwerk
C-f’’’
Praestant
Praestant
Hohlflöte
Oktave
Splitzflöte
Quinte
Oktave
Mixtur IV-VI
Dulzian
Trompete
16
8
8
4
4
3
2
16
8
III. Brustwerk
C-f’’’
The earliest mention of an organ in the church of the Convent Les Ermites de Saint Augustin in Toulouse goes back to
1504. A second organ was installed in the Notre-Dame de Pitié Chapel. In the eighteenth Century, the church’s organ
was in poor condition, as testified by the report of the time: aussi uzé qu’antique. In 1766, work was accepted from an
organ builder named Grégoire Rabiny, working in Toulouse but born in Germany.
At the time of the Revolution, the instrument was again in bad condition. The church was transformed into a Republican
Museum for the South of France by government decree of 27 August 1795, and no longer seems to have possessed
an organ worthy of interest when Jean-Baptiste Micot, organ builder, Jacques Belin, joiner and François Cammas,
architect, compiled their Inventory and assessment of the organ cases belonging to the Republic, on 14 June 1796, as
requested by the Municipal Administration of the Commune of Toulouse.
It was not until 1970 that Xavier Darasse was able to get a new organ built for the Museum’s church, assisted by Denis
Milhau, the Museum’s Curator, with support from the City of Toulouse.
The German organ builder Jürgen Ahrend was commissioned to create an organ based on the baroque instruments of
northern Germany. The oak case decorated with painted panels, following the tradition of the sixteenth and seventeenth
centuries, is installed in a specially designed organ loft and was decorated by Pierre Belin.
This organ is intended to be an ideal instrument on which to perform the works of composers such as Dieterich
Buxtehude, Franz Tunder, Heinrich Scheidemann, etc., as well as the organ works of Johann Sebastian Bach. Its
particularly remarkable harmonisation is also very suitable for many other repertoires, whether baroque or even
contemporary.
Jean-Claude Guidarini
march
Holzgedackt
Holzflöte
Blockflöte
Terz
Quinte
Regal
8
4
2
4
/5 - 1 3/5
1 1/3
8
Pedal
C-f’
Praestant
Subbass
Oktave
Oktave
Mixtur
Posaune
Trompete
Kornet
16
16
8
4
IV
16
8
2
Hauptwerk/Pedal
Rückpositiv/Hauptwerk
Tremulant
Nachtigal
Temperament: Werckmeister III
(modified by Jürgen Arhend)
2011
Photo: © Dinarte Machado
www.echo-organs.org
LISBOA
www.festivaldeorgao.com
S
S M
T W T
F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
april
2011
LISBOA
Basílica de Mafra (Epístola)
Joaquim António Peres Fontanes, 1807
Located thirty kilometers to the northwest of Lisbon, the town of Mafra is noted primarily for the Palace built in the
eighteenth century by order of King João V. Apparently, in 1711, the King had promised to build a convent for the
Capuchinhos (the Franciscan friars of the Arrábida Province) in thanksgiving for the birth of his daughter Princess
Maria Bárbara, who would later become Queen of Spain. His original idea, a modest convent for thirteen monks
gradually evolved into the final project: a huge complex covering forty thousand square meters, including a palace,
a church and a convent with the capacity for more than three hundred friars. The first stone was set in 1717 and the
church was consecrated in 1730. The interior of the church is impressive not only by its size but also by the nobility
of the materials and the ample resources employed: Portuguese and Italian marbles, exotic woods from Brazil, two
carillons and six organs.
Despite the number of churches in Europe with three, four or even more instruments, what makes Mafra a unique case
is the fact that the six organs were planned, since the very beginning, as an ensemble. The instruments that we can
presently admire in the church (two in the Chancel, two in the Northern transept and two in the Southern transept) are
primarily the result of the work developed between 1792 and 1807 by the two leading organ builders of that time in
Portugal: António Xavier Machado da Cerveira (1756-1828) and Joaquim António Peres Fontanes (1750-1807). These
names are inscribed on plaques placed over the keyboard on each of the six organs along their dates of completion
(or inauguration), which cover a period from October 1806 to October 1807. All the instruments possess the someiro
de cheios (literally «plenum chest») – a common feature in Portuguese instruments of that period, which allowed the
organist to cancel the previously selected plenum stops (placed on a secondary windchest) by means of a pedal – as
well as a reeds chest.
The Epistle organ, signed by Joaquim António Peres Fontanes, presents many features typical of this organ-builder
on most of the pipework and especially on the structure of the main windchest. However, the secondary plenum chest
and the concept of the plenum itself match the type of work of António Xavier Machado da Cerveira, who is known
to have worked on the six instruments around 1820. In 1989 the Portuguese organ-builder António Simões undertook
a restoration of the Epistle organ. It was subsequently restored in 1999, as part of the complete restoration of the six
organs, which was entrusted to the Portuguese organ-builder Dinarte Machado and completed in 2010.
