europae civitates historicorum organorum european cities of historical organs a l k m a a r e u r o p e a n

f r e i b e r g c i t i e s o f

g ö t e b o r g h i s t o r i c a l

i n n s b r u c k o r g a n s

www.echo-organs.org l i s b o a e u r o p a e alkmaar alkmaar alkmaar alkmaar alkmaar alkmaar alkmaar alkmaar alkmaar r o s k i l d e freiberg freiberg freiberg freiberg freiberg freiberg freiberg freiberg freiberg göteborg göteborg göteborg göteborg göteborg göteborg göteborg göteborg göteborg innsbruck innsbruck innsbruck innsbruck innsbruck innsbruck innsbruck innsbruck innsbruck c i v i t a t e s lisboa lisboa lisboa lisboa lisboa lisboa lisboa lisboa lisboa roskilde roskilde roskilde roskilde roskilde roskilde roskilde roskilde roskilde toulouse toulouse toulouse toulouse toulouse toulouse toulouse toulouse toulouse t o u l o u s e treviso treviso treviso treviso treviso treviso treviso treviso treviso zaragoza zaragoza zaragoza zaragoza zaragoza zaragoza zaragoza zaragoza zaragoza historicorum

t r e v i s o o r g a n o r u m

z a r a g o z a contents

4 preface dino de poli, honorary chairman 6 preface dr. walter frenzel, echo chairman 1999–2001

protocol of toulouse 8 facsimile 10 english translation european cities of historical organs europae civitates historicorum organorum the echo-cities

echo is an association of so far nine cities the netherlands 13 alkmaar in nine ­­eu-countries germany 31 freiberg disposing of precious historical organs, sweden 49 göteborg cities where the care of organ-culture austria 69 innsbruck plays an important role. portugal 85 lisboa It is the predominant aim of echo danmark 97 roskilde to encourage and foster this care france 111 toulouse and the historical heritage italy 129 treviso by a vast number of means spain 143 zaragoza and across borders.

158 imprint & contact

2 | | 3 ella Europa di oggi, impegnata in nuove forme di aggregazioni sempre più spesso contraddistinte da mo- tivazioni economiche, è molto significativo che nove Città, appartenenti ad altrettanti Paesi del Vecchio Continente,N abbiano individuato nella musica, ed in particolare nell’ organo, l’ elemento unificante per un loro gemellaggio. In effetti, in oltre cinque secoli di storia musicale, ogni comunità ha affidato a sapienti artigiani il compito di costruire perfetti strumenti da collocare nelle cantorie delle Cattedrali, nei Santuari e nelle piccole Pievi. La Fondazione Cassamarca ha sempre cercato di favorire tutte le iniziative finalizzate alla valorizzazione e alla salvaguardia di beni artistici e culturali e perciò ha voluto sostenere finanziariamente un progetto di restauro dei tanti strumenti storici presenti nella Marca Trevigiana ed appartenenti alla scuola veneta che, iniziata con Pietro Nacchini, fu portata al suo massimo splendore da Gaetano Callido. Per questo abbiamo accolto l’ invito del Comitato Promotore del Festival Organistico Internazionale di Tre- viso a partecipare attivamente, nel 1997, a quelle iniziative che hanno consentito la sottoscrizione di un proto- collo di intenti che, a Tolosa, si è concretizzato con la nascita del Comitato Europeo Città d’ Organi Storici. Il successo di questo progetto, scaturito dal comune impegno di città che vantano una consolidata tradi- zione organistica, testimonia la validità della proposta e deve ulteriormente motivare i rappresentanti dei Fe- stivals e delle rispettive comunità a proseguire nell’ impegno per la divulgazione di un patrimonio artistico di inestimabile valore che grazie a questo volume resterà nella memoria di molti.

Dino De Poli Presidente Onorario ECHO

Caerano San Marco Organo Nacchini / dettaglio

n today’s Europe, committed with new forms of aggregation more and more often distinguished by eco- nomic reasoning, it is extremely significant that nine cities from the same number of countries in the Old Continent,I have used music, in particular organ music, as the uniting element for their twinning. In fact, in over five centuries musical history, each community entrusted skilful craftsmen with the task of making perfect instruments to be located in the choir lofts of Cathedrals, in Sanctuaries and in small Parish Churches. The Cassamarca Foundation has always attempted to promote all initiatives aimed at enhancing the value of and protecting artistic and cultural works and for this reason gave financial support to a project to renovate a large number of historical instruments in the Marca Trevigiana area belonging to the scuola veneta which began with Pietro Nacchini to reach its maximum splendour with Gaetano Callido. Dino De Poli This is the reason we accepted the invitation of the Promoting Committee of the Treviso International Organ Festival to participate actively, in 1997, in those initiatives that lead to the undersigning of a protocol of intention, which was put into practice in Toulouse with the birth of the Committee of the Cities of Historical Organs. The success of this project, stemming from the joint commitment of cities with a consolidated organ tradi- tion, substantiates the validity of this proposal and must further motivate representatives of the Festivals and relevant communities to continue in their commitment to divulge an artistic heritage of inestimable value that, thanks to this volume, will remain in the memories of many.

Dino De Poli Honorary Chairman ECHO

4 | | 5 m Jahr 1996 unterzeichneten künstlerische und administrative Vertreter der Städte Lissabon, Roskilde, Toulouse, Treviso und Saragossa ein Dokument, das Idie Partnerschaft europäischer Städte mit einem bedeutenden Schatz an histo- rischen Orgeln begründen und weitere Partner zu einer engeren Zusammenar- beit einladen sollte. Diese Initiative war von Treviso ausgegangen und führte am 12. Oktober 1997 zu einem weiteren Treffen in Toulouse, bei dem die Ziele dieser europäischen Orgelpartnerschaft präzisiert und eine entsprechende Charta aus- gearbeitet und unterzeichnet wurde. Die Anzahl hatte sich auf sieben Städte erhöht und umfasste nun auch Innsbruck und Alkmaar. In einer feierlichen Ze- remonie wurde im berühmten Capitole von Toulouse, in Anwesenheit von Bür- Dr. Walter Frenzel germeister Dominique Baudis und hochrangiger Vertreter aus Politik und Kultur der Akt der gemeinsamen Unterzeichnung begangen. Noch allerdings mussten gemeinsame Pläne und vor allem auch Organisations- strukturen errichtet werden, um die mit großem Enthusiasmus vorgetragenen Ideen zu bündeln und in ein konkreteres Stadium zu überführen. Innsbruck bot sich daher an, das nächste gemeinsame Treffen im Septem- ber 1999 auszurichten und auf zwei Jahre den Vorsitz der Partnerschaft zu übernehmen. Inzwischen war auch dem Vorsatz die gute Freundschaft und Zusammen- an impulse from Innsbruck, to tackle the planned bro- das politische Interesse an der Einrichtung gewachsen, wie dies die am 26. und 27. September in Innsbruck arbeit weiter auszubauen. chure of all of the nine Echo-partners beforehand. In angereisten Delegationen bezeugten. Zwei neue Kandidaten, Freiberg und Göteborg, gestützt auf die Empfeh- Im Jahr 2000 traf man sich erneut zu einem inten- a very kind manner the organist of the Innsbruck-ca- lung ihrer Bürgermeister, ersuchten um Aufnahme in die Partnerschaft, die ihnen freudig gewährt wurde. siven Arbeitsmeeting, wobei sich die wunderschöne thedral, Reinhard Jaud, who is also the custodian of Nachdem bisher der gemeinsame Austausch auf künstlerischer Ebene gut funktioniert hatte, beschloss Stadt Alkmaar als großzügige Gastgeberin erwies. Es the Ebert-organ and of the Renaissance-time organ man in Innsbruck eine Broschüre zu erstellen, in der alle neun Städte dieser Orgelpartnerschaft ihre histori- gab dabei auch die Möglichkeit für alle Teilnehmer, of the Silver-chapel, furthermore professor of organ schen Instrumente und ihre Orgelaktivitäten präsentieren. Auch einen Namen gab man sich bei dieser Gele- ihre Orgelprogramme und Orgelaktivitäten für 2001 at the regional conservatory of the Tyrol, spontane- genheit: ECHO – European Cities of Historical Organs – Europae Civitates Historicorum Organorum. Das zu präsentieren. Ähnliches wird im Juni 2001 auch in ously volunteered for this task. With great endeav- Treffen in Innsbruck endete – wie es sich für musikalische Geschäfte gehört – in perfekter Harmonie und mit Göteborg möglich sein, das dann, auf gemeinsamen ours he started this work, as soon as he had come Beschluss, den Vorsitz für die nächsten beiden Jahre back home. n 1996, representatives from the artistic and administrative domains of the cities of Lisbon, Roskilde, Tou- übernehmen wird. Zuvor aber wurde auf Anregung Today you can look at the outcome of these efforts, louse, Treviso and Zaragoza signed a document, which would found a partnership of those European cities Innsbrucks noch einmal beschlossen, die geplante a “visiting card” of the nine present partners, Alkmaar, thatI have a significant heritage of historical organs, and would invite further partners to closer co-operation. Broschüre aller neun Echo-Mitglieder in Angriff zu Freiberg, Gothenburg, Innsbruck, Lisbon, Roskilde, This initiative had been started by the city of Treviso and was followed by a subsequent meeting in Toulouse nehmen. Dankenswerterweise stellte sich dafür der Zaragoza, Treviso and Toulouse. It was designed for on October 12th 1997. At this time, the objectives of this European organ-partnership were defined more pre- Innsbrucker Domorganist, Kustos der Ebert-Orgel und making publicity for a joint European cultural under- cisely and a corresponding charter was prepared and signed. By then, the number of member-cities had risen der Renaissance-Orgel in der Silbernen Kapelle, Pro- taking for the “queen of instruments”, possibly for to seven, including Innsbruck and Alkmaar. In the course of a festive ceremony, the act of the common signing fessor für Orgel am Tiroler Landeskonservatorium opening a door to Brussels, too. was fulfilled in the presence of the mayor Dominique Baudis and high-rank representatives from the political Reinhard Jaud spontan zur Verfügung und begann, and artistic spheres. nach Innsbruck zurückgekehrt, die Arbeit mit großem However, collective plans and above all an organisational structure were yet to be established, in order Enthusiasmus. Dr. Walter Frenzel to converge the enthusiastically presented ideas towards a more concrete level. For this reason, Innsbruck of- Nun liegt sie vor, die „Visitenkarte” der derzeitigen Head of the magistrate for cultural affairs fered its services to host the following common meeting in September 1999 and to adopt the chairmanship neun Orgelpartner, Alkmaar, Freiberg, Göteborg, Inns- of the city of Innsbruck over the partnership for the period of two years. In the meantime, delegations attending the meetings in bruck, Lissabon, Roskilde, Saragossa, Treviso und Tou- ECHO chairman (1999–2001) Innsbruck on September 26th and 27th were to testify the growing political interest in the institution. Two new louse – eine Visitenkarte, die für gemeinsame, euro- partners, Freiberg and Gothenburg, applied for admission into the partnership, assisted by recommendations päische Kulturarbeit an der „Königin der Instrumente” (Translation: Albert Knapp) from their respective mayors. Their wish was granted happily. werben und möglicherweise auch Türen in Brüssel Since the collective exchange had worked well on the artistic level, the partners decided in Innsbruck to öffnen soll! work out a brochure that would allow to all of the nine cities to present their historical instruments and their organ-activities. A name, too, was to be invented at this occasion: ECHO – European Cities of Historical Or- gans – Europae Civitates Historicorum Organorum. The meeting was closed in perfect harmony – fittingly Dr. Walter Frenzel for musical concerns – and with the intention to further expand the close friendship and co-operation. Leiter des Kulturamtes der Stadt Innsbruck In 2000, the splendid city of Alkmaar acted as a generous host, allowing for a further intense work-confer- ECHO Vorsitzender (1999–2001) ence. On this occasion every participant had the chance to present the artistic programmes and activities for the year 2001. This will again be possible in June 2001 in the city of Gothenburg, which will then, based on shared decision, take the chairmanship for the ensuing two years. However, it was determined, following

6 | | 7 8 | | 9 Committee of European Cities and Towns The need for joint action with Organs of Historic Value These cities and towns listed above have decided to form the committee of “European cities and towns with organs of historic value”, consisting of one city or town per country. The aim of this organisation is to play a unifying role in projects on a European scale. It also aims to promote cultural exchanges on issues specific to each country, and to co-operate Protocol on cultural co-operation signed on October 11th 1997 by the along the following lines: cities and towns of Alkmaar, Innsbruck, Lisbon, Roskilde, Zaragoza, • joint financing of selected projects: co.-producing concerts and major musical events, Toulouse and Treviso. commissioning great modern composers to write contemporary pieces (created in the various cities and towns), publishing an annual guide to organ festivals in various cities; The organ: • organising and promoting a travelling European competition on historic organs; a musical instrument that reflects Europe’s cultural diversity • publishing and promoting books, audio and multimedia material on the organs of The cities and towns listed above agree that in the history of Euro- historic value of the member cities and towns; pean music, one instrument has, more than any other, played a unique • restoring organs with historic value in Europe; role in every country in which it has been used: the organ. All of Eu- • building new organs referring to organs based on design from other cultures; rope’s organs together thus constitute an extraordinary heritage for • organising master-classes open to a public, as part of festivals in conjunction with more than 600 years; Organ builders and musicians have built their in- teaching establishments; struments with design and acoustical qualities that have turned each • exchanging students, ideas and audiences. one into a unique representative of a specific era and region of Europe. This remarquable heritage has been preserved until now by composers European community recognition and musicians, as well as the continued interest of a large audience. The committee intends to obtain recognition from the European authorities in order to qualify for available funding by the European Community of its existence following the Cities and towns with organs of historic value signature of the protocol in order to receive official recognition. A contribution from the Eu- The signatories to the present protocol each have a number of his- ropean Community will be requested for each event organised by member countries. One toric organs, the quality, diversity, and uniqueness of which make them member will be chosen to act as co-ordinator. deserving representatives of their countries’ musical heritage. These cit- The committee’s representatives will meet according to an agreed timetable for specific ies and towns have, in addition attracted the attention of organ building projects, based on artistic, financial and / or technical constraints. and restoration, teaching (conservatories, international academies, inter- The signatories to the present protocol will support this project and the individuals who national competitions …) and promotion (festivals, albums, books, …). will be selected to organise it.

10 | | 11 a l k m a a r the netherlands

| 13 lkmaar is een historische stad. lkmaar is a historic town. In het jaar 1254 kreeg onze stad haar stads- In the year 1254 our town received its munici- Arechten. Vandaag de dag ademt de binnenstad van Apal rights. These days in many places the town centre Alkmaar op tal van plekken nog de sfeer van weleer. still breaths the atmosphere of days gone by. A perma-

In het Stedelijk Museum Alkmaar is in een perma- nent exhibition in the Municipal Museum Alkmaar alkmaar nente opstelling goed te zien hoe Alkmaar zich de af- clearly shows how Alkmaar developed itself into a gelopen eeuwen ontwikkeld heeft tot een stad met town of nearly 100,000 inhabitants during the past bijna 100.000 inwoners. Centraal gelegen in de noor- centuries. Centrally situated in the northern part of delijke helft van de provincie Noord-Holland vervult the province of North Holland, Alkmaar fulfils a mayor Alkmaar een belangrijke centrumfunctie. Een brede central function. A wide region with nearly 600,000 mevrouw drs. M. van Rossen, regio met tegen de 600.000 inwoners is aangewe- inhabitants depends on the facilities of this town. burgemeester van Alkmaar zen op het voorzieningenpakket van deze stad. In a cultural way Alkmaar may call itself the beat- In cultureel opzicht kan Alkmaar zich het klop- ing heart of North Holland North. pend hart van Noord Holland Noord noemen. In the year 2000 the culture square was opened. In het jaar 2000 werd het cultuurplein geopend. This ambitious project provides housing for the pub- Dit ambitieuze project voorziet in huisvesting voor lic library Alkmaar, Theatre De Vest, Artiance, the cen- de openbare bibliotheek Alkmaar, Theater De Vest, Ar- tre for the arts and the Municipal Museum Alkmaar. tiance, het centrum voor de kunsten en het Stedelijk The Great Saint Lawrence Church is also situated at Museum Alkmaar. the culture square. This church, dating back to the Eveneens gelegen aan het cultuurplein is de Grote 16th century, has two historic organs: the Van Covel- Sint Laurenskerk. Deze uit de 16e eeuw stammende ens-organ of 1511 and the Van Hagerbeer/Schnitger- kerk herbergt twee historische orgels van naam: het organ of 1646/1725. A surplus value is the fact that Van Covelens-orgel uit 1511 en het Van Hagerbeer/ the organs complement one another and are, for the Schnitger-orgel uit 1646/1725. Beide instrumenten most part, in the original state. Both the Van Cove- zijn van grote historische betekenis. Een extra meer- lens-organ and the Van Hagerbeer/Schnitger-organ waarde wordt daarbij ontleend aan het feit dat de lend themselves especially to the interpretation of orgels prachtig complementair aan elkaar zijn en the fifteenth to eighteenth-century repertoire. grotendeels in de originele staat verkeren. Het Van Co- In all respects a visit to Alkmaar is worthwhile. velens-orgel en het Van Hagerbeer/Schnitger-orgel ­Yearly 400,000 tourists from all over the world visit lenen zich bij uitstek voor de vertolking van een reper- Alkmaar. toire dat zich uitstrekt van de 15de tot de 18de eeuw. I heartily invite you to visit our magnificent town Alkmaar is in alle opzichten een bezoek waard. and enjoy its diversities, the cultural history and the Jaarlijks bezoeken zo’n 400.000 toeristen uit alle sounds of our beautiful organs. delen van de wereld Alkmaar. Ook u nodig ik van harte uit een bezoek te bren- gen aan onze fraaie stad en te genieten van de veel- Mrs. drs. M. van Rossen, zijdigheid, de cultuurhistorie en de klanken van onze Mayor of Alkmaar prachtige orgels.

mevrouw drs. M. van Rossen, burgemeester van Alkmaar

14 | | 15 Het Van Hagerbeer / Schnitger-orgel in de St. Laurenskerk van Alkmaar

The Van Hagerbeer / Schnitger-organ alkmaar in St. Laurens’ Church, Alkmaar

1639 – 46 built by Galtus and his sons Germer and Jacobus van Hagerbeer The organ-case was designed by Jacob van Campen The paintings at the hinged doors were made by Caesar van Everdingen 1652 – 53 large changes by Jacobus van Hagerbeer 1685 and 1704 small changes by Roelof Barentsz. and his son Johannes Duytschot 1722 – 1725 rebuilding in North-German style by Frans Caspar Schnitger 1781 – 1782 restoration by Johannes Strumphler 1823 restoration by A. van Gruisen 1843 – 44 restoration by Dirk Sjoerds Ypma 1854 restoration by C. F. A. Naber 1897 – 98 restoration by J. Fr. Witte 1947 – 49 restoration by D. A. Flentrop 1982 – 1986 restoration by Flentrop Orgelbouw

In 1638 krijgt orgelbouwer Levijn Eekman uit Am- sterdam de opdracht om de twee koororgels van de St. Laurenskerk tot een groter instrument samen te voegen. Na diens vroegtijdig overlijden nemen de befaamde Hollandse orgelbouwers Galtus, Germer en Jacobus van Hagerbeer zijn taak over. In 1639 be- In the year 1638 the organ-builder Levijn Eekman sluit men echter een geheel nieuw drieklaviers orgel from Amsterdam was assigned to join both small te bouwen met 31 registers. De befaamde schilder/ choir organs of St. Laurens’ Church into one larger in- architect Jacob van Campen(1595–1665) ontwerpt het strument. After Eekmans early death the task was front in classicistische stijl. De Alkmaarse schilder taken over by the famous Dutch organ-builders Gal- Caesar van Everdingen (ca. 1617–1678) krijgt de op- tus, Germer and Jacobus van Hagerbeer. In 1639 it dracht om de grote orgelluiken te beschilderen met was decided to construct a new much larger organ de Bijbelse voorstelling “De triomf van Koning Saul equipped with 3 manuals and 31 stops. The famous na de overwinning van David op Goliath” (naar I Sa- painter/architect Jacob van Campen (1595–1665) de- muel 18:6-7). Het instrument, dat als pronkstuk be- signed the organ case in classical style. The painter schouwd werd van de Hollandse orgelbouwkunst in Caesar van Everdingen (ca. 1617–1678) from Alkmaar de 17e eeuw, werd voltooid in 1646. De dispositie was commissioned to make the paintings on the (naar Havingha, 1727) na herstellingen en uitbreidin- large hinged organ-doors, depicting a Biblical scene: gen door Jacobus van Hagerbeer in 1652–53: “The triumph of King Saul after David has defeated Goliath” (after I Samuel 18:6-7). The instrument, which was regarded as the showpiece of the art of organ- building in Holland in the 17th century, was completed in 1646. After repairs and changes by Jacobus van Hagerbeer in 1652–53 the specification was as fol- lows (according to G. ­Havingha, 1727):

16 | | 17 The Van Hagerbeer-organ (1652/53)

II. Bovenwerk I. Rugpositief III. Hoofdwerk (B/D)

Prestant 8’ Prestant 8’ Prestant 24’ alkmaar Bourdon 16’ Quintadena 8’ Prestant 12’ (B/D) Holpyp 8’ Octav 4’ Octav 6’ (4’?) Quintadena 8’ Fluyt 4’ Tertiaan [1 3/5’] Octav 4’ Super Octav 2’ Mixtuur (B/D) Opene Fluyt 4’ Fluyt 2’ Scherp IV–VI (B/D) Echo Holfluyt 4’(from c) Nassat 1 1/2’ Groot Scherp Super Octav 2’ Quintanus 1 1/2’ Trompet 8’ Nassat 1 1/2’ Sifflet 1’ Gemshoorn 1 1/2’ Tertiaan 4/5’ Pedaal Sexquialter II (from c1) Sexquialter II (from c1) Prestant 8’ Tertiaan 4/5’ Mixtuur III–IV Octav 4’ Sifflet 1’ Scherp IV Trompet 8’ Trompet 8’ Trompet 8’ Vox Humana 8’ (from c)

Compass Bovenwerk and Rugpositief: C–d3 Compass Hoofdwerk: C–d3, Prestant 24’ and 12’: FF, GG, AA, BB, HH, C–d3 Compass Pedaal: C–f1 for own stops, attached to Hoofdwerk: FF, GG, AA, BB, HH, C–f (i. e. 35 keys!) Split keys for d# and a# on all manuals / Transposing mechanism (to play a natural higher) Tuning: mean-tone temperament / pitch a1~415 Hz. Soundboards: 20 spring-chests (!) / Wind supply by 6 diagonal bellows Pipe materials: lead, the resonators of the Trumpets were made from painted iron sheets

In 1685 en 1704 wordt er nog door de gerenom- In 1685 and 1704 the organ was repaired and meerde Amsterdamse orgelmakers Duytschot aan changed by the renowned organ-builders Duytschot van. Schnitgers vernieuwing van het Alkmaarse orgel large ORGAN of Alkmaar…”] from 1727 by Jacob Wog- het orgel gewerkt. Als in 1722 Gerhardus Havingha from Amsterdam. In 1722 Gerhardus Havingha from zou echter belangrijke consequenties hebben voor de num and Eneas Veldcamps testify of this. However, (1696–1753) uit Groningen tot stadsorganist wordt Groningen was appointed town-organist. Within a ontwikkelingen in de Hollandse orgelbouw in de 18e Schnitgers renovation of the Alkmaar organ should benoemd weet hij het Alkmaarse stadsbestuur in short time he convinced the municipality of Alkmaar eeuw. Hierna zou het Alkmaarse orgel geen groot- have an important influence on the development korte tijd te overtuigen van de noodzaak van een of the necessity of a large renovation. The task scheepse wijzigingen meer ondergaan. of Dutch organ-building in the 18th century. After grootscheepse renovatie. De opdracht wordt gege- was given to the North-German organ-builder Frans In 1781–82 restaureerde en wijzigde orgelbouwer this the Alkmaar organ underwent no more major ven aan de Noord-Duitse orgelbouwer Frans Caspar Caspar Schnitger (1692–1729), of whose work Ha­ Johannes Strumphler uit Amsterdam het orgel, bij changes. Schnitger (1692–1729), van wiens werk Havingha een vingha was a fervent advocate. Between 1723 and 1725 welke gelegenheid de kas door overschildering ook In 1781–82 the organ was repaired and changed vurig pleitbezorger was. Tussen 1723 en 1725 verrijst Schnitger completed a big 3-manual organ with 56 een ander aanzien kreeg. In de 19e eeuw werkten de by Johannes Strumphler from Amsterdam. At the achter het (ongewijzigde) front van Jacob van Cam- stops in North-German style behind the (unchanged) orgelbouwers Van Gruisen (1823–24), Ypma (1843–44), same time the outward appearance was changed pen een groot driemanualig orgel met 56 registers organ-front of Jacob van Campen. Despite the fact Naber (1854) en Witte (1897–98) aan het orgel. Na een by means of a repainting of the organ case. In the in Noord-Duitse stijl. Ondanks het buitengewoon lo- that the examination report was full of praise about voor het orgel zeer bedreigende periode (1898–1946), 19th century the organ was repaired and changed vende keuringsrapport werd deze renovatie in de Re- the work of Schnitger, this renovation was criticized restaureerde orgelbouwer D. A. Flentrop het orgel in by the organ-builders Van Gruisen (1823–24), Ypma publiek sterk bekritiseerd en leverde een verhitte pole- very strongly in Holland and resulted in a fierce con- 1947–49 op een voor die tijd zeer terughoudende (1843–44), Naber (1854) and Witte (1897–98). After a miek op tussen Havingha en zijn opponenten, die de troversy between Havingha and his Dutch opponents, wijze, waarbij herstel van de oorspronkelijke disposi- for the organ very threatening period (1898–1946) klassieke Hollandse orgelbouwtradities verdedigden. who defended the Dutch tradition of organ-building. tie het uitgangspunt was. Na deze restauratie krijgt the organ was restored by D. A. Flentrop between 1947 De gepubliceerde reacties op Havinga’s boek “Oor- The published reactions on Havinghas book “Oor- het orgel mede dankzij vele plaatopnames wereld- and 1949 in a for those days very modest way. After spronk en Voortgang der Orgelen, met de voortref- spronk en Voortgang der ORGELEN, met de voortref- faam. In de zestiger jaren verslechterde de conditie this restoration the instrument obtained a world felijkheid van Alkmaars Groote ORGEL” uit 1727 van felijkheid van Alkmaars Groote ORGEL …” [“Origin and van het orgel zodanig dat een nieuwe restauratie on- wide reputation as an outstanding baroque organ, Jacob Wognum en Eneas Veldcamps getuigen hier- Progress of the ORGANS, with the excellence of the vermijdelijk werd. Na een jarenlange voorbereidings- thanks to numerous recordings. In the 1960s the con-

18 | | 19 periode van fondswerving en minutieus onderzoek dition of the instrument deteriorated in such a way Organists at the Van Hagerbeer/Schnitger-organ, 1639–2000 werd in 1982 een grootscheepse restauratie gestart that another restoration became inevitable. After a door Flentrop Orgelbouw, Zaandam. Uitgangspunt long preparatory period of fund-raising and thor- 1639 – 1670 Jacob Jansz. Crabbe 1929 – 1935 W. H. Slinger was een volledig herstel van het orgel volgens het con- ough research a large-scale restoration was started 1670 – 1684 Henrik Bakkerus 1936 – 1940 P. Brommer

cept van Schnitger. Het uiterlijk van de kas herkreeg, in 1982 by Flentrop Orgelbouw, Zaandam. Starting- 1684 – 1690 Gerhard van der With 1940 – 1946 Hendrik van Westrienen alkmaar na grondig onderzoek, de oorspronkelijke 17e-eeuwse point was a complete restoration of the Schnitger 1690 – 1691 Jurriaan Jurriaansz. Buff 1946 – 1948 P. Kist kleurstelling. Ook de luiken werden gerestaureerd. In situation. After extensive research the organ case re- 1691 – 1702 Johannes Kempher 1948 – 1952 Simon C. Jansen juni 1987 werd het gerestaureerde instrument feeste- gained its 17th-century colouring. The hinged doors 1702 – 1722 Egbert Enno Veldcamps 1952 – 1987 Piet Kee lijk in gebruik genomen en geniet sindsdien een we- were restored too. The festive inauguration took place 1722 – 1753 Gerhardus Havingha 1990 – 2000 Hans van Nieuwkoop reldwijde reputatie. Als uitzonderlijk gaaf bewaard in June 1987. Since then the organ enjoys a world 1753 – 1765 Adrianus Winkel 2000 – Pieter van Dijk gebleven barokorgel getuigt het in zijn unieke klank- wide reputation as an exceptionally well-preserved 1765 – 1773 Frederik Willem Michelet schoonheid van het meesterschap van zijn makers! baroque organ and testifies in its superb sound quali- 1773 – 1806 Michael Körnlein ties to the mastery of its makers! 1807 – 1816 Cornelis Berghuijs 1816 – 1836 Johannes Wilhelmus Kranch 1836 – 1881 Jan Hendrik Anthonie Ezerman 1881 – 1929 Jan Meindert Otto

