Tales of 1001 Pipes. For Mendelssohn’s organ lessons: The Wagner Organ at St. Mary’s Church, Berlin

Joel Kuznik has served as a college organist and professor, a church musician, a pastor, and as a business executive on Fifth Avenue, Wall Street, and at MetLife. After several years of retirement from business, he revived writing for professional journals, something he had done since his college days. After attending the Bachfest 2003 in Leipzig, he again began writing articles and reviews. With over 60 pieces in print ranging from reviews of concerts and festivals, travelogues, books on church music, concert hall organs, CDs and DVDs, he was recognized and named to the Music Critics Association of North America (MCANA) in May 2005. He is also a member of the American Bach Society and serves on the board of the Bach Vespers at Holy Trinity in New York City, where he has lived for 32 years. His organ teachers were Austin C. Lovelace, Frederick Swann, Ronald Arnatt, David Craighead, Jean Langlais, Marie-Madeleine Duruflé-Chevalier, and Anton Heiller. As a member of the AGO, he has served as dean of the Ft. Wayne chapter, on the executive board of the New York City chapter, and on the national financial board. He holds a BA summa cum laude from Concordia Sr. College (formerly at Ft. Wayne), a Min.Div and STM from Concordia Seminary, St. Louis, and an MM from the Eastman School of Music.

Mention Saxony to most organists, and they immediately think of the 18th century, Gottfried Silbermann and his catalogue of 31 extraordinary instruments, which are still being played.1 An amazing testimony! But today one hears more and more of Kristian Wegscheider, widely admired for his dynamic restorations of Silbermann organs as well as those of Hildebrandt, Schnitger and Ladegast—and whose reputation as a builder is so respected that he was considered for the new organs at St. Thomas, Leipzig and the Frauenkirche in Dresden.
Steven Dieck, president of C. B. Fisk, Inc., credits Wegscheider with being “very helpful in discovering the ‘secrets’ of Gottfried Silbermann and continues to be, not only for us, but also for any other organbuilder. There is no disputing that Kristian and his shop are the experts on the work of Gottfried Silbermann.”
Stefan Engels of Leipzig’s University of Music & Theatre notes that “Kristian Wegscheider is one of the leading organ builders of our time when it comes to the restoration of historic instruments from the 17th and 18th centuries. His knowledge of style, his talent for research, and his ability to relate to the distinct sounds of old organs is unique. It is a joy to experience this artist and his superb work.”
And, as Steve Dieck points out, Wegscheider has an international involvement and impact. “Once East Germany opened itself to the rest of the world, Kristian’s company became a member of the International Society of Organbuilders. Shortly after that, he helped to organize one of the ISO’s biennial congresses held in Dresden. He is currently second vice president of the ISO and again helped to organize the congress in September 2008, which began in Gdansk, Poland and worked its way by train and boat to Stralsund, Germany, where members of ISO visited significant organs.”2
“He continues to share his vast knowledge of the works of Gottfried Silbermann with his many organbuilding colleagues around the world. He has visited the U.S. many times, and was invited to collaborate with Fritz Noack in making a ‘Hildebrandt’ style organ for Christ the King Lutheran Church in Houston, Texas.”
And those who have been fortunate to hear Wegscheider’s restorations or new instruments would add, “This is a builder about whom Americans need to know more.”

Background
Kristian Wegscheider was born in 1954 in Ahrenshoop, a small resort town on the Baltic Coast of Northern Germany. After stints in the army and a year with a furniture-maker, he began his apprenticeship with the esteemed Jehmlich Dresden organbuilding firm, which dates back to 1808 and is associated with the restorations of the magnificent Silbermann cathedral organs in Dresden and Freiberg.
Kristian immediately took an immense interest in historic organs and worked on restorations in Berlin and Leipzig. He became head of Jehmlich’s restoration department and supervised restorations of the 1714 Silbermann in Freiberg’s Cathedral and the 1868 Lütkemüller organ at the Güstrower Cathedral.

Orgelwerkstatt Wegscheider Dresden
As Wegscheider writes for his firm’s website,3 the creation of his organ workshop in Dresden in 1989 coincided with the fall of the Wall and became possible with the parallel vehement political and social changes. These were indeed complicated times in the GDR, and the emergence of a new private company was no simple venture.
At the time it was not unusual in the GDR for restorations and even the repair of organs to be delayed up to 20 years. In 1987, that gave Wegscheider an idea, often treated perfunctorily and bureaucratically, to create his own workshop specializing in restorations and repair. He overcame numerous hurdles—among other things, getting a trade license and acquiring the space for engaging in a trade, and one couldn’t get one without the other.
In order to bridge the gap, Wegscheider worked for almost a year in the restoration workshop of the Museum of Musical Instruments at the University of Leipzig. With the assistance of friends and with some luck, however, the initial problems were overcome. That was all quickly forgotten, once work began in the spring of 1989 with the reconditioning of an old carpenter’s shop in Dresden’s Neustadt (“new city”).4 His first two coworkers were the organ builder and pipemaker Hartmut Schütz, who had also trained with Jehmlich, and his long-time friend and a carpenter, Matthias Weisbach. Requirements were completed in December of 1990, and Wegscheider was able to receive his certification as a master craftsman (“Meisterbrief”).
The workshop officially began operating June 1, 1989, and in September there was a big celebration with friends and colleagues. For this historic event, a narrow-gauge steam train was rented, and the area in front of the shop was transformed into an open-air theatre. When the borders opened that fall, a group of five made a week-long “discovery journey” into the “West” finally to hear and investigate for themselves organs they had often read and heard about, an adventure that just weeks before had seemed impossible.
During this week, the team was able to examine the old instruments of East Frisia (Ostfriesland, a costal region along the North Sea bordering the Netherlands to the west),5 which for them was like an “organbuilder’s paradise.” There they also inspected the shop of the famous Jürgen Ahrend, contacted the North German Organ Academy, and had discussions with organ experts, musicologists and organists. This all became invaluable in forming their own firm and served as the basis for artistic work. Additional “educational journeys” became a regular experience and took them to South Germany, Switzerland, Italy, and France. How exhilarating this must have been—the new freedom to explore and discover!

Wegscheider: first projects
The first project was a new instrument for the Allstedt Castle Chapel in Mansfeld. The small organ was to complement the Baroque room and conform to old established models of classical organbuilding. The shop was to do something that had never been done in East Germany before—to make an instrument completely from wood, tin, lead, leather and brass without using plywood, aluminum, nitrate lacquer, plastic and prefabricated mechanisms.
Also, this instrument would reflect Wegscheider’s long-held interest in providing two temperaments that can be played interchangeably: meantone for Renaissance music and well-tempered for Baroque. The idea originated in Charles Fisk’s dual-temperament organ at California’s Stanford University (1984),6 but this was to be the first such instrument in Europe, with Wegscheider working to improve the result both technically and musically.7
This new organ for Allstedt was followed by a number of restorations in the states of Mecklenburg-Vorpommern, Saxony-Anhalt, Brandenburg and Thuringia, while at the same there developed partnership work in Saxony. Much of the work, now with seven co-workers, involved restoring damaged organs, some long unplayable due to water damage or wood worms. Other builders had refused to work on them or recommended replacements, but to Wegscheider these instruments were too valuable to be discarded. Congregations, in turn, were grateful for the efforts of their municipalities to preserve these organs.
Expansion
By 1993 it was clear that the company needed new, larger facilities. The company had expanded to ten employees, with only 400 square meters of workspace and with insufficient height to assemble instruments. Finally a carpenter’s workshop was found in Dresden–Hellerau in the old village center of Rähnitz. During the move, the firm continued to work on a restoration of the Silbermann for the Bremen Cathedral (I/8, 1734)8 and an identical copy of it for the Silbermann Museum in Frauenstein, so that the dedication of the new workshop in July 1994 could take place in a concert using both organs with the Dresden Baroque Orchestra.
After all this excitement, work continued routinely, but always with interesting projects. One was the extensive renovation of the Schulze organ, with the reconstruction of a 32′ Posaune in Markneukirchen, a town in Saxony known as a center for making musical instruments as well as its Museum of Musical Instruments. Another instance was building a new 20-rank organ inside an historic case in Steinwedel near Hannover, which demonstrated what a builder like Wegscheider with experience in historical models could do.

Langhennersdorf, Nikolaikirche
But the high point of this period was completing the renovation of the organ at St. Nicholas Church in Langhennersdorf, a beautiful village near Freiberg. This Opus 1 by Silbermann’s apprentice Zacharias Hildebrandt (1722) as his Meisterstück (masterpiece) was built to certify him as an organbuilder. It is a revelation to hear—exciting, vibrant, present, colorful, and commanding.
But all this came after some blood, sweat and tears. Begun in 1989–90 during the turbulent reunification of Germany, this was Wegscheider’s first big contract and was threatened by obstacles beyond his control. However, he remained determined and continued working piece by piece as the church, which was committed to the challenge, raised funds. What exuberance there must have been at rededication on Reformation Day, 1996!

Langhennersdorf Nikolaikirche9
1722 Zacharias Hildebrandt (II+P/21)
1989–1996 Kristian Wegscheider

Hauptwerk
8′ Principal
8′ Rohrflöte
8′ Quintadena
4′ Praestant
4′ Spitzflöte
3′ Quinta
2′ Octava
III Mixtur
II Cymbeln
III Cornett (from c1)

Oberwerk
8′ Gedackt
4′ Rohrflöte
3′ Nasat
2′ Principal
2′ Waldflöte
1′ Sifflöte
11⁄3′ Quinte
II Cymbeln

Pedal
16′ Sub-Baß
16′ Posanenbaß
8′ Trompete

Tremulant
Shove coupler II/I
Pedal coupler I/P
Manual compass C, D–c3
Pedal compass C, D–c1

Choir pitch: a = 468 Hz
Modified meantone

Dresden-Loschwitz church
The lessons learned in Langhennersdorf would prove helpful in designing the 1997 organ for a church in the outlying regions of Dresden-Loschwitz. The organ was conceived as a large one-manual and pedal instrument that would combine the typical stops of Silbermann with other 18th-century Saxon builders in one division, but some stops are also playable on a second manual. The building, virtually destroyed in the 1945 Blitz by an errant bomb, has been restored with spectacular but simple beauty. The church—with its historic altar rescued and restored from the Sophienkirche, where Bach played two recitals (1825 and 1731), and where his son Wilhelm Friedemann was organist (1733–1746)—has its organ sitting center stage in the second gallery.
The impact of this small instrument is remarkable and a joy to hear. Just a day after playing and listening to the impressive Silbermann-Hildebrandt (III/47, 1755) at Dresden’s Hofkirche and the imposing new Kern at the Frauenkirche (IV/67, 2006), the sound of this little organ in the suburb of Dresden-Loschwitz moved 45 American organists last September to spontaneous smiles of delight and satisfaction. The stunning immediacy of the sound combined with the brilliance of the ensemble and the colors of individual stops was a joy to hear.
And then listening to Wegscheider himself—on how Silbermann swept into this part of Germany with the fresh bold sounds of France and dominated organbuilding, on the speech and design of his pipework, and clarifying differences of temperament in the area—was an informative revelation. The man has a large presence, an expansive expression of speech, and in his eyes the gleam of an inspired creator, all reflected in his restorations and new designs.

Dresden-Loschwitz:
Loschwitz Church10
1997 Wegscheider II+P/20

Manual I
16′ Bordun
8′ Principal
8′ Gedackt
8′ Flauto traverso
8′ Viola di Gamba
4′ Octave
4′ Rohrflöte
4′ Flauto amabile
3′ Nasat
2′ Octave
2′ Flöte
13⁄5′ Tertia
1′ Flageolet
III Cornett (from g)
III Mixtur

Manual II (stops from I)
16′ Bordun
8′ Gedackt
8′ Flauto traverso
8′ Viola di Gamba
4′ Rohrflöte
4′ Flauto amabile
3′ Nasat
2′ Flöte
13⁄5′ Tertia

Pedal
16′ Bordun
8′ Octavbaß
8′ Violonbaß
4′ Octavbaß
16′ Posaune

Tremulant
Manual shove coupler
Pedal couplers I/P, II/P

Manual compass C–e3
Pedal compass C–e
Pitch: a = 440 Hz
Tuning: modified Valotti
Wind pressure: 70 mm

Houston, Christ the King Lutheran Church
Wegscheider has been involved in several “Bach organs.” The first was in collaboration with the Noack Organ Company at Christ Lutheran Church in Houston, where he served as co-designer.

Christ the King Lutheran Church, Houston
Builder: Noack Organ Company, 1995
Co-designer: Kristian Wegscheider II+P/30

Hauptwerk
16′ Bordun
8′ Principal
8′ Viola di Gamba
8′ Rohrflöte
4′ Octava
4′ Spitzflöte
22⁄3′ Quinta
2′ Octava
III Mixtur
II Cimbel
IIII Cornet
8′ Trompete
8′ Vox Humana

Oberwerk
8′ Gedackt
8′ Quintadena
4′ Principal
4′ Rohrflöte
22⁄3′ Nasat
2′ Octava
2′ Waldflöte
13⁄5′ Terz
11⁄3′ Quinta
1′ Sifflet
8′ Krummhorn

Pedal
16′ Principal Bass
16′ Subbass
8′ Octaven Bass
4′ Octava
16′ Posaunen
8′ Trompete

The organ at Christ the King Church follows the example of Hildebrandt, thus adding a Bach organ of a new dimension on the North American continent.
Fritz Noack and the Noack Organ Company were selected to design and build the organ. Noack is an American builder born and trained in Germany and uniquely situated to bridge the Saxon past and the Texan present. Kristian Wegscheider of Dresden, restorer of important Silbermann organs, accepted appointment as a design consultant; Reinhard Schaebitz of Dresden, voicer in the restorations, assisted in the voicing; and most of the metal pipes were built near Dresden in the workshop of Günter Lau. The result is a wonderful instrument which not surprisingly, but quite remarkably, evokes the look, feel, and sound of an 18th-century Saxon organ. One can imagine Bach’s walking in, sitting down without missing a beat and, as was his custom, pulling all of the stops to see whether or not the instrument has “good lungs.”
This Bach Organ possesses attributes commonly found in organs built today in historical style—tracker action; mechanical stop action; keys suspended below the pipe chests; a flexible wind supply provided by bellows; flat rather than radiating pedalboard; narrower, shorter manual keys; no pistons or combinations; and tuning in a historic temperament. The Saxon style imposes a series of additional design characteristics. The entire organ is housed in one case, rather than in compartments for each division according to the Werkprinzip; the case design and beautifully executed carvings employ 18th-century Saxon conventions; and the case is built of pine and painted (blue-green, red, and gold leaf). The Oberwerk to Hauptwerk coupler is activated by shoving the Oberwerk manual forward, and the Oberwerk does not couple to the Pedal. The pipe scalings are taken from Hildebrandt’s, and the principal pipes have a high tin content rather than lead.11

Stuttgart, Musikhochschule
Another “Bach organ” was built by Wegscheider for the Musikhochschule in Stuttgart, which has a large collection of historic prototypes. One can see an overview at <http://www.mh-stuttgart.de/studium/orgel/ueberblick/&gt;.

Stuttgart: State University of Music and Performing Arts
2006 Wegscheider
II+P/21

Hauptwerk
8′ Principal
8′ Rohrflöte
8′ Viola di Gamba
8′ Quintadena
4′ Octave
3′ Quinte
2′ Octave
2′ Terz (from 2′) [listed as 2′ but actually 13⁄5′]
III Mixtur
8′ Trompete

Positiv
8′ Gedackt
4′ Spitzflöte
4′ Flauto dolce
2′ Gemshorn
II Cymbal
8′ Vox Humana

Pedal
16′ Subbass
8′ Principalbass
4′ Octave
16′ Posaunebass
8′ Trompettenbass
Manual compass: C, D–d3
Pedal compass: C, D–f
Pitch: a1 = 466 Hz
Tuning: Modified Pythagorean

In the winter 2005–06 issue of Spektrum, Prof. Jürgen Essl writes:

In the fall of 2006 organ music of Bach will ring out. Then the long-anticipated “Bach organ” will supplement the university’s instrument collection. The Dresden organ builder, Kristian Wegscheider, received the commission to build an organ of 21 stops on two manuals and pedal according to 18th-century Thuringian and Saxon models. It is intended to be the ideal instrument for presenting Bach’s organ music with its choice of stops, its style of construction, its keyboard range, its speech and intonation.
Kristian Wegscheider is an undisputed expert in this area, and it would be hard to find a more first-class organ. Naturally there is no absolute “Bach Organ.” Johann Sebastian Bach, as is well known, played on many organs and was frequently active as consultant and examiner. The composition of the organ is therefore also no copy of an existing historical instrument, but an approximation of the Bach sound world in a variety of ways. The new organ is based on Bach’s expert opinion of existing instruments of similar 18th-century size, e.g., (Gottfried) Silbermann and Trost, on the compositional characteristics of his organ music, the restoration experience of the organbuilder and last but not least on the size of the room.12

Essl added in an e-mail to the author, “Indeed there were a large number of special problems for which Kristian had a good solution and fought hard to get the right results.”

Freiberg, Petrikirche
Another recent collaboration, this time with Jehmlich, was the restoration of Silbermann’s largest two-manual organ, at the Petrikirche in Freiberg, completed and rededicated in July 2007.13 It is an instrument with pizazz, brilliance, and clarity, while individual stops retain character and color. It also happens that the best CD that effectively reflects Wegscheider’s work is a recent release of a recording at the Petrikirche on the Syrius label, Johann Sebastian Bach, Vol. 4, with works from the early Weimar period played with verve, imagination, and excitement by Helga Schauerte (Syrius 141433, €22.00; <[email protected]>; the Organ Historical Society carries other recordings by Schauerte).