Specification
Mão esquerda
C-c’
Flautado de 24 ab[erto]
Flautado de 12 ab[erto]
Flautado de 12 tap[ado]
Oitava real
Dozena °
Quinzena °
Compostas de 19ª III °
Címbala IV °
Recímbala IV °
Clarão V °
Clarão V
Fagote *
Trompa de batalha *
[16]
[8]
[8]
[4]
[2 2/3]
[2]
[8]
[4]
Mão direita
c#’-f’’’
Flautado de 24 ab[erto]
Flautado de 12 ab[erto]
Flautado de 12 tap[ado]
Flauta romana
Oitava real °
Oitava real II °
Compostas de 12ª IV °
Compostas de 15ª V °
Cheio IV °
Címbala IV °
Clarãozinho V °
Corneta real VI
Trompa magna *
Clarim *
Clarinete
[16]
[8]
[8]
[8]
[4]
[4]
[16]
[8]
[8]
Two pedals cancel the wind supply to the stops
marked with ° and *, placed on the secondary plenum
and reeds chests.
april
2011
Photo: © Fotostudio Stanger, Innsbruck
www.echo-organs.org
INNSBRUCK
www.innsbruck.at
S
S M
T W T
S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13
14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
may
F
S
2011
INNSBRUCK / WILTEN
Monastery Church
Daniel Herz, 1675
The Daniel Herz organ of 1675 numbers among the oldest of Tyrol’s organ treasures, due to its highly original state
as well as the organ building artistry of its builder. The instrument is distinguished by outstanding craftsmanship and
by an extraordinary acoustic system: three rows of pipes as principal registers with a manual range of 45 keys were
extended by two octaves to 69 pipes in each row.
In 2002/03 the organ was renovated and restored to its original state. With its black painted housing and gold plated
ornamentation, it bears remarkable witness to early Baroque artistry and is, furthermore, a listed historical musical
monument manifesting an original, highly unusual sonority.
The Præmonstratensian Canonical Abbey of Wilten (Innsbruck, Tyrol, Austria)
The area around the Bergisel was first settled during the period of the Urnfield culture in the late Bronze-Age in about
1000 BC. Around 200 AD the Romans established a colony with a castle named Veldidena near the place where the
Abbey of Wilten is currently located. A traveller’s report by Venantius Fortunatus in 565 AD mentiones a church
dedicated to St. Lawrence located near the area of the present collegiate church.
According to legend, the first monastery was built in 878 AD by a giant named Haymon, who had immigrated from
Germany and killed a local giant named Tyrsus in a duel. He sought expiation for this sin by building a monastery and
becoming a monk. At the request of Bishop Reginbert of Brixen in 1138 AD the Canons Regular of Prémontré replaced
a community of secular priests that had existed until that time. On April 30, 1138, Pope Innocent II recognized and
confirmed the young community of Premonstratensians in Wilten, who are also called Norbertines in honor of their
founder St. Norbert. At first, only three parishes of Wilten, Ampass and Patsch, were under the pastoral care of Wilten
Abbey. Over the years, 21 parishes have been incorporated into its jurisdiction.
The abbey experienced its heights in the seventeenth and eighteenth centuries. At that time the abbey acquired its
present baroque appearance. After earlier Romanesque parts of the building had been heavily damaged by fire and
the Gothic belfry had collapsed, the whole complex was demolished and reconstructed in the baroque style. In 1665
the new constructed collegiate church was consecrated. During the Bavarian occupation of the Tyrol (1807-1816)
and the Nazi regime (1939-1945) the abbey was forced by the political authorities to close down, looted and partly
destroyed. During World War II the abbey was hit by bombs several times because of its proximity to the strategically
important railway leading across the Brenner frontier to Italy. On June 13, 1944, the collegiate church was heavily
damaged in an American bombing raid requiring a lengthy restoration after the war. The church was not able to
reopen until Christmas 1952.
Specification
Manual
CDEFGA–c’’’
Principal
Octave
Superoctave
Quint
Quintoctave
Quintadez
Quartoctave
Cimbl maior
Cimbl minor
8
4
2
2 2/3
1 1/3
2
/3
1
1
/2
1
/4
Pedal (coupled)
CDEFG–f#°g#° (repeating at c)
Subbass
16
Tremulant
Quarter-comma meantone temperament
a1 = 463.6 Hz at 18° C
Pressure 55 mm
During the general restoration of the church (2005-2008), a new great organ constructed by the Dutch enterprise
Verschueren was installed, and even a smaller choir organ constructed by the Dutch firm Reil. Opposite this choir
organ of Reil is situated on the choir the historic Daniel-Herz-organ of the year 1675. Eleven new bells were installed
from 1976 to 2005 in order to restore those removed during World War II.
may
2011
Photo: © Jan Zwart (Alkmaar)
www.echo-organs.org
ALKMAAR
www.alkmaarorgelstad.nl
S
S M
T W T F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
18 19 20 21 22 23 24 25 26 27 28 29 30
june
2011
ALKMAAR
Grote Sint Laurenskerk
Jan van Covelens, 1511
Organ Festival Holland 2011
17 - 26 June 2011
The international Organ Festival Holland, established in Alkmaar, will take place from 17 - 26 June 2011. During the
Festival the 500th anniversary of the world famous 1511 Van Covelens-organ of the Alkmaar Grote Sint Laurenskerk
will be celebrated.
The Festival consists of a competition, concerts and an academy including masterclasses, lectures, excursions and
workshops on the famous historic organs of Alkmaar and its region. All of the artistic directors of the ECHO-cities
will be present as performers, teachers and members of the jury of the competition. The Annual Meeting 2011 of
ECHO will take place during the Festival as well.