Present specification with dates of the pipework:

III. Bovenwerk I. Rugpositief II. Groot Manuaal Data and makers of the pipework Praestant 8’ 1646 Praestant 8’ (tr. II) 1782 (front) /1646/1725 Praestant 16’ (1545) 1646 Baarpyp 8’ 1685 (1782/1949/1986) Quintadena 8’ 1646 Praestant 8’ 1646 1545 Claes Willemsz. (reused material from the former small choir-organ) Rohrfluit 8’1725 Octaav 4’ 1725 Praestantquint 6’ 1646 (1782/1986) 1646 Galtus, Germer and Jacobus van Hagerbeer Quintadena 8’ (1646) 1725 Nasaat 3’ 1725 Octaav 4’ 1646 1685 Roelof Barentsz. and Johannes Duytschot Octaav 4’ (1646) 1725 Fluit 4’ (1545/1646) 1725 Quinta 3’ 1986 1725 Frans Caspar Schnitger Fluit Dous 4’ (1646) 1725 Superoctaav 2’ 1725 Octaav 2’ 1646 1782 Johannes Strumphler Spitsfluit 3’1725 Quintfluit 3’1646/1986 Flachfluit 2’1646/1725 1949 D. A. Flentrop Superoctaav 2’ 1646 Waldfluit 2’1646/1725/1986 Ruyschpyp II 1646/1725 1986 Flentrop Orgelbouw Speelfluit 2’1725 Quintanus 1 1/2’ 1725/1986 Tertiaan II 1745 Sexquialtera II 1725 Mixtuur V–VI 1725 Mixtuur VI 1986 Scherp IV 1725 Sexquialtera II 1725 Trompet 16’ 1725 Some remarks about the mutation stops Cimbel III 1725 Cimbel III 1725 Viool di Gamba 8’ 1725 Trompet 8’ 1725 Trompet 8’ 1725 *(*=Trechterregaal 8’) /1782 Trompet 4’ 1725 (1986) Rugpositief Hautbois 8’ 1725 Fagot 8’ 1725 Mixtuur V–VI C: 2/3’ – 1/2’ – 1/3’ – 1/4’ – 1/6’ from c2 with 5 1/3’ Vox Humana 8’ 1725 Vox Humana 8’ 1725 Pedaal Sexquialter II C: 1 1/3’ – 4/5’ c: 2 2/3’ – 1 3/5’ c1: 5 1/3’ – 3 1/5’ Tremulant Tremulant Principaal 22’ 1646 Cimbel III C: 3/16’ – 3/20’ – 1/8’ F: 1/4’ – 1/5’ – 1/6’ repetitions on every c and f Praestant 16’ 1646 Hoofdwerk Rohrquint 12’ (1545/1646) 1725 (1782/1949/86) Ruyschpijp II C: 2’ – 1 1/3’ no repetitions Manual couplers: Octaav 8’ 1646 Tertiaan II C: 4/5’ – 2/3’ c: 1 3/5’ – 2 2/3’ c1: 3 1/5’ – 2 2/3’ Rp+GM, Rp+Bw, GM+Bw Quinta 6’ (1646) 1725 (1986) Mixtuur VI C: 1’ – 2/3’ – 1/2’ – 1/3’ – 1/4’ – 1/4’ from g1 with 5 1/3’ Pedal couplers: Octaav 4’ 1646 Bovenwerk P+Rp, P+GM (added to specification of 1725) Nachthoorn 2’ 1725 Sexquialtra II same composition as on Rugpositief Ruyschpyp III 1725 Scherp IV C: 1/2’ – 1/3’ – 1/4’ – 1/6’ (based on 8’ throughout) Compass Manuals: C–d3 Mixtuur VIII 1725 (1986) Cimbel III same composition as on Rugpositief Compass Pedal: C–d1 Basuin 16’ 1725 Pedaal Trompet 8’ 1725 Ruyschpijp III C: 2 2/3’ – 2’ – 1 1/3’ no repetitions Four cut-out valves Trompet 4’ 1725 Mixtuur VIII C: 1 1/3’ – 1’ – 2/3’ – 1/2’ – 1/3’ – 1/4’ – 1/6’ – 1/6’ Pitch: a1 = 415 Hz Cornet 2’ 1725 Frank van Wijk Equal temperament Bergen NH, Februari 2001 Wind pressure: 76 mm

20 | | 21 Het Van Covelens-orgel in de St. Laurenskerk, Alkmaar

The Van Covelens-organ alkmaar in St. Laurens’ Church, Alkmaar

1511 ? built by Jan van Covelens 1545 addition of Borstwerk by Claes Willemsz 1551 addition of Pedaaltrompet by Allart Claesz 1625 restoration and alteration by Jan Jacobsz of Lin 1630 new wind supply by Levijn Eekman 1651 restoration and alteration by Jacobus van Hagerbeer 1703 – 1704 restoration by Johannes Duytschot 1894 restoration and alteration by L. Ypma & Co. 1939 restoration and alteration by H. W. Flentrop 1994 – 2000 restoration and alteration by Flentrop Orgelbouw restoration of the organcase by Willem Haakma-Wagenaar

Het bijna vijf eeuwen oude Van Covelens-orgel is sinds de jongste restauratie door Flentrop Orgel- bouw weer in zijn oude glorie hersteld. Dit unieke in- strument staat aan het begin van de Hollandse orgel- bouwgeschiedenis. Het werd in 1511 vervaardigd door Jan van Covelens als éénklaviers orgel met 8 registers. With the latest renovation by the organ builder Van Covelens verdeelde het pijpwerk van deze regis- Flentrop, the almost five centuries old Van Covelens- ters over een onder- en een bovenlade. De onderlade organ has again been restored to its former splen- bevat het zogenaamde “Principael” bestaande uit de dour. The unique instrument stands at the beginning Doof, Koppeldoof, Mixtuur en Scherp. De samenstel- of the Dutch organ-building history. It was built in ling van het “Principael” is verwant met die van een 1511 by Jan van Covelens as a one-manual organ with blokwerk. Opvallend element daarin is het principe eight stops. Van Covelens spread the pipe work of van het verdubbelen van koren: hoe hoger de positie these stops over an upper and lower chest. The lower op het klavier, des te meer verdubbelingen. Op de on- chest contains the so called “Principael”, consisting of derste toon F heeft het “Principael” 7 pijpen terwijl op the Doof, Koppeldoof, Mixtuur and Scherp. The com- de hoogste toon a’’ 17 pijpen klinken. In een contract position of the “Principael” is related to a Blockwork. van 1525 karakteriseert Van Covelens de klank van het A striking element is the principle of doubling the “Principael” als “ … liefflick ende scharp van geluytt …”. ranks: the higher the position on the manual, the De onderlade biedt bovendien plaats aan de Trompet. more the doubling. On the lowest tone F the “Prin- De bovenlade wordt met loden conducten direct ge- cipael” has seven pipes while on the highest a” 17 voed uit de onderlade. Op deze lade bevinden zich de pipes speak. In a contract of 1525 Van Covelens char- drie fluiten Holpijp, Openfluit en Sifflet. acterised the sound of the “Principael” as “liefflick Van Covelens’ leerling Claes Willemsz breidde het ende scharp van geluyt” (sounding lovely and sharp). orgel in 1545 uit met een Borstwerk van 2 (of 3?) re- The lower chest also contains the Trompet. The three gisters. Dit Borstwerk dat zich direct achter de klavia- flute stops, Holpijp, Openfluit and Sifflet were placed

22 | | 23 tuur bevindt, heeft in de kerk de uitstraling van een on the upper chest, which were directly conducted echowerk. De huidige Quintadeen stamt van Claes off the lower chest with lead conduits. Willemsz. Van Covelens’ pupil Claes Willemsz expanded the De pedaaltrompet werd waarschijnlijk in 1551 toe- organ in 1545 with a Borstwerk of two (or three?)

gevoegd door Allart Claesz, de zoon van Claes Wil- stops. This Borstwerk, situated directly behind the key- alkmaar lemsz. Hij plaatste dit register in een kast ter rech- board, sounds in the church as an Echo. The present terzijde van het orgel waardoor het uiterlijk van het Quintadeen was placed by Claes Willemsz. instrument een zekere asymmetrie verkreeg. De be- The Pedaaltrompet was probably added in 1551 by kers én koppen van deze Trompet bleven bewaard. Allart Claesz., son of Claes Willemsz. He placed this Het lijkt erop dat deze uitbreiding in de lijn van Van stop in a case on the right side of the organ which Covelens plaatsvond. Voor zijn orgel in Franeker geeft gave the organ an asymmetric outward appearance. van Covelens een hint omtrent het gebruik van een The resonators and blocks of this Trompet are still pedaaltrompet: “soe zal dit werck hebben een vol pe- original. It seems that this expansion was in line with daal, dat men mach speelen die trompetten int prin- the style of Van Covelens. For his organ in Franeker cipael werck”. De Alkmaarse Trompet blijkt overigens Van Covelens gave the following hint about the use ook verrassend goed te functioneren in kleinere en- of a Pedaaltrompet: “soe zal dit werck hebben een prijs van de functie en de aard van het kleine orgel: the small organ: “... het Orgel in staat gebragt is om sembles met de Doof en Koppeldoof. vol pedaal, dat men mach speelen die trompetten int “ … het Orgel in staat gebragt is om onder het Kerkge- onder het Kerkgezang, als ook naa het selve, gebruikt Van de Utrechtse orgelbouwer Jan Jacobsz. van principael werck”. The Alkmaar Trompet appears to zang, als ook naa het zelve, gebruikt te konnen wor- te konnen worden; doch moet met discretie en voor- Lin zijn in het huidige orgel de Fluit 4’ en Octaaf 2’ function surprisingly well in smaller ensembles with den; doch moet met discretie en voorzigtigheyd, en zigtigheyd, en niet met swaare geluidenen volle gre- op het Borstwerk te beluisteren. De conische Fluit ver- the Doof and Koppeldoof. niet met swaare geluiden en volle grepen behandeld pen behandeld worden” ( … the organ could be used ving tussen 1625 en 1994 de Openfluit van Van Cove- The Fluit 4’ and Octaaf 2’ on the Borstwerk of the worden”. during congregational singing, or on its own, but lens op het Hoofdwerk. Tijdens de jongste restaura- present organ were added by Jan Jacobsz. van Lin, an De 19de eeuw ging aan het kleine orgel niet ge- should be treated with discretion and caution, and tie bleek dat dit register een optimaal gebruik van organ builder from Utrecht. Between 1625 and 1994 heel ongemerkt voorbij. In deze eeuw verloor het in- not with heavy sounds and full touch). de fluitencombinaties in de weg stond. Problemen the conic Fluit on the Hoofdwerk replaced Van Cov- strument veel van zijn dubbelkoren. Een grote restau- The small organ did not remain untouched during op het gebied van windstabiliteit en mengvaardig- elens’ Openfluit. During the latest restoration it be- ratie vond plaats in 1894 door de firma Ypma. the 19th century. During this century the instrument heid deden de betrokkenen besluiten deze Fluit op came apparent that this stop hindered an optimal Vlak voor het uitbreken van de tweede wereldoor- lost many of its double ranks. A large restoration took het Borstwerk te plaatsen en alsnog Van Covelens use of the flute combinations. Problems with wind log herstelde H. W. Flentrop het kleine orgel. place in 1894 by the firm Ypma. Fluitentrio te reconstrueren. stability and mixing led to the decision to place this Uitgangspunt bij de jongste restauratie was het Shortly before the second world war, H. W. Flentrop In de jaren 1639–1646 onstond aan de westzijde Fluit on the Borstwerk and, by doing so, to reconstruct orgel terug te brengen naar de toestand van 1651. repaired the small organ. van de kerk een nieuw groot orgel dat gebouwd Van Covelens’ flute trio. Minutieus onderzoek van het oude pijpwerk en de Starting-point for the latest restoration was to werd door de familie Van Hagerbeer. Dit nieuwe in- Between 1639–1646 the Van Hagerbeer family gedemonteerde windladen verschafte echter zoveel bring back the organ to the situation of 1651. Scru- strument is stellig één van de oorzaken waarom het built a new large organ at the west end of the church. duidelijkheid over de oorspronkelijke situatie, dat ge- pulous research of the old pipework and dismantled Van Covelens-orgel de eeuwen getrotseerd heeft. Het This new instrument was probably one of the rea- durende het restauratieproces de bakens werden ver- windchests supplied so much information about the kleine orgel werd immers sinds die tijd vooral ge- sons why the Van Covelens’ organ survived the centu- zet ten gunste van het Van Covelensconcept. Het original situation that during the course of the resto- bruikt als het grote orgel niet bruikbaar was. Jacobus ries. Since that time the small organ was only used Hoofdwerk werd zoveel mogelijk teruggebracht naar ration process plans were adjusted in favour of the van Hagerbeer vernieuwde in 1651 de frontprestant when the large organ was not usable. Jacobus van de situatie van 1511. Van Covelens concept. The Hoofdwerk was as far as (Doof) van het kleine orgel. Naar alle waarschijnlijk- Hagerbeer renewed in 1651 the frontprestant (Doof) De werkzaamheden omvatten het herstel van de possible restored to the situation of 1511. heid legde hij eveneens een eigen klavier voor het of the small organ. It is very probable that he built a vele dubbelkoren, het reconstrueren van de Openfluit The work on the organ comprises the repair of Borstwerk aan. new manual for the Borstwerk. en de Sifflet en het vervaardigen van drie nieuwe many double ranks, the reconstruction of the Open- Sinds 1640 werd de gemeentezang in Alkmaar al As of 1640 the congregational singing in Alkmaar spaanbalgen. Voor de maatvoering van deze blaasbal- fluit and the Sifflet and the construction of three door orgel ondersteund! Dat verklaart waarschijnlijk was already supported by the organ! This fact prob- gen was de beschrijving van Gerardus Havingha in new wedge bellows. For the dimensioning of these de toevoeging van een gedeelde klavierkoppel door ably explains the addition of a split manual coupler zijn “Oorspronk en Voortgang der Orgelen” uit 1727 bellows the description of Gerardus Havingha in his Johannes Duytschot in 1685. Of de kracht van het by Johannes Duytschot in 1685. However, it is doubt- van grote waarde. “Oorspronk en Voortgang der Orgelen” (Origin and instrument daarmee was toegenomen moet echter ful whether this addition increased the power of the Progress of the Organ) of 1727, was of great value. betwijfeld worden, gezien het echokarakter van het organ in light of the echo character of the Borstwerk. Borstwerk. In 1703–04 Duytschot again worked on the organ. In 1703–04 werkte Duytschot opnieuw aan het The gallery on the right dates from this time. The orgel. Uit deze tijd stamt het rechterbalkondeel. Het pedal board, today still extant, also comes from Duyt- nu nog aanwezige pedaalklavier is ook van Duytschot. schot. Cornelius van Herk, who inspected the organ, Pieter van Dijk Pieter van Dijk Keurmeester Cornelius van Herk geeft in 1704 iets commented in 1704 about the function and nature of Alkmaar, januari 2001 Alkmaar, January 2001

24 | | 25 Present specification II. Hoofdwerk with dates of the pipework: Doof 8’ 1–2 st. 1651 Holpijp 8’ 1511 Koppeldoof 4’ 1–3 st. 1511/2000 1511/2000

Openfluit 4’ alkmaar Sifflet 1 1/3’1511/2000 Mixtuur 2–6 st. 1511/2000 Scherp 3–6 st. grotendeels 2000 Trompet 8’ 2000

I. Borstwerk Quintadeen 8’ 1545 Fluit 4’ 1625 Octaaf 2’ 1625 Octaaf 1’ D 1–2 st. 2000

Pedaal Trompet 8’ 1551/2000

Tremulant Ventiel Manual coupler: BW+HW B/D Pedal coupler: Ped+HW Compass Manuals: F, G, A–g2, a2. Compass Pedal: F, G, A–c1, chest without c# en g# Pitch: a1 = 427 Hz Tuning: mean-tone temperament

Some remarks about the mutation stops Composition of the Mixtuur 2–6 st. F 2’ – 1 1/3’ H 2’ – 1 1/3’ – 1 1/3’ c 2’ – 2’ – 1 1/3’ cis 2 2/3’ – 2’ – 2’ h 2 2/3’ – 2 2/3’ – 2’ – 2’ dis1 2 2/3’ – 2 2/3’ – 2 2/3’ – 2’ e1 2 2/3’ – 2 2/3’ – 2 2/3’ – 2 2/3’ – 2’ f2 2 2/3’ – 2 2/3’ – 2 2/3’ – 2 2/3’ – 2’ – 2’

Composition of the Scherp 3–6 st. F 1’ – 2/3’ – 1/2’ c 1 1/3’ – 1’ – 1’ – 2/3’ cis 1 1/3’ – 1 1/3’ – 1’ – 1’ – 2/3’ b 2’ – 1 1/3’ – 1 1/3’ – 1 1/3’ – 1’ – 1’ dis1 2’ – 2’ – 1 1/3’ – 1 1/3’ – 1 1/3’ – 1’ – 1’ e1 2’ – 2’ – 2’ – 1 1/3’ – 1 1/3’ – 1 1/3’ f2 2’ – 2’ – 1 1/3’ – 1 1/3’ – 1 1/3’ – 1 1/3’

26 | | 27 Organ Festival Holland the context for great developments in the way we perform early music. It is no coincidence that Dutch www.schnitger.nl organists took the lead in historically informed per- formances on the organ. Regular acquaintance with

The International Schnitger Organ Competition historic instruments and with their individual techni- alkmaar Foundation intends to organize the organ Festival cal qualities and possibilities for registration, is an in- Holland in the last week of June and the first week valuable asset to the present-day organ student who of July every two years. This festival consists of the In- is interested in discovering the secrets that the organ ternational Bach Festival (organ academy and con- culture of the past has to offer. certs) and the International Schnitger Organ Com- These factors form the background to the Inter- petition. national Schnitger Organ events in several essential Young organists from all over the world will get ways. Firstly, the competition takes place on two the opportunity to get acquainted with the famous glorious historic organs, namely the Van Hagerbeer/ Van Hagerbeer/Schnitger organ (1646/1725) and the Schnitger-organ (1646/1725) and the Van Covelens-or- newly restored Van Covelens organ (1511) of the ‘Grote gan (1511) of St. Laurens’ Church, Alkmaar and other St. Laurenskerk’ in Alkmaar, the Netherlands. For sev- historical organs, such as the organ (1521) of the eral pictures of these famous organs see our website Dutch Reformed Church, Oosthuizen. (www. schnitger.nl / general information). In addition For those who take part, the competition offers several historic organs in the vicinity of Alkmaar will a unique opportunity to perform on these famous be visited during the festival. Organs like the instru- instruments. Many of the competitors will be ac- ments of the ‘Waalse Kerk’, Amsterdam (Chr. Müller quainted with the sound of the instruments only Adress: 1734), ‘Nieuwe Kerk’, Haarlem (Van Covelens 1523/Hess through recordings; to experience these organs at Organ Festival Holland 1791), the ‘Grote Kerk’, Edam (Smit 1663), the ‘Her- first hand will be an exciting challenge. Furthermore, Louise Henriëttestraat 14 vormde Kerk’ in Oosthuizen (anonymous, 1521) will be the repertoire for the competition suits as closely 1814 xd Alkmaar used in the workshops and masterclasses. as possible the particular nature of the instruments phone/fax: +31 - 72 - 512 05 28 involved, namely 16th century literature will be per- website: www. schnitger.nl The International Bach Festival formed at the Van Covelens organ and 17th and 18th email: [email protected] The festival consists of workshops, masterclasses, century literature, especially the works of J. S. Bach, at concerts (including a participants concert) and ex- the Van Hagerbeer-Schnitger organ, both in Alkmaar. Organ concerts in the cursions, and is open to both professional organists For these reasons the International Schnitger ­St. ­Laurens’ Church in Alkmaar and students, as amateur organists. It is possible to Organ Competition is directed not at the all-round Cheese-market concerts take ­attend the festival as an active participant or as an performer with a flair for virtuosity, but rather at place on Fridays from May till auditor. the young musician who values serious acquaintance September (except on fair-days). The repertoire of the festival-academy will be pub- with historic instruments. The competition aims to Starting time lished in the early spring of every festivalyear on the inspire young organists and to act as a springboard 11.30 and 12.30 o’clock. website (www. schnitger.nl). Amateur organists and to an international career. The Organ Competition Summer-evening concerts with others interested can sign up here for the Practical will take place in June and July of every uneven year. international organists on Performance Group, which deals with the basics of Applicants are requested to indicate with whom they Wednesdays in July and August historically informed performance practice. The acad- have studied. Students of members of the jury are al- (except on fair-days). emy working language will be English. lowed to participate. Starting time 20.00 o’clock. About two months before the competition, a The Schnitger International Organ Competition weekend meeting to get acquainted with the Alk- Adress: The Netherlands is famed for its wealth of historic maar Schnitger organ will be organized for the can- Grote Sint Laurenskerk organs. No other area in the world has such a density didates. See the information about the academy Koorstraat 4a of “monumental” organs, ranging from the miniature and the competition of former years on the website 1811 gp Alkmaar to the colossal, from unique sixteenth century organs (www. schnitger.nl / general information) to get a bet- website: to perfectly preserved instruments from the last cen- ter idea what it is all about. www.grotekerk-alkmaar.nl tury. It is therefore understandable that the Nether- email: [email protected] lands is a place of pilgrimage for organ-lovers. It is no wonder that this richly varied organ culture has been Pieter van Dijk, Leen Spaans, Frank van Wijk CD-rom ‘Historical Organs of Alkmaar’ Stichting Internationaal Schnitger Orgelconcours i.s.m. 3mit, Alkmaar/2000

28 | | 29 f r e i b e r g g e r m a n y

| 31 freiberg

Dr. Uta Rensch Oberbürgermeisterin von Freiberg

Liebe Orgelfreunde, Dear Organ Friends,

die Orgel wird auch im begonnenen dritten Jahrtausend die Königin der Instrumente Even at the start of the third millennium will the organ remain the bleiben. Neue Werke werden in unterschiedlichen Formen hinzukommen und das Angebot queen of musical instruments. New compositions of different kinds will bereichern. Dies wird in sakralen Räumen ebenso realisiert werden, wie in weltlichen Sälen. add to and enrich the existing range of pieces for organ. They will be Um so wichtiger ist es, die historischen Instrumente nicht nur zu erhalten, sondern sie performed in sacred as well as in secular places. It is therefore important auch in den unterschiedlichsten Formen zu präsentieren. Dazu zählen der Einsatz in Gottes- not only to preserve the historical instruments but also to present them diensten ebenso wie die Durchführung von Konzerten. Als Oberbürgermeisterin der Orgel- in different ways including their use during church services as well as in stadt Freiberg begrüße ich es deshalb um so mehr, dass die Gründung eines europäischen the performance of recitals. As mayor of the organ town of Freiberg I es- Vereins erfolgte, der es sich unter anderem zum Ziel gesetzt hat, im europäischen Rahmen pecially welcome the establishing of a foundation of European organisa- die unterschiedlichen Orgellandschaften nicht nur zu erhalten, sondern auch Restaura­ tions aiming, among other things, not only at the preservation of vari- tionsvorhaben entscheidend zu unterstützen. ous “landscapes” within Europe, but also at the support of restoration „European Cities of Historical Organs” – so der Name des Zusammenschlusses von euro- projects. päischen Städten, die über bedeutende historische Instrumente verfügen. “European Cities of historical Organs” – this is the name given to the Die Musikgeschichte Freibergs und seinen Umlandes ist geprägt durch den berühmten co-operation of European cities, all of which own several historical in- deutschen Orgelbaumeisters Gottfried Silbermann. Allein vier Instrumente befinden sich struments. in gutem Zustand in den drei Stadtkirchen unserer Universitätsstadt. The famous German organ builder Gottfried Silbermann had a form- Eine besondere Würdigung erhalten diese durch die Durchführung der alle zwei Jahre ative influence on the history of music in Freiberg and its surrounding stattfindenden „Gottfried-Silbermann-Tage”, die mit einem internationalen Orgelwettbe- areas. Four instruments in good condition are to be found in three werb verbunden sind. Damit leistet die Stadt zusammen mit weiteren Partnern einen we- churches of our university town. sentlichen Beitrag im Sinne des Zusammengehens europäischer Städte. These instruments are essentially appreciated during the “Gottfried Silbermann Festival” (Gottfried-Silbermann-Tage), which takes place every two years and which is accompanied by an international organ Dr. Uta Rensch competition. Oberbürgermeisterin With that, the town of Freiberg and other partners contribute essen- tially to the coming together of European cities.