Freiberg: Petrikirche
1735 Silbermann
1959, 1993/94 Jehmlich Brothers
2006–07 Wegscheider, together with Jehmlich Orgelbau
II+P/32

Hauptwerk
16′ Principal
8′ Octav Principal
8′ Viol di Gamba
8′ Rohr-Flöte
4′ Octava
4′ Spitz-Flöte
3′ Qvinta
2′ Octava
2′ Tertia (from 2′) [listed as 2′ but actually 13⁄5′]
IV Cornet (from c1)
IV Mixtur
III Cymbel
8′ Trompette
16′ Fachott

Oberwerk
16′ Qvinta dena
8′ Principal
8′ Gedackts
8′ Qvinta dena
4′ Octava
4′ Rohr-Flöte
3′ Nassat
2′ Octava
11⁄3′ Qvinta
1′ Sufflöt
Sechst Qvint Altra (4⁄5′, 13⁄5′ from c1)
III Mixtur
8′ Vox humana

Pedal
32′ Groß-Untersatz
16′ Principal Bass
8′ Octaven Bass
16′ Posaune
8′ Trompete
Tremulant
Manual compass: C, D–c3
Pedal compass: C, D–c1
Manual coupler II/I
Pedal coupler P/I
Tuning: 462.5 Hz
Temperament: Neidhardt II
(for a small city), 1732

In summary, restorations include organs by:
Gottfried Silbermann
Niederschöna, 1715/1993, I/14
Bremen Cathedral, 1734/1994, I/8
Jacobikirche, Freiberg, 1717/1995/2006, II/20
Reinhardtsgrimma, 1731/1997, II/20
Tiefenau, 1725/1997, I/9
Dresden Cathedral, 1755/2002, III/47, jointly with Jehmlich Orgelbau
Petrikirche, Freiberg, 1735/2007, II/32, jointly with Jehmlich Orgelbau

Zacharias Hildebrandt
Langhennersdorf, 1722/1996, II/21

Friedrich Ladegast
Biederitz, 1868/1997, II/12
Hohenmölsen, 1851/1998, II/24
Merseburg Cathedral, 1855/1866/2003, IV, 84, joint with Eule/Bautzen and Scheffler, Frankfurt/Oder
Pomssen Wehrkirche, 1671/2000/2007, 1/13

Wegscheider’s firm has built to date thirty new organs including:
Silbermann Museum, Frauenstein, copy of Bremen positive, 1994, I/8
Güstrow Cathedral, 1996, I/15 registers with bass drums, bells, cymbelstern, 2 cuckoos, drum, nightingale
Dresden–Loschwitz, 1996, II/20
Bremen Cathedral, 2002, I/8
Cologne–Michaelshoven, 2003, II/ 28 (in the style of Silbermann/Hildebrandt)
Stuttgart, Musikhochschule, 2006/2007, II/21, Bach Organ
Sacrow-Potsdam, Heilandskirche, 2008/ 2009, II/17 registers
Current work includes:
Fritzsche-Treutmann-Organ in Harbke (restoration in cooperation with Dutschke-Orgelbau), completed 12/07 and dedicated 5/08
Altarpositiv, Kreuzkirche in Dresden, dedicated 5/08
Stellwagen Organ in Stralsund St. Marien (1659).

Saint-Louis-en-l’Isle Church, Paris, France

Carolyn Shuster Fournier is a French-American organist and musicologist living in Paris, France where she is titular of the Aristide Cavaillé-Coll choir organ at La Trinité Church. An international concert organist, she wrote her doctoral thesis on Aristide Cavaillé-Coll’s secular organs. Her writings on French music and organs have appeared in numerous journals.

Choosing a builder

Situated next to the famous Isle de la Cité, the Isle Saint-Louis in Paris, France, is known for its quaint shops and delicious Berthillon ice cream. Upon entering its church, one is struck by the well-lit interior, a drastic contrast to the inner darkness of the nearby Notre-Dame Cathedral. Bernard Aubertin’s organ case shines brilliantly in the Saint-Louis-en-l’Isle Church. (See Photo 1.)
The original 1745 Lesclop organ had been melted down during the Revolution in 1789. In 1798, the church was sold as a national property. In 1817, the city of Paris purchased the church and cleaned it. In 1888, the parish priest, abbot Louis Bossuet, acquired a new organ case, which was placed at the end of the nave. Its first level later lodged a small 15-stop Merklin organ. In 1923, Charles Mutin installed a 34-stop organ in this vast organ case. According to the organist Marie-Thérèse Michaux, it was in such poor condition when she arrived in 1975 that she was obliged to play on the Gutschenritter choir organ.
In 1976, the city of Paris began to plan the purchase of a new organ for the Saint-Louis-en-l’Isle Church, one especially suited to the 17th- and 18th-century Germanic repertory, notably the music of Johann Sebastian Bach.1 In 1977, Georges Guillard2 was named as a second organist of the church. He launched a project for the new organ that proposed the German builder Jürgen Ahrend, well known authority on Baroque-style organs. An association was founded with Monsieur Henry Ecoutin as president. According to Jean-Louis Coignet, the technical advisor for historical organs of the city of Paris since 1979, at that time the rules for constructing an organ in Paris were not very strict, and the city had intended for Jürgen Ahrend to build this organ. Unfortunately, various disagreements between the builder and the administration, notably with the head architect who did not approve Ahrend’s proposed organ case, led to postponing the project on numerous occasions.
In the meantime, the legislation concerning public markets and transactions had become much more rigorous. In July 1997, it was therefore necessary to launch a competition to determine the builder of this new organ. Jean-Louis Coignet established a program of work for the invitation to tender, detailing the 41 stops to be included in this three-manual organ:3

RÜCKPOSITIV (56 n.)

8' Principal
8' Gedackt
8' Quintatön
4' Octave
4' Rohrflöte
2' Waldflöte
11?3' Sifflöte
II Sesquialtera
IV Scharf
8' Krümhorn

HAUPTWERK (56 n.)

16' Principal
16' Quintadena
8' Oktave
8' Salicional
8' Rohrflöte
4' Oktave
4' Spitzflöte
22?3' Nasat
2' Oktave
IV–VI Mixture
16' Dulzian
8' Trompete

OBERWERK (56 n.)

8' Gedackt
4' Principal
4' Rohrflöte
2' Oktave
13?5' Terz
11?3' Quint
III Zimbel
8' Vox Humana

PEDALWERK (30 n.)

16' Principal
16' Subbass
8' Oktave
4' Oktave
2' Nachthorn
IV Mixture
32' Dulzian
16' Posaune
8' Trompete
4' Trompete
2' Cornet

Accouplements: OW/HW, RP/HW, OW/PW, RP/PW
Tremblants: RP et OW

Around a dozen European organ builders submitted proposals. Unfortunately, Jürgen Ahrend committed an error during the tendering and, consequently, was disqualified. On January 28, 1999, the city chose the French builder Bernard Aubertin.

Bernard Aubertin, Organ Builder, Maître d’Art

Bernard Aubertin (see Photo 2) was born into a family of woodworkers going back to the Napoleon Bonaparte era, originally from Moselle. After studying in Strasbourg, he designed organ cases for various firms, notably for the Felsberg Orgelbau in Switzerland. In 1978, at the age of 25, he founded his own company to build mechanical-action organs with top quality materials in a traditional manner.4 He installed his shop in two large wings of a historic Romanesque priory dating from the mid-twelfth century in Courtefontaine, the region of eastern France known as the Franche-Comté, in the department of the Jura (between Dijon, Dole and Besançon). A fervent collector of 0.60 m gauge railway equipment, several narrow tracks on his property enable him to easily transfer heavy equipment and materials. He now employs up to 14 workers, including his wife Sonja, who is his secretary and accountant. In 1995, the French Cultural Minister named Bernard Aubertin Maître d’Art. On November 10, 2005 the city of Paris gave him the Médaille de Vermeil.
Aubertin organs are installed in the following locations in France, Portugal, Scotland and Japan: the Besançon Conservatory (1979 and 1981), the churches in Sarralbe (1987), Viry-Châtillon (1989), Saint-Vincent in Lyon (1994, with Richard Freytag), Saessolsheim (1995), Vertus (1996), Sainte-Catherine Church in Bitche (1997), Saint-Loup-sur-Thouet (1998), Saint-Cyr-sur-Loire (1999), Saint-Marceau in Orléans, the Nice Conservatory (2001), Saint-Louis-en-l’Isle in Paris (2005), a 24-stop house organ in Faro, Portugal (2003), the University in Aberdeen, Scotland (2004), and for concert halls in Japan: in Shirane-Cho (Yamanashi, 1993), Kobe (destroyed in the 1995 earthquake), Ichigaia, Karuizawa and Zushi.5 Bernard Aubertin has also restored historic organs with a strict adherence to their original nature in Pontarlier (1982), West-Cappel (1984), Arbois (1985), Orgelet (1987), Seurre (1991), Saint-Antoine-l’Abbaye (1992) and Saint-Martin-de-Boscherville (1984). In addition, he builds cabinet organs.6
Instead of constructing direct copies of 17th- and 18th-century historic organs from northern and central Europe as well as France, Aubertin uses them as inspiring models. The craft logo of the Aubertin organ firm sums up his production: it depicts an oak tree being blown by three forge bellows at its roots, with songbirds perched in its branches. (See Photo 3.)
His organs are made of natural materials: solid French oak for the organ cases, the windchests, the wind trunks, the sliders, the trackers, stickers, backfalls and for parts of the stop action; some of the bass pipes are made with chestnut, fruit tree or spruce wood. The sliders are made as wind-tight as possible with covers of soft leather; the stop action may be set between pads of felt, and the lower parts of the windchests are sealed with large cowhides. The metal pipework is made mainly of alloys with a low tin content (35% or less). Some narrow-scale stops, such as the Gambe, the reed stops, and the façade pipes may contain up to 75 to 96% tin. All of the metal pipes are varnished to protect them against handling and long-term oxidation.
Among the unusual stops found in Aubertin’s organs, the Quintinal is a Quintadena in the bass and more string-like in the treble. At his organ in Vichy, the 32' reed stop in the Pedal is labelled “Napoleon.” His use of imitative harmonic flute pipes, overblown without piercing, such as the 2' Traversine at the Saint-Marceau Church in Orléans, is a copy of a 17th-century stop in the Jacobikirche in Hamburg. For his three-manual, 27-stop organ at the University of Aberdeen in Scotland, he incorporated two little pipes that imitate the bagpipe drone. (See Photo 4.)
Several of Aubertin’s organs (Vertus, Orléans and Saint-Louis-en-l’Isle) are tuned in the mild 1800 Young temperament with six pure and six tempered fifths, suitable to a large part of the organ repertory. His organ at the Saint-Denys Church in Viry-Chatillon is tuned in the Kirnberger III temperament. The pitch is often set at A=440 Hz. The balanced, suspended key action is light and responsive. His standard wind pressure for the manual divisions is 95 mm (33?4 inches), and for the pedal generally 105–115 mm (43?8 inches). The 56-note keyboards are covered with boxwood, ebony or bone. The 30-note pedalboards are straight. The Positif keyboard is coupled to the primary manual à tiroir (in a drawer fashion).
Aubertin has a special talent for designing each of his organ cases to blend harmoniously with the building. He often incorporates particular decorative emblems (often various astronomical elements: stars, planets and flames of fire) into his sculptured elements. At the Saint-Louis-en-l’Isle Church, the Trinitarian symbol in the glory that is located in the apse is reproduced in the center panel of the organ case. Likewise, the mystical lamb that overhangs the Positif de Dos corresponds to the lamb on the altar. Another one of Aubertin’s characteristic hallmarks: the pipe mouths of his tower pipes are often decorated with dancing golden flames. In addition, he labels the names of the stopknobs in his own handwriting, in a dark blue (a Prussian blue) and red ink on paper or parchment.
The construction and installation of the new Aubertin organ at the Saint-Louis-en-L’Isle Church In accordance with Jean-Louis Coignet’s initial invitation to tender, Bernard Aubertin had the possibility of making a limited number of modifications in the stoplist, providing that the number of stops did not exceed 45. It was also possible to propose limited changes in the tonal plans, for example, an Unterwerk instead of an Oberwerk. On March 12, 1999, Aubertin submitted an estimate of a 41- or a 45-stop organ. The latter was accepted on August 20, the feast day of St. Bernard. The first order of service for this 45-stop organ was signed by Jean-Louis Coignet, the technical advisor for historical organs, on August 25 (the feast day of St. Louis and Aubertin’s birthday). The work officially began on the organ on September 27, with a delivery deadline of 30 months. Aubertin collaborated well with Jean-Louis Coignet and François Lagneau, the architect of the historical monuments. However, since the Saint-Louis-en-l’Isle Church is classified as a historical monument, the various architectural agreements and work concerning the restoration of the tribune, the staircases, the arches and the two stained-glass windows near the organ took a great deal of time, three years longer than anticipated. From March 2000 to September 2001, the work was interrupted because the Mutin organ had not been dismantled, rendering it impossible to measure the organ tribune, necessary to determine the exact layout of the new organ. The city decided to restore and reincorporate two statues of angels from the former organ case into the new one. Discussions began with Aubertin to add six more stops to the new organ. According to Aubertin, in spite of an obtained tacit agreement, the future May 2001 elections paralyzed any official document concerning these additional stops. From January to August 2002, the work was interrupted again to carry out the photogrammetrical measurements of the church. In August 2002, Aubertin visited several early historical German organs with the American organ builder Gene Bedient, notably the 1750–1755 Gottfried Silbermann at the Hofkirche in Dresden and the 1746 Zacharias Hildebrandt organ at the St. Wenceslas Church in Naumburg. These visits enabled him to choose the six new stops he wished to install in the Saint-Louis-en-l’Isle organ. From September 2003 to October 2004, other numerous delays occurred to allow the restoration of the tribune.
In the meantime, Aubertin constructed this organ with the six new additional stops: Allemande 4' in the Rückpositif, Cornet VI in the Hauptwerk, Sifflet 1' and Unda Maris 8' in the Unterwerk, and Bourdon 16', Bourdon 8' and a Tierce rank to the Mixture IV–V in the Pedal. He considers that these additions provide supplementary musical possibilities and augment the flexibility of the instrument for interpretation and improvisation. He explains them in the following manner:

The Rückpositif Flûte allemande is made of stopped pipes of triple length. Its sonority recalls the attacks and the strange sounds of the glass harmonica, whose moving glass containers are made to vibrate with the musician’s moistened fingers. This stop combines very well with the others, adding its characteristic attack.
The Hauptwerk Cornet, known as a maritime cornet because it is used along the coast from the English Channel to the Baltics, includes two 8' ranks in this six-rank stop: one 8' is open and the other one is stopped with very long chimneys. This solo stop fills out the upper range of the keyboard. Its average-size pipes provide a certain elegance. It can easily be combined with the two Hauptwerk reeds to form a sort of Grand Jeu.
In the Oberwerk, the Sifflet 1', found in numerous organs played by J. S. Bach, is the highest pitched stop in the organ and reaches the limit of audible sounds. Its use with other stops allows sonorities close to that of certain percussion instruments, metallophones (Stahlspiel) or small bells. The Unda Maris 8', an undulating Principal stop known since the sixteenth century, in Dresden and Naumburg, is used in fantasies and certain meditative pieces throughout the centuries. Its combination with the foundation stops is appropriate for romantic and contemporary music.
In the Pedal, the Bourdon 1' is a soft, deep stop that can fill out the others without adding heaviness to the entire sound. The large and soft Bourdon 8' with the Bourdon 16' allows a clear and light bass, it gives clarity without dominating the Violon 16' or the Principal 16' and gives the impression of a 32' when used with the Bourdon 16' and the Quinte 102/3'. The addition of the Tierce rank to the Pedal Mixture adds spice and definition to the sound of these pipes, located at the extremities of the organ case. This mixture can also serve as a cantus firmus when used with the Prestant 4'.

In addition, Aubertin added an Appel Anches Pedal at the console that allows the organist to prepare powerful pedal stops and then to add them by simply activating this pedal. This is extremely useful with sudden dynamic changes, often encountered in North German Baroque music. In addition, the Voix humaine stop on the Unterwerk is enclosed in a box whose cover can be opened by activating another pedal.
On November 11, 2004, the completed organ was inaugurated in the Aubertin workshop by Francis Jacob, organ professor at the Strasbourg Conservatory and an organ consultant for the Aubertin firm. In December, Michel Chapuis played it for a delegation from the city of Paris. Finally, in February 2005, the organ was transported to Paris. On March 2, the sub-director of the patrimony of the city of Paris authorized Aubertin to install the six previously approved stops, at his own personal risk. The city had spent all of their remaining funds for this construction on the considerable amount of work that had been carried out by the architects. The organ installation was completed on March 11. After the tuning and voicing of the instrument, the city acknowledged its reception of the 45 agreed-upon stops on March 18. After some final minor adjustments, the official reception of this organ took place on May 9.
Here is the stoplist of this 51-stop organ, with the six added stops in italics:

I. POSITIF DE DOS (RÜCKPOSITIF) (56 n.)

8' Montre
8' Bourdon
4' Quintaton
4' Prestant
4' Flûte à cheminée
4' Allemande (an overblown Bourdon)
2' Flageolet
11?3' Flûte
II Sexquialtera
IV Mixture
8' Dulciane

II. GRAND-ORGUE (HAUPTWERK) (56 n.)

16' Principal (façade pipes)
8' Octave
8' Gambe
8' Flûte
4' Prestant
4' Flûte cônique
22?3' Quinte
2' Octave
IV–VI Mixture
VI Cornet (Open 8', Chimney Flute 8', 4', 22/3', 2', 13/5')
16' Basson
8' Trompette

III. INTERIOR POSITIF (UNTERWERK) (56 n.)

8' Bourdon
8' Principal (beginning at F)
8' Traversière (overblown)
8' Unda Maris
4' Octave
4' Flûte
22/3' Nazard 2' Traversine
2' Octave
1' Sifflet
13/5' Terz
11/3' Quinte
III Mixture
8' Voix humaine
16' Fagott

PEDALE (30 n.)

16' Bourdon
16' Principal
16' Violon
102/3' Quinte
8' Bourdon
8' Octave
4' Prestant
2' Flûte 2
IV–VI Mixture (the Tierce rank was added)
32' Dulciane
16' Buzène
8' Trompette
4' Cornet

Keyboard couplers : I/II (à tiroir), III/II, II/III
Pedal coupler: Great to Pedal
Tremulant I et III et Tremulant II
Appel Anches Pedal
Expression for the Voix humaine

Inauguration

In May, two new organists were chosen to share this post with the organist Marie-Thérèse Michaux: Vincent Rigot7 and the 20-year-old Benjamin Alard.8 On June 19, the organ was blessed by an auxiliary bishop in Paris, Monseigneur Pierre d’Ornellas, and the parish priest, Father Gérard Pelletier. During this ceremony, the three church organists improvised and performed, and George Guillard premiered a commissioned piece by Jacques Castérède entitled L’Hommage à Saint Louis for organ and brass trio. On June 22, this organ was inaugurated by Benjamin Alard, Vincent Rigot, and Michel Chapuis. Alard performed Buxtehude’s Ciacona in C-minor, Rigot interpreted Alain’s Litanies, and Chapuis’ improvisations demonstrated the various tonal colors of the organ. He then played works by Buxtehude, Böhm, Bruhns, and Bach. A recording of J. S. Bach’s Clavierubüng III by Francis Jacob, a member of Bernard Aubertin’s team, was released for the inauguration of the organ.9
On September 18, 2005, a day consecrated to historical monuments in France, Aubertin gave a presentation with Régis Allard, and then Vincent Rigot improvised and gave a concert for a packed church. The organ association of the church,10 presided by Monsieur Robert Ranquet, organized five concerts for the first Europa Bach Festival in Paris and its region from September to December 2005. They were given by given by Pascal Rouet, Carolyn Shuster Fournier, Eric Ampeau, Frédéric Desenclos and Francis Jacob.