Some highlights of the program:
First Weekend (18 - 19 June)
− Saturday evening: Opening concert with the Baroque orchestra of the Scuole Civiche of Milano with Stefano
Montanari, conductor and soloist (Vivaldi program, a. o. Concert for 4 harpsichords [transcr. J. S. Bach] performed
by 4 ECHO organists)
− First round of the International Schnitger Organ Competition Grand Prix d’ECHO at both organs of Grote of Sint
Laurenskerk
Festival Week (20 - 24 June)
− Monday, Wednesday: Concerts by members of the Jury
− Tuesday: Second round of the International Schnitger Organ Competition Grand Prix d’ECHO at the Müller-organ
of the Kapelkerk of Alkmaar
− Thursday: Concert by young pupils of the Alkmaar Centre of Arts Artiance
− Friday: Final of the International Schnitger Organ Competition Grand Prix d’ECHO on both organs of the Grote
Sint Laurenskerk
Second Weekend (25 - 26 June)
− Saturday evening: Concert by the famous Canterbury Cathedral Choir
− Sunday evening: The European Organ Union. All jury members perform on both organs of the Grote Sint
Laurenskerk music from their countries
The 9th International Schnitger Organ Competition
14 - 24 June 2011
Grand Prix d’ECHO
Specification
Hoofdwerk (II)
FGA-g”a”
Doof I-II
Holpijp
Koppeldoof I-III
Openfluit
Sifflet
Mixtuur II-VI
Scherp III-VI
Trompet
8 1651
8 1511
4 1511/2000
4 1511/2000
1 1/3 1511/2000
1511/2000
mainly 2000
8 2000
Borstwerk (I)
FGA-g”a”
Quintadeen
Fluit
Octaaf
Octaaf I-II
8 1545
4 1625
2 1625
2000
Pedaal
FGA-c’
Trompet
8
1551/2000
Pitch: a’ = 427Hz
Temperament: mean tone
Couplers: BW + HW (Bass/Treble), Ped + HW
Tremulant
Three of the member cities of ECHO, Akmaar, Freiberg, and Innsbruck, are working together to organise the first
Grand Prix d’ECHO. The prize winners of the International Schnitger Organ Competition in Alkmaar in 2009, the
Silbermann Competition in Freiberg in 2009 and the Hofhaimer Competition in Innsbruck in 2010 will receive the
invitation to compete for the Grand Prix d’ECHO which will be held in Alkmaar during Orgelfestival Holland 2011.
The winner of the Grand Prix d’ECHO will receive the title of ECHO Young Organist of the Year and will be invited
to perform at the various festivals of the ECHO member cities.
The Jury
The performances of the candidates will be evaluated by an international jury consisting of the artistic directors of
the 10 ECHO-cities: Jean Ferrard (Brussels), Dietrich Wagler (Freiberg), Maurizio Croci (Fribourg), Karin Nelson
(Göteborg), Reinhard Jaud (Innsbruck), Joao Vaz (Lissabon), Jan-Willem Jansen (Toulouse), Roberto Antonello,
Andrea Marcon (Treviso, Marcon only in Final), Per Bonsaken (Trondheim), Pieter van Dijk, Frank van Wijk
(Alkmaar).
The 11th Organ Academy week
17 - 26 June
The 11th Organ Academy will be held during 17 - 26 of June and consists of workshops, masterclasses, concerts
and excursions. Registration is possible either as an active or non-active participant. During the Academy, which
is open to students, and both professional and amateur organists, participants will enjoy extensive guidance from
international specialists. The repertoire for the academy has been chosen to demonstrate the relationship between the
music and the special characteristics of the teaching organs.
The lessons will take place in the Grote St Laurenskerk in Alkmaar, utilising both of the world famous organs; the
Van Covelens organ of 1511 and the 1646/1725 Van Hagerbeer/Schnitger organ. Classes will also be held on the
beautiful Müller organs of the Lutherse Kerk (1755) and the Kapelkerk (1762) in Alkmaar, and the Grote Kerk in
Beverwijk (1756). The academy provides therefore a unique opportunity for organists to gain experience of playing
on some of Europe’s most inspiring historic organs.
For more information visit: www.alkmaarorgelstad.nl and subscribe to our newsletter, which will be issued
regularly
june
2011
Photo: © Johan Norrback
www.echo-organs.org
GÖTEBORG
www.goart.gu.se/gioa/
S
S M
F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
july
T W T
2011
GÖTEBORG
Vasa Church (Vasakyrkan)
Eskil Lundén, 1909;
rebuilt by Hammarbergs Orgelbyggeri 1943 and 1952;
restored and enlarged by Grönlunds Orgelbyggeri 2001-2002
A harbour and industrial centre during the twentieth century, the city of Göteborg has developed many new twentyfirst-century faces: high-tech industries, education, research and – not least – culture. Göteborg is the home of the
National Swedish Orchestra (the Göteborg Symphony Orchestra), a large modern Opera House on the waterfront,
and an intense and active theatre scene. The Film Festival and the Book Fair are also national events, and the
universities of the city contribute a great deal to its cultural life with art, music, theatre, design, and the International
Science Festival.