Dr. Uta Rensch Mayor

32 | | 33 Frank-Harald Greß Frank-Harald Greß Orgelstadt Freiberg The Organ Town of Freiberg freiberg Die Universitäts- und Bergstadt Freiberg gründete The university and mining town of Freiberg owed mannsandachten auf der Grube Himmelfürst bei middle of the 17th century. Johann Gottlob Müller of ihr Entstehen und ihren frühen Reichtum auf die its foundation and early wealth to the discovery of ­Langenau. Oberneuschönberg modified the instrument in 1789 Entdeckung reicher Silbervorkommen im 12. Jahrhun- abundant silver ore deposits in the 12th century. The Entscheidend geprägt wurde die Freiberger Orgel­ and built a new case. The instrument was used in this dert. Das aufblühende Zentrum des Bergbaus und flourishing centre of mining and mining economy be- baugeschichte durch das Wirken Gottfried Silber- form in the services of the miners of the Himmelfürst der Montanwirtschaft wurde zugleich eine Pflege- came as well a place where arts were cultivated. This manns. Im Erzgebirgsdorf Kleinbobritzsch 1683 gebo- mine near Langenau. stätte der Künste, wovon zahlreiche Architekturdenk- is demonstrated by numerous monuments of archi- ren, verlebte er dort und in der benachbarten Stadt The history of organ building of Freiberg was es- mäler im Stadtzentrum und Kunstschätze in den tecture in the centre of town and art treasures in Frauenstein seine Kindheit. 1701/02 folgte er seinem sentially characterised by the work of Gottfried Sil- ­Sakralbauten und Museen zeugen. In den Freiberger the sacral buildings and museums. A varied culture of Bruder und Lehrmeister Andreas nach Straßburg. bermann. He was born in the village Kleinbobritzsch Kirchen und Klöstern, aber auch im weltlichen ­Bereich, music developed in the churches and monasteries of Nach abgeschlossener Ausbildung und mehrjähriger in the Erzgebirge (Ore Mountains) in 1683 and spent ent­wickelte sich eine vielfältige Musikkultur. Freiberg as well as in secular life. Zusammenarbeit der Brüder kehrte Gottfried 1710 in his childhood there and in the neighbouring town Freiberg trat auch frühzeitig als Stadt der Orgeln Early on, Freiberg distinguished itself as a town seine sächsische Heimat zurück. of Frauenstein. In 1701/1702 he followed his brother und des Orgelbaus hervor. Bereits im 15. Jahrhundert of organs and organ building. Already in the 15th cen- Silbermann zeichnete sich durch Zielstrebigkeit and master Andreas to Strasbourg. After the end of wirkten hier Orgelbauer. In vorreformatorischer Zeit tury, it became a domain of organ builders. The ex- und ungewöhnliches Selbstbewusstsein aus. Es ge- his apprenticeship and a few years of working with ist ein Orgelpositiv in der Nikolaikirche nachweisbar, istence of a Pre-Reformation organ positive in the lang ihm, zeitgenössische Musiker von den Vorzü- his brother, Gottfried returned to his Saxon home in das 1579 durch ein neues Instrument von dem gebür- Nikolaikirche (St Nicholas’ Church) is verified. It was gen seiner eigenwilligen Bauweise zu überzeugen, 1710. tigen Niederländer Hermann Raphael Rodensteen ab- replaced in 1579 by a new instrument Hermann Rap- die besonders anfangs noch stark vom französisch- Silbermann distinguished himself by determina- gelöst wurde. An seine Stelle trat 1655 ein zweimanu- hael Rodensteen, a native of the Netherlands. This in- elsässischen Orgelbau beeinflusst war. Silbermanns tion and an unusual self-confidence. He succeeded aliges Werk mit mindestens 20 Registern von Carol strument again was replaced in 1655 by a two-man- Schaffen war von Beginn an durch hoch entwickelten in convincing contemporary musicians of the advan- Müller, Döbeln. Die früheste sicher datierbare Orgel ual organ with at least 20 stops built by Carol Müller Klangsinn und hervorragende kunsthandwerkliche tages of his unconventional style of organ building. in Freiberg schuf 1502 der aus Südtirol stammende of Döbeln. The earliest organ in Freiberg that can be Qualität, aber auch durch das Streben nach rationell Especially in the beginning it was still influenced Burckart Dinstlinger für den Dom. Sie erhielt 23 Regis- positively dated was built in 1502 for the Freiberger vereinheitlichter Bauweise bestimmt. Bis zum Ende by French-Alsatian organ building. Silbermann’s works ter auf 2 Manualen und Pedal. Ebenfalls im 16. Jahr- Dom (Freiberg Cathedral) by the South Tyrolean Burck- seines Lebens hielt er sich konsequent an ein charak- were marked right from the beginning by a highly de- hundert bekam der Dom durch einen unbekannten art Dinstlinger. It had 23 stops on two manuals and teristisches Typenprogramm. Seiner Beharrlichkeit ist veloped feeling for sound and an excellent manufac- Erbauer eine einmanualige Chororgel mit 9 Registern. pedal. A one-manual choir organ with 9 stops was es zuzuschreiben, dass die Stadt Freiberg von allen turing quality but also by his striving for a rationally Während die große Domorgel zunehmend verfiel, er- built as well in the 16th century for the cathedral by seinen fünf Orgeltypen jeweils ein Instrument erhielt, standardised style of organ building. Until the end weiterte Georg Weindt, Schluckenau, die Chororgel an unknown organ builder. Whereas the main organ so dass er Interessenten „vor Ort“ schließlich sein ge- of his life he sustained at characteristic programme um ein zweites Manual und zusätzliche 6 Register. of the cathedral continued to decay, Georg Weindt samtes Angebot präsentieren konnte. Das in allen of organ models. Due to his insistence, the town of Doch wurde auch dieses Werk um 1700 baufällig. Zwi- of Schluckenau extended the choir organ by a sec- Details schlüssige Baukonzept und die Solidität der Freiberg got one instrument of each of his five organ schen 1704 und 1710 holte man Entwürfe verschiede- ond manual and 6 additional stops. But this organ Ausführung führten dazu, dass Silbermann die mit- models. Thus, Silbermann could finally present his ner Orgelbauer für eine neue Hauptorgel ein. became also dilapidated around 1700. Several blue- teldeutsche Orgellandschaft nachhaltig prägte. Vor whole product range “on the spot” to prospective cus- Die Petrikirche erhielt vermutlich bereits am Be- prints for a new main organ were obtained from dif- allem der sächsische Orgelbau löste sich nur zögernd tomers. His concept of building which was conclusive ginn des 16. Jahrhunderts eine Orgel, die 1569 erst- ferent organ builders between 1704 and 1710. von der Silbermann-Tradition. Fertigungsqualität und in every detail and the solidity of the implementation mals erwähnt ist. Erweiterungen erfolgten 1614 durch The Petrikirche (St Peter’s Church) presumably got wesentliche klangliche Merkmale seiner Werke wur- are the reason why Silbermann had a lasting forma- Gottfried Fritzsche, Dresden, und 1679 durch Andreas an organ already at the beginning of the 16th century, den noch lange als überzeitlicher Maßstab betrach- tive influence on the organ scene of Central Germany. Tamitius, Dresden. it is mentioned in 1569 for the first time. Extensions tet, bis die „Orgelbewegung“ des 20. Jahrhunderts Especially the style of organ building in Saxony sev- Auch die Jakobikirche besaß im frühen 16. Jahr- were made in 1614 by Gottfried Fritzsche of Dresden ­ohnehin an die „Barockorgel“ anknüpfte. ered itself only hesitantly from the Silbermann tra- hundert eine Orgel, die um 1555 sowie 1672 repariert and in 1679 by Andreas Tamitius of Dresden. dition. Manufacturing quality and essential sound und 1695 von Andreas Tamitius erweitert wurde. The Jakobikirche (St Jacob’s Church) also had an features of his works continued to be a timeless Das Stadt- und Bergbaumuseum Freiberg beher- organ at the beginning of the 16th, which was re- standard until the “German Orgelbewegung” of the bergt seit 1903 das älteste erhaltene Orgelwerk der paired about 1555 and in 1672 and extended by An- 20th century oriented towards the baroque organ Stadt, ein Positiv unbekannter Herkunft aus der Mitte dreas Tamitius in 1695. ­anyway. des 17. Jahrhunderts mit 5 1/2 Registern. Johann Gott- Since 1903, the Stadt-Bergbaumuseum Freiberg lob Müller, Oberneuschönberg, führte 1789 mehrere (Municipal and Mining Museum of Freiberg) has been Änderungen aus und fertigte ein neues Gehäuse. hosting the oldest preserved organ of the town, a In dieser Form diente das Instrument für die Berg- positive with 5 1/2 stops of unknown origin from the

34 | | 35 Die grosse Domorgel (Gottfried Silbermann, 1714 und 1738 – III/44)

II. Hauptwerk III. Oberwerk I. Brustwerk

Bordun. 16f. Qvintadehn. 16f. Gedackt. 8f. freiberg Principal. 8f. Principal. 8f. Principal. 4f. Viola di Gamba. 8f. Gedackt. 8f. Rohrflöt 4f. Rohrflöt. 8f. Qvintadehn. 8f. Nassat. 3f. Octava. 4f. Octava. 4f. Octava. 2f. Qvinta. 3f. Spitzflöt. 4f. Tertia. (1 3/5’) Sup. Octav. 2f. Sup. Octav. 2f. Qvinta. 1 1/2 f. Tertia. (1 3/5’) Flaschflöt. 1f. Sufflöt. 1f. Cornet. (5fach, ab c1) Echo. 5.fa.(ab c1) Mixtur. (3fach) Mixtur. (4fach) Mixtur. (3fach) Zimbeln. (3fach) Zimbeln.(2fach) Pedal Trompet. 8f. Krumbhorn. 8f. Untersatz. 32f. (32’+16’) Clarin. 4f. Vox Humana (8’) Princ.Bass. 16f. Sub Bass. 16f. Octav Bass. 8f. Octav Bass. 4f. Ped. Mixtur. (6fach) Posaun Bass. 16f. Tromp. Bass. 8f. Clar. Bass 4f.

Klaviaturumfänge: C, D–c3 bzw. C, D–c1 Nebenregister Stimmton: 476,3 Hz/a1 Tremulant. (Manuale) Temperatur: Kompromiss zwischen modifizierter Schwebung. (Tremulant OW.) Mitteltönigkeit und „Wohltemperierung“ unbeschriftet: Sperrventil Hw. + Bw. unbeschriftet: Sperrventil Ow. Schiebekoppeln I/II und III/II (keine Pedalkoppel)

Nachdem Silbermann zunächst eine Orgel für Already in 1710, after Silbermann had built an seine Heimatstadt Frauenstein baute, erhielt er be- organ for his home town Frauenstein, he received the reits 1710 auf Fürsprache des Leipziger Thomaskan- order to build his first important work inFreiberg Ca- tors Johann Kuhnau den Auftrag zum Bau seines ers- thedral on recommendation of Johann Kuhnau, choir- ten großen Werkes im Freiberger Dom. Im August master and organist of the Thomaskirche (St Thomas’ 1714 konnte das Instrument mit 44 Registern auf Church) in Leipzig. In August 1714, the instrument drei Manualen und Pedal abgenommen und geweiht with 44 stops on three manuals and pedal could be werden. 1738 wurde die Oberwerk-Disposition leicht inspected and inaugurated. In 1783, the specification modifiziert. Das Instrument verkörpert den größten of the Oberwerk was slightly modified. The instru- Orgeltyp Silbermanns. Dank gewissenhafter und pie­ ment represents the largest of Silbermann’s organ tätvoller Pflege durch Silbermann-Schüler und Orgel- models. Thanks to the conscientious and reverent bauer späterer Generationen blieb seine Substanz maintenance by Silbermann’s pupils and organ build- nahezu lückenlos erhalten. Eine grundlegende Re- ers of following generations the substance of the in- staurierung 1981 bis 1983 (Jehmlich, Dresden, unter strument was preserved almost completely. Due to maßgeblicher Mitarbeit von Kristian Wegscheider) er- a fundamental restoration between 1981 and 1983

36 | | 37 reichte die weitgehende Annäherung an den Origi- (­Jehmlich of Dresden, in substantial collaboration nalzustand. with Kristian Wegscheider) the original condition Der Bau der Domorgel und zahlreiche regionale of the instrument could approximately be re-estab- Vorteile veranlassten Silbermann, 1711 im sogenann- lished.

ten „Regimentshaus“ am Schlossplatz seine Wohn- The building of the organ of Freiberg Cathedral freiberg und Arbeitsstätte einzurichten, die er bis zu seinem and numerous regional advantages led Silbermann Tod 1753 beibehielt. to set up his residence and place of work in the so- Als zweites Instrument für Freiberg schuf Silber- called Regimentshaus (Regimental House) at Schloß- mann die Orgel für die Jakobikirche, vollendet im No- platz (Castle Square) where he stayed until his death vember 1717, eingeweiht im Januar 1718. Sie verfügt in 1753. über 20 Register und gehört damit zum Typ seiner The second instrument Silbermann built for the kleineren zweimanualigen Orgeln. 1890 bis 1892 trat town of Freiberg was the organ for the Jakobikirche ein neugotischer Bau an die Stelle der alten Kirche. (St Jacob’s Church), which was finished in November Die Orgel wurde zusammen mit weiteren Ausstat- 1717 and inaugurated in January 1718. It has 20 stops tungsstücken in das neue Gebäude übernommen. and therefore belongs to his smaller, two-manual Friedrich Ladegast, Weißenfels, verband die Neuauf- organ models. Between 1890 and 1892 the old church stellung mit mehreren Veränderungen. Unter ande- was replaced by a neo-Gothic building. The organ to- rem ersetzte er den ursprünglichen „Chorton“ (den gether with other interior was moved into the new zunächst alle Freiberger Silbermann-Orgeln aufwie- building. Friedrich Ladegast of Weißenfels combined sen) durch den zeitüblichen tieferen Stimmton, fügte the re-erection of the organ with a few changes. die Tasten für Cis sowie sechs Register auf pneumati- Among others, he substituted the original “Choir schen Laden hinzu. 1954/55, 1974 und 1995 erfolgten pitch” (which all of the Freiberg Silbermann organs Restaurierungsarbeiten (Jehmlich, Dresden bzw. Kris- feature) by a then usual deeper pitch and added the tian Wegscheider, Dresden). Die Originaldisposition keys for C major as well as 6 stops on pneumatic ist wiederhergestellt, der veränderte Stimmton bei- windchests. In 1954/1955, 1974 and 1995 parts of the behalten. organ were restored (Jehmlich of Dresden and Kris- Die dritte Freiberger Silbermann-Orgel, vollendet tian Wegscheder of Dresden). The original disposition 1719, stand ursprünglich in der Johanniskirche. Das was re-established, the modified pitch was kept. einmanualige Werk erhielt 14 Register, davon drei im The third Silbermann organ of Freiberg, finished in Pedal. Wegen zunehmender Schäden an der Kirche 1719, was to be found originally in the Johanneskirche wurde das Instrument 1939 auf der linken Seite des (St John’s Church). The one-manual instrument had Die Orgel der Jakobikirche (Gottfried Silbermann, 1717 – II/20) Domlettners aufgestellt und erhielt dabei moderne 14 stops, 3 of them in pedal. Due to the fact that this Stimmtonhöhe (Eule, Bautzen). Eine Restaurierung church increasingly decayed the instrument was set (ohne Rekonstruktion des Stimmtons) fand 1997 statt up on the left-hand side of the choir screen of Freib- I. Hauptwerk II. Oberwerk Pedal (Jehmlich, Dresden). erg Cathedral in 1939 and at the same time got a Prinzipal 8 Fuss Gedackt 8 Fuss Sub Bass 16 Fuss Ein Silbermann-Positiv mit 5 Registern für den modern pitch (Eule, Bautzen). It was restored in 1997 Rohrflöte 8 Fuss Prinzipal 4 Fuss Posaunen Bass 16 Fuss Domorganisten Johann Christian Erselius entstand by Jehmlich of Dresden (without restoring the origi- Quinta Dehn 8 Fuss Rohrflöte 4 Fuss Trompet 8 Fuss vermutlich kurz nach dessen Amtsübernahme 1731. nal pitch). Oktava 4 Fuss Nassat 3 Fuss Es kam ab 1753 in die Nikolaikirche und ist seit 1840 A positive by Silbermann with 5 stops for Johann Spitzflöte 4 Fuss Oktava 2 Fuss Nebenregister verschollen. Christian Erselius, organist of Freiberg Cathedral, was Quinta 3 Fuss Tertia aus 2 Fuss (1 3/5’) Tremulant (Hw.) Die zweitgrößte Freiberger Orgel in der Petri­ presumably built shortly after his assumption of of- Super Oktava 2 Fuss Sufflöt 1 Fuss Schiebekoppel II/I kirche mit 32 Registern nimmt – obwohl nur zwei- fice in 1731. It was set up in the Nikolaikirche(St Nicho- Mixtur 3 fach Cimbeln 2 fach Pedalkoppel. (I/P) manualig – etliche Merkmale der großen Spätwerke las’ Church) in 1753 and has been missing since 1840. Cimbeln 2 fach Silbermanns voraus (Frauenkirche Dresden, Johannis- The second largest of Freiberg’s organs in the kirche Zittau, Katholische Hofkirche Dresden). Charak- Petrikirche (St Peter’s Church) with 32 stops shows- teristisch ist insbesondere die gesteigerte Klanggravi- though it has only two manuals – already quite a few tät durch Prinzipal und Manualposaune („Fagott“) 16’ features of Silbermann’s important late works (Frau- Klaviaturumfänge: C–c3 bzw. C–c1 (nicht original) im Hauptwerk sowie die 32’-Basis im Pedal. 1893 enkirche Dresden, Johanniskirche Zittau, Katholische Stimmton: gegenwärtig 440 Hz/a1 bis 1895 wurde die Raumarchitektur tiefgreifend um- Hofkirche Dresden). The dignity of sound which was in- Temperatur: gegenwärtig gleichstufig gestaltet. Anschließend wurde die Orgel klanglich creased by Prinzipal and Manualposaune (Fagott) 16’

38 | | 39 Die kleine Domorgel und technisch verändert, vor allem durch Herstellen in the Hauptwerk as well as by the 32’-base in pedal (Gottfried Silbermann, 1719 – I/14; der aktuellen Stimmtonhöhe, Ergänzen des Tones is especially characteristic. Between 1893 and 1895 ursprünglich in der Johanniskirche, seit 1939 im Dom) Cis und Einbau eines dritten Manuals mit pneuma- the architecture of the building was changed funda- tischer Traktur (Jehmlich, Dresden). Auf weitere, teil- mentally. Subsequently, the organ was modified ton-

weise bereits rückführende Arbeiten folgte 1993 der ally and technically, especially by tuning the instru- freiberg Manual Pedal erste Teil einer umfassenden Rekonstruktion (Jehm- ment to its current pitch, by adding the tone C major Principal. 8.Fuß. Sub-Bass. 16.Fuß. lich). Zu den noch ausstehenden Arbeiten gehört and a third manual with pneumatic action (Jehmlich Gedackt. 8.Fuß. Posaunen=Baß. 16.Fuß. die Wiederherstellung der ursprünglichen Stimmton- of Dresden). In 1993, the first part of an extensive Octava. 4.Fuß. Trompeten=Baß. 8.Fuß. höhe und Stimmungsart. restoration (Jehmlich) followed former changes that Rohr=Flöthe. 4.Fuß. Nach Silbermanns Tod wurde seine Werkstatt von had already partially aimed at restoring the original Nasat. 3.Fuß. Nebenregister den beiden Schülern Johann Georg Schön und Adam condition. The reestablishment of the original tem- Octava. 2.Fuß. Tremvlant. Gottfried Oehme weitergeführt. Unter Johann Chris- perament and pitch belong to the work still to come. Qvinta. 1 1/2 Fuß. Pedalkoppel. (nicht original) tian Knöbel (Oehmes Geselle) und dessen Vetter Wil- After Silbermann’s death his manufacture was Sufflet. 1.Fuß. helm Gottlob Knöbel bestand sie bis ins 19. Jahr- taken over by his pupils Johann Georg Schön and Cornett. 3.fach. (ab c1) hundert. In dieser Zeit ließen sich in Freiberg die Adam Gottfried Oehme. Headed by Johann Christian Mixtur. 3.fach. Klaviaturumfänge: Orgelbauer Leberecht Trepte und Guido Hermann Knöbel (journeyman of Oehme) and his cousin Wil- Cimbel. 2.fach. C–c3 bzw. C–c1 (nicht original) Schäf nieder. helm Gottlob Knöbel it existed until the 19th century. Stimmton: Die einzige größere Orgel in Freiberg nach dem At that time, the organ builders Leberecht Trepte and gegenwärtig 439,5 Hz/a1 Erlöschen der Silbermann-Schule baute Johann Gott- Guido Hermann Schäf settled in Freiberg. Temperatur: lob Mende, Leipzig, 1845 für die Nikolaikirche. Nach The only larger organ in Freiberg to be built after gegenwärtig gleichstufig dem Ende der kirchlichen Nutzung des Raumes kam the Silbermann tradition had come to an end was das zweimanualige Werk (29, ursprünglich 28 Regis- constructed by Johann Gottlob Mende of Leipzig in ter mit Pedal-32’) 1985 in die Nikolaikirche in Wismar. 1845 for the Nikolaikirche (St Nicholas’ Church). After Da eine Rückführung nicht möglich ist, soll die denk- the building was no longer used for sacral purposes, malpflegerisch restaurierte Freiberger Nikolaikirche the two-manual instrument (29, originally 28 stops als künftige Konzerthalle eine neue „symphonische“ with 32’ in pedal) was transferred to the Nikolaikirche Orgel im verbliebenen Gehäuse der Mende-Orgel er- (St Nicholas’ Church) in Wismar in 1985. As a return is halten. not possible, the historically restored Nikolaikirche in Das jüngste Kind der Freiberger Orgelfamilie ist Freiberg and future concert hall is to get a new “sym- „zugewandert“: Die erneuerte, von der katholischen phonic” organ, which will be built into the remaining Gemeinde genutzte Johanniskirche erhielt 1996 eine case of the old Mende organ. zweimanualige Orgel mit 15 Registern von der Firma The youngest child of the Freiberg organ family is Alfred Führer, Wilhelmshaven, die 1993 zunächst in “immigrated”. The renewed Johanniskirche (St John’s Hamburg-Blankenese aufgestellt war. Church) used by the Catholic parish got a two-man- Rund um Freiberg bis hinauf ins Erzgebirge er- ual organ with 15 stops in 1996, built by the company streckt sich eine reiche Orgellandschaft. Sie enthält Alfred Führer of Wilhelmshaven, which had first been zwei der ältesten sächsischen Orgeln in Lippersdorf set up in Hamburg-Blankensee in 1993. (aus dem Anfang des 17. Jahrhunderts) und Klein­ In the surroundings of Freiberg up to the Erzge- olbersdorf (von 1693), deren Erbauer unbekannt sind. birge (Ore Mountains) a rich organ scene is to be Hauptanziehungspunkte sind die Silbermann- found including two of the oldest Saxon organs in ­Orgeln, die durchweg in neuester Zeit restauriert wur- Lippersdorf (from the beginning of the 17th century) den, unter anderem in Forchheim, Frankenstein, Groß- and Kleinolbersdorf (from 1693) of unknown origin. hartmannsdorf, Helbigsdorf, Nassau, Niederschöna, The main attraction are Silbermann’s organs Oederan, Pfaffroda und Zöblitz. which have all been restored lately, among others Silbermanns Schüler und Mitarbeiter Zacharias in Forchheim, Frankenstein, Großhartmannsdorf, Hel- Hildebrandt schuf sein 1722 geweihtes Meisterstück bigsdorf, Nassau, Niederschöna, Oederan, Pfaffroda für das nahe Freiberg gelegene Langhennersdorf. 1910 and Zöglitz. von Johannes Jahn, Dresden, umgebaut, erhielt die Silbermann’s pupil and associate Zacharias Hilde- Orgel zwischen 1989 und 1996 durch Kristian Weg- brandt built his work to qualify as master craftsman scheider, Dresden, ihre Originalgestalt zurück. for the village of Langenhennersdorf near Freiberg. It

40 | | 41 In unterschiedlichem Zustand erhalten sind Werke was inaugurated in 1722. It was transformed back to der Silbermann-Schüler Johann Georg Schön (Her- its original shape by Kristian Wegscheider of Dres- zogswalde) und Adam Gottfried Oehme (Brand- den between 1989 and 1996 after it had been rebuilt ­Erbisdorf, Cämmerswalde, Kleinwaltersdorf, Tutten- by Johannes Jahn of Dresden in 1910. Organs by

dorf, Weigmannsdorf und Zethau). Silbermann’s pupils Johann Georg Schön (Herzogs­ freiberg Außerhalb der Silbermann-Schule stehen Orgeln walde) and Adam Gottfried Oehme (Brand-Erbisdorf, von Georg(e) Renkewitz (Renckwitz), Augustusburg, Cämmerswalde, Kleinwaltersdorf, Tuttendorf, Weig­ im Schloss Augustusburg (gemeinsam mit Gottfried mannsdorf and Zethau) have been preserved in dif- Bellmann gebaut) und Johann Ernst Hähnel, Meißen, ferent condition. Organs not belonging to the Silber- in Mittelsaida. Den Einfluss Silbermanns im 19. Jahr- mann School are to be found in Schloß Augustusburg hundert zeigen Instrumente von Johann Christian (Castle Augustusburg) built by Georg(e) Renkewitz Kayser, Karl Jeheber, Christian Friedrich Göthel und (or Renckwitz) of Augustusburg together with Gott- Carl Eduard Schubert. Die Brücke zum Orgelbau des fried Bellmann and as well in Mittelsaida built by 20. Jahrhunderts schlug vor allem das Schaffen der Johann Ernst Hähnel of Meißen. The instruments of ­Familie Jehmlich. Johann Christian Kayser, Karl Jeheber, Christian Frie- drich Göthel and Carl Eduard Schubert show Silber- mann’s influence in the 19th century. The links to 20th century organ building were forged above all by the work of the Jehmlich family.

Die Orgel der Petrikirche (Gottfried Silbermann, 1735 – II/32)

I. Hauptwerk II. Oberwerk Pedal Principal. 16. Fuß. Qvinta Dena. 16. Fuß. Groß Untersatz 32.Fuß. Octav Principal. 8. Fuß. Principal 8. Fuß. Principal Bass. 16.Fuß. Viol Di Gamba. 8. Fuß. Gedackts. 8. Fuß. Octaven Bass. 8.Fuß. Rohr-Flöte. 8. Fuß. Qvinta Dena. 8. Fuß. Possaune. 16.Fuß. Octava 4. Fuß. Octava. 4. Fuß. Trompete. 8.Fuß. Spitz-Flöte. 4. Fuß. Rohr-Flöte. 4. Fuß. Qvinta. 3. Fuß. Nassat. 3. Fuß. Octava. 2. Fuß. Octava. 2. Fuß. Nebenregister Tertia. aus 2. Fuß. Qvinta. 1 1/2 Fuß. Tremulante. (Ow.) Cornet. 4. fach. (ab c1) Sufflöt. 1. Fuß. (ursprünglich Tremulant Hauptwerk, jetzt pneu- Mixtur. 4. fach. Sechst Qvint Altra (4/5’, ab c1 1 3/5’) matischer Tremulant Oberwerk) Cymbel. 3. fach Mixtur. 3. fach. Schwebung. (ursprünglich Tremulant Ober- Fachott. 16. Fuß. Vox Humana. 8. Fuß. werk, jetzt stillgelegt) Trompete. 8. Fuß. Schiebekoppel II/I Bassventil. (Ventilkoppel I/P.) Klingel.

Klaviaturumfänge: C, D–c3 bzw. C, D–c1 Stimmton: gegenwärtig 438,6 Hz/a1 Temperatur: gegenwärtig „Wohltemperierung“, zentrale Dreiklänge entsprechen der „Silbermann-Sorge“-Temperatur. Annäherung an die ursprüngliche Stimmtonhöhe und Temperatur ist vorgesehen.