The search for a patron

Now that the Saint-Louis-en-l’Isle organ is installed and inaugurated, will this organ continue to sound as the builder conceived it, remaining intact for present and future generations? If the funding does not arrive after one year, Bernard Aubertin has said that he might be obliged to remove the added stops from the organ, even though he considers them to be indispensable to the entire balance of this instrument. He hopes that a patron will eventually cover their expense, amounting to 170,000 euros. It took 23 years to choose a builder for the organ at the Saint-Louis-en-l’Isle Church and six years to construct and install this instrument. During those 29 years, from 1976–2005, the city of Paris financed the construction of other new organs at Sainte-Jeanne-de-Chantal Church (Alfred Kern, 1977), Saint-Jean-Baptiste-de-Grenelle Church (Théo Haepfer, 1988), the reconstruction of the monumental gallery organ at Saint-Eustache Church (Van den Heuvel, 1989), Notre-Dame-du-Travail Church (Théo Haepfer, 1990), Saint-Pierre-de-Chaillot Church (Daniel Birouste, 1994), Saint-Ferdinand-des-Ternes Church (Pascal Quoirin, 1995), the Conservatoire Supérieur de Paris-C.N.R. (Gerhard Grenzing, 1996) and at Notre-Dame-du-Perpétuel-Secours Church (Bernard Dargassies, 2004). In addition, the city of Paris financed numerous restorations and renovations.
This article renders homage to the various members of Aubertin’s team who worked on this organ at Saint-Louis-en-l’Isle: cabinetmakers Loïc Gaudefroy (Best Worker in France), Thomas Gaudefroy, and Thomas Guinchard; organ builders Michel Gaillard, Olivier Mondy, Jean-Marc Perrodin, Daniel Rey, and Anke Saeger-Blaison; pipemaker Jérome Stalter (Best Worker in France); organist Francis Jacob; apprentice Alexandre Aubertin; and administrator Sonja Aubertin; as well as craftsmen: Serge Bisson who did the wood carvings; Benoït Camozzi, the assistant sculptor; and Marie-Odile Valot-Degueurce, who applied the gilding to the decorations.
The author thanks Bernard Aubertin, Jean-Louis Coignet, and Robert Ranquet for providing her with information for this article.

The Aubertin organ of Saint-Louis-en-l’Isle, Paris

by Bernard Aubertin, Organbuilder, Maître d’Art, English translation by Carolyn Shuster Fournier

Introduction

The new 51-stop organ that I have built for the Saint-Louis-en-l’Isle Church in Paris is in the style of a 17th- to 18th-century German instrument. I designed it according to the most renowned works of J. S. Bach’s favorite organbuilder Zacharias Hildebrandt (1688–1757), a student of Gottfried Silbermann. The balance between the various families of stops, with its 16', 8', 4' stops and a 32' reed stop in the Pedal, is entirely in keeping with the cantor’s wishes: Majestät und Gravität.
This organ incorporates some of Hildebrandt’s innovative stops: the Violon 16' (in the Pedal) and the Gemshorn 4' (the Hauptwerk Flûte cônique) as well as some Nordic contributions: in the Rückpositiv, the Sexquialtera II is narrow-scaled, the Mixture IV is a high-pitched Scharf, the Flageolet 2' is a Waldflöte, the Dulciane 8' is an Oboe (Hoboe); in the Unterwerk, the Fagott 16' is a Dulcian, and in the Pedal, the Cornet 4' recalls the Cornet 2', as well as the Dulciane 32' reed stop in the Pedal, which Gottfried Silbermann never built. In addition, this new organ contains some colorful stops described in Praetorius’s Syntagma Musicum (1619), notably a Querpfeif (the Unterwerk Flûte Traversine 2') and the Schweitzerpfeif (the Hauptwerk Gambe 8').
The entire organ uses mechanical action and is constructed with noble materials, solid oak and chestnut woods. Knowledge of the practices of our predecessors is absolutely indispensable, especially since they were based on a sensibility that is completely different from our own.

Technical Description

The organ cases

While the organ case conforms more to the curved surface of the 1745 organ gallery than to that of a German organ, its internal structure was conceived in a spirit that respects the Werkprinzip: the Rückpositiv projects over the gallery rail, the Unterwerk is placed above the keyboards, surmounted by the Hauptwerk, with the large 16' pedal towers on the sides.

The windchests

The various windchests are laid out in the following manner:

The Rückpositiv is at the level of the organ gallery.
On the first floor of the gallery, the Pedal foundation stops are placed in the front part of a large double windchest with the reeds behind. The Dulciane 32' is placed against the wall with the Violon 16' on a similar chest underneath. In the center, two diatonic V-shaped windchests are used for the Unterwerk stops.
On the second floor, the Hauptwerk bass pipes are placed on three windchests in the center, followed by two diatonic windchests with the upper pipes located towards the center.

The mechanical key and stop actions

The mechanical key and stop actions are as simple and efficient as possible. The 56-note keyboards are covered with bone for the natural keys and ebony for the sharps. The 30-note flat pedalboard is made of oak.

The wind

Due to the shallowness of the organ gallery (and consequently the organ cases) and to the total lack of adjoining space, the wedge-shaped bellows were placed near each of the windchests. The blowers are suspended in two double isolated boxes placed on the floor of the organ gallery, underneath the large pedal towers. A ventil pedal, which cuts off the air in the pallet box, enables the organist to bring on or put off the prepared stops. The wind pressure is 95 mm for the keyboards and 115 mm for the pedal. This strong wind permits narrow note channels, trunks and conveyances leading to pipes that are tubed off. The windchest pipe valves are relatively thin, allowing a sensitive touch.

The pipework—the voicing

All of the pipework has been made by artisans. The following stops are made of 75% and 96% fine tin:
• on the Hauptwerk: Principal 16', Octave 8', Gambe 8', Basson 16' and Trompette 8';
• on the Unterwerk: Unda Maris 8', Voix humaine 8', Principal 8' and Octave 4';
• on the Rückpositiv: Montre 8' and Prestant 4'.
The rest is made of a tin-lead alloy with a high lead content or of hammered lead, the languids of the flue pipes with 3% lead. All of the capped pipes are soldered on. The wooden pipes are made either of oak or of chestnut. The bodies of the Buzène 16' and Violon 16' pipes are made of spruce from the Vosges. The principal stops have a clear sound in spite of their rather high mouths. All of the wooden pipes have metal lips, that is, the inner edge of the lower lip is planed down and garnished with a metal bar, thus providing:
• an immediate attack;
• a high development of harmonics, notably in the lower pipes, where the human ear can scarcely distinguish the precise pitch of the notes;
• finally, a considerable economy of wind, which is very important in the lower registers of the manual keyboards, limiting the key depressions and maintaining a light touch.
The metal pipework is voiced as naturally as possible with a minimum of nicking on the languids. The feet are slightly closed in the bass pipes.
The design consisted, more of less, of a quadruple plenum:
• the Hauptwerk plenum is deep, full and effective and can be reinforced by the Basson 16' reed stop;
• the Rückpositiv plenum has a much clearer attack, is very present and can be colored by the Sexquialtera II;
• the Unterwerk plenum is more restrained, but can be brightened by the Quinte 11/3', the Sifflet 1', the Terz 13/5' or deepened by the Fagott 16';
• finally, the Pedal plenum is deep, dark, and full, and can be spiced with the Mixture Tierce.
Each principal stop possesses its own characteristic sound, in accordance with the previously described divisions. When the 16', 8' and 4' principal stops are played together with the 16' and 8' Bourdons and the Quinte 102/3', they produce a deep, full and poetic sound.
In addition to these standard stops, there are colorful flute stops, harmonic, with or without holes, and a very narrow-scaled Gambe in the Hauptwerk with its characteristic attack. The Rückpositiv contains a third 4' stop named (Flûte) Allemande. This is, in fact, a harmonic Bourdon whose body length is triple that of an ordinary Bourdon. This stop recalls the Glasharmonika with its strange attacks and its succession of rich harmonies. The same applies to the Traversine 2' with its double length without a hole whose crystalline sonority is doubled by a supplementary pseudo-lower octave sound.' Some of these stops are unknown in France and yet they were used as early as 1560 in northern Europe. As for the Unda Maris on the third keyboard, it also appeared as early as the mid-16th century from Italy to Scandinavia under different names: Voce Umana, Biffera, Piffaro, Unda Maris, Schwebung. This stop allows sounds that are clearly less Baroque. Finally, a colorful Violon 16', with its precise attack, provides definition to the Pedal division.
The tuning of the organ is A=440 Hz at 20°C. The organ is well-tempered with six pure fifths and six tempered fifths according the system of Thomas Young (1800), based on the same principle as the Tartini-Vallotti system (Venice, 1740).

The reed stops

On the Hauptwerk, the conical Basson 16' (C–G half-length) is narrowly scaled, ranging from a deep to a brilliant sonority. In addition, a rather bright Trompette stop can be combined with the double Cornet 8' to form a sort of Grand Jeu. These reeds can be easily combined with the plenum.
On the Unterwerk, a Fagott 16' with a cylindrical body and leathered shallots can serve as a foundation to the plenum but can also be used for smaller combinations. A colorful Voix humaine 8' is installed in an individual expression box that tones down the upper harmonies of this Renaissance Régale. Combined with the 16', 8' and 4' foundations, this stop has the distinctive feature of swelling these foundation stops when one opens the box and thus offers possibilities that are not Baroque at all.
The Rückpositiv contains a well-rounded and colorful Dulciane 8' that can be combined with any stop. The Pedal is quite full, due to four of its stops. A Dulciane 32' (from the family of stops with cylindrical-shaped bodies) provides the indispensable Gravität so cherished by the Cantor from Leipzig in large ensembles. A Buzène 16' (neologism of the Latin Buccin) provides a foundation for the entire building. If one could only place one reed stop in the entire organ, this would be the one. The conical shallots are made of casted tin and leathered. The feet and the blocks are made of oak, the bodies of spruce. All of these various elements combine to produce a well-rounded and full sound whose fundamental clearly stands out from the harmonics (contrary to the French Bombarde). Therefore, the upper harmonies have been weakened. The Trompette 8' with its conical-shaped reeds sounds well-rounded and deep in the bass and progressively becomes brighter in the upper registers. This is reinforced by the Cornet 4' made of tin, which is a very narrow-scaled Clairon in the bass registers and wide in the upper registers (in fact, the size of these thirty notes does not really differ). Each stop played alone sounds gentle and calm but when combined, the 16', 8' and 4' stops produce a majestic sound.
This instrument is by no means a copy of an ancient organ. It is not the latest in fashion. It should be considered as a creation in a given spirit, a creation that would likely bring to life a tradition without nostalgically claiming to bring to life a particular period or any other alleged bygone golden age.

Aldo J. Baggia is the retired chairman of the department of modern languages and instructor in French, Spanish, German and Italian at Phillips Exeter Academy in New Hampshire. He has studied and traveled extensively in Europe and has written numerous opera reviews for various publications as well as articles for The Diapason.

Niederrhein (Lower Rhine) is a small part of Westphalia that borders the Dutch cities of Arnhem and Nimegen, which had great importance in the Second World War because of their strategic locations as entrances to Germany. They are dealt with at great length in the well-known film, A Bridge Too Far. They are also culturally important because of their relationship with the towns of Niederrhein. Linguistically, one sees the relationship in the fact that the Dutch language is readily understood in the towns on the immediate border. It is very common for Dutch people to shop in a town such as Kleve, which is on the border, rather than in Holland, because the prices are better. It is normal to see the parking lot at the City Hall in Kleve with half of the cars having Dutch plates. When crossing into Holland, such as we did when going to ’s-Hertogenbosch to see the famous organ at Sint Jan’s Kathedraal, we saw very few cars besides our own with German plates.
The cathedral at Den Bosch is a magnificent gothic structure that dates from 1220, and the grand organ, III/48, with its Coptic oak case, dates from 1617, although it was not ready for use until 1622. Franz Symons, a carpenter from Den Bosch, and Georg Schysler, a sculptor from the Tirol, were responsible for the beautiful case. After work by various builders, the organ, which has 3,000 pipes, was completely restored in 1984 by Flentrop. The choir organ, II/29, by Verschueren, was installed in 1985. A recording by Jacques van den Dool shows the grand organ to very good effect in pieces by Bach, Reger, Messiaen, de Grigny, Guilain and van den Dool.1
Before going to Niederrhein, I tried to buy a guide book of the area in a large bookstore in the city of Bamberg. In the travel section, there were hosts of books dealing with what seemed to be every conceivable area of Germany, but, to my surprise, there were no guides of Niederrhein. I inquired at the desk and was told that there were no guides of Niederrhein because it was not a tourist area. I found this hard to believe, but had to accept the reality of the situation. Later, I did find a few guide books when I arrived in the city of Kleve, which, as mentioned previously, is right on the border with Holland. The whole area has towns that are quite similar, with an emphasis on pilgrimage churches (Wallfahrtkirchen) that serve as a common touch. The churches tend to be very large with good-sized organs and are the focal points of the towns.

Kevelaer
Kevelaer is the most famous pilgrimage place in Niederrhein, and its Marienbasilika has the largest organ in the area (IV/128). The town was bombed during the war, but not everything in the town center was destroyed, and the main street leading to the tower of the basilica looks as though it had not been touched for hundreds of years. The Marienbasilika organ originally had 124 stops, and additions were made in 1926, bringing the total to 131. At that time it received electric action, and a four-manual movable console was built. In the last days of World War II, the echo organ was destroyed, leaving the instrument with 110 stops. A restoration by Seifert in 1977 brought the organ of 10,000 pipes to its current total of 128 stops.2 The sound is quite dramatic because of the excellent acoustics that really enhance the power and majesty of the instrument. The recording mentioned in the endnotes features works by Reger, Liszt, Reubke (The 94th Psalm), and Karg-Elert. The airy quality of the sound is clear and leaves nothing to be desired.

Seifert & Sohn IV/128
Marienbasilika, Kevelaer
Unterwerk (I)
16' Pommer
8' Principal
8' Grobgedacht
4' Octave
4' Koppelflöte
2' Octävlein
2' Querpfeife
1-1/3' Spitzquinte
Sesquialter II
Scharff IV
Cymbel III
16' Cor anglais
8' Hautbois
Tremulant

Hauptwerk (II)
16' Principal
16' Bordun
8' Principal major
8' Principal
8' Fugara
8' Flaut major
8' Gamba
8' Gemshorn
8' Gedacht
8' Quinteviole
8' Doppelflöte
51'3? Quinte
4' Octave
4' Hohlflöte
4' Fugara
4' Flauto
4' Seraphon-Octave
3-1/5' Terz
2-2/3' Quinte
2' Octave
2' Flöte
1' Octavin
Cornett IV
Mixtur V
Scharff V
Rauschquinte II
16' Tuba
8' Trompete
4' Feldtrompete

Oberwerk (III)
16' Gedacht
8' Principal
8' Doppelgedacht
8' Rohrflöte
8' Flaut harmonique
8' Quintatön
8' Seraphon-Gamba
8' Cello
8' Dolce
8' Vox angelica
4' Octave
4' Rohrflöte
4' Violine
4' Flaut dolce
2-2/3' Nasard
2' Octave
2' Piccolo
1-3/5' Terz
Progressio III
Mixtur IV
Octavcymbel III
Scharff V
Rauschpfeife II
16' Fagott
8' Trompete
8' Clarinette
4' Schalmei

Schwellwerk (IV)
16' Lieblich gedacht
8' Principal
8' Geigenprincipal
8' Konzertflöte
8' Gedacht
8' Aeoline
8' Vox coelestis
8' Quintadena
4' Gemshorn
4' Traversflöte
4' Octave
4' Nachthorn
2-2/3' Quintflöte
2' Flautino
2' Superoctave
1-3/5' Terzflöte
1-1/3' Quinte
1' Sifflöte
Mixtur V
Carillon III
Terzcymbel III
Paletta III–VII
16' Tuba
8' Trompete
8' Krummhorn
8' Vox humana
4' Clairon
4' Celesta
Tremulant

Pedal
32' Contrabaß
32' Untersatz
16' Principalbaß
16' Octavbaß
16' Salicetbaß
16' Violon
16' Subbaß
16' Gedachtbaß
10-2/3' Quintbaß
8' Principal
8' Baßflöte
8' Dulciana
5-1/3' Quinte
4' Fugara
4' Octave
4' Flöte
2' Clarine
Mixtur VI

Hintersatz V
32' Bombarde
16' Posaune
16' Trompete
8' Trompete
8' Fagott
4' Clairon

Normal couplers
Crescendo
2 free combinations
Pedal combination
3 Tutti
Electropneumatic action
Source: Psallite CD 60131. Romantische Orgelmusik (an der großen Orgel der Marienbasilika zu Kevelaer – Orgelbau Romanus Seifert & Sohn)

Next to the basilica there is the Kerzenkapelle (the candle chapel), which has an outside collection of hundreds of candles that have been left by pilgrims. It includes an organ, II/28, which was originally installed in 1843, and rebuilt and cleaned by the firm Seifert & Sohn, which had moved to Kevelaer during the construction of the new organ for the Marienbasilika in 1906.3
The pilgrimages in honor of the Blessed Mother date from the middle of the seventeenth century, and the Kerzenkapelle was built during the years 1643–45. By the second half of the century there were from 18,000 to 20,000 pilgrims on feast days, and today Kevelaer is known as the largest pilgrimage center in northwestern Europe with over one million visitors per year.4
The organ of the parish church of Kevelaer, Sankt Antonius (III/42), was also built by the firm of Seifert & Sohn and dates from 1987. It has 2,915 pipes and benefits from the excellent acoustics of the church. This church was badly hit during World War II, but has been completely rebuilt in a manner that shows off its pre-war splendor.5

Xanten
One might wonder why a large cathedral was built in Xanten, a small town with the unusual name beginning in “X,” but its history is quite telling. In 15 B.C., the Romans built a large military camp called Castra Vetera I. This lasted until 69–71 A.D., when it was destroyed and replaced by Castra Vetera II. North of the military complex, a civilian settlement was planned and created in 105 A.D., with the name Colonia Ulpia Traiana, through the good graces of the emperor Marcus Ulpius Traianus. At the time, this was a fairly large area only 23 hectares smaller than the Colonia that was the provincial capital, known today as the city of Köln (Cologne).6
In October 1933, professor Walter Bader discovered two graves located in the present-day crypt that date from the years 348–350 A.D. They were identified as Christian soldiers in their thirties, who subsequently became the symbol of the strong faith of the people in this area.7 Martin Ahls indicated that the name “Xanten” is, in effect, a derivative from “Ad Sanctos,” which means “next to the saints.” He went further to answer his own question as to why a cathedral was built in this rather remote town on the Lower Rhine:

This question is answered when we go into the crypt. Although it is the most recent part of the cathedral, built after the excavations made in our century, it contains the very core of its history: the tomb of two Christians who were slain in the fourth century. This tomb of the Holy Martyrs is the center and the starting point of religion on the Lower Rhine and at the same time it is the key that helps us understand the construction of the cathedral and of the town: Here people wanted to pray and to live—next to the Saints. History gave the Martyrs a name: Viktor—the victor even beyond death.8
After the war, it was decided to add urns filled with ashes from the concentration camps of Auschwitz, Bergen-Belsen, and Dachau as memorials to all who suffered from the atrocities of the Nazi regime.9
The cathedral can be seen from afar, inasmuch as it is such a large edifice. The organ, III/45 with 3,293 pipes, is the largest that the cathedral has ever had and was built by Seifert & Sohn of Kevelaer in 1973–1975.10 The instrument has a free-standing case on the floor in the back of the church and can effectively play the repertoire from Bach through Messiaen. The symbolic nature of the cathedral is of paramount importance to the citizens of the town, and the restoration that was done after the severe damage of World War II fits in well with the original construction work. A curious aside is that Xanten is featured in the Nibelungenlied and was supposedly the birthplace of Siegfried.11

Seifert & Sohn, III/45
Dom St. Viktor, Xanten
Hauptwerk
16' Praestant
8' Prinzipal
8' Rohrpfeife
4' Oktave
4' Koppelflöte
2' Superoctave
Kornett V
2' Mixtur V
Cymbel III
16' Trompete franz.
8' Trompete franz.
4' Clairon

Schwellwerk
8' Holzflöte
8' Viola da gamba
8' Schwebung
4' Venezianerflöte
2-2/3' Nasat
2' Querflöte
1-3/5' Terz
1' Schwiegel
4/7' Septime
1-1/3' Mixtur IV
16' Basson
8' Hautbois
Tremulant

Rückpositiv
8' Metallgedacht
4' Prinzipal
4' Rohrflöte
2' Gemshorn
1-1/3' Quinte
Sesquialter II
Scharff V
8' Cromorne
Tremulant

Pedal
16' Prinzipal
16' Untersatz
102/3' Quintbaß
8' Oktavbaß
8' Rohrpommer
4' Choralbaß
4' Spitzgedacht
2' Nachthorn
5-1/3' Rauschwerk IV
2-2/3' Hintersatz V
16' Posaune
8' Trompete
4' Schalmei

Constructed 1973–1975
45 stops (3,293 pipes)
Mechanical key and stop action
Normal couplers, 3 free combinations, Pleno, Tutti
From the liner notes of Psallite CD 60161

Kleve
If one looks at a map, one can see how the towns of Niederrhein are interrelated; the concept of so many pilgrimage churches makes sense. Kleve, right on the Dutch border, suffered as much as the Dutch cities of Arnhem and Nimegen, the largest cities on the Dutch side. This area represented one of the Allied entry points into Germany, and it is quite clear that the towns on the German side suffered tremendously because of this.
A small book that was published in Kleve in 1964 alludes to one of the biggest problems the people in this area had.12 According to the author, “the British and Canadian troops advanced without having the slightest understanding of the many-sided problems a people living under a dictatorship had, and therefore on German soil they saw every German as a Nazi.”
The organ of the Stiftskirche or St. Mariä Himmelfahrt, III/45, was built by the Austrian firm Rieger in 1991 and is primarily used to accompany congregational singing during Mass. However, a recording by Martha Schuster playing romantic and post-romantic works shows what heights the organ can achieve.13 The case, as one can see, is quite modern. Kleve is known in legends as having a relationship with Lohengrin, who is certainly well known because of Wagner’s opera. A modern fountain in the pedestrian zone of the city shows a swan pulling at Lohengrin. The symbol of the city is the Schwanenburg (the Swan’s castle), which dominates the city along with the towers of the Stiftskirche nearby.

Rieger III/45
Stiftskirche St. Mariä Himmelfahrt, Kleve
Grand Orgue (I)
16' Montre
8' Montre
8' Flûte harmonique
8' Salicional
8' Bourdon
4' Prestant
2' Doublette
2' Fourniture IV
1' Cymbale III
8' Cornet V
16' Bombarde
8' Trompette
4' Clairon

Positif (expressive) (II)
8' Principal
8' Bourdon
4' Octave
4' Flûte douce
2-2/3' Nasard
2' Doublette
1-3/5' Tierce
1-1/3' Larigot
1' Plein jeu IV
8' Trompette
8' Clarinette
Tremblant

Récit Expressif (III)
16' Quintaton
8' Flûte traversière
8' Viole de Gambe
8' Voix céleste
4' Flûte octaviante
2' Octavin
III Carillon (2-2/3' + 1-3/5' + 1')
16' Tuba magna
8' Trompette harmonique
8' Basson-Hautbois
8' Voix humaine
4' Clairon harmonique
Tremblant

Pédale
32' Soubasse
16' Contrebasse
16' Soubasse
8' Basse
8' Bourdon
4' Flûte
32' Contrebombarde (ext)
16' Bombarde
8' Trompette

Mechanical key action
Electric stop action

Kalkar
Very near Kleve lies the small town of Kalkar, which profits from a quaint setting. The Nicolai Kirche’s intricately cut wood carvings make up much of the decoration that surrounds the different altars, as well as the elaborate casework of the organ (Seifert & Sohn, III/34). The first organ of the church dated from 1457, and from 1684 there was a baroque instrument. That was replaced in 1867–72 by a two-manual and pedal organ of 30 stops by the Rheinberg builder Bernhard Tibus (1815–1896). The Cologne architect Heinrich Wiethase designed a late-gothic case that is still in use today. Holger Brülls writes about this organ and the subsequent ones in an article cited below. One notes the influence of Aristide Cavaillé-Coll, and the Dombauinspektor (cathedral building inspector) Friedrich Schmidt praised the organ for its workmanship. The placement of the organ varied from the west tower to the south portal, where it is currently situated. The instrument was replaced in 1904 by Franz Tibus, but retained the Wiethase case. The two-manual and pedal organ on pneumatic cone chests was in line with German organ building of the late romantic years. In the late 1960s, Seifert & Sohn (Kevelaer) built an electric-action slider chest three-manual and pedal organ of a neo-baroque character and retained the Wiethase case. The organ has 2,450 pipes. It received some additions in the year 2000 during the course of interior renovation work in the church; two octave couplers and a new stop (Trompette-harmonique 8') were added. Jan Szopinski is the Cantor of St. Nicolai Kirche. Typical of the towns in the area, near the main square there is a picturesque windmill that was converted into a restaurant.14

Wesel
Driving directly west from Kleve, one encounters the city of Wesel, which has a very large Protestant cathedral (Dom) in the city center. The destruction during the war was substantial, and it is sad to see the pictures on display in the interior. It is a church of enormous scope, and the rebuilding was done over the span of many years, i.e., from 1947 to 1994, with the support of the Willibrordi-Dombauverein (Dom building association). The intent was to bring back the medieval nature of the Dom.15
The steeple stands high over the center of the town, and the only drawback is the fact that most of the windows are of plain glass. I don’t know what the situation was before the bombing, but there is no question that stained glass would have been extraordinary. It would have created a remarkable image in the interior because of the height of the windows. The organ, built by Marcussen & Søn of Denmark in 2000–2001 (III/54), is a very impressive instrument in a freestanding position in the west part of the church, and the case is striking. The acoustics are very good, and two recordings feature the instrument in repertoire from Buxtehude, Pachelbel, Bach, and Mozart through Franck, Mendelssohn, Reger, Brahms, and Messiaen. I found particularly impressive the Reger Introduction and Passacaglia in D minor, Boëllmann’s “Carillon” from Douze Pièces, and Dieu parmi nous by Messiaen.16

Marcussen & Søn III/54
Wesel Dom
Hauptwerk (II)
16' Prinzipal
8' Oktave I–III*
8' Hohlflöte
8' Rohrgedacht*
8' Gambe
4' Oktave I–III*
4' Spitzflöte
2-2/3' Quinte
2' Oktave I–III*
2' Waldflöte
Hintersatz VI–IX*
Scharf VI–VII
16' Trompete
8' Trompete
8' Spanische Trompete

Schwellwerk (III)
16' Rohrpommer*
8' Salizional
8' Voix céleste
8' Rohrflöte
8' Quintatön
4' Prestant*
4' Flüte octaviante
2-2/3' Nazard
2' Octavin
1-3/5' Tierce
Plein jeu V–VII
16' Basson*
8' Trompette
8' Vox humana
8' Oboe
4' Clairon

Rückpositiv (I)
16' Bordun*
8' Prinzipal
8' Gedacht
8' Spitzgambe*
4' Oktave*
4' Rohrflöte
2-2/3' Nasat
2' Gemshorn
Cornet II
Sesquialtera II*
1-1/3' Quinte
Mixtur V–VI
16' Dulzian*
8' Cromorne

Pedal
32' Untersatz*
32' Prinzipal*
16' Subbaß
8' Oktave
8' Spitzflöte
4' Oktave*
2' Nachthorn
Mixtur V*
16' Posaune
16' Fagott
8' Trompete

* all or partially made from pipes of the previous organ by Walcker

Bocholt
A very short distance from Wesel lies the city of Bocholt, which is in Westphalia but just outside the geographical limits of Niederrhein. The Liebfrauenkirche has a magnificent Klais organ, III/38, from 1979. I had been in touch with the Kantorin, Irmhild Abshoff, before going to Germany, and I knew something of its features from a recording that was issued in 1996 to commemorate 95 years of the parish’s work. When I arrived in Bocholt, the Kantorin was good enough to demonstrate the organ. There is no question that this is an extraordinary instrument capable of playing the entire repertoire for the organ. The recording opens with Bach’s Prelude and Fugue in G major, BWV 541, and the organ has a true baroque sound. The Kantorin also plays Karg-Elert’s Choralimprovisation für Orgel “Nun danket alle Gott,” which really shows the power and majesty of the instrument. It would be difficult to look for more. Bernhard Ratermann plays Franck’s Choral No. 2 in B minor, and here fonds d’orgue passages effectively contrast with a powerful reed-dominated tutti.17

Klais III/38
Liebfrauenkirche, Bocholt
Oberwerk (I)
8' Holzgedacht
8' Gamba
8' Unda maris
4' Principal
4' Traversflöte
2' Waldflöte
1-1/3' Larigot
2-2/3' Sesquialter II
2/3' Scharff IV
16' Basson Hautbois
8' Cromorne Trompete
Hauptwerk (II)
16' Quintade
8' Principal
8' Holzflöte
8' Gemshorn
4' Octave
4' Koppelflöte
2-2/3' Quinte
2' Superoctave
8' Cornet V
1-1/3' Mixtur IV
8' Trompete
4' Trompete

Brustwerk (III)
8' Rohrflöte
4' Blockflöte
2-2/3' Nasard
2' Principal
1-3/5' Terz
1' Sifflet
8' Vox humana

Pedal
16' Principal
8' Subbaß
8' Octave
8' Spielflöte
4' Tenoroctave
2-2/3' Rauschpfeife IV
16' Posaune
8' Holztrompete

6 couplers, 2 tremulants, 6 adjustable combinations
Mechanical key action, electric stop action

One could continue to visit other instruments in the area, but it is clear that this area is fairly typical of what one finds in Germany. The organ history in Germany is a long one and emphasizes the importance of music in the country.

A Symphonic Organ in the Cradle of the Symphony
The new Rieger Organ in the Golden Hall of the Music Society in Vienna

Introduction
For centuries, Vienna, the capital of Austria, has been regarded by many as Europe’s music capital. It is here that the symphony was developed as a musical form by composers such as Haydn, Mozart, and Beethoven. So pervasive was the symphony in the development of Western art music that it not only dominated creative music-making until well into the 20th century, but also worldwide became the most common adjective describing orchestras and concert halls. It is also used to denote a style of organbuilding that developed towards the end of the 19th century, when organs were often used as substitutes for orchestras, and organ recitals in secular venues usually included orchestral transcriptions. With the fortunes of fashion being cyclical, the merits of symphonic organs were queried in the mid-20th century, often by their detractors. However, in recent years, one has come to realize that their salient qualities can be combined successfully with more traditional organ elements to create instruments of great versatility, warmth and beauty. Such an organ has just been installed in Vienna, the birthplace of the symphony.
Vienna is also the city in which the performance of music was first democratized. In 1812, as a result of cooperation between citizens and the nobility, the Society of the Friends of Music was founded, through which a platform was created for performing concerts by anyone for everyone. Previously, secular concerts of this nature had primarily been restricted to stately homes, so this was the start of Vienna’s world-renowned civic musical life, and of a tradition that continues to flourish.
A major step along this civic cultural road was the building of the Music Society’s concert hall in 1870 on ground that had become available following the demolition of the old city walls. The architect of this building, known locally as the Musikverein, was Theophil Hansen, who also created other impressive civic buildings along the famous Ring Road that replaced the demolished fortifications.
The Musikverein is an imposing building in neoclassical style that houses a number of facilities, amongst which is the Grand Hall that many regard as Europe’s most acoustically perfect concert hall. It is also undoubtedly one of the most beautiful. Its rich decorations and abundant gilding are opulent, yet not overbearing, resulting in the hall being referred to colloquially as the Golden Hall. At the rear of the stage, Hansen designed an organ case that visually forms the hall’s focal point, with a design derived from the form of a Greek temple. Behind this historic façade, a completely new organ has been installed by the leading Austrian organbuilding firm, Rieger Orgelbau (www.rieger-orgelbau.com); the festive inaugural concert took place on March 26, 2011 in the presence of leaders of the Austrian state, church, and civil society. This magnificent instrument complements the fame and beauty of its setting and is a fine addition to the musical infrastructure of a city that is already, world-wide, at the apogee of civic music activity.

Inaugural concert
The inaugural concert was played by the five leading European organists, who, together with two officials of the Music Society, had formed the committee that had awarded the contract to Rieger and overseen the project.
Given the organ’s significant and prominent location, this committee had specified a versatile instrument whose primary focus was for use together with orchestras, both as an instrument within the orchestral ensemble and as orchestral soloist, i.e., a symphonic organ; but also one that would do justice to the ‘classical’ organ literature. For these reasons, the organ was, among other things, to have two consoles—one mobile that could be placed amongst the members of the orchestra, and a second, with tracker action, on the cantilevered balcony above the orchestra.
Following the formalities by the Society’s dignitaries, including a speech by the president of Rieger, Wendelin Eberle, the music-making began. A fanfare by brass players from the Vienna Symphony Orchestra symbolically heralded the King of Instruments into the Golden Hall, there to be enthroned above the stage.
The first recitalist was Peter Planyavsky, former organist of St. Stephan’s Cathedral in Vienna and professor at the Vienna Music University. Planyavsky presented a brilliant improvisation to illustrate a selection of colors from the organ’s vast tonal palette. Being symphonic in character, the organ has a rich variety of possibilities, ranging from the delicately soft to the majestic, and including an array of solo stops—flutes, reeds and mutations.
The second performer was Ludger Lohmann, professor of organ and cathedral organist in Stuttgart, who gave an impressive rendering of J. S. Bach’s Toccata, Adagio and Fugue in C Major, BWV 564, using the attached mechanical-action console. This work demonstrated the beauty of the ‘classical’ diapason choruses that form the foundation of this organ, and combine effortlessly with its symphonic nature. The principal stops of these choruses blend admirably to form one sound and are crowned by glorious mixtures that add brilliance and clarity to the contrapuntal lines of the music without ever becoming overbearing or harsh. The organ’s copious reed stops made it possible for Lohmann to select ones that, in the Germanic tradition, added color while retaining the music’s transparency and lightness of texture. The direct action and responsiveness of the mechanical console allowed the organist to articulate his playing in a way that suited the Baroque style admirably.
Martin Haselböck, internationally known as conductor of performances on original instruments with the Wiener Akademie, recitalist and organ professor, led the audience into the Romantic era with Franz Liszt’s Prelude and Fugue on B.A.C.H. This piece enabled him to demonstrate the organ’s symphonic versatility and ability to swell in sound from the softest whisper to the point where it convincingly fills the hall. Playing from the detached console on stage, Haselböck made the audience forget that a few moments earlier they had been listening to a superb Baroque sound, as they were introduced to rich foundation stops, impressive chorus reeds, and convincing string-toned colors. The full organ’s sound, based on a foundation of 32′ stops, resonated majestically around the hall as the exciting piece came to its conclusion.
The next recitalist, Gillian Weir, the doyenne of English organists, who was honored for her contributions to organ music with the title Dame Commander of the British Empire in 1996, illustrated convincingly how the new organ accommodates challenging 20th-century repertoire by playing Olivier Messiaen’s “Alleluias sereins d’une âme qui désire le ciel” from L’Ascension and “Dieu parmi nous” from La Nativité du Seigneur. Her use, amongst others, of the Swell reeds—with their leaning towards the Gallic tradition—lent authenticity to this challenging music, as did her judicious choice of mutations for solo passages.
Olivier Latry, professor at the Paris Conservatoire and titular organist of Notre Dame Cathedral in Paris, France, played Alexandre-Pierre-François Boëly’s Fantasy and Fugue in B Major and the first and last movements of Charles-Marie Widor’s Organ Symphony No. 5 in F Minor. His faultless and seemingly effortless renderings of these demanding works enchanted the audience. The set of variations contained in Widor’s first movement gave the capacity audience of more than 2,000 further insights into the kaleidoscopic tonal variety attainable from the new Rieger organ.
The state-of-the-art technology of the playing aids, available on both consoles, of which more is said below, made it easy to accommodate the diverse needs of the five organists, who followed each other at the consoles in quick succession. The listener was also left with a sense of admiration for the way in which the organ’s stops have been scaled and voiced. The choice of pipe scales has resulted in the sound having sufficient fundamental tone for what is a very large hall, even when filled to capacity, without becoming turgid; care has also been taken to balance the constituent stops of the various choruses to ensure the seamless blending of their individual components. Furthermore, the voicing has resulted in clean, clear speech and a remarkable purity and evenness in tonal quality.