This cultural life also builds bridges to other parts of Europe. One important aspect of this outreach is organ and
church music, building on firm traditions as well as pioneer endeavours. Within the field of organ culture one could
mention historic organ instruments as well as the unique contemporary organ research carried out by GOArt at
Gothenburg University built on historical methods. The close connection between historical heritage, contemporary
research and new approaches, which characterizes the present organ culture of Göteborg, has a potential to reach far
beyond the local cultural scene.
An organ and cultural backdrop of Göteborg with bridges to Europe – perhaps this is a sign of the future: the organ
as a symbol of the European vision and integration, that in order to succeed must be rooted in the soil of our shared
culture.
Jörgen Linder
Lord Mayor of Göteborg
Specification
Göteborg – known internationally as Gothenburg – is Sweden’s second largest city and is situated on the west coast.
The modern Göteborg was granted city status in 1621. The city plan was drawn up according to the Dutch model,
with canals and fortifications. Göteborg was an international city from the very beginning. The first City Board
consisted of ten Dutchmen, seven Swedes and a Scotsman, and the city had four official languages.
During the eighteenth century, Göteborg became an important commercial and maritime centre. The nineteenth
century saw the establishment of the most significant shipyards, and these made their mark on trade and industry
right up to the 1980s. From 1900 to 1930 the population doubled and the early twentieth century witnessed rapid
industrialization and many industries expanded. The city is the home of many internationally well-known companies,
such as Volvo, SKF, and Ericsson – to name but a few. Today, Göteborg is Sweden’s most important trade and
industrial city. The contemporary Göteborg is a centre for research and technology at institutes such as the University
of Gothenburg, Chalmers University of Technology and the Sahlgrenska University Hospital.
The organ was built in 1909 by Eskil Lundén of Göteborg, and had 40 stops, three manuals and pedal, and tubular
pneumatic action. Before establishing his own company, Lundén worked, among others, for Wilhelm Sauer in Berlin.
During this six-month stay in Berlin in 1903 Lundén is said to have been involved in the instrument for the Cathedral
in Berlin. Nils Hammarberg rebuilt the instrument in 1943, made the action electro-pneumatic and enlarged it to 47
stops. In 1952, Hammarberg added a Rückpositiv, which brought the amount of stops to 54. Grönlunds Orgelbyggeri,
Gammelstad, restored and enlarged the instrument in 2001-2002, keeping the electro-pneumatic action. Since then,
the organ has had 57 stops, four manuals and pedal. During this last restoration, all stops dating from 1909 (about
30) have been restored to their original condition. Five older stops from other organs have also been used, either as
replacements for lost Lundén registers or as additional stops (made by Molander 1896, Lundén 1907, Åkerman &
Lund in the 1910s, and Mårtensson 1932 & 1940). In the latest restoration, seven new stops were added: these have
been scaled and voiced according to Lundén’s practice and they blend with his organ building style. The decision
was made to keep the Rückpositiv, even though it is a more recent addition and rather different in its case and facade
design, but it is a part of the evolved state of the instrument. Its specification has been remodelled and revoiced to
better support the overall romantic sound concept.
Manual I
C-g’’’
Manual II (enclosed)
C-g’’’
Principal
16
Borduna
16
Principal
8
Fugara
8
Gamba
8
Flûte Harmonique
8
Dubbelflöjt
8
Oktava
4
Rörflöjt
4
Kvinta
2 2/3
Oktava
2
Cornett (from c1) IV
4
Mixtur III-IV
2 2/3
Trumpet
16
Trumpet
8
Gedakt
16
Violin-Principal
8
Violin
8
Gemshorn
8
Rörflöjt
8
Oktava
4
Flûte Harmonique
4
Flageolette
2
Rauschqvinta II
2 2/3
Trumpet
8
Klarinett
8
Manual III (enclosed)
C-g’’’
IV. Rückpositiv
C-g’’’
Dulciana
16
Basetthorn
8
Salicional
8
Woix-coeleste
8
Konsertflöjt
8
Gedakt
8
Qvintatön
8
Violin
4
Ekoflöjt
4
Waldflöjt
2
Harmonia ætherea III 2 2/3
Oboe
8
Euphone
8
Gedakt
Principal
Rörflöjt
Nasard
Gemshorn
Ters
Regal
8
4
4
2 2/3
2
1 3/5
8
Pedal
C-f’
Untersatz
32
Violon
16
Subbas
16
Couplers
Ekobas (tr. M II)
16
I/P, II/P, III/P, IV/PII/I,
Kvinta
10 2/3
III/I, IV/I,
Principal
8
III/II, IV/II, IV/III
Violoncelle
8
4-I, 4-II, 16-III, 4-Ped
Gedakt
8
Oktava
4
Tremulants II, III, and IV Basun
16
Trumpet
8
Electro-pneumatic action
Manuals I, II and Pedal: Roosevelt chests;
Manual III and IV (RP): ventil chests (Hammarberg’s
rundbälgs chests)
Registercrescendo
Setzer combination system
Pitch: a1 = 440 Hz
Equal temperament
Schwimmer reservoirs and concussion bellows
july
2011
Photo: © Yves Eigenmann, Primula Bosshard - Fribourg
www.echo-organs.org
FRIBOURG
www.academieorgue.ch
S
S M T W T F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
20 21 22 23 24 25 26 27 28 29 30 31
august
2011
FRIBOURG
Église des Cordeliers
Johann Conrad Speisegger, 1750
FRIBOURG
Specification
Fribourg, protected from devastations of the history, is like a big book of European civilization. The Duke Berthold
IV de Zaehringen founded it in 1157, and the city, hidden among the windings of its river, the Sarine, is recognized
as one the largest European inheritance of medieval architecture.