42 | | 43 Abendmusiken, Orgelkonzerte, Gottfried-Silbermann-Gesellschaft e. V., Gottfried-Silbermann-Tage und der Internationale Gottfried-Silbermann-Orgelwettbewerb

Mit den oben genannten Veranstaltungen und Aktivitäten erfüllt die Stadt Freiberg (und ihr Umland) her- freiberg vorragend die 1997 in Toulouse ausgesprochenen Bedingungen für eine ECHO-Mitgliedschaft. Natürlich werden die Freiberger Gottfried-Silbermann-Orgeln als Eigentum der Kirchengemeinden vor allem in den Gottesdiensten gespielt. Darüber hinaus veranstalten die Petri- und Jakobikirchgemeinden ein- zelne Orgelkonzerte. Die Domgemeinde ist seit 1939 Veranstalter einer mittlerweile auch international bekannten Orgelkonzer- treihe, der Freiberger Abendmusiken. Ursprünglich, vor allem in den Kriegsjahren, fanden diese Abendmusi- ken eher punktuell statt. Im Laufe der Zeit entwickelte sich daraus eine immer umfangreichere Konzertreihe. Inzwischen erklingen an jedem Donnerstag, 20.00 Uhr – von Mitte Mai bis Ende Oktober – die beiden berühm- ten Orgeln des Freiberger Domes. Seit ihrer Teilrestaurierung ist auch die kleine Silbermannorgel regelmäßig in den Abendmusikzyklus zur großen Freude der zahlreichen Hörerschaft einbezogen. OrganistInnen aus Deutschland, Europa und auch aus Übersee (und selbstverständlich auch der „Hausor- ganist”) musizieren vor begeistertem Publikum. Bis zur politischen Wende stiegen die wöchentlichen Zuhör- erzahlen auf ca. 350 je Donnerstag an. Nach dem Umbruch sanken die Hörerzahlen der insgesamt 24 Orgel- konzerte auf ca. 200 wöchentlich ab. Trotzdem bedeutet dies für eine Stadt mit ca. 46.000 Einwohnern ein stattliches Ergebnis, das sich zumindest deutschlandweit sehen lassen kann. Im Bachjahr 2000 stieg die An-

Evening recitals, Organ Recitals, Gottfried-Silbermann-Gesellschaft e. V. (Gottfried Silbermann Society), Gottfried-Silbermann-Tage (Gottfried Silbermann Festival) and the International Gottfried Silbermann Organ Competition

Due to the events and activities mentioned above the town of Freiberg (and its surroundings) meet the requirements for an ECHO membership that were set in Toulouse in 1997 well. Of course, all of the Silbermann organs in Freiberg as property of the parishes are above all played in church services. In addition to this, the parishes of the Petrikirche (St Peter’s Church) and the Jakobikirche (St Jacob’s Church) organise a few organ recitals. Since 1939, the parish of the Freiberger Dom (Freiberg Cathedral) has been the promoter of a series of organ recitals, the Freiberger Abendmusiken (Freiberg Evening Recitals), which meanwhile have also become known abroad. Originally, especially during the years of World War II, the evening recitals took place more or less occasionally. During the years, an extensive series of recitals developed gradually. Now, the two famous organs of Freiberg Cathedral are to be heard every Thursday at 8 o’ p.m. from the middle of May to the end of October. Since its partial restoration, the small Silbermann organ has also been included in the series of evening recitals to the delight of the numerous listeners. Organists from Germany, Europe and also from overseas (and, of course, also the organist of the cathedral) play in front of an enthusiastic audience. Until the political change in the East of Germany, the weekly number of listeners increased to about 350 per week. After 1989, the number of visitors of the altogether 24 organ recit- als decreased to approx. 200 every week. Nevertheless, considering that Freiberg is a town of about 46.000 inhabitants, this is a considerable result, which does not need to fear comparison at least not with other Ger- man towns. During the Bach Year 2000, the number of listeners increased again to approx. 250 (also partly due to the annual meeting of the GdO in Freiberg). At the beginning, singers and instrumentalists as well as choirs performed in turn with the organists. Already under Hans Otto, organist at Freiberg Cathedral, the con-

44 | | 45 zahl der HörerInnen wieder auf durchschnittlich 250 an (auch durch die Jahrestagung der certs gradually changed to mere organ recitals. This tradition was continued, apart from a GdO in Freiberg bedingt). Anfangs musizierten Gesangs- und Instrumentalsolisten sowie few exemptions, by his successor Dietrich Wagler in 2001, among others 14 organists from Chorensembles im Wechsel mit den Soloorganisten. Schon unter Domorganist Hans Otto 11 ­countries will perform at the evening recitals, as well as the top five of the participants of wandelten sich die Programme mehr zu reinen Orgelkonzerten. Diese Tradition setzte Dom- the IVth International Gottfried Silbermann Organ Competition and for the first time two

organist Dietrich Wagler mit wenigen Ausnahmen fort. Im Jahr 2001 spielen unter anderen colleagues from the new ECHO partnership. freiberg 14 ausländische Organisten aus 11 Ländern zu den Abendmusiken, auch die fünf bestplat- An important organ festival takes place in Freiberg every two years in September: the zierten Teilnehmerinnen und Teilnehmer des IV. Internationalen Gottfried-Silbermann-Or- Gottfried-Silbermann-Tage (Gottfried Silbermann Festival), which dates back to the year gelwettbewerbes und erstmals auch zwei Kollegen der noch neuen ECHO-Partnerschaft. 1978 and has been combined with the International Gottfried Silbermann Organ Com- In Freiberg findet alle zwei Jahre im September ein bedeutendes Orgelfestival statt: petition since 1993. The Gottfried-Silbermann-Gesellschaft e. V. (Gottfried Silbermann So- die Gottfried-Silbermann-Tage, die auf das Jahr 1978 zurückgehen und seit 1993 mit dem ciety) which at the moment numbers about 350 members is the promoter of the Gott- ­Internationalen Gottfried-Silbermann-Orgelwettbewerb verbunden sind. Die Gottfried- fried-Silbermann-Tage and the International Gottfried Silbermann Organ Competition in Silbermann-Gesellschaft e. V. (zur Zeit etwa 300 Mitglieder) ist der Veranstalter der Gott- co-operation with the Freiberg parishes, Freiberg Council, the Mittelsächsischer Kultur- fried-Silbermann-Tage und des Internationalen Gottfried-Silbermann-Orgelwettbewerbes. raum, the Sächsisches Ministerium für Wissenschaft und Kunst ( Saxonian Ministry on Sie tut dies in Zusammenarbeit mit den Kirchengemeinden, der Stadt Freiberg, dem Mittel- ­Sciences and Arts) and other (industrial) supporters. Above all, the Ostdeutsche Sparkas- sächsischen Kulturraum, dem Sächsischen Ministerium für Wissenschaft und Kunst und senstiftung für Kultur (East German Savings Bank Foundation for Culture) along with the anderen Förderern (industrielles Umfeld Freibergs). Vor allem die Ostdeutsche Sparkas- Kreissparkasse Freiberg (Freiberg Savings Bank) and other savings banks have become the senstiftung für Kultur in Verbindung mit der Kreissparkasse Freiberg und anderen Sparkas- main supporters of our work. sen entwickelte sich zum Hauptförderer unserer Arbeit. Geleitet wird die G. S. Gesellschaft The Gottfried Silbermann Society is headed by a presidency (with the current president durch ein Präsidium (derzeitiger Präsident ist KMD Dietrich Wagler, Freiberg und Vizeprä- KMD Dietrich Wagler, Freiberg and vice president Dr. Felix Friedrich, Altenburg) the daily sident Dr. Felix Friedrich, Altenburg), die laufenden Geschäfte erledigt Frau Magdalena business is settled by Magdalena Czolbe at the Freiberg office and, since 2000, a council Czolbe in der Geschäftsstelle Freiberg, und seit 2000 berät ein Beirat die Gesellschaft in has been advising the society on financial, media, marketing and legal matters. Fragen der Finanzen, der Medien, des Marketings und des Rechtes. The audience is to be given an understanding of the particulars of organ music with In ca. 25 – 30 Konzerten (vor allem Orgelkonzerten), nicht nur in Freiberg, sondern in the help of about 25 – 30 concerts (especially organ recitals) which take place not only in möglichst vielen Orten mit Orgeln Gottfried Silbermanns, wird das Besondere dieser Orgel- Freiberg but also in as many places as possible which own Silbermann organs. This includes kunst den Hörern nahegebracht. Dazu gehören auch Konzerte mit berühmten Chören und two concerts of famous boys choirs and the award-winners of the past and current organ den Preisträgern des vergangenen und gegenwärtigen Orgelwettbewerbes, Orgelkonzerte competitions, special organ recitals for pupils, an organ excursion, a scientific symposium speziell für Schüler, eine Orgelexkursion, ein wissenschaftliches Symposium und der inter- and the international organ competition (also exhibitions in case of sufficient financial nationale Orgelwettbewerb (bei finanziellen Möglichkeiten auch Ausstellungen). means). Dieser ist in erster Linie kein virtuoser Wettbewerb, sondern es geht vor allem um den The organ competition is not so much a virtuoso competition as a competition where Umgang mit den Orgeln G. Silbermanns (Registrierung, Spielweise, Anschlag usw. ). Die the handling of the organs of Gottfried Silbermann (i. e. registrations, manner of playing, erste Runde findet in der Freiberger Jakobikirche, die zweite in der Petrikirche und die End- key touch) is important. The first examination takes place in the Jakobikirche (St Jacob’s runde im Dom statt. Dieser Wettbewerb findet guten Zuspruch (1999 hatten wir ca. 55 Vor- Church) Freiberg, the second examination in the Petrikirche (St Peter’s Church) and the final anmeldungen; 27 aus 12 Ländern wurden für die erste Runde zugelassen). Er wird in den examination in Freiberg Cathedral. The competition is quite popular (in 1999 approx. 55 Fachzeitschriften und an den Hochschulen ausgeschrieben. people applied, 27 of them from 12 countries were admitted to the first examination). It is 2001 finden die 14. Gottfried-Silbermann-Tage in Verbindung mit dem V. Internationa- announced in specialist journals and at colleges of music. len Gottfried-Silbermann-Orgelwettbewerb vom 11. – 23. September in Freiberg, Dresden The 14th Gottfried-Silbermann-Tage will take place in 2001 from September, 11 to Sep- und Umgebung statt. Auch die Bundesländer Thüringen und Brandenburg, die ebenfalls tember, 23 in Freiberg, Dresden and its surroundings. The federal state Thuringia and the ­Gottfried-Silbermann-Orgeln besitzen, sind einbezogen. ­federal state Brandenburg which both own Silbermann organs will also be venue of the Im Jahre 2003 hat Gottfried Silbermann seinen 250. Todestag. Darum will die Gottfried- ­festival. Silbermann-Gesellschaft e. V. die ECHO-Partner zu den 15. Gottfried-Silbermann-Tagen im In 2003, there will be the 250th anniversary of the death of Gottfried Silbermann. On this September 2003 herzlich einladen. occasion, the Gottfried-Silbermann-Gesellschaft e. V. would like to invite its ECHO partners Wir freuen uns sehr auf diese und weitere Vorhaben. to the 15th Gottfried-Silbermann-Tage in September 2003. We are looking forward to this and other events.

Dietrich Wagler, Domorganist Dietrich Wagler, Organist at Freiberg Cathedral

46 | | 47 g ö t e b o r g s w e d e n

| 49 göteborg

Jörgen Linder Stadsfullmäktiges ordförande

Welcome to Göteborg!

The City of Göteborg has developed during the 20th century from a harbour and indus- trial city to a centre with many faces: high-tech industry, education, research and – not least – culture. The Göteborg Symphony Orchestra has been appointed the National Swed- Välkommen till Göteborg! ish Orchestra; close to the waterfront is the newly built Opera House; the theatre life of the City is intense; the Film Festival and the Book Fair are events with a national reputation; Göteborg har under 1900-talet utvecklats från en hamn- och industristad till ett mång- and the Universities of the City contribute a great deal to the cultural life (e. g. art, music, facetterat centrum för näringsliv, utbildning, forskning och – inte minst – kultur. Göteborgs theatre, design, and the International Science Festival) Symfoniker har utnämnts till Sveriges nationalorkester, nära hamnen står sedan några få The cultural life is also building bridges to other parts of Europe. One important aspect år ett nytt operahus, på många scener i staden råder intensiva teateraktiviteter, filmfestiva- is the organ and church music, building on firm traditions as well as pioneer endeavours. len och bokmässan är händelser av nationell betydelse och högskolevärlden kan inte bara Within the field of organ culture one could mention historical organ instruments as well uppvisa forskningsfält av internationell betydelse utan ger också betydande bidrag till kul- as – not least – the unique contemporary organ research built on historical methods and turlivet (konst, formgivning, musik, teater, internationella vetenskapsfestivalen etc.). qualities. The close connection between historical heritage, contemporary research and Kulturlivet slår också viktiga broar till andra delar av Europa. En viktig aspekt är här orgel- new approaches which characterizes the present organ culture of Göteborg has a potential och kyrkomusiken som i Göteborg bygger på såväl fasta traditioner som banbrytande nyan- to reach far beyond the local cultural scene. satser. Inom orgelkulturens område kan nämnas både en rad tidstypiska instrument och An organ and cultural backdrop of Göteborg with European perspectives and bridges – ett unikt nyskapande av orglar utifrån kvalificerad historisk forskning. Det nära samband perhaps this is a sign of the future: the organ as a symbol of the European vision and inte- mellan historiskt arv, samtida forskning och framtidssyftande nyansatser som utgör ett gration, that in order to succeed must be rooted in cultural and human soil. kännemärke för dagens göteborgska orgelkultur är en potential som egentligen har giltig- het långt utanför kulturområdet. Jörgen Linder Ett göteborgskt kultur- och orgellandskap med europeiska perspektiv och broar – kan- Lord Mayor of Göteborg ske är det ett framtidstecken: orgeln som symbol för en europeisk integration som för att lyckas framför allt måste rotas i kulturell och mellanmänsklig jord.

Jörgen Linder Stadsfullmäktiges ordförande

50 | | 51 Göteborg GOArt – Göteborg Organ Art Center

Göteborg är Sveriges andra stad och en viktig port mot väster. Det Göteborg vi idag Orgelforskningen i Göteborg, samlad under den gemensamma beteckningen Göteborg Organ Art Center känner fick sina stadsrättigheter 1621. Stadsplanen skapades enligt holländska förebilder, (GOArt), är idag en centrumbildning inom Göteborgs universitet och har efter några års arbete i projektform med kanaler och befästningsverk. Göteborg var redan från början en internationellt präg- inom såväl universitetet som inom Chalmers tekniska högskola nått en stor bredd och unik fördjupningsnivå. göteborg lad stad. Den första stadsstyrelsen bestod av tio holländare, sju svenskar och en skotte, och Orgelforskningsprofilen är tvärvetenskaplig och bygger därmed broar mellan naturvetenskap, humaniora, staden hade fyra officiella språk. Under 1700-talet blev Göteborg ett viktigt centrum för konstnärligt utövande och teknik. En viktig fokusering för forskningen är att med moderna hjälpmedel återer- handel och sjöfart. Holländare, tyskar, engelsmän och skottar utövade ett stort inflytande övra det kunnande som en gång låg till grund för skapandet av de kvalitativt unika historiska orglar som idag på affärs- och handelslivet – och på stadens arkitektur. utgör en av Europas allra mest betydelsefulla kulturskatter. På 1800-talet etablerades ett flertal betydelsefulla skeppsvarv och dessa kom att sätta En viktig pusselbit i verksamheten utgörs av orgelforskningsverkstaden, som möjliggör samverkan mellan sin prägel på staden ända fram till omkring 1980. Vid 1900-talets början kom befolknings- forskning och hantverk. I verkstaden kan forskningsresultat prövas, instrument byggas eller restaureras och mängden att dubbleras på ca 30 år och en allt mer omfattande industri växte fram. Volvo, hantverkskunskapen fungera i en dynamisk process tillsammans med vetenskapligt kunnande. SKF och skeppsvarven expanderade liksom textilindustrin. Idag är Göteborg Sveriges vikti- Orgelforskningen bygger broar mellan dåtid-nutid, teknik-humaniora, vetenskap-konst, modern teknik- gaste handels- och industristad. äldre hantverk, forskning och samhälle samt mellan Sverige och Europa. EU-projektet ORSEV, The Organ as Dagens Göteborg är ett viktigt centrum för forskning och teknologi vid lärosäten som a Symbol of the European Vision, som koordineras av GOArt, är ett av flera uttryck för hur orgeln som ett Göteborgs universitet, Chalmers tekniska högskola och Sahlgrenska universitetssjukhuset. instrument med starka historiska traditioner kan få nutida betydelse som symbol för vår tids europeiska Staden är också hemvisten för många internationellt välkända företag, som exempelvis ­enhetsvision. Volvo, SKF, Ericsson, ESAB, Astra Zeneca, Hasselblad m. fl.

Göteborg GOArt – Göteborg Organ Art Center

Göteborg – or with its international name “Gothenburg” – is Sweden’s second largest The Göteborg Organ Art Centre – GOArt – within Göteborg University is a recently established research and city and is situated on the West Coast. The modern Göteborg was granted city status development centre for organ art. The centre will provide an inspiring setting for study and research into all in 1621. The city plan was drawn up according to the Dutch model, with canals and for- aspects of the art and the instrument – interpretation of the organ music from different periods, improvisa- tifications. Göteborg was an international city from the very beginning. The first City tion in all possible genres, research into the lost art of pre-industrial organ-building, studies of sources, the Board consisted of ten Dutch- history of ideas and aesthetics, and much more. men, seven Swedes and a Scots- The underlying objective at the Göteborg Organ Art Centre is to cover the entire range, from sources, music man, and the city had four offi- and instruments to history, ideology and artistry, all in one place. cial languages. In order to realize this objective, we have endeavoured to bring together research and education, crafts- During the 1700s, Göteborg manship and production methods with artistic experience and application, in the certainty that active contact became an important commer- at these levels will provide the best possible guarantee of future quality. cial and maritime center. The As an international forum in an exciting Scandinavian environment, the centre is providing a meeting 1800s saw the establishment of place for artists and researchers, musicians and organ-makers. It will bring together art and liturgy, present the most significant shipyards, and past, teacher and student in a milieu where creativity, vision, unpretentiousness and openness will be the and these made their mark on watchwords. trade and industry right up to Through the EC Raphael project “The Organ as a Symbol of the European Vision” (ORSEV), which is being the 1980s. Around 1900, the co-ordinated by GOArt, the organ is also displaying its potential as a unifying symbol for European thought, population doubled in 30 years, life and history. and the early 1900s witnessed rapid industrialization. Volvo, the shipyards and SKF expanded, as did the textile industry. Today, Göteborg is Sweden’s most important trade and industrial city. The contemporary Göteborg is a center for research and technology at institutes such as Göteborg University, Chalmers University of Technology and the Sahlgrenska University Hospital. The city is also the home of many internationally well-known companies, such as Volvo, SKF, Ericsson, ESAB, Astra Zeneca and Hasselblad – to name but a few.

52 | | 53 Internationella Orgelakademin

Göteborgs internationella orgelakademi startades 1994 och har sedan dess anordnats vartannat år. Aka- demin har festivalens många kännetecken men erbjuder också ett koncept som förenar orgelns publika bety- delse med universitetsforskningens krav. göteborg Akademin är en mötesplats för kunskap. Ursprungligen kommer begreppet från namnet på den athénska lund i vilken Platon samlade och undervisade sina elever. I den tidens kunskapsförmedling var dialogen och diskussionen viktiga pedagogiska hörnstenar. På en liknande idé har vi byggt den internationella orgelakade- min: vi möts för att utbyta kunskaper och erfarenheter som är spridda över hela jordklotet. Utifrån denna grundtanke är Göteborg International Organ Academy en väsentlig del av de tvärvetenskap- liga verksamheterna inom Göteborgs universitet: Göteborg Organ Art Center (GOArt) samt Chalmers tekniska högskola, inom områden som musik, konst, humaniora, naturvetenskap, hantverk och teknik. Det unika med musiken som forskningsfält är också att den har en enastående förmåga att populärveten- skapligt kommunicera med allmänheten. Därför erbjuds under akademin en omfattande konsertverksamhet som utgör “sista länken” i den kedja av aktiviteter som universitetets orgelverksamhet består av: källa, musik, instrument, artist, idésammanhang och lyssnare.

Välkommen!

The International Organ Academy

An Academy is by definition not an ordinary festi- ­Chalmers University of Technology, touching many val – it is much more! A festival has the important areas: music, art, humanities, science, craftsmanship, function of collecting together people with a com- and pedagogy. mon interest in order to enjoy something which is The uniqueness of music as a research field is that normally difficult to achieve. An Academy worth its it has the exceptional power to communicate directly name fulfils also other needs. in a popular way to the general public. Therefore, the An Academy is a meeting-place to exchange Academy also presents many concerts which form knowledge. Originally the idea comes from the name the last link in the chain of experience within the of that grove in Athens where Plato taught his pu- framework of GOArt’s research goals: source – music – pils. In that time two important pedagogical corner- instrument – artist – ideological context – listener. stones were dialogue and discussion. The Interna- tional Organ Academy was founded on a similar idea: Welcome to the Academy! we meet in order to exchange knowledge and experi- ence which are normally spread all over the world. Here in Göteborg we invite you to take advantage of the unique opportunity to share the most impor- tant international research and the foremost artistry in the art of the organ. Growing out of this fundamental idea, the Göte- borg International Organ Academy (founded in 1994) has become an important biennial conference of the interdisciplinary work of the Göteborg Univer- sity (Göteborg Organ Art Centre – GOArt) and the

54 | | 55 The European Organ Symposium The European Organ Symposium 9 – 14 juni 2001 i Göteborg June 9 – 14, 2001, Göteborg, Sweden EOS 2001 EOS 2001 www. hum. gu. se / goart / eos www. hum. gu. se / goart / eos göteborg Orgeln har en tydlig och alldeles egen europeisk identitet. De visioner av en europeisk The organ has a clear and completely unique European identity. The visions of a Euro- enhet som en gång bidrog till att skapa det Europa vi idag känner levandegjordes i orgeln pean unity, which once contributed to the formation of the Europe we recognize today, are som musikinstrument och kulturbärare. Orgeln reflekterar europeiskt tänkande och euro- given expression by the organ as a musical instrument and bearer of culture. The organ peiska kulturtraditioner. reflects European thought and European traditions. Idag är detta kulturarv på många håll allvarligt hotat. Det är en utmaning för vår tid att Today, we are faced with the challenge to preserve a seriously threatened legacy of bevara orgelarvet. Samtidigt måste orgeln som musikinstrument och kulturföremål levan- ­historical organs. At the same time, this heritage should be made to live for the people of degöras för vår tids människor. our time.

Ett första europeiskt orgelsymposium i Göteborg, 9–14 juni 2001, arrangerades som en The European Organ Symposium, Göteborg, June 9–14 2001 (an event within the EC del av EU-projektet ORSEV (The Organ as a Symbol of the European Vision) och utgick från project ORSEV – The Organ as a Symbol of the European Vision) was a sequel to the Varazdinkonferensen i Kroatien år 2000 med utvidgning mot ett europeiskt helhetsper- ­Varazdin conference held in Croatia, September 2000. It will be followed by a series of spektiv. Ytterligare konferenser är planerade i Lissabon (2002), Bratislava (2003), Bologna European symposia: Lisbon (2002), Bratislava (2003), Bologna (2004), Vilnius (2005), Great (2004), Vilnius (2005), Storbritannien (2006) och Frankrike (2007). ­Britain (2006), and France (2007).

Konferenserna vänder sig till representanter för kulturvårdsorganisationer Target groups: European and EC authorities and heritage organizations, och kulturvårdsmyndigheter i Europa, utbildnings- och forskningsenheter, educational and research institutes, researchers (organ, musicology, heritage protection), forskare, orgelbyggare samt orgelexperter. organ builders, organ experts. Konferensernas målsättning är att främja en aktionsplan för det europeiska Objective: The creation of a European Action Plan for the organ heritage within historiska orgelbeståndet innebärande bl. a. the following areas: • rättsskydd för orgelbeståndet på ett europeiskt plan • Legal protection of the European organ heritage • övergripande kriterier för orgelrestaurering • European co-ordination and standards for organ preservation • kommunikation av det europeiska orgelkulturarvet • Communication of the organ heritage to the public • europeiska listor för särskilt värdefulla historiska instrument • Creation of European organ heritage lists • skapande av europeiska pilotprojekt samt forsknings- och utbildningsmodeller • Development of research and education models • Development of European pilot projects

Göteborgs Internationella Orgelakademi Göteborg International Organ Academy 5 – 15 aug. 2002 (augusti 2004, 2006, … ) Aug. 5 – 15, 2002 (August 2004, 2006, … ) www. hum. gu. se / goart / organac. htm www. hum. gu. se / goart / organac. htm

Tema: Nordeuropeisk barock, Sekelskiftet 1800/1900 Topic: North European Baroque, Late 19th and 20th Century Festkonserter, föreläsningar, workshops,­ paneldiskussioner Festival Concerts, Lectures, Workshops, Panel Discussions

Ytterligare information för båda evenemangen: Further information for both events: GOArt / Ulla Ericson GOArt / Ulla Ericson Box 200, 405 30 Göteborg Box 200, SE 405 30 Göteborg, Sweden Tel 031 - 773 52 11 Tel +46 - 31 - 773 52 11 Fax 031 - 773 52 00 Fax + 46 - 31 - 773 52 00; goart @ musik. gu. se goart @ musik. gu. se

56 | | 57 Orglar i Göteborg Organs in Göteborg

Örgryte nya kyrka Örgryte New Church göteborg Nordtyska forskningsorgeln The North German Research Organ

Målsättningen för det nordtyska orgelforsknings- The aim of the North German Organ Research projektet har varit att på vetenskaplig grund rekon- Project has been to reconstruct, on a scientific basis, struera en 1600-talsorgel i enlighet med de principer a 17th-century North German organ in the style of Arp som vägledde den berömde nordtyske orgelbyggaren Schnitger (1648–1719). Within the project, methods of Arp Schnitger (1648–1719). En viktig del av projektet the ancient organ building handicraft have been re- har varit rekonstruering av de gamla hantverksme- constructed. This reconstruction has been possible toder som en gång ledde fram till instrumentkvalite- through the combination of extensive research on ter av oöverträffat slag. Denna hantverksutveckling pipe material, acoustics and air flow dynamics, and har gjorts möjlig genom en omfattande forskning through experimentation and development of the på pipmetaller, inom akustik och flödesdynamik och handicraft in the organ research workshop. The façade genom försöksverksamhet på Göteborgs universitets of the organ has been modeled after the Schnitger orgelforskningsverkstad. organ in Lübeck Cathedral (1699). (This organ was de- stroyed during World War II.)