Tonal design
As mentioned above, the tonal design of the new organ is essentially symphonic. This term implies tonal warmth from a wealth of foundation stops, adequate numbers of which are string toned, a diversity of colors, including imitations of orchestral instruments, a wide volume range, and smooth crescendi and diminuendi. However, this style of organbuilding, stemming from the Romantic period, is also associated with less favorable characteristics, viz. tonal qualities that obscure part-playing in contrapuntal music, inadequate primary organ tone, i.e., insufficient stops of principal or diapason tone, insufficient upperwork and lack of brilliance, sluggish speech that impedes articulation, and thus, overall, the inability to do justice to the compositions of seminal organ composers, such as J. S. Bach.
In designing the Musikverein organ, Rieger was careful to capture the merits of the symphonic style while avoiding the excesses that led to the demise of such instruments in the 20th century. Accordingly, as already alluded to, the tonal core of each division of the Musikverein organ is a finely balanced principal chorus crowned with classical mixtures that impart the silvery brilliance required for playing much of the classical literature. In addition, the organ has three 32′ stops, fifteen stops at 16′ pitch and thirty-six 8′ stops, which in total ensure that its tone has the golden warmth and fullness required of a symphonic organ.
There are 21 reed stops of varying colors and strengths, some—in the Solo division—on high wind pressure; sufficient mutation stops; a mounted Cornet on the Hauptwerk, and the stops necessary for creating a Cornet Séparé on each of the Swell and Solo Organs. The 86 speaking stops are divided over four manual divisions and pedal, three of which (Orchesterwerk, Swell, and Solo) are enclosed to give the maximum possible dynamic range.
The imposing Hauptwerk’s comprehensive principal chorus is matched by a battery of trumpet-toned reeds at 16′, 8′ and 4′ pitch, whose characters lean towards the Germanic. In contrast, the chorus reeds of the large Swell Organ are modestly French in nature.
An interesting feature of the organ is the large Orchesterwerk division that was conceived to house stops that would blend exceptionally with actual orchestral instruments. The Orchesterwerk division has its own pedal stops contained within its swell box, based on a 32′ Subbass, to ensure that the dynamics of the pedal and manual sections are precisely aligned with each other. Although from the specification it would appear that no provision has been made for the traditional Positive organ that many would regard as important for playing much of the classical literature, compensation for this is made on the fourth manual: the Solo division contains a bright secondary principal chorus, alongside the expected solo reeds and flutes.

The organ’s layout
The organ is favorably situated directly behind the orchestra, its close proximity ensuring the maximum possible blending of the sound of these two partners. Physically, the base of the organ is at the level of the conductor’s podium, but is concealed by the raked seating of the orchestral musicians, which visually shortens the actual 36-foot height of the instrument. At the ‘basement’ level, two of the organ’s blowers are situated, as also a number of wind reservoirs and trunking. Above this, at the level of the rearmost musicians, one finds the enclosed Orchesterwerk division and its accompanying pedal section—meaning that there is literally no gap between the orchestra and this part of the organ.
The ‘lower story’ of the organ is hidden behind an elegant white screen, decorated with panels containing pairs of griffons, and is framed by six ornate gilded pillars that lead the eye upwards to the organ balcony and ‘upper story’ that they appear to support.
The main Pedal stops are placed at the lower level on either side of the Orchesterwerk division, with the longest pipes at the extreme left and right, rising up into the upper story, e.g., those of the full-length Kontraposaune 32′. In contrast, the open wooden pipes of the Kontrabass 32′ are mounted horizontally against the rear wall of the organ, behind the Orchesterwerk swell box, with the longest being mitered to fit them into the 30-foot width of the organ case.
The gallery that visually separates the lower and upper stories of the organ case provides the space for the mechanical action console. In order that organists using this console should not be isolated from the sound of the stops on the level below them, tonal passages have been constructed to link the two levels, those from the Orchesterwerk swell box appropriately being fitted with swell shutters.
The Hauptwerk is to be found in the central position behind the façade pipes that were grouped by Hansen into three classical sections (which always have been, and remain, silent). The prominent position of the Hauptwerk, raised above the stage, allows this important division to speak directly into the body of the hall, as is fitting for the core of the organ. Behind the Hauptwerk and to either side are the Swell Organ and Solo Organ, each in their respective boxes. These, together with the enclosed Orchesterwerk division, can be controlled from one swell pedal, thus enabling the player easily to make finely nuanced adjustments to the organ’s volume.
At the top of the organ, behind the façade pipes and partially in the space created by the triangular pediment that crowns the organ case, are a third blower and the wind reservoirs for the Hauptwerk, Swell and Solo organs.

Technical information
As already mentioned, the organ has two consoles. The attached console is made of walnut wood, whereas the mobile console has a black lacquered exterior that allows it to harmonize on stage with members of the orchestra. The key action of the attached console is mechanical, while that of the second, mobile console (which can be placed anywhere on the stage) is electric. In both cases, the stop action is electric. The normal couplers on the attached console are mechanical and the mobile console has additional “unison off” and adjustable “divided” pedal options. On the moveable console, the organist can choose between having the Hauptwerk or Orchesterwerk organs playable from the bottom manual. Furthermore, the mobile console is fitted with an electrically operated, adjustable feature that allows organists to save their preferred positions for the organ bench and the pedalboard in relation to the manuals, and to recall these when required, after which the preferred positions are taken up automatically. The use of these features at the inaugural concert, and the resulting speed with which one organist could follow another, proved their value in a concert hall setting.
A final, unique, feature of the electric console is that the pedalboard and bench can be retracted electrically to the point where the console can be pushed on its platform through the narrow stage doors when not required on stage. In all other respects, including the layout, the two consoles are identical.
The Rieger capture system, Rieger Electronic Assistant (REA), is used in the Musikverein organ, fully at both consoles and interchangeably between them. The system makes provision for 20 individual organists, each having up to 1,000 combinations, the possibility of inserting three additional combinations between existing ones, and the ability to archive registrations for 250 pieces, each with up to 250 registration combinations. The system’s features include, among other things, sequencing, sostenuto, copying, and repeat functions; divisional and general cancels; unison-off options; and four individually adjustable crescendi. The Rieger recording and playback functions, tuning system, transposing facility, and MIDI features are also available.
The organ has 6,138 pipes, most of which are on slider windchests that are operated by a tracker system from the mechanical console and by pallet magnets from the mobile console; some of the largest pipes are placed on auxiliary pneumatic chests. Individual wind pressures are used for the different divisions of the organ and all windchests are divided into bass and treble sections, each with their own appropriate wind pressures. The bass sections are supplied with stable wind from bellows, whereas the trebles are fed flexibly from schwimmer reservoirs. Of the pipes referred to above, 639 are made of wood, with the remainder being constructed of various alloys of tin and lead. The largest pipe is more than 32 feet in length and weighs approximately 880 pounds.

Postscript
Vienna is the cradle of the symphony as art form, and the glorious Great Hall of the Musikverein a venue par excellence for symphony concerts. It is therefore entirely appropriate that the Gesellschaft der Musikfreunde in Wien (the Society of Music Friends in Vienna) should have wanted a secular, symphonic organ for their beautiful hall. They specified an instrument that would match the quality of the world-renowned ensembles and artists that perform in their famous venue, a concert hall organ whose primary function is playing with orchestras, but also able to accompany other instruments and choirs, and at times be a recital instrument. Rieger Orgelbau has met these high (and potentially conflicting) expectations by judiciously combining the positive features of symphonic organs from an earlier era with the time honored attributes of classical organ building, thereby masterfully overcoming the shortcomings of instruments from the Romantic period, and creating a prototype for a second generation of symphonic organs.
The Musikverein organ is not a copy of an instrument from any historical school of organbuilding, but an absolutely modern instrument that draws on the rich values of and experience from different organbuilding periods, and simultaneously leads the art of organ building into the future. Its essence is ‘symphonic’—not by being ‘historic’, but through infusing the term with new meaning. Those involved in the project—the Society of Music Friends, the committee of organ experts, Rieger-Orgelbau—are all to be congratulated on creating a new milestone in the history of organ building and setting the highest standards for concert hall instruments of the future.
—Dr. Antony Melck
Professor, University of Pretoria

Photo credit: Wolf-Dieter Grabner/Musikverein

Vienna Musikverein, Golden Hall 2011
Orchesterwerk (expr.) I. C–c4
16′ Liebl. Gedackt
8′ Geigenprincipal
8′ Viola da Gamba
8′ Salicional
8′ Wienerflöte
8′ Blockflöte
8′ Holzgedackt
4′ Octave
4′ Viola
4′ Gedecktflöte
2′ Octave
2′ Mixtur IV
22⁄3′ Harm. aeth. II–V
16′ Fagott
8′ Euphonium
8′ Oboe
8′ Klarinette
Tremulant

Hauptwerk II. C–c4
16′ Principal
16′ Violon
8′ Principal
8′ Flûte Major
8′ Gamba
8′ Gedackt
8′ Gemshorn
4′ Octave
4′ Salicional
4′ Spitzflöte
22⁄3′ Quinte
2′ Superoctave
22⁄3′ Großmixtur IV–VI
11⁄3′ Mixtur IV–V
8′ Cornet V
16′ Trompete
8′ Trompete
4′ Trompete

Swell (expr.) III. C–c4
16′ Salicet
8′ Principalviolon
8′ Gambe
8′ Aeoline
8′ Voix céleste
8′ Flûte harm.
8′ Bourdon
4′ Flûte oct.
4′ Fugara
22⁄3′ Nazard harm.
2′ Octavin
13⁄5′ Tierce harm.
1′ Sifflet
2′ Fourniture V
16′ Basson
8′ Trompette harm.
8′ Hautbois
8′ Clairon harm.
8′ Voix Humaine
Tremulant

Solo (expr.) IV. C–c4
16′ Quintatön
8′ Diapason
8′ Flauto Amabile
8′ Doppelflöte
4′ Prestant
4′ Traversflöte
22⁄3′ Nasard
2′ Flöte
13⁄5′ Terz
11⁄3′ Larigot
11⁄3′ Mixtur IV
8′ Englischhorn
8′ Tromp. Royal
8′ Tuba

Pedal C–g1
32′ Kontrabass
16′ Kontrabass
16′ Violonbass
16′ Salicetbass
8′ Octavbass
8′ Flöte
4′ Flöte
22⁄3′ Rauschpfeife III
32′ Kontraposaune
16′ Posaune
16′ Fagott
8′ Trompete
4′ Clairon

Orchesterpedal (expr.)
32′ Subbass
16′ Subbass
8′ Violon
8′ Gedackt
16′ Bassklarinette

Accessories:
Rieger Combination System
• 20 users, with 1,000 combinations with 3 inserts each
• Archive for 250 tracks with 250 combinations each
4 Crescendi, adjustable
Sostenuto
3 free couplers
Sequencer
Copy functions
Repeat functions
Division off
General off
Unisons off

Consoles:
Main console (mechanical)
Mobile console (electric)

Mechanical couplers:
Ow/Hw 8′, Sw/Hw 8′, So/Hw 8′
Sw/Ow 8′, So/Ow 8′, So/Sw 8′,
Ow/P 8′, Hw/P 8′, Sw/P 8′, So/P 8′

Electric couplers:
Ow/Hw 8′, Sw/Hw 8′, So/Hw 8′, Sw/Ow 8′,
So/Ow 8′, So/Sw 8′, Ow/Ow 16′, Ow/Ow 4′
Sw/Sw 16′, Sw/Sw 4′, So/So 4′
Sw/Hw 16′, Sw/Hw 4′, Ow/Hw 16′, Ow/Hw 4′, Ow/Ped 4′, Sw/Ped 4′

Special features:
Rieger Tuning System
Rieger Replay System
Divided Pedal (electric console)
Manual Change I–II (electric console)
Transposing Manual
MIDI

Wind pressures:
Pedal 100mm
Hauptwerk 85mm bass 105mm treble
Swell 80mm bass 90mm treble
Solo 75mm bass 90mm treble
Orchesterwerk 75mm bass 90mm treble
Orchesterpedal 80mm

Rieger-Orgelbau GmbH
Hofsteigstr.120
A-6858 Schwarzach
Austria
T: 0043 5572 58132-0
F: 0043 5572 58132-6
W: www.rieger-orgelbau.com

Lewtak Pipe Organ Builders, Camillus, New York, 2005

St. Joseph’s Catholic Church “On the Hill,” Camillus, New York


The Church

The history of St. Joseph’s Church in Camillus, New York, goes back to 1852, when the first resident pastor came to the parish and began to care for the religious needs of local Catholics. The original St. Joseph’s Church in the village of Camillus was built in 1867. The congregation eventually outgrew the small space of the old church, and in 1965 construction started on a new building—the cross-shaped church, with parabolic arches rising 90 feet and dramatic windows at the ends of each wing. As is often the case when substantial funds are required for construction, the purchase of a new pipe organ had to wait its turn. The delay turned out to be a long one—almost 40 years!
For years the rich and varied music program of St. Joseph’s Parish was supported by an electronic organ substitute and a Kawai grand piano. During the fall of 2001, an opportunity came along, and finally the decision was made to begin the construction of a new pipe organ that would fulfill the musical needs of the congregation and would aesthetically complete the sanctuary of St. Joseph’s. That year, another church in the Diocese of Syracuse—St. Louis in Oswego, New York—was closed and the pipe organ from this church was purchased with the thought that it would become a jump-board for a much larger instrument at St. Joseph’s.

The Old Organ

The old organ, a tracker consisting of two manuals with 21 stops, was built by Casavant Frères in 1896 as their Opus 69. It was the first organ from this builder imported in the United States.
At the time of acquisition, the Casavant organ was in a state of complete disrepair. It was obvious that a true historical renovation was not feasible for two primary reasons: the cost and the size of the instrument. Even if the parish were to allocate the funds, St. Joseph’s has a cubic volume approximately four times that of St. Louis Church. The volume of sound required to fill this large space could not possibly be achieved from a rather small and softly voiced instrument. With heavy hearts and facing no other options, the old organ from Oswego was dismantled and moved to St. Joseph’s in Camillus. Only the salvageable parts would be used in a new instrument. Virtually all of the old pipework was saved. A total of 1,202 pipes were moved to Camillus, most of which were in shoddy physical condition; some were badly damaged due to poor maintenance and careless handling. For example, an existing Mixture III on the second manual had twelve original pipes missing in the center, the sign of an obvious “tuning accident” occurring many years ago. These were replaced with “stock” pipes that did not make any sense in terms of either scaling or in the proper Mixture repetition sequence. Many wooden pipes also had visible water damage. The same was true for both manual windchests, which were also transported to St. Joseph’s. From four pedal chests only two were salvageable, with the remaining two damaged beyond any reasonable repair.

The New Tonal Design

Even though the old organ had to be dismantled, it became the backbone for—first and foremost—the tonal design of the new instrument. Professor Ulrik Spang-Hanssen from the Royal Danish Music Conservatory in Aarhus, Denmark was consulted, and a plan was devised for the preservation of the original stop configuration, augmenting it with a new third keyboard that would serve as the foundation for the “big sound.” Very few old ranks have been shifted. What was acquired from Oswego became the second and third manuals (Positif and Récit) with some changes necessary to move the timbre out of the dark and 8'-heavy character. The original configuration did not have any fifths or thirds among its stops. In addition, the first manual (the Great) had four 8' stops and one 4' stop; the second manual (the Swell) had a 16' Bourdon and a sub-octave coupler to the Great. New ranks were added with the purpose of not just strengthening the volume, but more importantly brightening the sound of the organo pleno in these two divisions. The old Great (current Positif) received the 2' Piccolo from the old Swell, and the original Dulciana 8' was moved to the new Grand Orgue division. The old Swell (current Récit) received a new Nasard 22?3', Principal 2' and Tierce 13?5'. From the same division, the Trumpet 8¢ and Bourdon 16' were moved to the new Grand Orgue.

The addition of a new first manual (the Grand Orgue) allowed not only for keeping the stop configuration as close to the original as possible, but also opened completely new sound prospects to build on and to draw from. This is the division that is by far the strongest. It is rather basic in terms of utilized ranks, not too far from the tonal character of the old instrument and yet created with the sole purpose of giving a complete Principal chorus to the entire instrument. The Cornet Harmonique III deserves special mention. It is a three-rank cornet (22?3¢, 2¢ and 13?5¢) consisting of widely scaled, overblown flute pipes with two small holes midway through the body length. The aural effect is quite unusual: the cornet combination has a far greater penetration and clarity of timbre thanks to the characteristic “hollow” sound of the harmonic pipes.

Obviously the Pedal division required more power. This was simply achieved by adding to the original three stops (Double Open 16', Bourdon 16' and Violoncello 8') a new Octave 8', Cor de Nuit 4' and a round-sounding 16' Buzène, a reed stop with leathered shallots. It would have been an asset to have a mixture in the Pedal; however, the financial constraints made it impossible. The total number of new pipes added is 1,100.

The New Façade

The difficult task of designing the façade for this organ fell on our shoulders after we approached various outside architects and artists. The problems we encountered with the architects were their lack of understanding the principles of how the organ works, not knowing what is and what is not attainable. There was also the lack of positive and healthy aesthetics. The objectives were quite simple: first, to fit the organ into the arch shape of the ceiling, and second, to show that this instrument blends the old with the new. An additional requirement came from the fact that it had been explicitly requested that the console must stay on the main floor of the church while the rest of the organ rests on a 10-foot high loft. The reasoning for this came from the liturgical documents of the Second Vatican Council, which dictates that the music ministry is not to be separated from the congregation. In the case of a tracker organ, it immediately makes things a lot more complicated simply because the linkage becomes dangerously long.

The design of this church building cannot be classified as “contemporary” but it may be described as “modern.” However, all throughout the building there are many elements of traditional architectural design: harmonious lines, time-honored proportions, and a lot of symmetry. The answer to all of these challenges came from my brother, architect Pawel Lewtak. He is the creator of the design that became a real head-turner among parishioners and visitors alike. In his words, his worst fear was to create another organ that would be sitting “up there” with the console that is placed “down there,” and one has little to do with the other. Instead, he created a homogenous shape that ties the top with the base in a seamless manner. The tower-like structure of segments gives it slenderness and allows for traditional pipe grouping. To reflect what is inside the organ case, the original façade pipes were kept in their distinctive clusters, and new groups of double flamed copper pipes were added. Copper was definitely the material of choice for its perfect blend with the surrounding color scheme.

There is one special feature of this façade that separates it from all others: mirrors, more specifically, forty of them! Hardly noticeable at first glance, they add light, depth, spark, and elegance. The mirrors are only four inches wide, and are of various lengths. They are placed in wooden frames in the spaces between the pipe clusters. They enhance the design by offering a true three-dimensional effect. As people walk through the church they are always viewing a distinctive picture with variegated light reflections, innumerable shadows and highlights, an array of geometrical shapes, yet all elements are well organized with pleasing aesthetic integrity.