The city appeals to the tourist not only for its architecture and handicraft but also for its modernity. Art and history
have fallen in love in Fribourg.
Eight centuries of artistic creations have shaped Fribourg’s fame, which endures through many contemporary
festivals and artists, like Jean Tinguely and his internationally renowned artworks.
Since many centuries, Latin and German people have met each other here.
Fribourg is on the crossing of cultures with its daily bilingualism that gives it a particular sound: French, German
and regional Schwytzerdütsch, but also English, Italian and Spanish are spoken because of its University. This is
a melting pot of international youth. Its unique bilingual University has been founded in 1889 and receives nearly
10.000 students per year with its numerous faculties, the most famous being Jurisprudence and Theology.
Since 1998 the Académie d’Orgue de Fribourg has opened to show the organ inheritance of the city and strongly
contributed to the international acknowledgement of Fribourg as city of organs.
Great Organ
C-f’’’
Bourdon
Principal
Bourdon
Salicional
Prestant
Flaut
Quinte
Doublette
Sesquialtera
Fourniture III
Cymbale II
Cornet (from C3) III
Trompette
Madeleine Genoud-Page
Municipal Councellor,
Head of the Culture and Tourism Department,
Ville de Fribourg
Ville de Fribourg: www.fr.ch/ville-fribourg
Festival international d’Orgue de Fribourg: www.academieorgue.ch
Fribourg Tourisme: www.fribourgtourisme.ch
Maurizio Croci, artistic director: www.mauriziocroci.com
History
1747-1750
1815
1865
1914
1968
1985-2005
Built by Johann Conrad Speisegger from Schaffhouse
Transformation by Aloys Mooser
Transformation by Haller & Mauracher
Transformation, enlargement and installation of a pneumatic action by Goll.
Contract with E. F. Walcker & C for the construction of a new organ in the old organ case
Reconstruction of the organ in Speisegger style
august
16
8
8
8
4
4
3
2
8
Positive
C-f’’’
Pedal
C-d’
Principalbass
Octav Bas
Rauschbass
Bombarde
FagOtho
16
8
4+2
16
8
GO/Ped., POS/GO
Coppel
Principal
Rohr-Flaut
Nazard
Flageolet
Terzian
Octave
Cymbale II
Tremblant
8
4
4
3
2
1
2011
Photo: © Fotostudio Stanger, Innsbruck
www.echo-organs.org
INNSBRUCK
www.innsbruck.at
S
S M
T W T F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
17 18 19 20 21 22 23 24 25 26 27 28 29 30
september
2011
INNSBRUCK
Hofkirche
Jörg Ebert, 1561
The Ebert organ is one of the oldest fully functional church organs north of the Alps. It was built in 1555–1561 by
Jörg Ebert from Ravensburg. Due to fortunate circumstances, it has retained to a large extent its original substance,
form and sonority. A thoroughgoing restoration by Jürgen Ahrend, completed in 1976, ensured the historical value
of this instrument, and once again, a uniform work of art from the era of polyphonic organ music preceding the
Thorough-bass period was accessible. The timbre of this organ is unusually clear, vocal and variable. It requires
moderate tempi and phrasing due to the old fingerings and individual registrations etc., today widely unknown
features of the Renaissance.
The organ: queen of instruments
Whenever it is a question of rare and precious organs, Innsbruck is one of the world’s leading lights. Its organs are
considered esoteric treasures whose value is inestimable.
Particularly in connection with the organ competitions for the Paul-Ho�haimer-Prize, which have taken place every
three years since 1969, the unique historic instruments are brought vividly to life and recalled to memory. It is not
without a certain pride that we note how many organists and young musicians studying the organ foster a personal
desire to play upon one of these magnificent instruments and call forth their tonal colours and timbre. For example,
the resonance of the Ebert Organ of 1558 / 1561 or one of the Renaissance organs in the Silbernen Kapelle, which
with their wooden pipes and the especially soft tones emanating from them, are simply unparalleled.
It has long been clear to the city that the organs of Innsbruck are veritable rarities. What’s more, maintaining and
preserving such cultural treasures, i.e. not permitting them to decay or merely gather dust, is extremely important to
us. For that reason, we have been members of the organ association known as ECHO (European Cities of Historical
Organs) since 1996. Together with the cities of Alkmaar, Brussels, Freiberg, Fribourg, Göteborg, Lisbon, Saragossa,
Treviso, Toulouse, and Trondheim, we have made a commitment to the preservation of historic organ treasures and
to carrying out associated organ-playing activities.
In spite of their sometimes opulent appearance, organs are highly delicate, sensitive instruments. You can literally
pull all the registers, yet it takes a specialist to bring out their inner harmonies and colours. As Mayor of the City of
Innsbruck, I would like to assure you that the future of the Queen of Instruments in Innsbruck is safe and sound. We
look forward to ongoing joint activities in the context of ECHO and promise to protect Innsbruck’s organ jewels,
also in future, like the apple of our eye!