Werck (CDEFGA–c3) Ober Positiv (CDEFGA–c3) Pedal (CD–d1) Principal 16’ Principal 8’ Principal 16’ Quintaden 16’ Hollfloit 8’ SubBass 16’ Octav 8’ Rohrfloit 8’ Octav 8’ Spitzfloit 8’ Spitzfloit 4’ Octav 4’ Octav 4’ Octav 4’ Rauschpfeiffe 3fach Super Octav 2’ Nassat 3’ Mixtur 6.7.8fach Mixtur 6.7.8fach Gemshorn 2’ Posaunen 32’ Rauschpfeiff 2fach Octav 2’ Posaunen 16’ Trommet 16’ Scharff 6fach Dulcian 16’ Cimbel 3fach Trommet 8’ Rück Positiv (CDE–c3) Trommet 8’ Trommet 4’ Principal 8’ Vox Humana 8’ Cornet 2’ Quintadena 8’ Zincke 8’ Gedact 8’ Couplers: Octav 4’ Brust Positiv (CDEFGA–c3) OP/W, BP/W Blockfloit 4’ Principal 8’ Octav 2’ Octav 4’ Cimbelstern Quer Floit 2’ Hollfloit 4’ Vogelgesang Sieffloit 1 1/2’ Waltfloit 2’ Trommel Sexquialt 2fach Sexquialter 2fach Scharff 6.7.8fach Scharff 4.5.6fach Sperrventiele: Dulcian 16’ Dulcian 8’ W, RP, OP, BP, Ped. Bahrpfeiff 8’ Trechter Regal 8’ Hauptsperrventiel

Tremulant 12 bellows of 4’ x 8’ Tremulant RP 1/4 syntonic comma meantone Tremulant Pedal

58 | | 59 göteborg

Musikhögskolan Bjurumsorgeln Per Brahe d y tillhörde Sveriges främsta adels- Manual (CDE–c3) släkt med stora egendomar i hela södra och meller- Grob Gedact 8’ sta Sverige. Till sitt slott Wisingsborg på Visingsö i Principal 4’ sjön Vättern lät han köpa in en orgel av Nicolaus Man- Klein Gedact 4’ derscheidt från Nürnberg. Vi vet inte exakt när or- Octava 2’ Jonsereds kyrka geln byggdes men man bedömer byggnadsåret till Quinta 1 1/2’ Orgeln byggdes 1783 av Pehr Schiörlin från Linkö- c:a 1643–51. År 1972–76 restaurerades orgeln av Mads Super Octava 1’ ping för Engelska församlingen i Göteborg men sat- Kjersgaard, Uppsala. Regalstämman som tidigare er- Regal 8’ tes troligen aldrig upp i församlingens dåvarande satts med en Cymbel rekonstruerades. Sedan en tid är Tremulant kyrksal. 1789 överläts den till Örgryte kyrka i Göteborg orgeln deponerad på Musikhögskolan vid Göteborgs där den stod fram till 1868 då den såldes till Jonse- universitet. reds kyrka utanför Göteborg. 1950 renoverades orgeln av Nils Hammarberg. En delrestaurering genomför- Göteborg University, School of Music des 1991 av Herwin Troje, Göteborg. The Bjurum Organ The “Bjurum organ” was probably built between Jonsered Church 1643 and 1651 by the Nürnberg organbuilder Nico- The organ was built in 1783 for the English Church Manual (C–f3) laus Manderscheidt. In 1651, the instrument served in Göteborg but probably never erected there. In 1789 Principal 8’ D from c1 as a house organ in Visingsborg Castle on Vising Is- it was sold to the Örgryte Church. The instrument Gedakt 8’ land, owned by Per Brahe the younger. In 1829, the came to Jonsered in 1868 and in 1950 a major resto- Principal 4’ B/D instrument is mentioned in the inventory of Bjurum ration and rebuilding was carried out by the Ham- Spetsflöjt 4’ Church. It was later bought by Västergötlands An- marberg workshop. The organ was also partly re- Rörflöjt 4’ tiquarian Association and put into a warehouse in stored in 1991 by Herwin Troje. Qvinta 3’ Skara. The organ was restored by Mads Kjersgaard, Oktava 2’ Uppsala, in the 1970s (including a reconstruction of Trumpet 8’ B/D the Regal). The instrument is currently on loan to the Göteborg University. Pedal (C–c1) pull-downs

Ett diskantregister, troligen Vox Virginea 8’, saknas A treble stop, probably Vox Virginea 8’, is missing

60 | | 61 Örgryte nya kyrka Willis-orgeln Orgeln byggdes ursprungligen 1871 för S:t Ste- phens church i Hampsted, London av den berömde orgelbyggaren Henry Willis. Då S:t Stephens togs ur göteborg bruk under 1980-talet monterades orgeln ned och såldes till en orgelbyggare i Holland. Orgeln sattes så I. Choir (C–g3) småningom upp i Göteborg av orgelbyggare Tore Jo- Lieblich Gedact 8’ hansson som interimsinstrument i orgelsalen i den Dulciana 8’ då nybyggda musikhögskolan i väntan på den fransk- Gemshorn 4’ symfoniska orgel som nu står där. Efter sin tid på mu- Flute Harmonique 4’ sikhögskolan såldes orgeln till Örgryte nya kyrka där Piccolo 2’ den nu fått en permanent placering i det nyrestaure- Corno di Bassetto 8’ rade och vackra nygotiska kyrkorummet. II. Great (C–g3) Double Diapason 16’ Open Diapason 8’ Viola 8’ Claribel Flute 8’ Octave 4’ Quinte 2 2/3’ Engelska kyrkan Super Octave 2’ Orgeln byggdes 1862 av Marcussen & Søn och er- I. Man (C–f3) Mixture 3ch höll 10 stämmor fördelade på två manualer och med Bordun 16’ Bombarde 8’ en pedal bestående av fyra transmissioner från hu- Principal 8’ vudmanualen. 1904 genomfördes en ombyggnad av Jubalflöte 8’ III. Swell (C–g3) Olof Hammarberg vid vilken hela verket byggdes in Viola di Gamba 8’ Contragamba 16’ i ett svällskåp. Någon gång under 1940-talet byttes Octav 4’ Open Diapason 8’ stämmorna Viola di gamba 8’, Miscelle acuta 1–3ch Miscelle acuta 1–3ch Lieblich Gedact 8’ samt Salicional 8’ ut mot Mixtur 3ch, Oboe 8’ och Prin- Gamba 8’ cipal 2’. II. Man (C–f3) Voix celeste 8’ 1988 restaurerades instrumentet av orgelbyggare Gedackt 8’ Octave 4’ Herwin Troje. Svällskåpet borttogs och det ursprung- Flauto amabile 8’ Flageolette 2’ liga lufttrycket på 74 mm VP återställdes. De utbytta Salicional 8’ Örgryte New Church Vox humana 8’ stämmorna ersattes med stämmor från en riven Flauto dolce 4’ The Willis Organ Oboe 8’ orgel av Åkerman & Lund från samma tid som origi- The organ was originally built in 1871 for S:t Cornopean 8’ nalstämmorna. Pedal (C–c1) Stephens Church in Hampstead, London, by the re- Clarion 4’ Subbas 16’ (Transm. Bordun 16’) nowned organbuilder Henry Willis. When S:t Stephens Tremulant St. Andrew’s Church Principal 8’ (Transm. Principal 8’) was taken out of use in the 1980s, the organ was dis- The instrument was built in 1862 by the Danish Violoncello 8’ (Transm. Viola di Gamba 8’) mantled and sold to an organbuilder in the Nether- Pedal (C–f1) firm Marcussen & Søn with 10 stops on two manuals Gedackt 8’ (Transm. Jubalflöte 8’) lands. The instrument was later bought and erected Grand Open Wood 16’ and with a pedal division consisting of four transmis- in Göteborg by the organbuilder Tore Johansson, as Violone 16’ sions from the main manual. an interim instrument in the Organ Hall of Göteborg Bourdon 16’ In 1904, a rebuilding of the organ was carried University’s School of Music. The organ was later sold Violoncelle 8’ out by the Hammarberg workshop, and in the 1940s to the Örgryte Church Parish, where it is now a part Ophicleide 16’ some of the old stops were replaced. In 1988 the of the beautiful neo-gothic room. organ was restored by Herwin Troje. The original wind Couplers: pressure was reïnstated and the replaced stops were Gr/P, Ch/P, Sw/P, renewed using Åkerman & Lund pipes from a disman- Sw/G, Ch/Gr, Sw/Ch, tled organ dating from the time of the original stops. Sw/Gr 4’, Sw/Gr 16’

62 | | 63 Hagakyrkan Brombaughorgeln År 1992 byggdes den orgel i Hagakyrkan som all- mänt har kommit att kallas barockorgeln eller Brom- baughorgeln. Orgelbyggare är John Brombaugh, USA. göteborg Den stil som byggaren här ville komma nära är det tidiga 1600-talet i Tyskland (med ryggpositivet i Mar- ten de Mares orgel från 1611 i Bremen som inspiration för fasaden) men orgeln kan inte sägas vara en stilko- pia. Den är enligt uppgifter den första orgel som gått på export från USA till Europa. Orgelhuset är huvudsakligen byggt i vit ek från Appalacherna och pipverkets metallegeringar har, en- ligt historiska förebilder, genomgående en hög bly- halt. Instrumentet har två kilbälgar och är stämt i medelton.

Haga Church The Brombaugh Organ The Brombaugh organ is situated in the north I. Werk (CDE–c3) transept gallery of the Haga Church in Göteborg. It Praestant 8’ was inaugurated in March 1992. The organ has been Holzprinzipal 8’ patterned to a great extent on North German instru- Gedackt 8’ ments from the early 17th century. One example of Octava 4’ this is the organ front, modeled on the Rückpositiv Spitzpipe 4’ of Marten de Mare’s organ from 1611 in the Ansgari Quinta 3’ Church in Bremen, Germany. The organ case is mainly Octava 2’ in Appalachian white oak and the alloys of the pipe- Sesquialtera 2ch work contain, according to historical patterns, a high Mixtur 4–6ch proportion of lead. Wind is supplied by two wedge Trommet 8’ bellows. Temperament: meantone. II. Brustpositiv (CDEFGA–c3) Holzgedakt 8’ Flöit 4’ Hohlquinta 3’ D Hohlflöitlein 2’ Regal 8’

Pedal (CDE–d1) Subbass 16’ Praestant 8’ (Transmission) Octava 4’ Bawrflöitlein 1’ Posaunen 16’ Trommet 8’ (Transmission) Dulcian 8’ Cornett 2’

Coupler: P/W Tremulant for the whole organ

64 | | 65 Musikhögskolan Den fransk-symfoniska orgeln Instrumentet har byggts av den I. Grand-Orgue (C–a3) Pédale (C–g1) nederländske orgelbyggaren Ver- laie des fonds: laie de fonds schueren Orgelbouw BV, Heythuy- Principal 16’ Basse acoustique 32’ sen, Nederländerna och i alla detal- Montre 8’ Soubasse 16’ göteborg jer framställts enligt den franske Salicional 8’ Contrebasse 16’ 1800-talsmästarens Aristide Ca- Bourdon 8’ Flûte 8’ vaillé-Colls filosofi (disposition och Flûte harmonique 8’ Octave 4’ mensurer, luftsystemet med diffe- Prestant 4’ laie d’anches rentierade tryck för de olika ver- laie de combinaison: Bombarde 16’ ken och stämgrupperna, Barker- Quinte 2 2/3’ Trompette 8’ maskin för spelregeringen osv.). Doublette 2’ Clairon 4’ Instrumentets fasad har emeller- Cornet IV 4’ tid inte någon särskild förebild Plein jeu IV–V 1’ Pédales de combinaison eller något specifikt 1800-talsut- Trompette 8’ Orage seende. Med utgångspunkt i det Tirasse G.O. som är grundläggande och avgö- II. Positif (C–a3) Tirasse Pos. rande för en Cavaillé-Coll-orgels laie des fonds: Tirasse Réc. uppbyggnad, funktion och fasad Cor de nuit 8’ Copula G.O. (Barker Machine) har orgeln gestaltas i enlighet med Salicional 8’ Octaves graves G.O. rummets arkitektur. Orgeln invig- Flûte traversière 8’ Appel Comb. (= Setzer) des i maj 1998. Prestant 4’ Anches Péd. Flûte douce 4’ Anches G.O. Göteborg University, Cor anglais 16’ Anches Pos. School of Music laie de combinaison: Expression Pos The French Symphonic Organ Nazard 2 2/3’ Expression Réc. This instrument was built by Quarte de Nazard 2’ Anches Réc. the organ firm Verschueren Orgel- Tierce 1 3/5’ Appel Comb. bouw BV (Heythuysen NL) in ac- Plein jeu III–IV 1 1/3’ Copula Pos. au G.O. cordance with the working meth- Cromorne 8’ Copula Réc. au G.O. ods and philosophy of the French Trémolo Réc. 19th-century master, Aristide Ca- III. Récit (C–a3) Copula Réc. au Pos. vaillé-Coll. The individual parts of laie des fonds: the instrument – the specification, Bourdon 16’ Mechanical key action measurements, wind system, and Flûte harmonique 8’ Barker Machine for the G.O.; mechanical coupling systems for Viole de Gambe 8’ Orelle system (iso-pneumatics) different divisions of the organ, as Voix céleste 8’ for the Récit well as the Barker machine for the Flûte octaviante 4’ Mechanical stop action, sup- playing action – all needed to re- Voix humaine 8’ plied with an extra “motor device” flect Cavaillé-Coll’s original instru- Basson et Hautbois 8’ that can be managed by an elec- ments. But the primary goal was laie de combinaison: tronic Combination system. to get these different parts to Nazard 2 2/3’ work together with one another Octavin 2’ Wind supply system: in a coherent and recognizable Piccolo 1’ 18 bellows (2 main bellows; French Romantic aesthetic. It was Basson 16’ 16 additional regulators: also planned that the instrument’s Trompette harmonique 8’ 6 for the Pédale, 4 for the G.O., façade would have some relation- Clairon harmonique 4’ 3 for the Récit, 2 for the Positif, ship to the original 19th-century Trémolo 1 for the Barker Machine) instruments, while still blending with the rest of the architecture of Pitch: a1 = 440 Hz (at 20 °C). the room. The organ was inaugu- Temperament: equal rated in May 1998.

66 | | 67 i n n s b r u c k a u s t r i a

| 69 innsbruck

DDr. Herwig van Staa Bürgermeister der Landeshauptstadt Innsbruck

iele Gemeinsamkeiten verbinden Europa auf kulturellem Gebiet. Entsprungen aus den Wurzeln der An- umerous common interests unify Europe in cultural aspects. Originating in the roots of antiquity and tike und des Christentums führten sie zum Begriff der Kultur des Abendlandes. Zu dieser Kultur gehört Christianity, they led to the notion of culture in the West. As part of this culture we can identify a land- Vauch eine in vielen Jahrhunderten gewachsene Orgellandschaft, die sich in den vielfältigsten Erscheinungs- scapeN of organs, grown during many centuries and penetrating our whole continent in the most diverse of bildern über unseren gesamten Kontinent erstreckt. Viele historische Berühmtheiten sind darunter und der ways. Many of the organs, of historic fame, are well known in professional circles. Such illustrious examples Fachwelt bestens bekannt. Derartige Berühmtheiten finden wir auch in Innsbruck wie zum Beispiel die Ebert- are also to be found in Innsbruck, most prominently the Ebert-organ in the Hofkirche (Court church) from the Orgel in der Hofkirche aus den Jahren 1555 – 1561, oder die ebenso berühmte Orgel in der Silbernen Kapelle der years 1555 – 1561, or the equally famous organ of the Silberne Kapelle (Silver chapel) in the Hofburg (imperial Hofburg aus der Zeit um 1580 und andere mehr. Stolz blicken wir auf diesen Orgelschatz und erfreuen uns und palace), dating back to the time around 1580, and other more. We are proudly looking at this organ-treasure, unsere Gäste mit Konzerten und Wettbewerben. delighting our guests and ourselves with concerts and competitions. Doch wir sehen uns dabei in einem weit größeren, europäischen Zusammenhang und haben uns deshalb However, we view ourselves in a much wider, i. e. European context. Therefore we have formed a partner- mit den schönen und bedeutenden Städten Alkmar, Freiberg, Göteborg, Lissabon, Roskilde, Saragossa, Tou- ship with the beautiful and significant cities of Alkmaar, Freiberg, Göteborg, Lissabon, Roskilde, Saragossa, louse und Treviso – gleichfalls Besitzerinnen von historischen Orgelschätzen – zu einer Partnerschaft zusam- Toulouse and Treviso – themselves keepers of heritage of historic organs. The partnership, named ECHO (Euro- mengeschlossen, die unter dem Namen ECHO (European Cities of Historical Organs) gemeinsame Ziele ver- pean Cities of Historical Organs) is aimed at pursuing common interests, as written down in the foundation- folgt, so wie sie in der 1998 unterzeichneten Gründungs-Charta von Toulouse festgehalten sind. charter of Toulouse in 1998. Aus Innsbrucker Sicht ist diese Partnerschaft auf einem ganz besonderen kulturellen Sektor von großer From the Innsbruck point of view, this partnership in a very specific cultural sector is of great importance Wichtigkeit und Tragweite, denn neben dem Austausch von Gedanken und Erfahrungen, von Künstlern, and scope, since it will, apart from enabling the exchange of thoughts and experience, artists, experts and Fachleuten und Publikum, wird sie vor allem auch den europäischen Gedanken mittragen und dem über- audience, above all share the European thought, hereby adding a small, but delicate cultural contribution to mächtigen ökonomischen Aspekt der Europäischen Union einen kleinen, aber sehr feinen kulturellen Beitrag the otherwise so dominant economic aspect of the European union. ­hinzufügen.

DDr. Herwig van Staa DDr. Herwig van Staa Mayor of the territorial capital of Innsbruck Bürgermeister der Landeshauptstadt Innsbruck

70 | | 71 Innsbruck, die „Alpenländische Orgelstadt”

Die Tiroler Landeshauptstadt Innsbruck kann auf eine reiche Musikgeschichte zurückblicken, die sie vor allem dem Umstand verdankt, von 1420 bis in die Mitte des 18. Jahrhunderts hinein erzfürstliche Residenz- stadt gewesen zu sein. Das musikalische Interesse und der Hang zu kultureller Repräsentation der regieren- den Vertreter der Tiroler Habsburgerlinie spiegelten sich in einer respektablen Kantorei und Hofkapelle, zu innsbruck der die Landesfürsten jeweils die besten Sänger und Musikanten aus ganz Europa heranzogen, sowie in der Präsenz hochberühmter Persönlichkeiten am Innsbrucker Hof. So hatte schon der musisch aufgeschlossene Kaiser Maximilian I.(1459–1519), der selbst Gesang und Saitenspiel pflegte, während seiner Tiroler Regierungs- zeit (ab 1490) große Musiker wie Heinrich Isaak, Ludwig Senfl und vor allem den Organisten Paul Hofhaimer, zu seiner Zeit gepriesen als „monarcha organistarum, qui in universa Germania parem non habet”, nach Inns- bruck geholt, als Gast auch den blinden Organisten Arnolt Schlick und später Heinrich Finck, der als bedeuten- der Komponist in Maximilians Hofkapelle eintrat und auch in jener des späteren Erzherzogs Ferdinand II. als 1. Kapellmeister verblieb. Doch selbst große Namen verwehen im Laufe der Geschichte; was bleibt, sind jene Denkmäler, die uns über die Jahrhunderte hinweg den Klang ihrer Entstehungszeit bewahrt haben: Innsbrucks kostbare historische Orgeln. So datieren „Königinnen der Instrumente” in dieser Stadt aus dem 16., 17., 18. und 19. Jahrhundert, ver- mehrt um hochwertige Zeugnisse moderner Orgelbaukunst aus dem 20. Jahrhundert. Es war König Ferdinand I., der sich mit dem Bau der Hofkirche zur Aufstellung des Grabmals Kaiser Maxi- milians I. und dem Auftrag des Orgelbaues an den damals wohl berühmtesten Meister seines Faches, Jörg

Innsbruck, the “alpine organ-city”

The regional capital of Tyrol, Innsbruck, can look back on a rich musical history, which it owes, above all, to Ebert, in die Tiroler Kulturgeschichte eingetragen hat. plished in 1976, has saved the original substance of the fact, that it accommodated the arch-princely residence from 1420 up to around the mid 18th century. The Die Ebert-Orgel trägt die Jahreszahl 1558 und ist die the work, its form and its “harsh” sound to a high de- musical interests and the propensity amongst the ruling members of the Tyrolean branch of the Habsburg- älteste, in den wesentlichen Teilen erhaltene zweima- gree, hereby making accessible a homogeneous work dynasty for representing themselves culturally would become apparent in a respectable choir and court-or- nualige Kirchenorgel mit Rückpositiv, deren 1976 ab- of art from the polyphone era of music. chestra, for which the rulers of the country engaged the best singers and musicians from all of Europe, as geschlossene gründliche Restaurierung die originale In addition, Innsbruck disposes of another renais- well as in the presence of highly famous personalities at the court of Innsbruck. The musically open-minded Substanz des Werkes, ihre Form und ihren „reschen” sance-time organ: The old-Italian organ of around emperor Maximilian I. (1459–1519), himself an accomplished singer and string-player, very early called great Klang in hohem Maße bewahrt und damit ein ein- 1580, to be found in the “Silver Chapel” of the imperial musicians to Innsbruck during his reign in Tyrol (from 1490 on), such as Heinrich Isaak, Ludwid Senfl, and most heitliches Kunstwerk noch aus der polyphonen Zeit palace, which is of most extraordinary fascination to prominently Paul Hofhaimer, who was at his time praised as the “monarcha organistorum, qui in universa der Musik wieder voll zugänglich gemacht hat. the lovers of organs around the world, due to its pre- Germania parem non habet”. Moreover, guest musicians worked in the city, as for example the blind organ- Und Innsbruck besitzt noch eine zweite Renais- dominantly wooden pipe-material and its soft timbre. player Arnolt Schlick and later on Heinrich Finck, who joined Maximilian’s royal orchestra as a renowned com- sanceorgel: In der „Silbernen Kapelle” der Hofburg It has not been proved scientifically, who built the in- poser and stayed as 1st conductor in the following era under arch-duke Ferdinand II. steht jene altitalienische Orgel von etwa 1580, die strument nor how it came here. Nevertheless, it gives However, the most celebrated of names fade in the course of history. What will remain, are the monu- mit ihren größtenteils hölzernen Pfeifen und ihrem insights to the musical history of Tyrol: The knight ments that have preserved the sound of the age of their origin through the centuries: Innsbruck’s precious weicheren Klang für Orgelfreunde aus der ganzen next to the organ, on his knees and fully armoured, is historical organs. The local exemplars of “Queens of the instruments” date back to the 16th to 19th centuries, Welt ebenfalls ein Objekt von außerordentlichem In- arch-duke Ferdinand II., whom the Tyrolean residence complemented by high-grade testimonies of modern organ handicraft of the 20th century. teresse darstellt. Wer das Instrument gebaut hat und owes most diverse impulses during the second half It is king Ferdinand I., who made himself a name by having built the court-church in order to accommodate wie es hierher kam, ist nicht wissenschaftlich erwie- of the 16th century. He is buried in the “Silver Chapel”. the sepulchre for emperor Maximilian I., as well as by charging the most distinguished master of his art, Jörg sen. Auch an ihm lässt sich Tiroler Musikgeschichte Yet, his name is above all perpetuated in the magnifi- Ebert, with the construction of an organ. The Ebert-organ from the year 1558 is the oldest 2-manual church-or- ablesen: Der neben der Orgel kniende Ritter in voller cent Spanish Hall in the Ambras castle, where some gan with a Rückpositiv (chaire organ), that is preserved in most of its material. Its thorough restoration, accom- Rüstung stellt Erzherzog Ferdinand II. dar, dem die 400 years ago he allowed to sound the music, that Tiroler Residenz in der zweiten Hälfte des 16. Jahr- has been revived in the course of the past decades in hunderts mannigfaltigste künstlerische Impulse ver- the renowned “Ambraser Schlosskonzerte” as well as dankte und der in der Silbernen Kapelle seine letzte the “Festival of Early Music”. Ruhestätte gefunden hat. Sein „Denkmal” ist vor Indeed, Innsbruck is building upon its musical allem der prächtige Spanische Saal von Schloss Am- past and is wakening its “queens” from the long,

72 | | 73 bras, in dem er schon vor 400 Jahren jene Musik erklin- deep sleep of history. Soon after the provisional post- kirche Igls wird den ganzen Sommer hindurch allwö- In the recent past, the organ-city of Innsbruck gen ließ, die seit Jahrzehnten in den renommierten war-restoration of the old-Italian organ in the Silver chentlich von angesehenen Organisten bespielt. In has become richer once again. The old organ of the „Ambraser Schlosskonzerten” und den „Festwochen Chapel the custodian of those years, Prof. Karl Be­ Mariahilf setzt sich der ideenreiche dortige Kustos St. Jakob cathedral, not working adequately at all der Alten Musik” in Erinnerung gerufen wird. nesch, called into existence a summerly series of con- Peter Waldner für ein attraktives Konzertangebot ein, after many constructional modifications, damages In der Tat, Innsbruck macht etwas aus seiner mu- certs on the beautiful instrument, always attracting um nur einige Beispiele zu nennen. and transformations, was replaced by the manufac- sikalischen Vergangenheit und weckt seine „Köni- numerable listeners. In 1958, the musical director of Inzwischen ist die Orgelstadt Innsbruck abermals ture of a new, three-manual tracker organ built by innsbruck ginnen” aus dem Dornröschenschlaf der Geschichte. the city at the time and an organ-pioneer, Prof. Kurt reicher geworden: Die alte Orgel im Dom zu St. Jakob, the experienced Pirchner-company, who placed the Bald nach der vorläufigen Nachkriegs-Restaurierung Rapf, initiated the first “Internationale Orgelwoche”, die nach vielen Umbauten, Beschädigungen und new opus into the renovated magnificent historical der altitalienischen Orgel in der Silbernen Kapelle rief including an organ competition, inviting most promi- Veränderungen längst nicht mehr zufriedenstellend case. The solemn inauguration on July 1st 2000 was der damalige Kustos, Prof. Karl Benesch, eine sommer- nent organ players, such as Anton Heiller and Alois funktionierte, wurde durch den Neubau einer dreima- followed by a festival week, during which a number liche Konzertreihe auf dem schönen Instrument ins Forer from Vienna, Luigi Ferdinando Tagliavini from nualigen, rein mechanischen Orgel der bewährten of distinguished organists presented the truly note- Leben, die stets viele Zuhörer anlockte. 1958 initiierte Bologna, Gaston Litaize from Paris, Pierre Segond Firma Pirchner ersetzt und das neue Werk in das sa- worthy “royal” instrument across the wide scope of der damalige Innsbrucker Musikdirektor und Orgelpi- from Geneva and Michael Schneider from Detmold nierte prachtvolle Gehäuse eingefügt. Mit der feierli- all of its acoustic facets. In the current year, again, a onier Prof. Kurt Rapf die erste „Internationale Orgel- to act as concert organists and members of the jury. chen Orgelweihe am 1. Juli 2000 war eine Festwoche series of organ-matinees will bear witness of the mu- woche” mit angeschlossenem Orgelwettbewerb und In addition, lectures on the topic were held by such verbunden, in der eine Reihe renommierter Organis- sical charisma of the new cathedral-organ. lud dazu prominente Organisten wie Anton Heiller experts as Egon Krauss, who with great endeavours ten das gelungene königliche Werk in allen Facetten Finally, an important organ-event resumes the und Alois Forer aus Wien, Luigi Ferdinando Tagliavini in the following years deserved well of the exemplary seiner reichen klanglichen Möglichkeiten vorstellten. musical past. Referring to the 450th anniversary of aus Bologna, Gaston Litaize aus Paris, Pierre Segond restoration of the Ebert-organ. Auch in diesem Jahr kündet eine Serie von Orgel-Mati- death of a true lover of music, emperor Maximilian I., aus Genf, Michael Schneider aus Detmold als Konzert- In the course of this big event, that attracted in- neen vom musikalischen Glanz der neuen ­Domorgel. the regional capital of Innsbruck in 1969 founded organisten und Juroren ein, dazu gab es Fachvorträge ternational attention, other organs were to be inte- Eine wichtige Orgelveranstaltung knüpft zuletzt the Paul-Hofhaimer-prize for interpretation of early u. a. von Egon Krauss, der sich in den folgenden Jah- grated into the series of concerts, too, such as the nochmals an die Musikgeschichte an: Aus Anlass des organ music. This international competition, to be ren mit größtem Engagement um die vorbildliche Re- choir organ in the abbey-church in Wilten (the oldest 450. Todestages des Musikfreundes Kaiser Maximi- carried out in September 2001 for the 13th time, en- staurierung der Ebert-Orgel verdient machte. known organ with transmitting stops, from the 17th lian I. hat die Landeshauptstadt Innsbruck 1969 den joys high respect among experts first of all due to Während dieser international vielbeachteten Groß- century), the historical organs in the abbey-church Paul-Hofhaimer-Preis für die Interpretation von Orgel- its illustrious jury. The organists Gustav Leonhardt, veranstaltung wurden auch die Chororgel in der Stifts- in Stams and in the pilgrims’ church in Absam, as musik alter Meister gestiftet. Dieser internationale Luigi Ferdinando Tagliavini, Michael Radulescu, Jean- kirche Wilten, die älteste bisher bekannte Transmis- well as the modern instruments in the city-hall and Wettbewerb, der im September 2001 zum 13. Mal Claude Zehnder and Herbert Tachezi will, under chair- sionsorgel aus dem 17. Jahrhundert, die historischen the house-chapel of the former national teacher- stattfindet, genießt in der Fachwelt schon wegen sei- manship of Prof. Michael Mayr, director of the local Orgeln in der Stiftskirche Stams und in der Wallfahrts- college. The latter was constructed by the Tyrolean ner hochkarätigen Jury hohes Ansehen: Die Organis- conservatory, elect the lucky one or ones, who de- kirche Absam sowie die neuen Orgeln im Stadtsaal ­organ-builder Hans Pirchner of Steinach, whose at- ten Gustav Leonhardt, Luigi Ferdinando Tagliavini, Mi- serve a prize. Prizes are awarded after recitals in St. und in der Hauskapelle der damaligen Bundes-Leh- elier has enriched the organ-landscape in Innsbruck chael Radulescu, Jean-Claude Zehnder und Herbert Nikolaus, in the Silver Chapel and finally on the Ebert- rerbildungsanstalt in den Reigen der Konzerte ein- with further precious instruments, including the Tachezi werden unter dem Vorsitz von Konservatori- organ, with strict rules being applied, whereby the bezogen. Letztere war ein Werk des Tiroler Orgel- organs of the parish churches in Maria Hilf and umsdirektor Prof. Michael Mayr den oder die Glückli- first prize consists of the Paul-Hofhaimer-badge and baumeisters Hans Pirchner in Steinach, aus dessen St. Nikolaus. The Viennese organist Herbert Tachezi, chen küren, die sich nach Vorspielen in St. Nikolaus, in an amount of 70.000 Schillings, the second and third Werkstatt im Laufe der Jahre noch andere wertvolle today well known, turned out to be the winner of the der Silbernen Kapelle und zuletzt an der Ebert-Orgel prizes of amounts of 50.000 and 30.000 Schillings Instrumente den Innsbrucker Orgelschatz bereichern first organ competition in 1958. nach den strengen Ausschreibungsregeln als würdig respectively. In so doing, the vivid organ-city of Inns- sollten, darunter die Orgeln in den Pfarrkirchen Ma- Not only the recitals, but also the competition erweisen, den 1. Preis in Form der Paul-Hofhaimer-Pla- bruck is building a sound bridge between its splendid riahilf und St. Nikolaus. Aus dem 1. Orgelwettbewerb found successors some years later. To illustrate, the kette, verbunden mit einem Geldbetrag von 70.000 musical tradition on one hand and rising young art- von 1958 ging der inzwischen bestens bekannte Wie- city of Innsbruck has for years organised an annual In- Schilling, oder die mit 50.000 und 30.000 Schilling ists from these days on the other. ner Herbert Tachezi, heute selbst Juror im Paul-Hof- ternationale Orgelwoche (international organ week) dotierten zweiten und dritten Preise zu gewinnen. haimer-Orgelwettbewerb, als Sieger hervor. at Whitsuntide on the diverse historical and modern So schlägt die lebendige Orgelstadt Innsbruck Sowohl die Konzerte als auch der Wettbewerb organs of the city, organs that allow for a wide-spread eine tragfähige Brücke zwischen ihrer glorreichen Prof. Jutta Hoepfel haben einige Jahre später Nachfolger gefunden. So stylistic repertoire. The custodian of the Ebert-organ, Musiktradition und aufstrebenden jungen Künstlern veranstaltet die Stadt Innsbruck seit langem alljähr- Reinhard Jaud, in every summer invites renowned or- von heute. (Translation: Albert Knapp) lich zu Pfingsten eine Internationale Orgelwoche mit ganists to play on his famous instrument, while the Konzerten an den verschiedenen alten und neuen small organ in the parish church of Igls is played Innsbrucker Instrumenten, die ein breites stilistisches upon during the whole summer by well-known musi- Prof. Jutta Höpfel Repertoire ermöglichen. Der Kustos der Ebert-Orgel, cians. In Mariahilf, last but not least, the local custo- Reinhard Jaud, lädt jeden Sommer namhafte Organis- dian Peter Waldner, an inventive man, makes efforts ten ein, am berühmten historischen Instrument zu towards an attractive offer of recitals. konzertieren, und auch die kleine Orgel in der Pfarr-