The façade is made of white ash with mahogany ornaments, and the case behind it is made from birch and carefully selected white poplar.

The Mechanics and Materials

The key action is purely mechanical. It is referred to as a suspended action and was the only logical choice given our circumstances. Long distance between the keyboards and the windchests dictated absolute precision in the making of the tracker action. The longest linkage run is 33 feet and yet the average weight of the key—when the chests are under pressure—is only 120 grams. The action is not the least sluggish thanks to the employment of a pressure rail on the back of each keyboard with springs that remove some of the key weight. Each division has its own floating rail allowing for climatic changes of the wood of the trackers, which are made of red cedar. The squares are fashioned out of aluminum as are the rollers and roller arms. On the longest rollers, needle bearings were utilized to support the weight of each roller.

The keys are made of tight-grained pine covered with black African wood (grenadilla) for the naturals, and bone-on-maple for the sharps. The cheeks of the keyboards are white oak with ebony inlays.
All windchests are of slider and tone-channel construction. Two old windchests (Positif and Récit) have been completely taken apart and restored to mint condition. In both, the pallets used are of a so-called “relief” type: in essence, each pallet consists of two pieces, one of which is being pulled down first thus releasing the pressure and breaking the initial resistance. After cleaning, releathering and complete re-regulating of all the parts, they work flawlessly. New windchests are made out of select yellow pine and have single pallets in all but the lowest octaves. In the bass, we installed two pallets per tone channel, but with sequential opening, which causes the touch to be the same as the rest of the keys.
Pedal pipes are split diatonically and stand on either side of the case. The open 16¢ flute stands on its own two chests (C side and C# side). The remaining pedal pipes received two new windchests with space for both the old and the new ranks.

The stop action is state-of-the-art electric. The stop plates, made of grenadilla, hide behind them contactless switches. The system offers full convenience of 1,280 memory levels for even the most demanding performer. Half of the levels are lock-protected. The layout of thumb and toe pistons is very simple and offers some necessary redundancy. Couplers can be operated either by thumb pistons or toe studs. Also, the navigation through the system’s memory levels can be done either by hand, by foot or on the side by an assistant. There is one expression pedal for the Récit and a Crescendo pedal. The Crescendo, in order to work, first must be activated by a toe stud. It is fully programmable and has a digital level display from 0 through 30. A similar kind of digital level display is in place for the expression pedal of the Récit. The shutters are operated by a 30-stage, digitally controlled electric motor.

The organ utilizes a three-phase 1.5 hp electric blower with slow RPM. There are two reservoir bellows—one old one and one new— providing ample air supply to the whole instrument. There are three tremolos, one for each manual. Two of them have electronically adjustable speed of undulation right at the console.

The Voicing

Any organ is only as good as it sounds. Therefore, even though we spared neither time nor money on mechanical details, the most important element remained the voicing. All of the old ranks received some sort of voicing re-vamp. They had all previously been voiced down for a much smaller building. We made them more free speaking, definitely less obstructed at the toe. All of the old ranks were heavily nicked, which made things difficult at times. The new ranks were voiced with a little bit of chiff, just enough to make their speech more pronounced in the large acoustics of St. Joseph’s Church. The old reeds needed to be re-tongued in order to gain a larger sound. The Trumpet 8¢, especially, required more brilliance and volume in order to balance well with the rest of the Grand Orgue. The organ is tuned to a Tartini-Vallotti temperament, which gives it a pleasant color and tonal personality. The instrument has much to offer in terms of variety of sound colors as well as the dynamics and individual stop character.



From an organbuilder’s perspective, taking a vintage 1896 organ and bringing it up to present day expectations, and having an organ that could be used for church services as well as concert performances has been a personally demanding and ingratiating experience. In organ building, the idea is always to be creative while retaining the original elements and merging them with new technologies. It is rewarding beyond words when an artist sits down at the console and you begin to see the smiles of pleasure. It means you have accomplished your goal of creating the finest organ from available sources.
Lewtak Pipe Organ Builders wishes to extend our sincere thanks to all volunteers who gave their time and energy to this most worthy project. We also thank the parishioners of St. Joseph’s Church of Camillus, New York, for their continuing understanding, patience and support.

—Tomasz Lewtak

Organbuilder




The following craftsmen took part in the construction of the organ for St. Joseph’s Church in Camillus, New York:

Tomasz Lewtak – mechanical design, pipe scaling, voicing, woodworking

Pawel Lewtak – façade design, woodworking, traction

Gerry DeMoors – electronics, carillon, general construction

Kevin Reedy – general construction

John Fergusson – woodworking.




Lewtak Opus 1

St. Joseph’s Church “On the Hill”

Camillus, New York


GRAND ORGUE

16' Bourdon*

8' Grand Principal

8' Dulciane*

8' Flûte à Cheminée

4' Octave

4' Flûte à Fuseau

3' Quinte

2' Doublette

2' Flûte

III Cornet Harmonique

IV Mixture

8' Trompette*

Tremblant Fort

POSITIF

8' Montre*

8' Mélodie*

8' Gambe*

4' Prestant*

2' Piccolo*

Carillon a22–f42

Tremblant Doux

RÉCIT

8' Viole de Gambe*

8' Principal*

8' Flûte Harmonique*

8' Bourdon*

8' Voix Cèleste*

4' Flûte Harmonique*

4' Fugara*

22?3' Nasard

2' Principal

13?5' Tierce

III Mixture*

8' Basson-Hautbois*

8' Cor Anglais*

Tremblant Doux

PÉDALE

16' Flûte Basse*

16' Bourdon*

8' Octave

8' Violoncello*

4' Cor de Nuit

16' Buzène




* Original Casavant stop

Mechanical key action

Electric stop action

Electronic register presets, 1280 memory levels

Wind pressure: 90 mm Positif, Récit & Pédale; 82 mm Grand Orgue

Couplers: III-I, II-I, III-II, III-P, II-P, I-P

Tuning A34=438 Hz at 18ºC

Temperament: Tartini-Vallotti

Alexander Fiseisky, born in Moscow, is one of the most famous and influential organists in Russia. He graduated with distinction from the Moscow Conservatoire as pianist and organist. He is an organ soloist of the Moscow State Philharmonic Society, head of the organ class at the Russian Gnessins’ Academy of Music in Moscow, and president of the Vladimir Odoyevsky Organ Center. He organized and served as artistic director for organ festivals in Moscow, St. Petersburg, Kiev, and Tallinn, among others. In 1997 he was honored by President Yeltsin with the title ‘Honoured Artist of the Russian Federation’. Fiseisky has given concerts in more than 30 countries. In the Bach Anniversary Year of 2000 he played J. S. Bach’s entire organ works, twice in the context of EXPO 2000 in Hannover, and once in a single day in Düsseldorf as a Bach Marathon. Sought after as a juror in international competitions, he has directed seminars and masterclasses in Europe and the USA. He is the dedicatee of numerous compositions, including works by Mikhail Kollontai, Vladimir Ryabov, Milena Aroutyunova, and Walther Erbacher. A musicologist, he has edited anthologies of organ music of Russia and of the Baltics (Bärenreiter-Verlag). He has many recordings to his credit, including the complete organ works of J. S. Bach.

1. Historical Sketch
Until the 13th century, the indigenous people of the territories of modern Estonia suffered numerous invasions from the West, the South, and the East. Nevertheless, they were able to keep their independence, and the Estonian language emerged in the sixth century. During the 13th and 14th centuries the Estonians were Christianized, in the course of which the southern parts of Estonia were divided in 1224 between the German Schwertbrüderorden (a military-religious order) and the bishops of Dorpat and Ösel. The northern part of the country, together with the city of Reval (Tallinn) founded by German merchants in 1230, was under Danish rule from 1238 to 1346.
The country was ruled by the Teutonic Knights and local bishops, who were supported by the merchants of the towns and the landed gentry. This ruling class was almost entirely ethnic German, and the native Estonian farmers fell by degrees into bondage. The church, showing no interest in the Estonian language, had only limited influence on the local people until the Reformation, when, during the 1520s, the Estonian people began to take a more active part in church life.
As a result of the Livonian war (1558–83), the Order of the Teutonic Knights collapsed. The northern part of Estonia was occupied by Sweden, the southern part brought under Polish–Lithuanian rule, while the island of Saaremaa remained Danish. From 1645, all Estonian territory was under Swedish jurisdiction. After the Swedish defeat in the Great Northern War (1700–21), which was accompanied by a devastating plague, Estonia fell under Russian rule, remaining a part of the Russian Empire until 1917.
Under these circumstances, Estonian culture always developed under the influence of the ruling nations, that of the Germans being particularly strong. The Baltic German aristocracy, the clergy, and the merchants of the Hanseatic League maintained their privileged position in Estonian society, even when the Baltic territories were controlled by Poland, Sweden, or Russia. The church’s administration in Lutheran Estonia from the 16th century until Estonia’s declaration of independence in 1918 was, for instance, always headed by Germans.

2. Organs in Estonia from the 13th to the 16th century
Early Estonian music developed in monasteries and church schools, founded even during the subjugation of the Estonian tribes by foreign invaders. Twelfth-century unison church hymns written in neume notation can be found in liturgy books preserved in the Tallinn City Archives. In 13th-century sources, the main churches of Tallinn are mentioned for the first time: the Cathedral of St. Mary (1219); St. Nicholas’ Church (1230); and St. Olai’s Church (1267). It is evident that organs began to spread in parallel with the growing influence of the church in Estonia. However, the first documented reference to organs in Estonian territories dates only from 1329: in Paistu and Helme (northern Livonia) organs were destroyed by enemy action.1 Some years later (1341), an organist working for a church in Tallinn is mentioned.2
After the great fire, which almost completely destroyed Tallinn on 11 May 1433, a new organ was built in St. Nicholas’ Church (Niguliste) by the organ builder “Orgelmaker” Albrecht; it was later rebuilt in 1489 by Hermann Stüwe from Wismar and six assistants. Most of the organ builders working in Estonia during this period came from the Hanseatic cities of North Germany. Around 1500, the church of St. Nicholas, the largest and wealthiest church in the influential Hanseatic city of Tallinn, boasted a total of three organs3: the first on the west wall; the second in St. Antonius’ chapel; and the third in the chancel, built in 1502 by the local organ builder and Dominican monk Peter Schmidt.4 Tradition hands down the name of one more local “Maker of Organs”: Yllies. His name is mentioned in the report of the treasurer of St. Olai’s Church (Oleviste) in 1540.5
A new organ in St. Nicholas’ Church was built in 1547 by a certain “Meister Hans.” In 1584 this organ was enlarged by the organ builder Bartolt (Bartold) Fiehoff (Viehoff, Fehoff)6 and fitted with a Rückpositiv.7 Between 1588 and 1590 the same builder built an organ of 38 stops for St. Olai’s Church.
During the 15th and 16th centuries, positive organs became fashionable among the wealthier nobility, citizens, and town officials. For instance, in 1499 the “Domherr” and “Stadtschreiber” (Town Clerk) Magister Christianus Czernekow bequeathed his positive organ to the organist Matthias: “ . . . Item domino Mathie, organiste in summo, positivum stantem in camera mea . . .”8 The above-mentioned Bartolt Fiehoff also built a positive organ in 1585–86 for the church of St. Johannis in Tartu (Dorpat).
With the spread of Protestantism, church music in Estonia acquired new significance. Lutheran hymns, accompanied by the organ, became the musical basis of the liturgy. Following the guidelines of Martin Luther and Philipp Melanchthon about education, the Latin school at St. Olai’s Church in Tallinn was reorganized in 1528 as a Lutheran town school (Stadtschule). Its curriculum included basic studies of Protestant music. Choral singing was practiced under the direction of the Kantor—a special teacher who also became responsible for the musical accompaniment of the church services. Gradually the Kantors became the main figures in the cities’ music life. The first Protestant Kantor in Tallinn whose name has come down to us was Petrus Mellin (1531–2).
After the Reformation, the Tallinn churches of St. Nicholas and St. Olai became the focus of cultural life. In the second half of the 16th century, the choir of St. Nicholas’ Church, consisting of about 50 members, performed vocal music from handwritten Kantionalien (liturgical books) by Lukas Lossius, Jacob Meiland, Melchior Vulpius, Hieronymus Praetorius, and others.

3. Culture, religion and musical life in the 17th and 18th centuries
In 1630, the Swedish King Gustavus Adolfus II established a Gymnasium in Tartu for the purpose of strengthening Protestantism. Two years later this Gymnasium was transformed into a university (Academia Gustaviana) and became the most important center of cultural life in Estonia. In Tartu, for the first time in the history of the country, the music of an Estonian folk song was printed (Friedrich Menius, Syntagma de origine livonorum, Dorpat 1635). Another important publication appeared in Tartu in 1640, the Oratio de musica of Jacob Lotichius, who later became the Kantor of the Cathedral School in Riga (Latvia). Concerts and theatrical performances regularly took place in the University of Tartu.
The churches continued to be centers of musical life, the concerts that regularly took place there being contributed by choir, organ, solo singers, and the musicians in the service of the town. It should be noted that organists in Estonia maintained a privileged position compared with town musicians. While the latter received a payment of 20 Taler per year (with three tons of rye and other food in addition), the organists of the Tallinn churches of St. Nicholas and St. Olai in the middle of the 17th century received 100 Taler a year (as well as accommodation and other benefits).9
Much attention was paid to church music; for instance, St. Johannis, the main church in Tartu, employed two organists in the 1680s—one of them, the cantor figuralis, being responsible for the choir, the other, the cantor choralis, for hymn singing.
Use of the Estonian language had also grown. The first attempts at translating Lutheran hymns into Estonian had already been made in the 16th century, while the earliest surviving historical source in the Estonian language is Pastor Henrico Stahl’s anthology of religious hymns, Hand- und Haußbuch Für die Pfarherren und Haußväter Esthnischen Fürstenthumbs (Handbook and Domestic Book for the Clergy and Nobility in Estonia, 1632–38). The first collection of music was published in Estonia (in 1637) by Tallinn’s Gymnasium (founded in 1631 by Gustavus Adolfus II). From the end of the 17th century, lessons at schools were increasingly held in the mother tongue. The New Testament was translated into Estonian in 1686, followed by the entire Bible in 1739.
Country parish churches established the post of sacristan (Küster in German, köster in Estonian), whose duties included instructing young people in reading and writing, prayers, and singing hymns. In 1684 Bengt Gottfried Forselius founded a seminary near Tartu to train young people for such posts, and from the 19th century the köster was also the village schoolmaster and organist.
A tendency towards secular influences is noticeable in the art and religious life of that time. The decorative depiction of saints on organ cases was replaced by allegories from non-religious art. The organ gallery in the chancel of St. Nicholas’ Church in Tallinn, finished in 1639, was decorated with seven wooden sculptures. The “Allegory of Music” was placed in the middle between six other female figures. Together they portrayed the seven fine arts (septem artes liberales).
Important among organ builders working in Estonia at this time were Johannes Pauli (Pawels, Paulus) from Riga, who built and repaired several organs in Tallinn and Kuressaare (Arensburg) between 1611 and 1644, the Swede Andres Bruse (mid-17th century), and above all Christopher Meinecke (Christoff Mencke) from Lübeck, who, working first with Bruse, was active in Tartu until 1645, and from 1660 in Tallinn (St. Nicholas, III/P/3010, 1668).

Tallinn, St. Nicholas’ Church
Christopher Meinecke (Christoff Mencke), 1668 (does not exist)
HAUPTWERK (upper manual)
16' Principal
16' Quinta-Thön
8' Octava
8' Rohrflöte (4'')
4' Super-Octava
2' Rausch-Pfeife
Mixtur IV–V
16' Trommet
8' Trommet
RÜCKPOSITIV (lower manual)
8' Principal
8' Gedackt
4' Octava
4' Gedackt
Tertian II
Scharf III
8' Krumbhorn
8' Dulcian
BRUSTWERK (played from the upper manual)
8' Quinta-Thön
4' Gedackt
2' Octava
Sesquialtera II
8' Regal
PEDAL
16' Untersatz
8' Octava
8' Gedackt
4' Gedackt
16' Posaune
16' Fagotto
8' Trommet
4' Cornet

Tremolo
Koppel

Sources:
Leonid Rojman, Organnaja kul’tura 'stonii [The Organ Culture of Estonia], Moscow: Gosudarstvennoe muzykal’noe izdatel’stvo [State Musical Publishing House] 1960, p. 84.
Hugo Lepnurm, Istorija organa i organnoj muzyki, Kazan’ 1999, p. 74 (translation of the Estonian original “Oreli ja orelimuusika ajaloost,” Tallinn 1971 [“On the History of the Organ and Organ Music”]).
During the Great Northern War (1700–21), almost all organs in the Estonian territories were destroyed. There is a reference to only one organ preserved in a small church in Mänspä on the island of Hiiumaa (Dagö), built by an unknown organ builder at the beginning of the 18th century. After the war and until the end of the century, most of the existing organs were in poor condition because of the country’s extraordinary poverty. Only a few installations or renovations of organs are known; Gottfried Kloos (Clossen, Klossen, Kloss, died 1740), an organ builder from Danzig, installed a Vox humana stop and a Zimbelstern in the main organ of St. Nicholas’ Church in Tallinn (1720–21).
In the 1780s, the organ builder Johann Friedrich Gräbner from Bremen, who later became a citizen of Tallinn, began working in Estonia. He also built harpsichords, clavichords, lutes, harps and fortepianos. In April 1789, he visited St. Petersburg and handed over plans for two organs with 45 and 60 stops to Prince Grigory Alexandrovich Potyomkin (1739–91). Shortly before that, he had finished an organ for the Cathedral of St. Mary in Tallinn and brought a report about his work to St. Petersburg:

We, the undersigned members of the council of the church “de la Noblesse” and the Cathedral, certify by this document that Johann Friedrich Gräbner, an organ builder, designed and built a wonderful and majestic organ [ . . . ], which gained the endorsement of all experts.11
The most famous organ builder in the Baltics in the 18th century was Heinrich Andreas Contius (1708–92). Between 1764 and 1771, he built a new organ in St. Olai, Tallinn (III/P/60)12 (Die Musik in Geschichte und Gegenwart gives the starting date as 176713). Abbé Georg Joseph Vogler played this organ on his way from Stockholm to Moscow in 1787; according to his report he “never encountered a better organ.”14
Contius’s son-in-law, Johann Andreas Stein (1752–1821), born in Karlsruhe, established his own workshop in Pärnu (Pernau) at the end of the century. In 1805, he installed an organ in the church of Kihelkonna on the island Saaremaa. This instrument, with a case in the late rococo style, is the oldest church organ in Estonia still preserved.