Specification
Hauptwerk
CDEFG-g’’a’’
principal
deckt fleten
oktave
quint
quintez
hindersaz V-X
ziml II
hörndl II
trumetten
regal
8
8
4
2 2/3
2
8
8
Rückpositiv
FGA-g’’a’’
offen fletl
zudeckt fletl
mixtur III-V
ziml II
hörndl II
4
4
Pedal (coupled to Hauptwerk)
CDEFG-b
Zitter (Tremulant)
Quater-comma meantone temperament
a1 = 445 Hz at 11°C
Christine Oppitz-Plörer
Mayor of Innsbruck, capital of the State of Tyrol
september
2011
Photo: © Otto Schröder, Freiberg
www.echo-organs.org
FREIBERG
www.silbermann.org
S S M T W T F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
22 23 24 25 26 27 28 29 30 31
october
2011
FREIBERG
Dom St. Marien
Gottfried Silbermann, 1714
After having served for several years as apprentice in his brother Andreas’ workshop in Strasbourg, Gottfried
Silbermann returned to his native Saxony in 1710. That same year, the Council of Freiberg put an end to decades
of deliberation and finally approved the project of having a new organ built for St. Mary’s cathedral. Silbermann
was barely 27 years old at the time, working on the project of his first “independent” instrument in his hometown
Frauenstein. In view of his already evident talent, the fact that he received the Freiberg commission to build a new
three-manual organ in the Freiberg cathedral was certainly not only due to recommendation on the part of Leipzig
Thomaskantor Johann Kuhnau. The new organ was dedicated in 1714. In its conception (ingeniously combining the
French-Alsatian and Middle German styles), in its excellent craftsmanship and in its astoundingly precise voicing, this
instrument sports truly unique qualities. Here, in the Freiberg cathedral organ, Silbermann merged different styles in
a way he would never repeat again. The French style of organ building is reflected in the overall specification, in the
voicing of the reeds, and in the way the shallots and windchests were designed. The original blueprint even included
a choir organ. On the other hand, the German style is reflected in the powerfully reinforced foundation stops, in the
strong emphasis on pedal (although still lacking a coupler or the corresponding palletbox), as well as reinforced
specification of Quintadehn stops and conical stops. Otherwise, until today, nothing in the specification has been
modified. The original pitch, uncommonly high at ca. a = 473 Hz, has been preserved (now at 476 Hz) along with
the unequal temperament. Studying those few pipes which have not undergone some kind of modification, it can be
assumed that the Silbermann organ was tuned in a temperament closely resembling mean-tone. Following several
re-tunings in the course of the twentieth century, the latest historical restoration 1985 established a greatly modified
(well-tempered) mean-tone temperament, which has been maintained since then.
The fact that this great Silbermann organ is particularly well preserved can be attributed to several factors. His
apprentices kept up its maintenance during his lifetime, although he had forbidden them to do so (since he had
a permanent disagreement with the Council of Freiberg). The fact that Silbermann and his successors and pupils
Johann Georg Schöne and Adam Gottfried Oehme had their workshop on the Schlossplatz – within eyeshot of the
cathedral – was certainly also of great advantage. Inscribed on the walls of the so called Kurrendekammer (choir
chamber) in back of the organ and in the bellows, one will find a great number of names of many who helped
maintain and preserve the instrument ever since the 1700’s. Attempts to re-tune the instrument in the course of the
1800’s fortunately came to nought: the first time due to “lacking finances” in 1841, then thanks to resistance on the
part of both the cathedral organist and the cantor in 1853. During his first years as cathedral organ is from 1926 on,
Arthur Eger was also able to protect the organ from being rebuilt. Modifications were only made in the wind supply;
then, in 1933, the Quintadehn 8 stop was rebuilt due to supposed tin disease, and the reeds were somewhat “redone”
in 1939. Then, in the 1950’s, the wind supply was restored back to its approximate state before modification. Finally,
from 1981 to 1983, the Dresden organ building firm Jehmlich was entrusted with the major historical restoration,
carried out by their specialist Kristian Wegscheider. The pipes and the wind supply were restored as much as possible
back to their original condition, and the original mean-tone temperament was reinstated. In 2010 all six historical
wedge-bellows was reinstated to their original function, making human-powered blower air supply available as an
alternative option to the electric motor.
The Freiberg “Evening Musics” were inaugurated in 1939, featuring performances on both Silbermann organs (in
1938, a smaller one had been moved from the nearby Johanneskirche to the cathedral). Almost without interruption
since then, a large audience regularly attends the Abendmusiken in the cathedral every Thursday evening between
May and October. Albert Schweitzer was right to describe the Freiberg cathedral organ’s sound as one of the most
beautiful in the world.