74 | | 75 Hofkirche Ebert-Orgel Erbauer: Jörg Ebert aus Ravensburg (1558) Restaurierung durch Jürgen Ahrend, beendet 1976 innsbruck

Hauptwerk im grossen Corpus (CDEFGA–g2, a2 / 41 Töne) principal (8’) Prospekt octaf (4’) quint (2 2/3’) quintez (2’) hindersaz (5–10fach auf 2’, ab fis1 auf 4’) ziml (2fach auf 1/3’) hörnndl (2fach auf 1/3’ mit Terz) deckt fleten (8’) trumetten (8’)

In der Brust (hinter Gitterfüllung) regal (8’) (auf eigener Windlade, mit „Anzug” an das Hauptmanual angehängt, geteilt in Baß C–e und Diskant f–a2)

Rückpositiv (FGA–g2, a2 / 38 Töne) offen fletl (4’) Prospekt zudeckt fletl (4’) mixtur (3–5fach auf 2’) ziml (2fach auf 2/3’) hörnndl (2fach auf 2/3’)

Pedal (CDEFGA–b / 19 Töne) spielt über eigene Ventile in die Kanzellen des Hauptwerkes ein

Zitter im Hauptkanal vor der Orgel im Windweg eingebauter Tremulant

Manualkoppel: Rückpositiv an Hauptwerk

Mitteltönige Stimmung a1 = 445 Hertz bei 11 °C Zwei Keilbälge mit Gebläseaufladung, Winddruck 90mm Ws

76 | | 77 innsbruck

Silberne Kapelle (Hofkirche) Italienische Orgel, ca. 1580 Restaurierung durch Pier Paolo Donati 1990–1993 und Jürgen Ahrend 1998

Manual CDEFG–c3 (45 Töne) Principale (Holz) 8’ Ottava (Holz) 4’ Quintadecima (ab c1 Metall) 2’ Decimanona (Metall) 1 1/3’ Vigesimaseconda (Metall) 1’ Flauto in Duodecima (Holz) 2 2/3’ Fiffara (Voce umana / Holz) 8’

Pedal angehängt (14 Töne)

Mitteltönige Stimmung Stimmtonhöhe: ca. ein Halbton über normal Winddruck: 47 mm Ws

78 | | 79 innsbruck

Hofkirche – Lettner Stiftskirche Wilten Prozessionsorgel, ca. 1680 Chororgel restauriert durch Jürgen Ahrend (1970) Schule Daniel Herz, ca. 1660

Gedackt 8’ Manual CDEFGA–c3 (45 Töne) Flöte 4’ Prinzipal 8’ C–H aus Holz, ab c im Prospekt Prinzipal 2’ Oktave 4’ Quinte 1 1/3’ Quinte 2 2/3’ Oktave 1’ Superoktave 2’ Oktave 1/2’ Quinte 1 1/3’ Flötenschwebung 4’ (ab a) Oktave 1’ Regal 8’ Bass/Diskant (Teilung c1/cis1) Quinte 2/3’ Oktave 1/2’ Kanaltremulant Oktave 1/4’ Klaviaturumfang: C, D, E, F, G, A–c3 (45 Töne) Pedal CDEFGA–gis (ohne g / 16 Töne) Mitteltönige Stimmung Subbaß 16’ Tonhöhe: ca. ein Ganzton über normal Winddruck: 76 mm Ws 4’ und 2’: Transmission aus der Pfeifenreihe 8’ Mitteltönige Stimmung 1 1/3’ und 2/3’: Transmission aus der Pfeifenreihe 2 2/3’ Tonhöhe: ca. ein Halbton über normal 1/2’ und 1/4’: Transmission aus der Pfeifenreihe 1’ Winddruck 55 mm WS

80 | | 81 Die neue Orgel im Dom zu St. Jakob Neubau 1999/2000 – Orgelbau Pirchner, Steinach a. Br. Gehäuse der Orgel von Johann Kaspar Humpel (1725)

I. Hauptwerk (C–g3: 56 Töne) II. Oberwerk (C–g3: 56 Töne, III. Unterwerk (C–g3: 56 Töne, innsbruck Bordun 16’ schwellbar) schwellbar) Prinzipal 8’ Quintadena 16’ Gedeckt 8’ Voce umana 8’ ab cis1 Prinzipal 8’ Spitzgamba 8’ Hohlflöte 8’ Salizional 8’ Prinzipal 4’ Gamba 8’ Vox coelestis 8’ Gedeckt 4’ Oktave 4’ Rohrflöte 8’ Echokornett III 2 2/3’ ab cis1 Spitzflöte 4’ Oktave 4’ Flöte 2’ Quinte 2 2/3’ Nachthorn 4’ Larigot 1 1/3’ Superoktave 2’ Fugara 4’ Scharff III 1’ Mixtur major IV 2’ Nasard 2 2/3’ Voix humaine 8’ Mixtur minor IV 1 1/3’ Oktave 2’ Tremulant Cornet V 8’ ab cis1 Terz 1 3/5’ Fagott 16’ Sifflet 1’ III. Rückpositiv [Solo] Trompete 8’ Mixtur IV 1 1/3’ (f–d3: 34 Töne) Clairon 4’ Trompette harmonique 8’ Prinzipal 8’ Cromorne 8’ Flöte 8’ Tremulant Prinzipal 4’ Sesquialtera 2 2/3’+1 3/5’ Oktave 2’ Mixtur III 1 1/3’ Trompete 8’

Pedal (C–f1: 30 Töne) Prinzipal 16’ Violonbaß 16’ Subbaß 16’ Quintbaß 10 2/3’ Oktavbaß 8’ Baßflöte 8’ Oktave 4’ Sperrventile Mixtur VI 2 2/3’ Hauptwerk-Aussenladen ab: Posaune 16’ Bordun 16’ Trompete 8’ Gamba 8’ Schalmey 4’ Cornet 8’ Fagott 16’ Koppeln Trompete 8’ II/I Clairon 4’ III/I Pedal-Aussenladen ab: I/III Violonbaß 16’ I/Pedal Quintbaß 10 2/3’ II/Pedal Posaune 16’ III/Pedal Pfeifenanzahl: 3729 Trompete 8’ Unterwerk ein/aus Rein mechanische Spiel- Schalmey 4’ Rückpositiv ein/aus und Registertraktur

82 | | 83 l i s b o a p o r t u g a l

| 85 The City of Lisbon and the Organs

Organs have a very special significance within the Cultural Heritage of the city of Lisbon. They are part of the historic and artistic heritage of some of the most important churches lisboa of our city, which are classified as monuments. They perpetuate the memory of a strong musical tradition which, since the 16th century and especially during the 18th century, was based on a wide policy of organ building in the capital city and in the whole country, under the initiative of the State and the Church. Among us, some of those instruments have been restored, remaining active and sup- porting an intense musical life in the churches. There is presently in the city of Lisbon a mu- Maria Calado sical program centred on historic organs, which occurs all over the year, promoting organ Vereadora da Cultura da Câmara Municipal de Lisboa music, attracting new audiences and creating a new dynamic in the musical and cultural life of the city. Within the valuable organ landscape of the city and region of Lisbon, historic organs have an outstanding place. The organ of the Church of São Vicente de Fora is one of the A Cidade de Lisboa e os Órgãos most important in Portugal and Spain, not only for its quality and size, but also because it didn’t suffer important changes during the last two hundred years. This instrument was No contexto do Património Cultural de Lisboa, os órgãos têm um significado muito particular. Fazem parte completely restored in 1994, while Lisbon was European Capital of Culture, together with do próprio património histórico e artístico de algumas das principais igrejas da nossa cidade, que são edifícios the organs of the Churches of Madalena and Mártires, this last one possessing one of the classificados e reconhecidos como monumentos. Perpetuam a memória de uma forte tradição musical que, most beautiful organ cases in Lisbon. In 1998, the small but precious instrument of the desde o século XVI mas com grande destaque para o século XVIII, teve como base um amplo programa de Church of Estrela was also restored. construção de órgãos na cidade capital e no país, sob a iniciativa da Casa Real e da Igreja. The organ of the Cathedral, built in 1964 in the line of neo-classical instruments, has Entre nós, alguns destes instrumentos têm vindo a ser restaurados, preservando-se activos e servindo de played a very important role, remaining as the largest in Lisbon and the one where a widest suporte a um programa musical muito intenso nas igrejas. Actualmente, na cidade de Lisboa, existe durante choice of repertory is possible. todo o ano um programa musical em torno dos órgãos históricos, divulgando e promovendo a sua música, It is our wish to keep on promoting, preserving and consolidating the Portuguese organ criando novos públicos e dinamizando a vida cultural e musical da cidade. patrimony, which is an important part of our heritage. In the line of our cultural policy, the No quadro do valioso parque organológico da cidade e da região de Lisboa, incluem-se órgãos históricos Festival Internacional de Órgão de Lisboa, presenting this year its fourth edition, plays an que ocupam lugar de grande relevo. O da Igreja de São Vicente de Fora é um dos instrumentos mais importan- extremely important role since it contributes to the growing interest in the organs of the tes da Península Ibérica, não só pela sua qualidade e dimensão, como pelo facto de não ter sofrido grandes city and in its music. It is also the rebirth of the tradition that once made this city an impor- intervenções nos últimos duzentos anos. Este instrumento foi totalmente restaurado no âmbito de Lisboa tant centre of musical activity. Capital Europeia da Cultura / 1994, bem como o da Igreja da Madalena e o da Igreja dos Mártires, este com Finally, the partnership with other cities with historic organs consolidates this kind of uma das mais belas caixas existentes em Lisboa. Em 1998 foi restaurado também um pequeno mas precioso events, allowing not only the exchange of experiences, but also the expression of the Euro- instrumento presente na Basílica da Estrela. pean dimension, emerging as a whole from its historical and cultural diversity. Na referência a este património, é incontornável o papel do grande órgão da Sé Patriarcal construído em 1964, na linha dos instrumentos neoclássicos, que permanece como o maior instrumento da cidade onde é Maria Calado possível a execução de um repertório mais abrangente. Vereadora da Cultura da Câmara Municipal de Lisboa O património organológico e organístico português é parte significativa da nossa herança cultural que queremos continuar a divulgar, preservar e consolidar. No quadro das políticas culturais que desenvolvemos, o Festival Internacional de Órgão de Lisboa, que este ano entra na sua quarta edição, assume um papel extre- mamente importante, na medida em que tem contribuindo para o renascimento do interesse pelo público dos órgãos históricos da cidade e da sua música. É também o retomar da tradição e memória que fez desta cidade, ao longo da sua história, um grande centro de actividade musical. Finalmente, a parceria com outras cidades que têm órgãos históricos, vem consolidar este tipo de eventos extremamente importantes, proporcionando não só o intercâmbio de experiências como também a afirma- ção da dimensão europeia que na sua diversidade histórica e cultural emerge como um todo.

Maria Calado Vereadora da Cultura da Câmara Municipal de Lisboa

86 | | 87 O Festival

O Festival Internacional de Órgão de Lisboa nasceu em 1998, a partir de uma colaboração com o Festival Toulouse les Orgues, que nesse ano incluia um fim-de-semana em Lisboa. Nessa altura, Lisboa sentia a falta lisboa de uma temporada regular de Órgão que pudesse trazer a um público alargado as ricas sonoridades dos ins- trumentos da cidade. O evento foi organizado pela Câmara Municipal de Lisboa com o apoio do Ministério da Cultura e de vários patrocinadores privados. O sucesso dos concertos em 1998 foi tal que foi imediatamente decidido que o festi- val deveria continuar. A partir da sua segunda edição, o Festival Internacional de Órgão de Lisboa é totalmente organizado pela Juventude Musical Portuguesa e patrocinado fundamentalmente pela Câmara Municipal de Lisboa e pelo Ministério da Cultura. Desde 1998, organistas de todo o mundo actuaram em Lisboa e os vários instrumentos da capital foram apresentados em recitais a solo ou em concertos com conjuntos vocais ou instrumentais. Embora centrado no órgão histórico de São Vicente de Fora (1760) e no órgão Flentrop da Sé Patriarcal (1964), o festival faz uso de muitos outros instrumentos, nomeadamente o órgão Cavaillé-Coll da Igreja de São Luis dos Franceses, o órgão da Basílica da Estrela e os órgãos do Evangelho e Epístola da Basílica de Mafra (os primeiros a ser restaurados, de um conjunto único de seis órgãos).

João Vaz & António Duarte Direcção Artística do Festival Internacional de Órgão de Lisboa

Lisboa São Vicente de Fora The Festival

The Festival Internacional de Órgão de Lisboa was born in 1998 from a co-operation with the Festival Tou- louse les Orgues, which included in that year a week-end in Lisbon. At that time, Lisbon was lacking an organ season that could bring to a large audience the rich sound of the organs in the city. The event was organised by the City of Lisbon with the support of the Ministry of Culture and several pri- vate sponsors. The success of the concerts in 1998 was such, that it was immediately decided that the Festival should continue. Since its second edition, the Festival Internacional de Órgão de Lisboa is being fully organised by the Portuguese Musical Youth, and sponsored mainly by the Ministry of Culture and the City. Since 1998, organists from all over the world played in Lisbon, and the various instruments of the city were presented in solo recitals or in concerts with vocal or instrumental ensembles. Although centered in the historic instrument of São Vicente de Fora (1760) and the Flentrop organ of the Cathedral (1964), the festival makes use of many other instruments, namely the Cavaillé-Coll organ of Saint Louis, the organ of Basílica da Estrela and the Gospel and Epistle organs in Mafra (the first two to be restored from a unique ensemble of six organs).

João Vaz & António Duarte Artistic Direction of the Festival Internacional de Órgão de Lisboa

88 | | 89 Igreja de São Vicente de Fora (Lisboa) João Fontanes de Maqueixa (1765) Claudio & Christine Rainolter (1994) lisboa

I. Órgão Principal (CDEFGA–d3)

Mão Esquerda / Bass Mão Direita / Treble (CDEFGA–c1) (c#1–d3) Flaudado de 24 Oitava Magna Flautado de 12 Flautado de 24 Oitava real Flautado de 12 Quinzena Oitava real Flautado de 12 tapado Flauta Travessa Flautado de 6 tapado Flauta doce Quinta real Flauta doce Requinta Quinta em 12 Vintedozena Decimaquinta Mistura Imperial Mistura Imperial Címbala Címbala Subcímbala Subcímbala Clarão Clarãocilho Trombeta real Corneta real Trombeta de Batalha * Trombeta Real Baixãozinho * Clarim * Dulçaina * Trombeta Marinha * Chirimia * Dulçaina * Boé *

II. Órgão de Eco (CDEFGA–d3)

Mão Esquerda / Bass Mão Direita / Treble (CDEFGA–c1) (c#1–d3) Flautado de 12 tapado Flautado de 12 Flautado de Violão Flautado de 12 tapado Flautado de 6 tapado Flauta Napolitana Quinzena Flauta de 6 Dezanovena Oitava Vintedozena Pífaro Cheio Claro Vintedozena Tolosana Cheio Claro Nazardo de Eco Cornetilha Sacabucha Corneta Clarim de eco

* Palhetas horizontais / Horizontal reeds

90 | | 91 Sé Patriarcal de Lisboa D. A. Flentrop (1964) lisboa I. Positivo (C–g3) III. Expressivo (C–g3) Quintatão 8’ Salicional 8’ Tapado 8’ Flauta Travessa 8’ Flautado 4’ Flautado 4’ Flauta de Chaminé 4’ Flauta Cónica 4’ Oitava 2’ Flauta 2’ Décima novena 1 1/3’ Cheio IV Címbala III–IV Clarão II Sexquialtera II Cromorna 16’ Fagote 8’ Charamela 8’ Trémolo Trémolo

II. Principal (C–g3) IV. Positivo de Frente (C–g3) Quintatão 16’ Bordão 8’ Flautado 8’ Flauta de Ponta 4’ Flauta de Chaminé 8’ Quinzena 2’ Oitava Real 4’ Pífaro 2’ Tapadinho 4’ Vigésima segunda 1’ Quinzena 2’ Sobrecímbala III Dozena 2 2/3’ Dulçaina 16’ * Décima Sétima 1 3/5’ Regal 8’ Cheio IV Trémolo Címbala III Corneta Real V Pedal (C–f1) Trompa Maior 16’ * Flautado Maior 16’ Clarim de Batalha 8’ * Contrabaixo 16’ Aberto 8’ Tapado 8’ Oitava 4’ Basilica da Estrela Cheio IV António Xavier Machado e Cerveira (1791) Flauta de Chaminé 5 1/3’ Dinarte Machado (1998) Flauta 15o e 22a Bombarda 16’ Trombeta 8’ Manual (C–f3) Baixãozinho 4’ * Chirimia 2’ * Mão Esquerda / Bass (C–c1) Mão Direita / Treble (c#1–f3) Flautado de 12 Flautado de 12 aberto * Palhetas horizontais / Flautado de 6 aberto Flauta em 12 Horizontal reeds Flautado de 6 tapado Pífano Quinzena Vintedozena I/II Compostas de 22a Corneta III III/II Clarão IV Voz humana * II/Ped. Dulçaina ** Clarim ** I/Ped. IV/Ped. * Voce umana ** Palhetas horizontais / Horizontal reeds

92 | | 93 Basilica do Palácio de Mafra

Orgão do Evangelho / Gospel side Organ lisboa António Xavier Machado e Cerveira (1807) Dinarte Machado (1999)

Manual (C–f3) Mão esquerda / Bass (C–c1) Mão direita / Treble (c#1–f3) Flautado de 24 Flautado de 24 Flautado de 12 Flautado de 12 Oitava Real Oitava Real Quinzena Oitava Real II Dozena Dozena II 19a e 22a Cheio V Clarãozinho V Cheio IV Compostas de 22a III Címbala IV Címbala Flauta Romana Resímbala 5 v. Flauta em 12 Flautado Violão Flautim Flautado de 6 tapado Corneta Inglesa Clarão Clarinete Trombeta de Batalha * Clarim * Fagote * Oboé *

* Palhetas horizontais / Horizontal reeds

Orgão da Epístola / Epistle side Organ Joaquim António Peres Fontanes (1807) Dinarte Machado (2000)

Manual (C–f3) Mão esquerda / Bass (C–c1) Mão direita / Treble (c#1–f3) Flautado de 24 aberto Flautado de 24 aberto Flautado de 12 aberto Flautado de 12 aberto Oitava Real Oitava Real Quinzena Oitava Real 2 v. Dozena Compostas de 12a II Compostas de 19a III Compostas de 15a V Címbala Clarãozinho V Recímbala 5 v. Cheio IV Flautado de 12 tapado Címbala IV Clarão V Flautado de 12 tapado Clarão V Flauta Romana Trompa de Batalha * Corneta Real VI Fagote * Clarinete Clarim * Trompa Magna *

* Palhetas horizontais / Horizontal reeds

94 | | 95 r o s k i l d e d a n m a r k

| 97 The Mayoress’ Greetings

If you wish to become acquainted with the history of the Kingdom of Denmark, Roskilde is an obvious place to begin. The town was founded

approximately at the same time that the kingdom was united 1000 roskilde years ago. Roskilde celebrated its millenary in 1998 and is one of the oldest towns in Denmark. One thousand years of history leave a lot of traces. The most outstanding of these is the cathedral, which is the land- mark and monument of the town. The cathedral holds the historical Jette Kristensen Raphaëlis organ, which is the background for Roskilde’s participation in Borgmester i Roskilde the European cooperation with other towns that have historical organs. Because of the fact that Roskilde has very deep roots, we naturally make a great effort to preserve and display the testimonies of the past. One of the most recent examples of this is the ruin of St. Laurentii Borgmesterens hilsen church, which is situated beneath the central square, Stændertorvet. The ruin was restored a couple of years ago, and around it the municipal- Ønsker man at stifte bekendtskab med det danske riges historie, så er det oplagt at starte i Roskilde. Byen ity has built a beautiful room with exhibitions of for instance objects blev grundlagt nogenlunde samtidig med, at det danske rige blev samlet, for tusind år siden. Roskilde fejrede found during the restoration. Naturally, there is public admittance to 1000-års jubilæum i 1998 og er en af Danmarks ældste byer. Tusind års historie sætter mange spor. the facilities. Mest markant er domkirken, der om noget er byens vartegn og monument. Domkirken rummer også det In Roskilde we have done a great deal to develop the town in conso- historiske Raphaëlis orgel, som er baggrunden for Roskildes deltagelse i det europæiske samarbejde med nance with its historical characteristics. During the last decade we have andre byer, der har historiske orgler. renovated the roads of the town centre with new stone surfaces that Med så dybe historiske rødder, som Roskilde har, gør vi naturligvis en stor indsats for at bevare og fremvise match the town houses and the shops very well. We have also renovated de vidnesbyrd, vi har om fortiden. Et af de seneste eksempler på dette er ruinen af Sankt Laurentii kirken, der the area around the harbour and made a unique place uniting the old befinder sig under det centrale torv Stændertorvet. Ruinen blev restaureret for et par år siden, og kommunen and the new. And at the present we are developing the Trekroner area at har bygget et smukt rum uden om den med udstillinger af bl.a. genstande, der blev fundet under restaure- the university in order to create a new part of town. ringsarbejdet. Der er selvfølgelig offentlig adgang til anlægget. I welcome the ECHO project – the cooperation of European towns Vi har i Roskilde gjort meget ud af at udvikle byen i respekt for dens historiske særpræg. I løbet af det sidste with historical organs. I find it gratifying that an initiative has been tiår har vi renoveret midtbyen med nye stenbelægninger, der spiller godt sammen med byhusene og butik- taken to further the cooperation between and the attention around this kerne. Vi har renoveret havneområdet og skabt et unikt miljø, hvor gammelt og nyt går hånd i hånd. Og vi er part of our common cultural heritage. I hope the cooperation will be nu i gang med at udvikle Trekroner området ved universitetet, så det bliver en ny bydel. fruitful and useful for our towns. Jeg hilser samarbejdet i ECHO – de europæiske byer med historiske orgler – velkomment. Det er glædeligt, at der er taget initiativ til at skabe samarbejde og opmærksomhed om denne del af vor fælles kulturarv. Jeg Regards, håber, samarbejdet vil vise sig frugtbart og gavnligt for vore byer. Jette Kristensen Mayoress of Roskilde. Venlig hilsen Jette Kristensen Borgmester i Roskilde

Roskildes byvåben Roskildes byvåben kendes fra ca. år 1250. Fuglen er en høg eller en falk, og muren er byens tidligere voldanlæg. Bølgelinjen symboliserer byens største kilde, Maglekilde. De tre roser eller rosetter tolkes som et trefoldigheds- motiv, idet Roskilde Domkirke tidligere er omtalt som Trefoldighedskirken.

The City Arms of Roskilde The City Arms of Roskilde have been known since 1250. The bird is a hawk or a falcon, and the wall is the former rampart of the town. The wave line symbolizes the larg- est spring, Maglekilde. The three roses or rosettes are interpreted as a Trinity motif, since Roskilde Cathedral has been referred to as the Trinity church in former times.

98 | | 99 Roskilde – kort fortalt Roskilde – in few words

Roskilde er en middelstor dansk by, der ligger kun 30 Midt på “strøget” ligger byens centrale torv, Stæn- Roskilde is a medium-sized Danish town situated spired station building. On the square you can see the

kilometer fra hovedstaden København. Hvordan kan dertorvet, omgivet af historiske bygninger – rådhuset, only 30 km from the capitol of Denmark, Copenha- impressive artwork “Roskildekrukkerne” (The Pitchers roskilde det være, at netop denne by har Danmarks største og domkirken og det gule palæ. Det historiske Roskilde gen. Why does this town have the largest and most of Roskilde) – three 5 m. tall pitchers by the Danish mest berømte kirke – med et af Europas fineste org- møder man desuden især på Roskilde Museum og på famous church in Denmark – with one of the finest or- artist Peter Brandes. In the middle of the main street, ler? En kirke, der oven i købet er optaget på UNESCO- det internationalt kendte Vikingeskibsmuseum. På Vi- gans in Europe? A church, which is even represented you find the central square of the town surrounded listen over verdens vigtigste kulturarv. kingeskibsmuseet kan man se vragene af fem vikin- on the UNESCO list of the most important cultural by historical buildings: The Town Hall, Roskilde Cathe- geskibe, der er fundet i Roskilde Fjord. heritage in the world. dral, and the yellow mansion. The historical Roskilde Danmarks hovedby i middelalderen Hele havneområdet er i høj grad et besøg værd. is also well represented in Roskilde Museum and in Roskilde blev grundlagt i slutningen af vikingetiden Restaurant og vandrehjem, med facader i cedertræ The Principal Town of Denmark in the internationally known Viking Ship Museum. In i 990’erne – byen fejrede 1000-års jubilæum i 1998. I og glas, spejler sig i lavvandede kanaler. Det smukke the Middle Ages the Viking Ship Museum the wrecks of five Viking den tidlige middelalder var den hovedby i det stærke ombyggede gasværk præsenterer moderne kunst og Roskilde was founded at the end of the Viking Era in ships are exhibited. All the ships have been found in danske kongerige, og den hørte med sine 10.000 ind- arbejdende kunstværksted. Og på Museumsøen ved the 990s. The town celebrated its millenary in 1998. Roskilde Fjord. The dock area in general is definitely byggere til Nordeuropas store og betydningsfulde siden af Vikingeskibsmuseet kan man følge, hvordan In the early Middle Ages Roskilde was the principal worth a visit. The newly built restaurant and hostel byer. vikingerne byggede deres skibe, mens der bygges tro town of the strong Danish kingdom, and with its with facades of cedar and glass are reflected by the Kongen havde kongsgård i Roskilde, og byen var kopier. I museumshavnen ligger museets store sam- 10.000 inhabitants it belonged to the big and impor- shallow canals. The beautifully rebuilt gasworks ex- desuden meget præget af den magtfulde kirke med ling af nordiske træbåde, herunder flere vikingeskibs- tant towns of northern Europe. hibit modern art and an artistic workshop in action. Roskildebiskoppen i spidsen. I det 15. århundrede æn- kopier. The king had his royal seat in Roskilde, and be- And on the museum island next to the Viking Ship drede tingene sig for den ellers så velstående og sides, the town was greatly influenced by the - pow Museum you can follow the Vikings’ methods of ship- fremgangsrige by. Kongen flyttede tronen til den hur- Universitetsby erful church with the bishop of Roskilde as the lead- building while copies are being made. In the museum tigtvoksende by København. Og i det 16. århundrede Roskilde blev i 1972 universitetsby, da Danmarks fjerde ing figure. During the 15th century things changed for garden you find the great collection of Norwegian betød reformationen enden for det rige katolske præ- universitet blev bygget i Trekroner området. Roskilde the wealthy and prospering town. The king moved wooden boats, which holds several copies of Viking steskab i byen. Det var samtidig det endelige døds- Universitetscenter har ca. 8000 studerende. Der er his throne to the expanding town Copenhagen. And ships. stød til Roskildes position som en af rigets hovedbyer. også mange andre uddannelsessteder i byen, og det in the 16th century the Reformation meant the end Under reformationen blev flere kirker revet ned af bringer det totale antal unge under uddannelse op for the Catholic priesthood of the town at the same University Town vrede borgere. på ca. 18.000. time, as it was the final blow to Roskilde as one of In 1972 Roskilde became a university town when the I midten af det 18. århundrede stod det så slemt En anden af byens internationalt kendte attrakti- the principal towns of the country. During the Refor- fourth university of Denmark was built at Trekroner. til, at Roskilde kun havde godt 1500 indbyggere, og oner er Roskilde Festivalen – fire sommerdage med mation several churches were pulled down by angry Roskilde University Centre has about 8.000 students. den blev i folkemunde omtalt som “Landsbyen med rytmisk musik, der tiltrækker omkring 70.000 mest ­citizens. The town also has other places of education and the den alt for store kirke”. I det 19. århundrede vendte bil- unge mennesker fra især Nordeuropa. Ud over dom- In the middle of the 18th century the situation had total number of young people in process of training ledet igen, og byen fik ny fremgang – mest af alt fordi kirkens ugentlige sommerkoncerter gør på den klassi- become so critical that the size of Roskilde was re- is around 18.000. Danmarks første jernbanestrækning kom til at gå fra ske front især den årlige Schubertiade sig stærkt gæl- duced to only 1500 inhabitants, and the town was in Another internationally known attraction is the København til Roskilde. dende – den arrangeres af det danske Franz Schubert popular speech referred to as “the village with the Roskilde Festival – four days in summer with rhyth- Selskab. over-sized church”. In the 19th century things changed mical music – which attracts 70.000 primarily young Roskilde i dag once more and the town experienced a new period of people from especially northern Europe every year. Roskilde er vokset meget i det 20. århundrede, og Yderligere oplysninger om Roskilde på prosperity, primarily as a result of the fact that Den- When it comes to classical music, the weekly sum- kommunen har i dag næsten 53.000 indbyggere. Det www. destination-roskilde. dk mark’s first railroad was the one connecting Roskilde mer organ concerts in Roskilde Cathedral are worthy er en moderne by med en meget høj erhvervsakti- and Copenhagen. of attention. But also the annual Schubert Festival vitet og beskæftigelse – især præget af uddannelse, plays a prominent role in this respect. The Festival is handel og liberale erhverv. Roskilde today arranged by the Danish Franz Schubert Society. Roskilde er en handelsby med et stort opland. Han- Roskilde has expanded a great deal during the 20th delen er især koncentreret langs det hyggelige hoved- century. It is a modern town with much business ac- strøg, der er bilfrit. Det begynder ved Hestetorvet ved tivity and employment, marked by education, com- For more information, visit den meget smukke italiensk inspirerede stationsbyg- merce and liberal trades in particular. www. destination-roskilde. dk ning. På Hestetorvet kan man i øvrigt se det impo- Roskilde is a commercial town with a large sur- nerende kunstværk Roskildekrukkerne – tre 5 meter rounding area. The commerce is mostly centred høje krukker af kunstneren Peter Brandes. around the charming shopping centre, which starts at the Horse Market (Hestetorvet) and the Italian in-

100 | | 101 Velkommen til Roskilde Domkirke!