The Church of Kihelkonna
Johann Andreas Stein, I/P/14 (Pärnu), 1805
Friedrich Weissenborn, II. Manual (J'kabpils [Jacobstadt], Latvia), 1890
I. MANUAL (C–f³)
16' Bourdon
8' Principal
8' Gedackt
8' Gamba
4' Octave
4' Flöte
2 2/3' Quint
2' Octave
Mixtur II–III
8' Trompete
II. MANUAL (C–f³)
8' Geigenprincipal
8' Hohlflöte
8' Piano
4' Geigenprincipal
PEDAL (C–c¹)
16' Subbass
8' Principalbass
4' Octave
8' Posaune

II/I, I/Ped.
II. Manual in Swell Box

Sources:
Leonid Rojman, Organnaja kul’tura 'stonii [The Organ Culture of Estonia], Moscow: Gosudarstvennoe muzykal’noe izdatel’stvo [State Musical Publishing House] 1960, p. 85.
Andreas Uibo and Jüri Kuuskemaa, Historical Organs in Estonia, Lilienthal/Bremen (Eres Edition 2408) 1994, p. 72.
Among the foremost musicians in 17th-century Estonia was Johann Valentin Meder (1649–1719). Born in Wassungen on the Werra, he worked as a Kantor in the Tallinn Gymnasium (1674–83), and was a prolific composer. The first performance of his Singspiel Die beständige Argenia took place in Tallinn in 1680.
Notable contributions to the development of the art of the organ in Estonia were also made by Erasmus Pogatz (organist at St. Nicholas’ Church in Tallinn 1583–1630), Christopher Asmes (organist at St. Olai’s Church in the first half of the 17th century), and representatives of the Busbetzky musical dynasty. The most important of the latter was Ludwig Busbetzky, a pupil of Dietrich Buxtehude and from 1687 to 1699 organist at the German church in Narva.
Playing the organ became widespread in private homes from the middle of the 17th century. Organists were evidently invited to play at weddings there, for in 1665 a special decree was issued by the Tallinn Magistracy emphasizing that: “ . . . at weddings of housemaids only two musicians and an organist should play, and each of them should receive two Taler for his work.” In 1777, August Wilhelm Hupel, a member of the Independent Economics Society founded in St. Petersburg in 1765, wrote about organists coming from rural families: “ . . . our farmers are not completely without a musical ear: nobles have sent them to study and now they can satisfactorily accompany dances.”15
Musical life became more active in the second half of the 18th century, when it became fashionable to take music lessons and to give concerts in private homes. One instrument that was probably played on such occasions, a positive organ built by Johann Karl Thal from Antsla (I/2, 1795), is now exhibited in the Theatre and Music Museum in Tallinn.
Established by Carl Christian Aghte, the Hündelberger Theater-Kompanie (1776–82) performed the first Singspiels under his direction. In 1784, August von Kotzebue founded the Tallinn Liebhaber-Theater, known from 1809 as the Staendiges (“Permanent”) Theatre, where such works as Mozart’s operas Die Zauberflöte (1795') and Don Giovanni (1797) were performed.

4. Estonia in the 19th century and the beginning of the 20th century
The 19th century brought momentous changes to Estonia. The abolition of serfdom between 1816 and 1819 by Tsar Alexander I (reigned 1801–25) was the decisive step towards liberating the Estonian peasants from the grip of their Baltic German landlords; however, it took several decades before the peasants came into the possession of their farms. In the course of agrarian reform and development of the education system, national self-awareness began to awaken. It was during Alexander II’s reign (1855–81) that the Estonian national movement came into being. Its leaders saw it as their main task to develop Estonia culturally, but step by step the movement became increasingly more political. During the Russian Revolution of 1905, the Estonians demanded cultural and political autonomy, but the Tsarist government refused any concession. It took the collapse of the Russian Empire to create the conditions for the emergence of an independent Estonia, proclaimed on February 24, 1918.
Against this background, concert-giving activity in Estonia steadily expanded. In Tallinn, compositions of the Viennese classical period were performed, among them Mozart’s Requiem (1814) and Haydn’s Creation (1817). In 1819 and 1821, compositions by Peter Andreas Johann Steinsberg using folk melodies and folk dances were performed in the Estonian language for the first time: Häbbi sellel’, kes petta tahhab (“Shame on One Who Wants to Cheat”) and Krappi kaie willetsus, ehk: Kes paljo lobbiseb, peab paljo wastama (“Krappi Kais’ Need, or: Who Chatters Much Has Much to Answer”).
Many famous musicians performed in Estonia, among them Clara Schumann, Franz Liszt, Sigismund Thalberg, and Anton Rubinstein, while the conductor Arthur Nikisch brought the Leipzig Gewandhaus Orchestra to Tallinn in 1899.
Among composers particularly active in Estonia in the first half of the 19th century was Johann Friedrich de La Trobe (1769–1845), who came from Chelsea near London. From 1829 he worked as a music teacher in Tartu; in 1834 he conducted Handel’s Alexander’s Feast in St. Johannis Church there with more than a hundred singers, and in 1835 he founded the Tartu Choral Society, to promote the development of choral music in the town. De La Trobe’s works included mainly sacred vocal compositions, as well as piano and chamber music. His son-in-law Woldemar von Bock (1816–1903) studied law in Tartu before living in Riga (1857–66) and afterwards in Quedlinburg. His collection, Chorale Studies for the Organ, was published in Erfurt in 1855.
The surviving organ works of de La Trobe (the Chorale Preludes, 1805, and the Fughettas, 1798, from the early period of his life)—as well as those of von Bock—are of little artistic value.
The national epic poem Kalevipoeg (“Kalev’s Son”) by Friedrich Reinhold Kreutzwald, written between 1857 and 1861, became a landmark in Estonian literature. Poetry became the most important genre, represented by Lydia Koidula-Jannsen, Ado Reinwald, Mihkel Veske, Marie Under, and Betti Alver.
In 1841, the pianist Theodor Stein (1819–93) and Ferdinand Johann Wiedermann founded the Musical Society, followed by such associations as the Men’s Choral Society of Reval (1849), the Reval Choral Union (1854), the Harmony (1858), and the Jäkelsche Choral Union (1859). The art of choral performance developed rapidly, reaching its zenith in 1869, when the First Song Festival (Üldlaulupidu) took place in Tartu, involving 1,000 singers and an audience of 15,000. It was initiated by the journalist Johann Voldemar Jannsen (1819–90). Here for the first time choral works by Aleksander Saebelmann-Kunileid (1845–75) were performed, settings of patriotic poems by Lydia Koidula-Jannsen (1843–86): Mu isamaa on minu arm (“My Native Land, My Dearest Love”) and Sind surmani (“I’ll Cherish You till Death”).
In 1827, Eduard Philipp Körber published his Little Estonian Hymnal in the Tartu Dialect (Das kleine ehstnische Choralbuch in Dörptscher ehstnischer Sprache). Soon afterwards, Johann Leberecht Ehregott Punschel (1778–1849) presented the Evangelical Chorale Book Appropriate to German, Latvian and Estonian Hymnbooks in the Russian Baltic Provinces (Evangelische Choralbuch zunächst in Bezug auf die deutschen, lettischen und estnischen Gesangbücher der russischen Ostsee-Provinzen) (Leipzig, 1839). This book included 363 chorales. Its second, extended edition was issued in 1844.
These collections of hymns were complemented by tutorial books in the Estonian language for those who wanted to learn to play the klavier. One of the first books of this kind was the unfinished work by Johann Heinrich Rosenplänter (1782–1846), How One Can Learn to Play the Piano [and the Organ] (Õppetus kuida klawwerit [ja orelit] mängida) (manuscript, 1830).16 A little later, the Saxon Johann August Hagen (1786–1877), who from 1815 was the organist at St. Olai’s Church in Tallinn,17 published his instructive book Instruction on How Singing People, and Whoever Else Wishes, Can Learn to Bring Forth Songs from the Written Notes, in Order to Play Them on the House Organ and to Sing Themselves, As Well As Together with Their Pupils (Õppetus, kuida laulomehhed, ja kes muud tahtwad, joudwad notidest laulo wisid ülleswõtta, lauloerrelatte peäl mängides ja nende järrel lauldes, ni hästi nemmad isse, kui ka nende õppetus lapsed) (Tallinn, 1841). In 1861, a new work by Hagen was published: A Guide to Organ Playing for Those Who Wish to Attain the Position of Country Organist and to Prepare Themselves for It (Juhhataja errela mängimisseks neile, kes maal errela mängimisse ammetid noudwad ja ennast selle wasto tahtwad walmistada); and finally, the textbook of Andreas Erlemann, Instruction in Music (Musika õppetus), was published in 1864, placing special emphasis on the organ.
In addition to these theoretical works by Hagen and Erlemann, the large number of chamber organs built by self-taught enthusiasts had a significant influence on the musical education of the people. As a rule, most of these instruments had only wooden pipes. At the end of the 19th century, hardly any sizable family in Estonia did not possess a chamber organ. Schools contributed much to the spreading of music, as they also possessed organs. Thus the organ in Estonia really became the folk instrument.
Organs of a larger scale were built by Carl Tanton, as well as by the Germans Ernst Kessler and Wilhelm Müllverstedt, who had settled in Tartu. Some of their church organs are still preserved in Kullamaa (C. Tanton, I/P/12, 1854), Otepää (E. Kessler, I/P/12, 1853), Vigala (W. Müllverstedt, II/P/14, 1886), and other Estonian towns.
The Church of Vigala
Wilhelm Müllverstedt, II/P/14. Originally the organ was built for the church of St. Peter in Tartu (1886); was moved to Vigala in 1888.
I. MANUAL (C–f³)
16' Bordun
8' Principal
8' Gedackt
8' Gambe
4' Principal
4' Flöte
4' Spitzflöte
2 2/3' Quinte
2' Octav
Mixtur IV
II. MANUAL (C–f³)
Phisharmonika
PEDAL (C–d¹)
16' Subbass
8' Principal
8' Bassflöte

Calcant
Sperrventil Pedal
Pedal Coupler

Source:
Andreas Uibo and Jüri Kuuskemaa, Historical Organs in Estonia, Lilienthal/Bremen (Eres Edition 2408) 1994, p. 78.

Müllverstedt had often been in St. Petersburg and Moscow, where he repaired and tuned, in particular, the house organ “Sebastianon”18 of the Prince Vladimir Odoyevsky, and the old organ (1889) in the Small Hall of the Moscow Conservatoire. As Professor Alexander Fyodorovich Goedicke (1877–1957) remembered, in the 1890s the Tartu master regularly visited towns in central Russia to tune and repair organs. There were about 60 organs in Russia in the care of Müllverstedt.19
Gustav Normann (1825–93), a very productive organ builder, was the founder of the “organ building school” in Northern Estonia. He built one of his more significant works for St. Johannis’ Church in Tallinn (III/P/40, 1869).20 Others of his surviving instruments include those in Harju-Madise (I/P/7, 1859) and Simuna (II/P/20, 1886).
Normann’s successors were the father and son Gustav and August Terkmann. Gustav (1855–1911) founded his own organ workshop in Tallinn in 1882 and produced mainly small organs with tracker action for village churches. One of his instruments (II/P/13, 1902) can be seen in Järva-Madise.
His son, organ builder August Terkmann (1885–1940), who had been a trainee of Laukhuff, used pneumatic and electropneumatic action in his instruments. Active in the Estonian countryside, as well as in St. Petersburg, Astrakhan and Simbirsk, he also built some larger organs in Tallinn, in particular for the Estonia concert hall (III/P/56 + 3 borrowed stops, 1913)21 and in St. Johannis’ Church, (III/P/36 + 23 borrowed stops, 1914).22

Tallinn, The Estonia Concert Hall
August Terkmann, III/P/56 + 3 borrowed stops, 1913 (does not exist)
I. MANUAL
16' Principal
8' Principal
8' Seraphon-gambe
8' Hohlflöte
8' Rohrflöte
8' Gemshorn
4' Octave
4' Rohrflöte
2' Octave
2 2/3' Quinte
Mixtur III
8' Trompete
II. MANUAL
16' Bourdun-doux
16' Quintatön
8' Principal
8' Bourdun
8' Quintatön
8' Traversflöte
8' Gamba*
8' Salicional
8' Unda maris
4' Principal
4' Traversflöte
4' Salicional
2' Waldflöte
Cornett III–IV
8' Clarinette
8' Basson
III. MANUAL
16' Lieblichgedackt*
8' Geigenprincipal
8' Gedackt
8' Flauto amabile
8' Gamba
8' Viola d’amour
8' Aeoline
8' Vox celestis
4' Fugare
4' Flauto dolce
2' Flautino
Harmonia aetheria III
Cornett IV
16' Fagott*
8' Trompete
8' Oboe
8' Vox humana
4' Clairon
PEDAL
32' Untersatz
16' Principalbaß
16' Violonbaß
16' Subbaß
16' Gedecktbaß (* Manual III)
8' Octavbaß
8' Cello (* II)
8' Flöte
8' Dolce
4' Flöte
(102'3' Quinte)**
16' Posaune
16' Fagott (* Manual III)

* Borrowed stops
** Thus in the source

Source:
Leonid Rojzman, Organnaja kul’tura 'stonii [The Organ Culture of Estonia], Moscow: Gosudarstvennoe muzykal’noe izdatel’stvo [State Musical Publishing House] 1960, pp. 85–86.

The large German companies were very productive in Estonia, above all
E. F. Walcker & Co. and Wilhelm Sauer. Walcker built two large organs in Tallinn: St. Olai (III/P/65, 1842) and St. Nicholas (III/P/43, 1895). Of the most important Sauer instruments to have been preserved, that in St. Mary’s Cathedral, Tallinn, is noteworthy (III/P/71 + 2 borrowed stops, 1914).

Tallinn, Cathedral of St. Mary
Wilhelm Sauer, III/P/71 + 2 borrowed stops (Frankfurt/Oder, Germany), Opus 1171, 1914
I. MANUAL (C–a³)
16' Principal
16' Bordun
8' Principal
8' Gamba
8' Doppelflöte
8' Flauto amabile
8' Quintatön
8' Gemshorn
8' Gedackt
8' Dolce
51'3' Nasard
4' Rohrflöte
4' Gemshorn
4' Octave
2' Waldflöte
Mixtur III
Cornett III
8' Trompete
II. MANUAL (C–a³)
16' Gedackt
16' Salicional
8' Dulciana
8' Rohrflöte
8' Salicional
8' Koncertflöte
8' Viola
8' Flauto traverso
8' Principal
4' Dolce
4' Flauto amabile
4' Principal
2 2/3' Nasard
2' Piccolo
Progress II–III
Cymbel III–IV
8' Klarinette
III. MANUAL (C–a³)
16' Gedackt*
16' Gamba
8' Voix celeste
8' Aeoline
8' Gemshorn
8' Gedackt
8' Viola d’amour
8' Quintatön
8' Flauto amabile*
8' Portunalflöte
8' Schalmei
8' Geigenprincipal
4' Flauto dolce
4' Salicet
4' Fugara
2' Flautino
Harmonia aetheria III
8' Aeolodian
8' Oboe
8' Trompete
PEDAL (C–f¹)
32' Untersatz
16' Lieblich Gedackt (* Manual III)
16' Gemshorn
16' Subbass
16' Quintatön
16' Violon
16' Principal
102'3' Quinte
8' Dulciana (* Manual III)
8' Gemshorn
8' Bassflöte
8' Cello
8' Principal
4' Flauto
4' Principal
16' Posaune
8' Trompete
4' Clairon

* Borrowed stops

III/II, III/I, II/I
III/Ped., II/Ped., I/Ped.

Sub-octave Coupler II/I
Super-octave Coupler II/I
General Coupler

Prepared Combinations: Piano, Mezzoforte, Forte
3 Free Combinations
Crescendo Roller
Swell Pedal for Manual III and Lieblich Gedackt 16', Dulciana 8' (Ped.)

Piano Pedal
Mezzoforte Pedal
Forte Pedal

Stops Off
Reeds Off
Pedal Couplers Off
Crescendo Off

Pneumatic Action

Restoration: Orgelwerkstatt Christian Scheffler (Frankfurt/Oder, Germany), 1998

This organ incorporates many elements of an earlier instrument by Friedrich Ladegast (III/P/51, 1878). Ladegast built also a number of organs in provincial towns, of which the instrument in the Town Church of St. Johannis (II/P/21, 1867) in Valga (Walk) should be first of all mentioned.

Valga, Town Church of St. Johannis
Friedrich Ladegast, II/P/21, 1867

I. MANUAL (C–f³)
16' Bordun
8' Principal
8' Doppelflöte
8' Flauto traverso
8' Viola d’amour
4' Rohrflöte
4' Salicional
2' Octave
Cornett III
Mixtur IV

II. MANUAL (C–f³)
8' Lieblich Gedackt
8' Gamba
8' Bassflöte
4' Principal
4' Flauto amabile
2 2/3' Quinte
2' Waldflöte
PEDAL (C–d¹)
16' Subbass
16' Violon
8' Cello
16' Posaune

II/I, I/Ped., II/Ped.

Source:
Andreas Uibo and Jüri Kuuskemaa, Historical Organs in Estonia, Lilienthal/Bremen (Eres Edition 2408) 1994, p. 78.