Specification
Hauptwerk
CD-c’’’
Oberwerk
CD-c’’’
Bordun
Principal
Viola di Gamba
Rohrflöt
Octave
Quinta
Sup.Octav
Tertia
Cornet V
Mixtur IV
Zimbeln III
Trompet
Clarin
16
8
8
8
4
3
2
Quintadehn
Principal
Gedackt
Quintadehn
Octava
Spitzflöt
Sup.Octav
Flaschflöt
Echo V
Mixtur III
Zimbeln II
8 Krumbhorn
4 Vox Humana
Brustwerk
CD-c’’’
Gedackt
Principal
Rohrflöte
Nassat
Octava
Tertia
Quinta
Sufflöt
Mixtur III
16
8
8
8
4
4
2
1
Pedal
CD-c’
8 Untersatz 32 (32+16)
4 Princ.bass
16
4 Sub Bass
16
3 Octav Bass
8
2 Octav Bass
4
Ped.Mixtur VI
1 1/2 Posaun Bass
16
1 Tromp.Bass
8
Clar.Bass
4
Tremulant (I, II, III)
Schwebung (III)
Shift couplers (III/II, I/II)
a = 476,3 Hz
Albrecht Koch
(Translation: Stanly Hanks, by courtesy of Mottete-Psallite)
october
8
8
2011
Lithography: collection Patrick Collon, Brussels
www.echo-organs.org
BRUSSELS
www.bruxellessesorgues.org
S
S M
T W T F S S M T W T F S S M T W T F
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
19 20 21 22 23 24 25 26 27 28 29 30
november
2011
BRUSSELS
Notre-Dame de Laeken/Onze-Lieve-Vrouw van Laken
Pierre Schyven, 1871 / Salomon Van Bever, 1912
The royal church of our Lady in Laeken (one of the districts of Brussels), a few hundred meters away from the royal
palace, was built in the nineteenth century and is dedicated to Louise-Marie, first Queen of the Belgians. It was
inaugurated on August 7, 1862 and contains the Royal Crypt. The choir of the original thirteenth century church is
in early Gothic style and is in the cemetery where numerous well-known personalities are buried. They include, the
playwright Michel de Ghelderode, the architect Poelaert (who not only conceived this neo-gothic church but also
Brussels gigantic Palais de justice) as well as the violinist Charles de Bériot and his wife, the famous opera singer,
Maria Malibran.
The first organ for the largest neo-gothic church in Belgium was ordered in 1870 from the German organ-builder
Joseph Merklin, established in Brussels since 1843, just before he moved to Paris, leaving the Brussels workshop to
his foreman Pierre Schyven, who built the Laeken instrument from 1871 to 1874. It is the most important Schyven
organ after the instrument built for the Antwerp cathedral in 1890 (IV/90). The specification of the instrument
(III/51) is given in the 90 pages brochure published in 1892 and is printed on this page. A letter from the organbuilder, written in 1900 indicates that the Cor anglais of the Positif was indeed an Ophicléide 16, and the Clairon
harmonique 4 was a Cor 16.
The Schyven organ was dedicated on November 1874. King Léopold II attended the concert given by two former
students of Jacques-Nicolas Lemmens: Alphonse Mailly and Alexandre Guilmant. The monumental organ case was
built by Goyers of Louvain, on plans drawn by Joseph Poelart. It is know to us by only two original photos and by
the coloured lithography reproduced in this calendar. It lasted only 37 years: the architects leading the pursuit of the
construction of the church tower insisted on seeing the rose window behind the organ case, and it was decided to
remodel the instrument to answer satisfy their demands.
The Laeken organ-builder Salomon Van Bever, who already worked on the organ in 1901, dismantled the instrument
in 1908 and rebuilt it three years later, with a new, much less impressive case, which is reproduced here from an
ancient postcard. The instrument, still in function today, has been slightly modified (III/53) but the original aesthetic
was respected by Van Bever, and the Laeken instrument is one of the most important large romantic organs in
Belgium.
Bruxelles Ses Orgues / Brusselse Orgels (BSO)
Brussels became the eleventh city member of ECHO in 2006.
The first consequence of this was the creation of Bruxelles Ses
Orgues / Brusselse Orgels (BSO), a non-profit organisation
uniting all active groups which had been beforehand working
individually at the valorisation of their organ and promotion of
their concerts: Organ in August (Voce et Organo, asbl), Organ
Monday at Finistere, the Concerts at the Cathedral of Saints
Michel and Gudule, the Brussels International Organ Week,
the summer concerts of the Church of Notre Dame of Laeken,
and more recently, the saint Dominic’s International Priory.
Besides the redaction, production and large scale circulation
of promotion documents for the activities of the members of
BSO, and the active participation off all its member in the
popular Journées du Patrimoine, in September, the first big
event organized by BSO has been an exhibition on The Organ
in Brussels, open from April first to June 21, 2009, which has
been very successful and was visited by hundredths of tourist
as well as Brussels citizens.