Vi er stolte over at være medlemmer af den europæiske sammenslutning af byer med

historiske orgler (European Cities of Historical Organs / ECHO). roskilde Roskilde Domkirke har været de danske kongers begravelsesplads siden 1400-tallet. Bi- skop Absalon begyndte at bygge kirken i 1170’rne. Men den første kirke på stedet var bygget af Harald Blåtand før 985 og indviet til den hellige treenighed. Harald Blåtand er den konge, som officielt gjorde danskerne til kristne i 960. Han er også begravet inde i kirken. Roskilde Domkirke er sammen med Jellingestenen på UNESCO’s liste over verdensbe- rømte og betydningsfulde monumenter og bygninger. Disse to steder spiller en vigtig rolle i Danmarks historie. Jellingestenen er blevet kaldt Danmarks dåbsattest. Også dens place- ring skyldes Harald Blåtand. I vores kirke er 20 konger og 18 dronninger begravet. Den 14. november 2000 blev dron- ning Ingrid bisat fra kirken. Hun ligger nu ved siden af sin gemal kong Frederik IX uden for kirken. Ifølge den danske grundlov skal regenten altid være medlem af den Evangelisk Lu- therske Folkekirke. Kirkeministeren er den højeste administrative myndighed i Folkekirken. I modsætning til andre lutherske kirker har Folkekirken ingen synode eller kirkeforsam- ling, hvor der kan træffes beslutninger om kirkens sager, og hvor der kan fremkomme udta- lelser på kirkens vegne. På den ene side er vores kirke tæt forbundet med staten. Præsterne udnævnes enten af ministeren eller dronningen. På den anden side er Folkekirken meget uafhængig. Vi er stort

Welcome to Roskilde Cathedral!

We are proud to be members of the European Cities­ of Historical Organs (ECHO). Roskilde Cathedral on Zealand has been the burial place for Danish kings since the 15th century. Bishop Absalon began building the church in the 1170s. However, the first church on the site was built by the ­Viking king Harold Bluetooth before 985. King Harold was the king who officially made Denmark to a nation of Christians in 960, and he is also buried in the church. On UNESCO’s list of world-famous, significant monuments and structures, one finds Roskilde Cathedral and the Jelling Stone. These two monuments play a central role in the history of the Danish Church. The Jelling Stone in the village of Jelling in Jutland has been called the birth certificate of the Danish Church. King Harold erected it. Our church is the burial site of 20 kings and 18 queens. The funeral service for our late queen Ingrid was officiated in our church on November 2000, and she is now buried here beside her husband, King Frederik. According to our constitution, the Danish monarch al- ways has to be a member of the Evangelical Lutheran People’s church of Denmark. The Min- ister for Ecclesiastical Affairs is the highest administrative authority.­ In contrast to other Lutheran churches, the Danish Church has no synod or council to make decisions for it or speak on its behalf. There is no church council to make pronounce- ments in the public debate on ­religious issues or deal with questions of a theological na- ture. In a way, our church is closely affiliated with the state. Our religious ministers are ap- pointed by either the government or the queen. Nevertheless, we are very independent. We are largely self-financing. Our historical Raphaëlis organ in Roskilde and all other ­Danish

102 | | 103 set selvfinansierende. Vores historiske Raphaëlisorgel i Roskilde og de andre orgler vedlige- church organs are maintained entirely by the members of the church. 85 % of the popu- holdes 100 % af kirkens egne medlemmer. 85 % af befolkningen er medlemmer af kirken og lation in Denmark are still church members and make their contributions to the church betaler kirkeskat. through a specific church tax. Orglets naturlige placering er i en kirke. Nyere instrumenter i koncerthuse og andre ste- The natural site of an organ is the church. Newer instruments in concert halls or other

der er stort set kopier af kirkeorgler. Vores historiske orgel bruges hver søndag ved gudstje- places are to high degree copies of original church organs. Our historical organ is in use roskilde nesten og mange dage i løbet af ugen. Det er så dyrt at bygge og vedligeholde et orgel, at every Sunday and on several occasions during the week. It is so expensive to maintain or andre historiske orgler i udlandet vedligeholdes af det offentlige eller med hjælp fra private build an organ, that most churches in other countries with historical organs are depend- fonde. I Danmark er det det lokale menighedsråd, som sørger for at holde orglet i stand. ent on funds from public sources or private funds. In Denmark, the local church board is Derfor er vi repræsenteret på ECHO-møder ikke kun af organisten og borgmesteren eller en solely responsible for providing the necessary funds for maintaining the buildings, includ- repræsentant for bystyret, men også ved et medlem af menighedsrådet eller / og en præst. ing organs. This is the reason we are represented at the ECHO conferences by not only one I dag er der flere mennesker, som tilslutter sig kirken, end dem, som forlader den. 80 % of our organists and a representative from the Mayor of Roskilde but by delegate from the af befolkningen døbes som børn. Mange unge døbes i forbindelse med konfirmationen. church board and / or one of the ministers of religion as well. Denne gruppe udgør en tredjedel af dem, som indmelder sig i Folkekirken. Næsten 80 % af Today more people are joining than leaving the church. People join through baptism. de unge konfirmeres. Konfirmationsforberedelsen er den eneste religiøse belæring, som kir- About 80 % of the members are baptized as infants. Many young people between 12 and ken skal yde. Danskerne er ikke så flittige kirkegængere. Men erfaringer viser, at danskerne 14 years are today baptized in conjunction with their confirmation. This group constitutes går flittigere i kirken ved særlige lejligheder. Kirkerne er fulde under adskillige juleaftens- a third of all those joining the church. About 80 % of the young people of 13 – 14 years are gudstjenester. Og der er stor tilslutning, når der er kirkelige handlinger som f. eks. barne- confirmed after having attended the ministers’ preparation classes. This teaching is the dåb. only religious teaching that every parish must offer. The Danes are not ardent churchgoers. Roskilde Domkirke er centrum i et stort stift. Kirken er forbundet med Palæet, hvor bi- Experience shows that Danes willingly come to church when something extraordinary is skoppen har kontor og bolig gennem Absalonsbuen fra det 13. århundrede. Ved domkirken on the programme. The churches are full at the numerous services on Christmas Eve. In ad- er der ansat fire præster og tre organister. En af præsterne er domprovst og stedfortræder dition, church services of a special nature, e. g. family church services, attract many people. for biskoppen og provst i et provsti. Roskilde Cathedral is the centre of a large diocese. An early 13th century travertine con- Vi modtager mere end 200.000 gæster og turister hvert år. Mange går til gudstjeneste nects the church with the bishop’s palace. The church employs four ministers and three eller til en af vores mange orgelkoncerter. Vi er stolte over vores domkirke og vidunderlige organists. One of the ministers is a dean, the bishop’s substitute and responsible for a rural orgel. Det er betydningsfuldt i vor tid med gensidig forståelse, og det er vigtigt for os at deanery. dele vor glæde over kirke og orgel med en række europæiske byer med historiske orgler. We receive more than 200.000 visitors and tourists from many countries every year. Velkommen til Roskilde. Many will attend a worship service or one of our numerous organ concerts. We are proud of our cathedral and our wonderful organ. Mutual understanding is always in great need, Jens Arendt and it is beneficial and important to us to be able to share our delight with a number of Domprovst i Roskilde European cities equally proud of their organs and their ­heritage. We look forward to meeting you in Roskilde.

Jens Arendt Dean of Roskilde

104 | | 105 Orglet The Organ roskilde I 1988 – 91 blev det gamle orgel gennemgribende Investigations ensuing a complete restoration of restaureret. Undersøgelser i forbindelse hermed godt- the organ between 1988 – 91 established that the loft gjorde, at orgelpulpituret er opsat i 1420’erne, men de was built in the 1420s, but the first real piece of in- første efterretninger om et instrument stammer fra formation about the instrument itself stems from 1460. Det gotiske orgel blev 1554 afløst af et renæs- 1460. This Gothic organ was replaced in 1554 by a sanceinstrument bygget af nederlænderen Herman Renaissance instrument built by the Dutchman Her- Raphaëlis Rottenstein Pock. Hundrede år efter i 1654 man Raphaëlis Rottenstein Pock. One hundred years blev dette orgel erstattet af et barokorgel udført af later the organ was again replaced, this time by a Ba- Gregor Mülisch. Siden er instrumentet blevet ændret roque organ by Gregor Mülisch. Since then the instru- flere gange, mest gennemgribende i 1830’erne, da or- ment has been changed several times, the most radi- gelbyggerfirmaet Marcussen & Reuter omarbejdede cal being in the 1830s when the Marcussen & Reuter det i overensstemmelse med den gryende romantiks company changed it to meet the timbres and sound- klangidealer. ideals of the dawning Romantic period. Ved den sidste store restaurering er 1654-orglet The aim of the latest big restoration was to recre- søgt genskabt; udgangspunkt for restaureringen har ate the 1654 organ. The point of origin for this being været det værdifulde pibemateriale fra 1500- og the valuable original pipe material from the 1500s 1600-tallet, der udgør omkring en tredjedel af org- and 1600s, which comprises about a third of the or- lets totale bestand af piber. Fra 1500-tallet drejer gan’s complete pipe supply. There are four registers det sig om fire registre: Rygpositivets Gedact 8’, Ge- from the 1500s: Gedact 8’ and Gedact 4’ of the Ryg- dact 4’ og Manualværkets Bordun 16’ og Spitzflöjt 8’. positiv, Bordun 16’ and Spitzflöjt 8’ of theManualværk . Fra 1654-orglet drejer det sig fortrinsvist om princi- The pipes from the 1654 organ are mainly from the palregistre (herunder facadeprincipalerne) og to rør- principal registers (including the facade principals) stemmer, Brystpositivets Regal 8’ og Rygpositivets and two reed stops, Brystpositivs Regal 8’ and Ryg­ Hoboy 8’. positivs Hoboy 8’. Restaureringen er udført af orgelbyggerfirmaet The restoration was executed by the Marcussen & Marcussen & Søn, Aabenraa, efter planer udarbejdet Son company in Aabenraa, according to plans drawn af den hollandske orgelsagkyndige Corn. H. Edskes. up by the Dutch organ expert, Corn. H. Edskes. The Orglet er intoneret af Olav S. Oussoren organ is voiced by Olav S. Oussoren.

106 | | 107 Manualværk Brystpositiv Principal 8’ Gedact 8’ Spitzflöjt 8’ Waltflöjt 2’ Bordun 16’ Gedactflöjt 4’

Octava 4’ Octava 2’ roskilde Rohrflöjt 4’ Sedecima 1’ Nassath 3’ Regal 8’ Super Octava 2’ Geigen Regal 4’ Mixtur IV–V Trompet 8’ Pedal Principal 16’ Rygpositiv Octava 8’ Principal 4’ Gedact 8’ Gedact 8’ Octava 4’ Gedact 4’ Mixtur IV Octava 2’ Trompet 8’ Sesquialt II Schalmey 4’ Salicional 2’ Posaun 16’ Sedecima 1’ Mixtur III (The sequence of register-names is that of the Hoboy 8’ order on the windchests)

Couplers: Mv / Bp Rp / Mv Ped / Mv Ped / Rp

Compass of the keyboards: Manual C, D, E, F, G, A – c3 Rygpositiv C, D, E – c3 Pedal C, D, E – d1

Sperrventils for each division

Cimbelstern Fuglesang (Nightingale) Tremulant Manualværk Tremulant Rygpositiv Tremulant Pedal

Pitch: a1 = 432 Hz at 16 °C Tuning: Unequal temperament Wind pressure: 67 mm

108 | | 109 t o u l o u s e f r a n c e

| 111 toulouse

Chantal Dounot-Sobraques Adjoint au Maire de Toulouse

oulouse est une ville d’orgue par excellence. Tout d’abord par son patrimoine exception- oulouse is a first-class organ-city, first of all because of its exceptional patrimony of nel d’instruments construits entre 1612 et aujourd’hui. ­instruments dating from 1612 to today. T Ensuite par sa mise en valeur. Les «Arts Renaissants» et son fondateur Xavier Darasse T Furthermore due to the making use of this heritage. The “Arts ­Renaissants” and their ont donné l’impulsion et le feu sacré; les académies d’été se sont succédées à partir de 1978 founder Xavier Darasse gave the stimulus. The summer-academies have succeeded one an- et le prestigieux concours d’orgue aura sa huitième édition en octobre 2002. other since 1978 and the prestigious organ competition will be carried out for the 8th time De plus, le Festival International Toulouse Les Orgues est devenu incontournable dans le in ­October 2002. paysage musical toulousain. Et les mélomanes attendent dorénavant octobre pour décou- In addition, the musical landscape of Toulouse has become unthinkable without the vrir ces merveilles longtemps méconnues que font résonner les orgues toulousaines pour “Festival International Toulouse Les Orgues”. Lovers of music are eagerly looking forward notre bonheur à tous. Musique profane ou sacrée, le répertoire est infiniment varié comme to coming October, when they can encounter those miracles unknown for ages, that are on pourra le constater chaque année. brought to life by the organs in Toulouse for everybody and to our benefit. Both, sacral and Mais ce festival très «localisé» a d’emblée suscité l’engouement auprès d’autres villes profane music, the repertoire is infinitely varied, which can be witnessed every year. européennes disposant d’orgues historiques, et un réseau a été créé à Toulouse en 1997 However, this so “localised” festival from its beginning on caused ­raving amongst other entre sept villes: Trévise – ­Innsbruck – Alkmaar – Saragosse – Lisbonne – Roskilde, puis ulté- European cities disposing of historical organs, leading to the creation of a network of seven rieurement Freiberg et Göteborg, pour développer ce patrimoine exceptionnel et organiser cities in Toulouse in 1997: Treviso, Innsbruck, Alkmaar, Zaragoza, Lisbon and Roskilde, more des échanges. recently joined by Freiberg and Gothenburg. This network is aimed at developing the extra­ Pierre Baudis et Xavier Darasse ne soupçonnaient sûrement pas en entreprenant la res- ordinary heritage and at organising exchange. tauration des orgues toulousaines il y a trente ans, l’impact qu’aurait cette mesure. Pierre Baudis and Xavier Darasse certainly could not anticipate the impact, their meas- C’est à nous de faire fructifier cet héritage! ure was going to have, when they undertook the restoration of the organs in Toulouse 30 years ago. Chantal Dounot-Sobraques It is up to us to allow this heritage to bear fruit! Adjoint au Maire de Toulouse. Chantal Dounot-Sobraques Deputy mayor of Toulouse

112 | | 113 toulouse

Basilique Saint-Sernin Saint-Sernin cathedral

Au Ve siècle, un sanctuaire, édifié hors les murs de In the 5th century, a sanctuary, built outside the Toulouse pour abriter les restes de Saint-Sernin, mar- walls of Toulouse to host the Saint-Sernin relics, marks que l’acte de naissance de la basilique. Un monastère the date of birth of the cathedral. A monastery is est annexé à l’église et desservi par des chanoines au adjoined to the church in the 9th century, to be in- IXe siècle. La réforme de cette communauté facilite, habited by the canons. The amendment of this com- au XIe siècle, un afflux de dons qui permet d’envisager munity in the 11th century facilitates an afflux of dona- un chantier architectural grandiose. Cette nouvelle tions, that will enable to tackle a grand architectural basilique devait faciliter les dévotions des foules de site. This new cathedral was to ease the prayers of pèlerins attirés par les insignes reliques qu’elle abrite the masses of pilgrims that were attracted by the im- toujours. portant relics still entombed in the church. Quand le pape Urbain II en consacre le maître By 1096, when pope Urbain II inaugurated the autel en 1096, le chevet et une partie du transept high altar, the quire and parts of the transept had sont sortis de terre. L’œuvre se ralentit durant la pé- been erected. Progress slowed down in medieval riode médiévale et la nef ne reçoit son couvrement times, with the nave not being roofed before the 14th qu’au XIVe siècle. L’édifice eut, à l’époque, la réputation century. At that time, the building was considered d’être la plus vaste église romane de la chrétienté. the largest Romanesque church of Christianity. Le grand orgue de tribune de la basilique Saint Ser- The organ on the gallery of Saint-Sernin cathedral nin de Toulouse est l’un des fleurons de la facture d’or- in Toulouse is one of the blossoms of French organ- gue française de la fin du XIXe siècle. craftsmanship of the outgoing 19th century. Livré en 1889, c’est un chef-d’œuvre des plus ac- Delivered in 1889, it is one of the master-works of complis du génial facteur Aristide Cavaillé-Coll qui, the ingenious organ-builder Aristide Cavaillé-Coll, sans tomber dans le gigantisme, a su donner à la très who was able to give the huge church an instrument grande basilique un instrument merveilleusement remarkably well-adapted to the dimensions of the

114 | | 115 adapté à l’importance du vaisseau, par une compo- nave, without lapsing into megalomania. This was Basilique Saint-Sernin Cavaillé-Coll, 1888 sition judicieuse qui sort des sentiers battus et va à achieved by a very prudent composition of the work, l’essentiel, et par une harmonie à la fois belle, ascen- deviating from beaten tracks and focussing on the dante et puissante réalisée par Félix Reinburg. core, and by the intonation from the hands of Félix I. Grand-Orgue (C–g3: 56 notes) III. Récit Expressif (C–g3: 56 notes) Nous lisons dans les mémoires des enfants d’Aris- Rein­burg, which is exquisite and powerful at the Montre 16’ Quintaton 16’ toulouse tide Cavaillé-Coll: same time. Bourdon 16’ Diapason 8’ «À soixante-dix-huit ans, en avril 1889, il se ren- We can read in the memoirs of Aristide Cavaillé- Montre 8’ Flûte harmonique 8’ dait à Toulouse et assistait à l’inauguration, par Guil- Coll’s children: Bourdon 8’ Viole de gambe 8’ mant et par Omer Guiraud, titulaire, de son orgue de “At the age of 78 years, in April 1889, he travelled to Flûte harmonique 8’ Voix céleste 8’ Saint-Sernin». Toulouse and attended the inauguration of his organ Gambe 8’ Flûte octaviante 4’ Ce nouvel orgue comporte trois claviers manuels, in Saint-Sernin, carried out by Guilmant and Omer Salicional 8’ Octavin 2’ pédalier et cinquante-quatre jeux. Comparé aux ins- Guiraud, custodian of the organ.” Prestant 4’ Cornet V truments d’ Aristide Cavaillé-Coll à Saint-Sulpice (1862) This new organ incorporates three manuals, pedal Flûte octaviante 4’ Bombarde 16’ et Notre-Dame de Paris (1868), il est relativement and 54 stops. Though relatively small in terms of Quinte 3’ Trompette harmonique 8’ petit par le nombre des jeux, mais il devint rapide- number of stops and in comparison with the Cavaillé- Doublette 2’ Basson-Hautbois 8’ ment légendaire par la noblesse de sa sonorité et Coll instruments in Saint-Sulpice (1862) and Notre- Fourniture V Clarinette 8’ l’étonnante plénitude des tutti. Dame de Paris (1868), it soon became legendary for Cymbale IV Voix Humaine 8’ Si l’orgue de Saint-Sernin n’a connu aucune vérita- the sublimity of its sonority and for the amazing cor- Cornet V Clairon harmonique 4’ ble restauration jusqu’aux récents travaux, il convient pulence of the tutti. Bombarde 16’ cependant de signaler, dans la deuxième moitié du Although the organ of Saint-Sernin did not un- Trompette 8’ Pédale (C–f1: 30 notes) XXème siècle, quelques interventions de détail concer- dergo any veritable restoration prior to recent works, Trompette en chamade 8’ Principal-Basse 32’ nant les souffleries, l’alimentation et la suppression, some small modifications during the second half of Clairon 4’ Contrebasse 16’ le remplacement ou l’ajout de certains jeux. the 20th century have to be mentioned, concerning Clairon en chamade 4’ Soubasse 16’ C’est entre 1992 et 1996 que la maison Boisseau & bellows as well as the altering, replacing and adding Clairon-Doublette 2’ Grosse flûte 8’ Cattiaux, avec la collaboration de Patrice Bellet, entre- of certain stops. Violoncelle 8’ prit la restauration générale et l’instrument fut inau- Following the general restoration by Boisseau & II. Positif (C–g3: 56 notes) Octave 4’ guré lors du premier festival Toulouse Les Orgues le Cattiaux between 1992 and 1996, carried out in col- Montre 8’ Bombarde 32’ 11 octobre 1996. laboration with Patrice Bellet, the instrument was in- Cor de nuit 8’ Bombarde 16’ augurated in the course of the first festival Toulouse Salicional 8’ Trompette 8’ Les Orgues on October 11th, 1996. Unda maris 8’ Clairon 4’ Prestant 4’ Flûte douce 4’ Carillon III Trompette 8’ Basson-Hautbois 8’ Clairon 4’

Accesssoires Orage Octave grave GO Octaves aiguës Péd Copula GO Tirasse GO Copula Pos/GO Tirasse Pos Copula Réc/GO Tirasse Réc Copula Pos/Réc Appel Anches Péd Octaves graves Réc Appel Anches GO Appel Réc Appel Anches Pos Par registre : Appel Anches Réc Octaves graves Pos Appel Chamades Copula Unisson Pos Expression Réc Trémolo Réc

116 | | 117 Église / Musée des Augustins Church / Museum of the Augustins

Né d’une idée de Xavier Darasse, alors professeur The present organ in the church-museum of the d’orgue au Conservatoire de Toulouse et dont l’impul- Augustins was constructed in 1981 by the East Fri- sion et la ténacité ont su faire aboutir ce projet, grâce sian organ-builder Jürgen Ahrend, following great toulouse à l’enthousiasme éclairé de Denis Milhaud, alors con- endeavours by the following people. The idea is to servateur en chef du Musée, et à la généreuse bien- be attributed to Xavier Darasse, who then was pro- veillance de Pierre Baudis, alors député-maire de Tou- fessor for organ at the Conservatory of Toulouse and louse, l’orgue actuel de l’Église-Musée des Augustins whose impulse and perseverance were able to get a été construit en 1981 par Jürgen Ahrend, facteur al- the project under way. Furthermore, Denis Milhaud, lemand installé en Frise orientale. then chief curator of the museum, assisted with lucid La première mention connue d’un orgue dans enthusiasm, as well as Pierre Baudis, the former dep- l’Église des Augustins nous fait remonter en janvier uty mayor of the city, with his generous goodwill. 1504. Maintes fois transformé, ce premier instrument The first known notice of an organ in the church trouvera finalement sa place sur le jubé et y restera takes us back to January of 1504. Transformed sev- près de deux siècles. La Révolution mettra un terme eral times, this first instrument will finally find itself à ces tribulations, la grande église étant transformée on the quire screen and stay there for nearly two en Muséum du Midi et l’orgue détruit avec le jubé. centuries. The Révolution will conclude these tribula- L’orgue actuel, placé sur une tribune spécialement tions, converting the large church into the Museum aménagée pour le recevoir, a été décoré par Pierre du Midi, at the same time destroying the organ with Belin et orne magnifiquement le fond de la vaste nef. the quire screen. L’instrument est construit dans le style des grands The current instrument is placed on a gallery instruments d’Allemagne du Nord. Une mécanique erected specifically to host it and was ornamented simple, un vent souple fourni par des soufflets cu- by Pierre Belin. It embellishes the back of the huge néiformes, un plenum puissant et majestueux confè- nave magnificently. The work is built in the style of rent à l’instrument une remarquable beauté lyrique the large northern-German instruments. Simple me- et poétique. chanics, vivid wind provided by cunei-form bellows and a powerful and majestic plenum impart remark- able lyric and poetic beauty to this instrument. Rückpositiv (C–f3, 54 notes) Brustwerk (C–f3, 54 notes) Rückpositiv/Hauptwerk Praestant 8’ Holzgedackt 8’ Hauptwerk/Pedal Gedackt 8’ Holzflöte 4’ Tremulant Oktave 4’ Blockflöte 2’ Nachtigal (Rossignol) Rohrflöte 4’ Terz 4/5’– 1 3/5’ Oktave 2’ Quinte 1 1/3’ Tempérament inégal, Waldflöte 2’ Regal 8’ d’après Werckmeister III, Sesquialtera II modifié par Jürgen Ahrend Scharf IV 1’ Pedal (C–f1, 30 notes) Pression: 77 mm Dulzian 8’ Praestant 16’ Subbass 16’ Hauptwerk (C–f3, 54 notes) Oktave 8’ Praestant 16’ Oktave 4’ Praestant 8’ Mixtur IV 2’ Hohlflöte 8’ Posaune 16’ Oktave 4’ Trompete 8’ Spitzflöte 4’ Kornet 2’ Quinte 3’ Oktave 2’ Mixtur IV–VI 1 1/3’ Dulzian 16’ Trompete 8’

118 | | 119 Saint Pierre des Chartreux Saint Pierre des Chartreux

L’ orgue Delaunay (1683) de l’église Saint-Pierre- Robert Delaunay originally built the organ be- des-Chartreux provient de l’église des Jacobins de tween 1677 and 1683 for the Eglise des Jacobins. Toulouse, où il fut construit en 1683 par Robert Delau- Around 1760, it was restored and enlarged by Jean- toulouse nay. Il fut restauré et agrandi vers 1760 par Jean-Esprit Esprit Isnard and Joseph Cavaillé, in 1783 by Jean-Bap- Isnard et Joseph Cavaillé, puis en 1783 par Jean-Bap- tiste Micot. tiste Micot. During the Révolution it was moved to Saint- À la Révolution, il fut transféré à Saint-Pierre-des- Pierre-des-Chartreux, its towers being lowered to fit Chartreux et on abaissa légèrement les tourelles de the reduced space available. la façade. In the course of the 19th century, Junck and Puget Junck et Puget le transformèrent au XIXe siècle, carried out two transformations, keeping most of en conservant une grande partie de la tuyauterie an- the original pipework, though. The instrument was cienne. L’instrument fut reconstruit dans l’esprit clas- reconstructed in the spirit of classical French organ- sique français par Gerhard Grenzing en 1983. ­building by Gerhard Grenzing in 1983.