Other German organ builders who also worked in Estonia include E. Ch. Lemke (Narva, 1837); Guido Knauff from Coburg (Viljandi [Fellin], St. Paul’s Church, II/P/31, 1866); and the brothers Schwalbenberg.
Of great interest is the activity of another Estonian organ building dynasty, that of the three brothers Tannil, Juhan, and Jakob Kriisa. From Haanja in southeast Estonia, they continued an old popular tradition by building first smaller organs. Slowly their business expanded, their sons joined the firm, and at the beginning of the 20th century their instruments were to be found all over Estonia; one of their biggest was installed in the church in Võru (1910).
The importance of the organ in Estonian music is underlined by the fact that almost all significant Estonian composers were organists. This is particularly true in the older generation such as Johannes Kappel (1855–1907), Konstantin Türnpu (1865–1927), and Miina Härma (1864–1941), all of whom were graduates of the St. Petersburg Conservatoire, where their organ professor was Louis (Ludwig) Homilius (1845–1908).
Having finished his conservatoire studies in 1881, Kappel became the organist at the Dutch church in St. Petersburg. In later life he remained connected with that city, conducted Estonian choirs, and regularly took part in song festivals in Tallinn and Tartu.
Türnpu finished his studies in 1891 and became organist at St. Nicholas’ Church in Tallinn. As a choir trainer, he was unequalled in Estonia at that time. His choir performed major works of the central classical repertoire, such as J. S. Bach’s B-minor Mass, Beethoven’s Missa Solemnis, and others.
Härma (who graduated in 1890) became an active recitalist not only in Estonia and Russia, but also beyond their borders. The inclusion of works by Bach, Mendelssohn, and Reger in her programs introduced these organ classics to the Estonian public.
Kappel, Türnpu and Härma composed neither symphonic nor organ music. Their works consist mainly of choral music and solo songs. The first Estonian symphonic music was written around 1900 by the succeeding generation.
Rudolf Tobias (1873–1918) composed in 1896 the tragic overture Julius Caesar, and Artur Kapp (1878–1952) a dramatic overture, Don Carlos, in 1899. Both musicians were graduates of the St. Petersburg Conservatoire, the artistic traditions of which, represented in the music of Rimsky-Korsakov, Lyadov, and Glazunov, deeply influenced Estonian music.
Tobias, the founder of classical Estonian music, was born into a sacristan’s family in the village of Käina in 1873. He received his first music instruction from his father. From 1893 to 1897, he studied organ with Homilius and composition with Rimsky-Korsakov at the St. Petersburg Conservatoire. For a diploma, he submitted the cantata Johannes Damascenus for mixed choir, male voice choir, soloists, organ, and symphony orchestra. Having finished his studies, he became the choirmaster and organist at the Estonian church of St. Johannis in St. Petersburg. He was held in high regard as a performer and improviser.
In autumn 1904, he settled in Tartu and there conducted symphony and choral concerts, gave music lessons, and wrote articles on music, thus inspiring Estonian musicology. In 1908, he moved to Leipzig, and then from 1910 lived in Berlin, where he published articles as a music critic in (for example) the Deutsche Allgemein Musikzeitung. From 1912 onwards, he taught music theory at the Royal Music Academy (Königliche Akademische Hochschule für Musik). He died in 1918 in Berlin.
Besides the overture Julius Caesar and the cantata Johannes Damascenus, his output includes a concerto for piano and orchestra, string quartets, chamber music, and vocal compositions. For organ, Tobias wrote more than thirty preludes and choral arrangements, Fugue in D minor, Largo, Prelude and Fughetta in C minor, as well as a Concerto for Organ and Orchestra in F minor. He made use of the organ in almost all of his large choral works—in the oratorios On the Other Side of the Jordan, Jonah’s Mission, the cantata Johannes Damascenus, and others.
Artur Kapp, a classical master of Estonian music, was born in Suure-Jaani in 1878. He received his first instruction in music from his father, a village sacristan. After graduating in 1898 from the St. Petersburg Conservatoire, studying organ with Homilius, he continued his studies there in the composition class of Rimsky-Korsakov (diploma in 1900), and then for a few years he worked as the second organist (as assistant to Homilius) at the Lutheran church of St. Peter in St. Petersburg.
From 1904 to 1920, he was director of the music college and head of the local department of the Russian Musical Society in Astrakhan. In 1920, he became the musical director of the Estonia theatre and a teacher at the Tallinn Conservatoire (from 1925 professor of composition). Among his pupils were Edgar Arro, Gustav Ernesaks, Eugen Kapp, Riho Päts, Villem Reiman, and others. He died in 1952 in Suure-Jaani.
His output includes symphonic works and oratorios, concertos and compositions for different instruments, as well as chamber and vocal music. His organ works are of great importance; the first was the Sonata in F minor, which Kapp wrote while studying at the St. Petersburg Conservatoire (1897). This was followed by Variations on a Chorale Theme (1902), two concertos for organ and orchestra (1934 and 1946), a trio for violin, cello, and organ (1936), the Sonata in D major (1948), choral fantasias, and other compositions.
In Kapp’s truly independent works, various stylistic influences are obvious. His style attempts to combine the tradition of the classical Viennese school, polyphony and a Romantic internationalism.
Homilius’s predecessor as head of the organ department of the St. Petersburg conservatoire, Heinrich Stiehl (1829–86), had lived in Tallinn since 1880, being the organist of St. Olai. Besides the above-mentioned musicians, Louis Homilius was also the teacher of such renowned composers of Estonian music as August Topman (1882–1968), Mart Saar (1882–1963), and Mihkel Lüdig.
Mihkel Lüdig was born in Reiu in 1880. He received his first instruction in music from Max Peters, the organist at Pärnu. In 1897, he began his studies at the Moscow Conservatoire, but in the next year moved to St. Petersburg, where he graduated from the conservatoire organ class (of Homilius) in 1904. His other teachers there were Rimsky-Korsakov, Glazunov and Solovyov (composition), and Czerny (piano). After graduating the conservatoire, Lüdig worked in St. Petersburg as an organist and choirmaster. From 1912 to 1914, he was solo organist in Count Sheremetyev’s symphony orchestra. Lüdig’s organ recitals were always well received by both experts and press. Honored by the composer’s request to give the first performance of Alexander Glazunov’s first organ work, the Prelude and Fugue in D major, op. 93 (1906), he did so in the Small Hall of the St. Petersburg Conservatoire on January 29, 1907. In 1917, Lüdig moved to Tallinn, where in 1919 he established the Higher Music School, of which he became the director (1919–23). At the same time, he was the organist of the Charles’ Church in Tallinn (until 1924). He spent three years in Argentina and returned to Tallinn in 1928. From 1934 until his death in 1958, he lived in the village of Vändra.
Mihkel Lüdig’s output includes symphonic works and oratorios, as well as chamber and vocal music; his choral compositions are of great importance. Apart from Three Fugues for Organ (1946), Lüdig composed another work with organ (or piano) accompaniment: the romance In Remembrance of Mother.
Among the pupils of Louis Homilius, the talented Peeter Süda should also be mentioned. Born on the island of Saaremaa (Ösel) in Lümanda district in 1883, Süda studied organ at the St. Petersburg Conservatoire from 1902 to 1911 (first with Homilius, and, after the latter’s death in 1908, with Jacques Handschin). In 1912, he passed the final examination in composition, his teachers being Anatoly Lyadov, Nikolai Solovyov, and Alexander Glazunov. After completing his education, Süda lived in Tallinn, gave private music lessons, and performed as a solo organist. Even as a student, his organ playing was praised. It is known that Professor J'zeps V'tols, for instance, said of Süda’s playing in the final examination, “What playing! Precise, clear cut, pure, and exciting in its virtuosity. One should play the organ exactly as Süda does.” In 1919, Süda became the teacher in composition and organ at the newly established Tallinn Higher Music School. He died in 1920 in Tallinn.
Süda’s compositional output comprises mainly organ pieces, which are of great importance in the development of Estonian organ music. As a brilliant executant, whose knowledge of the potentialities of the instrument was excellent, Süda used the polyphonic style with great mastery. Süda wrote the following organ works (the autographs are preserved in the Theatre and Music Museum in Tallinn): Fugue in F minor (1910), Basso Ostinato (1913–14), Ave Maria (1914), Prelude (1914) and Fugue (1920) in G minor, Scherzino (1916/1918), Gigue à la Bach (1919), and Pastorale (1920).
By the turn of the century, the first music schools in Estonia had been established: in Tartu (1897) and Tallinn (1898). In 1900, the Estonian Symphony Orchestra first appeared under the direction of the composer Aleksander Läte (1860–1948). Soon afterwards the first professional theatres were opened in Estonia’s larger towns: Vanemuine (Tartu, 1906), Estonia (Tallinn, 1906), Endla (Pärnu, 1911), and the Tallinn Dramatic Theatre (1916). In 1905, Artur Lemba (1885–1963) composed the first opera in the Estonian language, Sabina (St. Petersburg, 1906), the second version of which bore the title Lembitu tütar [“Lembitu’s Daughter”] (Vanemuine theatre, Tartu, 1908).
The choral tradition developed with great momentum. There were seven song festivals from 1869 to 1910, with more than 10,000 singers taking part in the last of these, while the composer Juhan Simm (1885–1959), who played a significant role in the organization of subsequent song festivals, founded in 1911 the Tartu university choir.
At the beginning of the 20th century, the literary movement Young Estonia (Noor Eesti) was inaugurated and presided over by the poet Gustav Suits. The motto of the movement “Let us remain Estonians, but let us also become Europeans!” became the inspiration of cultural Estonia.

5. Estonia in the period of its first independence (1918–1940)
The period between the First and Second World Wars witnessed many brilliant events in Estonian artistic life. The greatest literary achievement was the five-part epic novel Truth and Justice (Tõde ja õigus) by Anton H. Tammsaare (written 1926–33), depicting Estonian life between the 1870s and 1920s.
The Tallinn Song Festivals attracted constantly rising numbers of participants (with 17,500 singers in the 11th Song Festival of 1938). From the 1920s, operas were regularly performed in the Theatre Estonia. The concert repertoire in the 1921–22 season included such works as Berlioz’s Symphonie Fantastique and Till Eulenspiegel by Richard Strauss. In 1936, Stravinsky’s Symphony of Psalms was performed under the direction of Eduard Tubin (1905–82) in Tallinn, and in the following year the composer himself came to conduct his Firebird Suite and the Capriccio for piano there.
As mentioned above, in 1919 the Higher Music School (from 1923–93 the Conservatoire, and from 1993 the Estonian Academy of Music) was established in Tallinn. In 1919, the Tartu Higher Music School (Tartu Kõrgem Muusikakool) was opened. The Tallinn Conservatoire was directed from 1923–33 by Rector Jaan Tamm, and August Topman was the head of the organ department. Hugo Lepnurm (1914–99), who studied organ there from 1928 to 1933, recalls that Topman laid particular emphasis on preparing his students for their work in Lutheran churches. Since playing services occupied little time and yielded little income, Topman tried to prepare his students for a greater variety of activities, stimulating their interest in choral skills and teaching. Sometimes he joked, “any organist, especially in the provinces, should be able to conduct choirs and the fire brigade band, accompany guest soloists, perform operettas in the House of Culture, be the chairman or at least secretary of the agricultural society, and, if still able, play the organ well.”
In the period between the wars, Peeter Laja (1897–1970), Alfred Karindi (1901–69), Edgar Arro (1911–78), and Hugo Lepnurm were among Topman’s best pupils.
Peeter Laja first became known in 1923, when, at that time a student of the Tallinn Conservatoire, he made his debut in the Estonia Concert Hall, performing as a soloist in G. F. Handel’s Organ Concerto in B-flat (from Op. 4), accompanied by an orchestra under Raimund Kull. Laja’s programs contained compositions of both international and Estonian composers (A. Kapp, R. Tobias, P. Süda, and others).
A distinctive performer, Alfred Karindi was born in Kõnnu. He studied organ (with Johannes Kärt) and composition (with Heino Eller) at the Tartu Higher Music School, where in 1925–28 he taught music theory. From 1927, he was organist of the Tartu university church (here he played the organ that was later moved to the Estonia concert hall) and performed in concerts as organist and conductor. In 1928–32, he was a teacher and a conductor of the mixed students’ choir at the Tartu university. In 1931, he finished his studies as organist and composer at the Tallinn Conservatoire. At the beginning of the 1930s, he moved to Tallinn, where he pursued an active career giving concerts, conducting choral works, including Mozart’s Requiem (1940), and performing as a solo organist. Between 1940–50 and 1955–69, he taught at the conservatoire (from 1946 as a professor). Karindi wrote a symphony, cantatas, piano, chamber, and vocal works. His output includes a number of interesting pieces for organ, of which the central place is held by his four sonatas: No. 1 in E minor (1928), No. 2 in G minor (1932), No. 3 in F minor (1944), and No. 4 in E minor (1963).
Born in Tallinn, Edgar Arro studied the organ at Tallinn Conservatoire with August Topman (1929–35) and composition with Artur Kapp (1934–39). From 1935 to 1940 he worked for the radio. It was one of his tasks to improvise on the organ in the morning hours. Occasionally, he gave solo concerts. From 1944, he was a teacher at the Tallinn Conservatoire (Professor from 1972). Arro wrote symphonic works and oratorios, compositions for choir and different chamber ensembles and—together with Leo Normet—the popular musical comedy Rummu Jüri. Throughout his life as a composer, he had a strong liking for the organ. His first work, Sonata for Organ (1938), was written while studying at the conservatoire. In the early 1940s, it was followed by Maestoso (1943). Of his other organ music, the collection of about 56 concert pieces Eesti rahvaviise orelili (Estonian Folk Tunes for Organ) is of great interest.
A little different was the artistic life of Hugo Lepnurm during the period between the two World Wars. After graduating from the conservatoire, he served as assistant to Professor Topman (1936), but soon he moved to Paris, where he continued his studies with Marcel Dupré (in the winter of 1938–39). In Paris, the young Estonian musician got to know the work of celebrated French organists and he had the chance to listen to Rachmaninov, Cortot, and Menuhin.
During the 1920s two other large organs were built in Tallinn. One of them was the largest organ ever built in Estonia by the company E. F. Walcker & Co. and installed in the Charles’ Church (III/P/81 + 3 borrowed stops, 1923). The other was built by August Terkmann for the Holy Ghost Church (IV/P/71, 1929).23 The Brothers Kriisa were also very active, and among their notable instruments in the 1930s were Paide (II/P/20, 1933), Urvaste (II/P/25 + 1 borrowed stop, 1938), and Suure-Jaani (II/P/25 + 1 borrowed stop, 1937). This last was installed by the Kriisas behind a Johann Andreas Stein case from 1804.

The Church of Suure-Jaani
The Brothers Kriisa, II/P/25 + 1 borrowed stop, 1937

I. MANUAL (C–a³)
8' Principal
8' Viola di Gamba
8' Doppelflöte
8' Gemshorn
8' Salicional
4' Octave
4' Flauto dolce
Cornett III–V
Mixtur III–IV

II. MANUAL (C–a³)
16' Bordun
8' Principal
8' Gedackt
8' Viola d’amour
8' Voix celestes
4' Flauto
2 2/3' Quintflöte
2' Flautino
1 3/5' Terzflöte
Cymbel IV
8' Trompete
Tremolo

PEDAL (C–f¹)
16' Kontrabass
16' Subbass
16' Gedacktbass (Tr. Manual II)
8' Octavbass
8' Violon
16' Posaune

II/I, Super II/I, Super I, Sub II/I
Super II, Sub II
I/Ped., II/Ped., Super II/Ped.

II. Manual in Swell Box

Source
Andreas Uibo and Jüri Kuuskemaa, Historical Organs in Estonia, Lilienthal/Bremen (Eres Edition 2408) 1994, p. 77.
A milestone in Estonian culture was the foundation of the Music Museum in 1934 in Tallinn (from 1941 the Theatre and Music Museum); it became the custodian of archival material and manuscripts of Estonian composers, recordings of folk songs, musical instruments, and other holdings.

6. Estonia from 1940 to the end of the 20th century
With the establishment of the Union of Estonian Composers in 1941, the creative work of native musicians received official support from the government. In the 1940s, some professional choirs were founded on the initiative of the famous choirmaster and composer Gustav Ernesaks (1908–93); their performances on radio and in the concert halls of the Soviet Union were well received. In 1947, the tradition of the Song Festivals was revived after a break of nine years (the 21st Song Festival in 1990 assembled some 30,000 singers and half a million listeners).
In 1947, the theatre and the concert hall Estonia, both of which had been destroyed in the Second World War, were rebuilt. In the years 1948–49, the Tallinn organ builder Gutdorf Brothers transferred the organ of the university church in Tartu, built by Herbert Kolbe (1928), to the concert hall and installed it on the stage. In doing so, the specification was enlarged (III/P/75). This instrument was superseded as early as 1961 with an organ by Rieger–Kloss (IV/P/66). Two others by this company were installed in the Vanemuine theatre in Tartu (III/P/47, 1978) and in St. Nicholas’ Church in Tallinn (IV/P/63, 1981), which had been turned into a museum and concert hall.
In the 1940s, the work of the most important representative of the Tartu school of composers, Heino Eller (1887–1970), reached its climax. Eller wrote three symphonies (1936, 1948, 1961), five string quartets, music for piano, chamber music, and vocal compositions. An estimable pupil of his, Eduard Tubin, wrote ten symphonies, two operas, two ballets, chamber and choral music, and a Pastorale for alto and organ (1956).
The decades following gave rise to a new generation of Estonian composers who were influenced by 20th-century Western European music: Veljo Tormis (*1930), Eino Tamberg (*1930), Jaan Rääts (*1932), Arvo Pärt (*1935) and Kuldar Sink (1942–95). Tamberg’s and Rääts’s compositions show neoclassical tendencies. Pärt and Sink tend towards serial techniques. Tormis, following the tradition of Mart Saar and Cyrillus Kreek (1889–1962), is interested in folklore and prefers choral music.
Eller taught Alo Põldmäe (*1945) and Lepo Sumera (*1950), while Ester Mägi (*1922), Jüri Tamverk (*1954), Erkki-Sven Tüür (*1959) and Urmas Sisask (*1960), a composer of a number of organ works, are among the distinguished pupils of Saar.
Apart from the works presented in the collection Organ Music from the Baltic States, Volume 2: Estonia (Bärenreiter, BA 8422), the following compositions for the organ written by Estonian composers in the 20th century should be mentioned: Kaljo Raid (*1921), Sonata in Classical Style (1948); Peeter Laja, 5 Pieces (1950); Leo Virkhaus (1910–84), Organ Prelude on Psalm 108 (Be Thou Exalted) (1973); Igor Garschnek (*1958), 3 States (1980); and Arvo Pärt, Trivium (1976), Annum per annum (1980) and My Path Has Peaks and Troughs (1989).
In the post-war period, the tradition of centuries of organ-playing in Estonia manifested itself above all in the work of Hugo Lepnurm. After his evacuation, he returned to Tallinn in 1944 and continued teaching organ, solfeggio, and music theory at the conservatoire (from 1945 as a professor). He also gave many concerts in the USSR, was organist at Tallinn’s Cathedral of St. Mary, and made recordings. In 1971, he published his book On the History of the Organ and Organ Music (Oreli ja orelimuusika ajaloost). Lepnurm’s compositions are not numerous, but include a number of interesting pieces, especially for the organ: a toccata (1943/50), two cycles of variations for violin and organ (1942, 1954), and a concerto for organ and orchestra (1956). Among his pupils, the Tallinn organist Rolf Uusväli (*1930), Andreas Uibo (*1956), and Urmas Taniloo (*1953) from Tartu are well known.
An important part in the revival of public interest in early music and its authentic performance was played by Hortus Musicus, a specialist ensemble (artistic director Andres Mustonen), founded in 1972. Since 1987, the International Tallinn Organ Festival has taken place every year in the Estonian capital. The tradition of organ building is continued by Hardo Kriisa (*1940), a representative of the third generation of the famous organ dynasty. His workshop is in Rakvere.'

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