Specification
1. Grand-orgue
C-g’’’
3. Récit expressif
C-g’’’
Montre
Bourdon
Montre
Bourdon
Flûte harmonique
Gemshorn
Salicional
Gambe
Flûte harmonique
Prestant
Grand Cornet V
Fourniture V-VI
Bombarde
Cor anglais
Trompette
Trompette céleste
Clairon
16 Bourdon
16
16 Flûte octaviante
8
8 Bourdon
8
8 Gambe
5
8 Dolce
8
8 Voix céleste
8
8 Flûte d’écho
4
8 Flageolet
2
4
4
Fourniture III
Basson
16
16 Basson et hautbois
8
8 Trompette harmonique8
8 Voix humaine
8
8 Clairon harmonique 4
4
2. Positif
C-g’’’
Pédale
C-f’
Bourdon [GO]
16
Bourdon [GO]
8
Flûte [GO]
8
Dolciana [GO]
8
Gambe [GO]
8
Flûte [GO]
4
Quinte
3
Cor anglais [GO]
8
Trompette céleste [GO] 8
Clarinette
8
Sous-basse
Flûte
Bourdon
Quintatoen
Violoncelle
Flûte
Flûte
Bombarde
Bombarde
Clairon
32
16
16
12
8
8
4
16
8
4
Pédales de combinaison
1. Réunion du 1er clavier au pédalier
2. Réunion du 2e clavier au pédalier
3. Réunion du 3e clavier au pédalier
4. Réunion du grand orgue à la machine
pneumatique
5. Réunion du récit au positif
6. Réunion du récit au grand orgue
7. Réunion de l’octave grave du récit au grand
orgue
8. Appel des jeux de combinaison du 1er clavier au
grand orgue
9. Appel des jeux de combinaison du récit
10. Appel des jeux de combinaison du pédalier
11. Forte général
12. Expression
13. Tremolo
The jeux de combinaison are indicated in italics
The 1911 organ case, still in place today
(postcard, collection Jean Ferrard, Brussels)
november
2011
Photo: © Jan Zwart (Alkmaar)
www.echo-organs.org
ALKMAAR
www.alkmaarorgelstad.nl
F
S
S
M
T W T F S S M T W T F S S M T W T
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
december
2011
ALKMAAR
Evangelisch Lutherse Kerk
Anonymous (Christian Müller?), 1755
Specification
Manual I
C-g’’’
Pedal
C-f
Principal
16
Bordun
16
Principal
8
Gedackt
8
Gambe
8
Flûte harmonique
8
Dolce
8
Octave
4
Rohrflöte
4
Quinte
2 2/3
Octave
2
Cornett III-V
Mixtur IV
Trompete
8
Principal
Kontrabaß
Subbaß
Gemshornbaß
Gedacktbaß
Quinte
Octave
Violon
Cello
Baßflöte
Octave
Posaune
Trompete
16
16
16
16
16
10 2/3
8
8
8
8
4
16
8
(foto Jan Zwart - Alkmaar)
Manual II
C-g’’’
The organ of the Evangelisch Lutherse Kerk of Alkmaar was built in 1755 as a one manual organ with ten stops by
an unknown builder. The construction of the pipework, specification and other characteristic features point into the
direction of (the school of) Christian Müller (1690-1763); Müller was in this period responsible for the maintenance of
the organs of the city of Alkmaar. During his stays in Alkmaar he, as well as his son Pieter, visited the services in the
Lutheran Church. Alas, the archives don’t give any information about the name of the builder of this instrument.
The organ-case has a simple but very tasteful design: a round middle tower surrounded by four curved flats and flanked
by two pointed outer towers. The ornaments display the characteristics of the Rococo-style. The case is crowned by
the symbol of the Dutch Lutherans: a swan (just landed on a clock!). In 1806 the organ was repaired by the Alkmaar
organ-builder J. C. Deytenbach.
Around 1875 the organ-builder Lodewijk Ypma from Alkmaar enlarged the instrument. Ypma added a Bovenwerk
supplied with five stops as well as a pull-down pedal. The console was displaced from the back to the side of the organcase. The manual compass was extended from c’’’ to f’’’. The organ-case was made deeper and the wind-chest of the
Hoofdwerk was placed on a lower level. The original wedge bellows were replaced by a horizontal reservoir. Ypma
reduced the number of ranks of the Mixtuur and Cornet and replaced the Tertiaan by a Salicet 8. The double ranks in
the treble of the Prestant 8 and Quint 3 were disconnected as well. The old keyboard (1755) was re-used for the new
Bovenwerk: five new keys were made for c’’’-e’’’, the old c’’’-key became f’’’ as can be seen at the upper keyboard.
Perhaps this is the only preserved original Müller-keyboard (with original layers).
In 1936 the organ was repaired by A. J. Overdijk and in 1957 a renovation was carried out by D. A. Flentrop. In
1977, Flentrop Orgelbouw restored the instrument. The specification of the Hoofdwerk was restored to the situation
as described by Joachim Hess (1774); a new Tertiaan was made and the original composition of the Mixtuur and the
Cornet was reconstructed. The Quintadena 8 (Bovenwerk) was changed back into a Viool di Gamba 8. Apart from the
Tertiaan and some ranks of the Mixtuur and Cornet all the Hoofdwerk stops are from 1755. These stops have not been
restored in 1977 and have very well preserved their original sound character.
Frank van Wijk
december
Quintatön
Flötenprincipal
Concertflöte
Schalmey
Salicional
Unda maris
Traversflöte
Viola
Piccolo
Mixtur III
Fagott
Clarinette
16
8
8
8
8
8
4
4
2
16
8
Manual III
C-g’’’
Lieblich Gedackt 16
Violonprincipal
8
Fugara
8
Quintatön
8
Lieblich Gedackt
8
Aeoline
8
Vox Celestis
8
Fugara
4
Dolce
4
Flautino
2
Harmonia Ætheria III
Trompete
8
Oboe
8
Vox hum.
8
II/I, III/I, Sub II/I, Sup II/I, Sub III/I, Sup III/I, III/II,
Sup III/II, I/Ped, II/Ped, III/Ped
3 free combinations
3 fixed combinations (P, MF, Tutti)
General crescendo (Walze)
HR ab, Walze ab, RW Tutti, RW ab
Computer sequencer combination system,
4000 x 3 combinations
2011