Positif de dos (C–d3: 51 notes) Grand-Orgue (C–d3: 51 notes) Récit (g–d3: 32 notes) Bourdon 8’ Bourdon 16’ Cornet V Flûte (do2) 8’ Montre 8’ Trompette 8’ Prestant 4’ Bourdon 8’ Hautbois 8’ Flûte à cheminée 4’ Flûte (do3) 8’ Nazard 2 2/3’ Prestant 4’ Echo (c–d3: 39 notes) Doublette 2’ Flûte 4’ Bourdon 8’ Tierce 1 3/5’ Grosse Tierce 3 1/5’ Prestant 4’ Larigot 1 1/3’ Nazard 2 2/3’ Nazard 2 2/3’ Fourniture III Doublette 2’ Doublette 2’ Cymbale III Quarte 2’ Tierce 1 3/5’ Cornet III Tierce 1 3/5’ Sifflet 1’ Trompette 8’ Flageolet 1’ Cymbale III Cromorne 8’ Fourniture IV Cromorne 8’ Cymbale IV Plein-Jeu IV Pédale (C–f1: 30 notes) Tiercelette III Flûte 16’ Cornet V Flûte 8’ 1ère Trompette 8’ Flûte 4’ 2ème Trompette 8’ Bombarde 16’ Clairon 4’ Trompette 8’ Voix Humaine 8’ Clairon 4’

POS/GO à tiroir Tirasse GO Tremblant doux Tremblant fort Tempérament inégal Diapason La = 415 Hz

120 | | 121 toulouse I. Grand-Orgue (C–f3: 54 notes) Bourdon 16’ Montre 8’ Flûte harmonique 8’ Bourdon 8’ Viole de gambe 8’ Prestant 4’ Octave 4’ Quinte 3’ Doublette 2’ Plein-Jeu III–V Trompette 8’ Clairon 4’

II. Récit Expressif (c–f3: 42 notes) Flûte traversière 8’ Viole de gambe 8’ Voix céleste 8’ Flûte octaviante 4’ Octavin 2’ Trompette 8’ Cor Anglais – Hautbois 8’ Voix humaine 8’

Pédale (C–g: 20 notes réelles + 10 notes [g#–f1] en tirasse) Église du Gesu Église du Gesu Contrebasse 16’ Flûte 8’ La composition de cet instrument est caractéristi- The composition of the organ is characteristic for Basson 16’ que de la seconde manière de Cavaillé-Coll et date the second type of Cavaillé-Coll organs, dating back Trompette 8’ de 1864. Les jeux de fonds et les jeux d’anches ont la to 1864. Foundation and reed stops are represented part belle tandis que les mutations se font rares (une most prominently, whereas mutation-stops are quite quinte et un plein-jeu harmonique destiné à renfor- rare (one quinte and the plein-jeu harmonique are to Combinaisons cer les dessus dans le Grand-Chœur). reinforce the high spectrum of the Grand-Chœur). Tirasse GO À ce jour, aucune restauration importante n’a été Until today, no substantial restoration has been Appel Anches Basses, Ensemble, Dessus entreprise; cet instrument méconnu est un authen- carried out, leaving this hardly-known instrument an Réc/GO tique chef-d’œuvre du célèbre facteur et une perle authentic masterwork from the hands of the famous Trémolo Récit dans la riche collection des orgues toulousaines. builder and truly a jewel in the rich collection of or- Expression à cuillère gans in Toulouse.

122 | | 123 Basilique Notre Dame la Daurade

La première pierre de l’actuelle église de la Daurade fut posée en 1764. Elle remplaçait le prestigieux sanc- tuaire paléochrétien célèbre pour sa décoration de mosaïques sur fond d’or. L’ancien prieuré bénédictin, dépen- dance de Moissac depuis le XIe siècle, avait été relevé par les Mauristes à partir du XVIIe siècle. toulouse À la construction de cette nouvelle Basilique, l’ancien orgue fut vendu à la Cathédrale de Pamiers en 1775; c’était un grand orgue de seize pieds, de trois claviers et pédale, dont le buffet existe toujours. Il n’est pas interdit de penser que Dom Bédos de Celles, auteur du Traité de l’Art du Facteur d’Orgues, et qui fut novice à l’abbaye de la Daurade, ait travaillé sur cet orgue durant son séjour toulousain. En 1861, la paroisse de la Daurade passa commande d’un grand orgue neuf de 42 jeux aux facteurs Emile Poirier et Nicolas Lieberknecht, installés à Toulouse après avoir travaillé pour le compte de la maison Daublaine-Callinet. Ces facteurs réalisèrent à la Daurade un véritable chef-d’œuvre de la facture romantique, mêlant avec bonheur la grande tradition classique (tuyaux coupés au ton au grand orgue et au positif, grand plénum de 16’, cornets postés, chœur d’anches de grands caractères) et les évolutions de l’esthétique romanti- que (grand récit avec tuyaux à entailles de timbre, jeux à anches libres et flûtes harmoniques, machines Barker, jeux gambés à harmonie très distinguée). Cet instrument réalisé avec un sens artistique et un soin hors du commun fut inauguré le 3 janvier 1864 par Lefébure-Wely. L’orgue Poirier-Lieberknecht subit à partir de 1897 plusieurs dénaturations dues à Jean-Baptiste puis à Mau- rice Puget : pneumatisation du récit et de la pédale, transformation légère de trois jeux, et suppression d’une partie du plein jeu du positif. Ces atteintes, heureusement trop peu nombreuses pour altérer l’intégrité stylis- tique de l’instrument, furent corrigées lors de la restauration entreprise en 1992 par Jean-Loup Boisseau et Ber- trand Cattiaux. L’orgue de la basilique de la Daurade compte parmi les fleurons du patrimoine instrumental de la ville de Toulouse et il est considéré à juste titre comme l’un des plus beaux instruments français de la période romantique.

Basilique Notre Dame la Daurade I. Positif dorsal (C–f3, 54 notes) II. Grand-Orgue (C–f3, 54 notes) III. Récit expressif (C–f3, 54 notes) Montre 8’ Cornet V Cornet V The foundation-stone of the present church was laid in 1764. It replaced the prestigious paleo-christian Salicional 8’ Montre 16’ Flûte harmonique 8’ sanctuary, that had been so famous for its decoration of mosaics on gold-ground. Bourdon 8’ Bourdon 16’ Kéraulophone 8’ When this new cathedral was erected, the old organ was sold to the cathedral of Pamiers in 1775. It had Prestant 4’ Flûte 8’ Flûte octaviante 4’ been an organ on 16-ft base, with three manuals and pedal, whose case still exists. Salicional 4’ Flûte harmonique 8’ Gambe 8’ It is perhaps not too far-fetched to think that Dom Bédos de Celles, the author of Traité de l’Art du Facteur Doublette 2’ Salicional 8’ Voix céleste 8’ d’Orgues, who was a novice in the abbey of la Daurade, might have worked on that organ during his stay in Plein-Jeu V Bourdon 8’ Octavin 2’ Toulouse. Euphone 8’ Prestant 4’ Cor anglais 16’ In 1861, the parish of la Daurade placed order for an organ including 42 stops with the builders Emile Trompette 8’ Doublette 2’ Trompette 8’ ­Poirier and Nicolas Lieberknecht, who were located in Toulouse, having formerly worked for Daublaine-Calli- Clairon 4’ Fourniture IV Basson-Hautbois 8’ net. These builders realised a veritable master-piece of romantic organ-art in la Daurade, blending with great Cymbale III Cromorne 4’ success the grand classical tradition (pipework cut to tone in the grand-orgue and positif-sections, a large Bombarde 16’ Voix humaine 8’ plénum on 16-ft base, cornet stops, a reed section with very characteristic intonation) with the developments Trompette 8’ of romantic aesthetics (large récit with colourfully intonated pipes, free reed stops and flûtes harmoniques, Clairon 4’ Pédale (C–c1: 25 notes, + 5 notes [c#1–f1] en tirasse ) machines Barker, string sections with distinguished intonation). Combinaisons Contrebasse 16’ This instrument, accomplished with an artistic sense and devotion way beyond the standard, was inaugu- Orage Basse 8’ rated on January 3, 1864 by Lefébure-Wely. Tirasse GO Pos/GO Octave 4’ From 1897 on, the organ suffers several modifications by Jean-Baptiste and Maurice Puget: pneumatisation Anches GO Basses, Ensemble, Dessus Réc/GO Bombarde 16’ of the récit and pedal sections, slight transformation of three stops, suppression of parts of the plein jeu of Anches Pos Octaves Pos/GO Trompette 8’ the positif. These attempts, luckily too few to alter the stylistic integrity of the instrument, were corrected in Anches Réc Basses, Ensemble, Dessus Octaves Réc/GO Clairon 4’ the course of the 1992 restoration by Jean-Loup Boisseau and Bertrand Cattiaux. The organ of the cathedral Anches Pédale Trémolo Récit de la Daurade is reckoned amongst the gems of the instrumental heritage of the city of Toulouse. It is rightly Appel GO Expression Récit à cuillère Tempérament égal, La = 438 Hz (à 15 °C) considered as one of the most beautiful French instruments from Romantic times.

124 | | 125 ­Morejot. Il est accroché majestueusement à 17 ­mètres Moréjot. The organ hangs some 55 ft up the west de hauteur sur le mur qui domine le chœur gothique wall of the Gothic Choir. et qui œuvre en même temps sur la nef romane. Originally hosting 28 stops on 2 manuals, this Au début, l’orgue comptait 28 jeux, mais après number rose to 45 stops due to modifications by maintes interventions par Jean-de-Joyeuse (1677), Jean-de-Joyeuse (1677), Montbrun (1738), Lépine (1761), toulouse Montbrun (1738), Lépine (1761), Micot (1772) et Rabiny Micot (1772) and Rabiny (1787 and 1796). The specifi- (1787 et 1796), le nombre de jeux s’est élevé à 45. cation of that point in time is known and was the De 1848 à 1850, Aristide Cavaillé-Coll procède à une basis for the most recent restoration by Alfred Kern transformation profonde. Un manque d’entretien et (1973–1976). l’affaissement du buffet sont à l’origine d’une nou- velle reconstruction par Alfred Kern de Strasbourg (1977) après laquelle l’orgue a retrouvé «sa physiono- mie première, sa substance ancienne revitalisée par les apports nouveaux» (Xavier Darasse).

Chapelle Sainte-Anne L’orgue fut construit par Anselmi et Luciano Manual (FF.GG.AA–f3: 59 notes) ­Tamburini en 1980. La décoration et le buffet ont été Principale Bassi 12’ réalisés par Gian Giacomo Geroldi de Crema. Principale Soprani 12’ Ottava Bassi 6’ Sainte-Anne chapel Ottava Soprani 6’ The organ was built by Anselmi and Luciano Tam- XVa burini in 1980. The ornamentation and the case were XIXa accomplished by Gian Giacomo Geroldi de Crema. XXIIa XXVIa XXIXa XXXIIIa & XXXVIa Flauto en VIIIa Bassi Flauto en VIIIa Soprani Flauto en XIIa Bassi Flauto en XIIa Soprani Voce Umana Soprani 8’ Cornetta Soprani Tromboncini Bassi Tromboncini Soprani

Pédale (C–f1: 30 notes + 5 touches de Cathédrale Saint Etienne de Toulouse Saint-Etienne cathedral in Toulouse ravalement: FF, GG, AA, BB, HH en tirasse) Contrabassi 16’ Un des traités les plus anciens de registration pour One of the oldest known treatises on registration Ottava 8’ orgue découvert en France se réfère à la Cathédrale so far discovered on French soil refers to this building. Ottava 4’ Saint Etienne. Il s’agit d’un contrat qui donne des do- It comprises a contract and related documents for Tromboni 8’ cuments pour la construction et l’utilisation de l’ins- the construction of the cathedral organ by Jacques trument construit par Jacques Cormier en 1531. Cormier in 1531. L’orgue actuel (1612) est l’œuvre du facteur d’orgue The present instrument dates from 1612 when it Accessoires toulousain Antoine Lefebvre. Le splendide buffet en was built by Antoine Lefébure. The splendid walnut Tiratutti noyer fut dessiné autour de 1611 par Pierre Monge case was designed around 1611 by Pierre Monge of Combinazione libera de Narbonne et sculpté par Louis Bihorri et Antoine Narbonne and carved by Louis Bihorri and Antoine Tirasse

126 | | 127 t r e v i s o i t a l y

| 129 a città di Treviso e la Marca, ricche di nobili tradi- he city and Marca of Treviso, with their wealth zioni musicali, conservano un elevato numero di of noble musical traditions, have a considerable strumentiL di interesse storico e artistico, patrimonio Tnumber of instruments of historical and artistic inter- di arte organaria del XVIII e XIX secolo. est, which are the heritage of organ art from the 18th

Celebri organari operarono a Treviso: basta citare, and 19th centuries. treviso agli albori di quest’arte, Jacomello dagli Organi con Famous organ makers worked in Treviso, starting bottega a San Leonardo, Mastro Lorenzo dai Organi, with, at the dawning of this art, Jacomello dagli frate Nicolò de Alemagna, Domenico di Lorenzo o di Organi with his workshop in San Leonardo, Mastro Lucca, Orazio Napolitano, Vincenzo Colonna fino ad Lorenzo dai Organi, frate Nicolò de Alemagna, Domen- arrivare nel 1750 al grande Pietro Nacchini, che costruì ico di Lorenzo or di Lucca, Orazio Napolitano, Vincenzo Giancarlo Gentilini l’organo di Santa Maria dei Battuti e che creò le pre- Colonna through to 1750, when the great Pietro Nac- Sindaco di Treviso messe per costituire una Scuola Veneta con le opere chini built the Santa Maria dei Battuti organ and cre- di Gaetano Callido, De Lorenzi, Moscatelli, Dacci, Bar- ated the preliminaries to form a Veneto School with bini, Merlini e tanti altri. the works of Gaetano Callido, De Lorenzi, Moscatelli, Gaetano Callido costruì per le chiese della Città, Dacci, Barbini, Merlini and many others. Il Festival organistico è realizzato fra il 1769 e il 1793, undici strumenti – più uno per From 1769 to 1793 Gaetano Callido built eleven in collaborazione tra: una chiesa della periferia – e di questi, cinque sono instruments for the City’s churches and one for a Comitato Promotore Festival Organistico presenti nella loro veste originaria. L’attività di Cal- church on the outskirts, five of which can still be “Città di Treviso e della Marca Trevigiana” lido, che ebbe inizio in terra veneta e si estese lungo found in their original form. Callido’s work, which Asolo Musica Veneto Musica le coste dell’Adriatico e del Mediterraneo orientale, commenced in the Veneto and extended along the e con il concorso di: portò alla costruzione di 430 strumenti, l’ultimo dei Adriatic and east Mediterranean coasts, resulted in Comune di Treviso quali si trova nella chiesa parrocchiale di Soligo sem- the construction of 430 instruments, the last of which Fondazione Cassamarca pre in Provincia di Treviso. is found in Soligo Parish Church in the province of Provincia di Treviso Consapevoli di questo enorme patrimonio e della ­Treviso. Giunta Regionale del Veneto necessità di riuscire a recuperare con il loro restauro Aware of this great heritage and the need to sal- Ministero per i Beni e le Attività culturali Gianfranco Gagliardi questi gioielli, nel 1989 un gruppo di appassionati ha vage these jewels by renovating them, in 1989 a Presidente Comitato Promotore Azienda di Promozione Turistica dato vita ad un Festival Organistico, con l’intento di group of enthusiasts established the Organ Festival, Istituto di Vigilanza Compiano creare un’ iniziativa adatta a mettere in risalto questa aimed at creating an initiative which highlighted this straordinaria ricchezza di strumenti antichi e di rav- extraordinary legacy of antique instruments and re- vivare l’interesse del pubblico nei confronti della mu- viving the general public’s interest in organ music. E’ possibile ottenere ulteriori informazioni sul sica organistica. Decisive action by the Cassamarca Foundation al- ­Comitato delle Città d’Organi storici rivolgendosi al Il determinante intervento della Fondazione Cas- lowed all the historical instruments found in Treviso’s ­Comitato promotore del Festival samarca, ha consentito di riportare agli antichi splen- churches to be restored to their former magnificence Further information regarding the Committee of the dori tutti gli strumenti storici custoditi nelle chiese and the recovery of many others distributed through- City of ­Historical Organs can be obtained by contact- del capoluogo – oltre a recuperarne altri in molte lo- out the province, and led to the building of a new ing the Festival’s Promotional Committee calità della Provincia – e di costruire un nuovo organo organ in Italian Renaissance Style, which has been in Stile Rinascimentale Italiano che è stato collocato housed in the Santa Caterina museum. Via Canova 48, I – 31100 Treviso nella sede museale di Santa Caterina. Treviso, with its tradition and culture of hospital- Tel. e Fax: 0039 - 422 - 54 58 95 Treviso, terra ospitale per tradizione e cultura, è di- ity has in these years become a reference point for en- festorganisticotv @ tin.it venuta in questi anni punto di riferimento per gli ap- thusiasts who wish to listen to these authentic mas- passionati che intendono ascoltare questi autentici terpieces of organ art. capolavori dell’arte organaria. Descrizione organi: Gianfranco Ferrara Fotografie: Orio Frassetto e Roberto Esci Giancarlo Gentilini Giancarlo Gentilini Sindaco di Treviso Mayor of Treviso

Gianfranco Gagliardi Gianfranco Gagliardi Presidente Comitato Promotore Chairman of the Promoting Committee

130 | | 131 Chiesa di S. Leonardo in Treviso San Leonardo in Treviso Organo Gaetano Callido Organ by Gaetano Callido

L’ organo, costruito da Gaetano Callido nel 1787, Built by Gaetano Callido in 1787, the organ is posi- collocato in cantoria sopra la porta principale della tioned on a gallery above the main entrance and is chiesa e racchiuso in cassa di stile neoclassico, era hosted by a neo-classical case. It has been preserved giunto fino ai giorni nostri, tranne qualche lieve mo- until today apart from small modifications. Unfortu- difica, integro; sfortunatamente alcuni anni fa un in- nately, a fire inside the church caused considerable cendio sviluppatosi all’ interno della chiesa lo ha dan- damage to the organ. In 1996, the instrument and neggiato in maniera considerevole. the high quality of its timbres were fully re-estab- Nel 1996 con il restauro effettuato dall’ organaro lished in the course of the restoration by the organ- Francesco Zanin di Codroipo l’ organo è ritornato per- builder Francesco Zanin from Codroipo. fettamente efficiente con le qualità sonore e timbri- che di origine.

Disposizione dello strumento Facciata di 25 canne del Principale dal Sol1, disposte a cuspide con ali ascendenti. Tastiera di 47 note (Do1–Re5) con prima ottava corta. Pedaliera a leggio di 18 pedali (Do1–La2) sempre colle- gata alla tastiera; l’ ultimo pedale aziona il tamburo. Divisione bassi/soprani fra le note Do#3/Re3. Temperamento inequabile. 25 pipes of diapason form the prospect, pyramidal, with ascending lateral sections. The manual comprises 47 keys (C–d3), with short ­octave. Pedal a leggio with 18 keys (C–a), coupled to the manual, timpani on the last key. Division bass/treble at c1/d1. Unequal temperament.

Principale bassi [8’] Principale soprani Ottava Quintadecima Decimanona Vigesimaseconda Vigesimasesta Vigesimanona Voce Umana Flauto in VIII bassi Flauto in VIII soprani Flauto in XII Cornetta Tromboncini bassi Tromboncini soprani Contrabassi [16’]

Accessori: Tiratutti

132 | | 133 Disposizione dello strumento Grand’ organo Prospetto di 19 canne del Princi- Principale bassi 16’ pale, dal Do1, disposte a cuspide in Principale soprani 16’ una sola campata. Principale bassi 8’

Tastiera di 58 note (Do1–La5) Principale soprani 8’ treviso con prima ottava cromatica. Alla Ottava bassi tastiera superiore corrisponde il Ottava soprani Grand’ organo, a quella inferiore il Quintadecima Melodium, collocato in posizione Decimanona tergale in cassa espressiva apribile Vigesimaseconda per mezzo di gelosie verticali. La di- Vigesimasesta visione bassi/soprani è fra Si2/Do3. Vigesimanona Pedaliera a leggio di 18 pedali, con Trigesimaterza e sesta 16 note reali (Do1–Mib2). Contrabassi con ottave al Pedale Gli ultimi due pedali azionano rispettivamente la Terza Mano e il Istromentazione Rollante. La pedaliera è costante- Corni da caccia soprani 16’ mente unita al Grand’ organo. Cornetto a due canne XV–XVII Fagotto bassi 8’ Trombe soprani 8’ Violoncello bassi 4’ Corno inglese soprani 16’ Viola bassi 4’ Flauto reale soprani 8’ Ottavino soprani 2’ Chiesa di S. Agostino in Treviso San Agostino in Treviso Voce umana soprani 8’ Organo F.lli Serassi Organ by the Serassi brothers Clarinetto soprano 16’ (combinato) Tromboni al pedale In un territorio dominato dalla presenza di organi In a region, that mainly disposes of organs of the sette-ottocenteschi di Scuola Veneta, la presenza di Venetian school, an instrument of the Lombardian Melodium un organo di Scuola Lombarda è una novità. L’ organo school clearly represents a novelty. The organ was Ottava bassi 4’ Serassi di S. Agostino fu costruito nel 1858 e il rivol- built in 1858. The fact, that a Lombardian builder was Viola bassi 4’ gersi ad un organaro lombardo fu forse influenzato consulted, is probably due to the fact, that the church Violoncello soprani 8’ dalla presenza in quella chiesa dell’ Ordine religioso was used by the Somasco-order, whose roots are to Flauto in ottava soprani 4’ Somasco che in Lombardia ha le sue radici. Lo stru- be found in Lombardy. Violetta soprani 8’ mento si presenta diverso nel quadro fonico dalla es- The instrument is different from the organs of Voce flebile soprani 8’ senziale razionalità della tradizione organaria veneta the severity of the traditional Venetian school, includ- ed è ricco di registri di colore. E’ collocato nella canto- ing numerous colour-stops. It is placed on the gallery Pedaletti per: ria sopra la porta principale della chiesa e racchiuso above the main entrance, in a neo-classical case of Fagotto in cassa neoclassica decorata in finto marmo e - or fake marble, with gilded garlands and capitals. Not Corno inglese nata con festoni e capitelli dorati. Recentemente l’ or- long ago, the organ was restored by Giorgio Carli Ottavino gano è stato restaurato dall’ organaro Giorgio Carli di from Pescantina (Verona). Gelosia dell’ Eco Pescantina (Verona). Tiratutti Combinazione libera alla lombarda

Temperamento equabile

134 | | 135 Cattedrale in Treviso Chiesa di S. Andrea in Treviso Positivo Napoletano ’700 Organo anonimo Veneto sel ’700

L’ organo Positivo collocato in Duomo è uno stru- L’ organo, posto in cantoria sopra la porta centrale mento di piccole dimensioni, come si vede dalla sua e racchiuso entro una cassa lignea ad una campata, treviso disposizione fonica, con ogni probabilità di scuola na- presenta le caratteristiche dell’ arte organaria veneta poletana della seconda metà del Settecento, quella del Settecento. Non si conosce il nome del costrut- Scuola che ha visto fiorire una splendida letteratura tore, ma elementi riguardanti criteri costruttivi e mi- fra il ’500 e il ’700. sure emersi durante il recente restauro inducono a La cassa è di stile neoclassico, laccata e decorata collocare lo strumento nell’ area in cui operarono Ga- con cornici e motivi dorati. Il prospetto è diviso in tre etano Callido e Francesco Dacci. campate, la più grande al centro, con le canne del Interventi posteriori ne avevano alterato la fisio- ­Principale. nomia, mortificandone le qualità sonore che sono La tastiera è di 45 tasti (dal Do1 al Do5) con la state restituite allo strumento per opera dell’ orga- prima ottava corta. I tasti diatonici sono ricoperti in naro Franz Zanin di Camino al Tagliamento nel re- bosso, i cromatici in ebano. La divisione fra bassi e stauro avvenuto fra il 1982 e 1983. ­soprani è ai tasti Do#3/Re3

San Andrea in Treviso Organ from the 18th century (Veneto, Anonymus)

Cathedral of Treviso The organ – placed on the gallery above the main Disposizione dello strumento Neapolitan Positive from the 18th century entrance and hosted by a wooden case with one Prospetto di 27 canne del Principale disposte a field – appears characteristic for the Venetian school ­cuspide con ali ascendenti. The positive in the cathedral is an instrument of of the 18th century. Although the builder is not known, Tastiera di 45 tasti (Do1–Do5) con prima ottava corta. smaller size than the disposition would show and the constructional criteria and measures, that were Pedaliera a leggio di 17 tasti (Do1–Sol#2) costante- it most likely provenes from the Neapolitan school, found in the last restoration, suggest, that the in- mente unita al manuale. which had its flowering period from the 16th to 18th strument comes from the surroundings of Gaetano centuries. ­Callido and Francesco Dacci. Principale bassi [8’] The case is of the neo-classical style, laquered and The modifications, that had influenced the look Principale soprani embellished with gilded frames and motives. The and sound of the organ, were reversed in the course Ottava prospect of Principale is divided into three parts, with of the restoration by Franz Zanin from Camino di Ta- Quintadecima the largest in the centre. gliamento in 1982/1983. Decimanona The manual includes 45 keys (C–c3) with short Vigesimaseconda ­octave. The lower keys are of box-tree, the upper keys Vigesimasesta covered with ebony. The division bass / treble is at Vigesimanona c#1/d1. Voce Umana Flauto in VIII Flauto in XII Disposizione dello strumento Cornetta Principale [8’] Contrabassi al pedale [16’] Ottava Quintadecima Accessori: Decimanona Tamburo Vigesimaseconda Tiratutti Voce Umana Flauto in XII Divisione bassi/soprani fra Do#3/Re3 Temperamento inequabile Lo strumento è stato restaurato dall’ organaro Franz Zanin di Camino al Tagliamento

136 | | 137 Chiesa di S. Nicolò in Treviso San Nicolo in Treviso Organo Gaetano Callido Organ by Gaetano Callido

L’ organo del Tempio monumentale di S. Nicolò fu The organ in the magnificent church of San Nicolo costruito da Gaetano Callido, il più celebre organaro was built by Gaetano Callido, the most famous builder treviso veneto del ’700. Lo strumento, costituito da due corpi of the Veneto in the 18th century. The instrument, com- d’ organo comandati da due tastiere fu compiuto in prising two cases linked with 2 manuals, was erected due tempi: il Grand’ organo (Organo primo) per la Pa- in two steps: the Grand’organo (organo primo) at squa del 1778, il Positivo laterale (Organo secondo) Easter day in 1778, the lateral positive Positivo laterale nell’ anno successivo. L’ organo è collocato su una can- (organo secondo) one year later. The instrument is toria in legno e nella cassa costruita da Antonio placed on a wooden gallery and hosted by a case, that Palma per il precedente organo cinquecentesco, e ad- was erected by Antonio Palma for the prior organ dossata al muro meridionale della chiesa in “cornu from the 16th century. It is located at the southern Epistolae”. wall of the curch, in cornu Epistolae. Il primo organo di cui si ha notizia esisteva già in First reference to an organ dates back to the year S. Nicolò nel 1368, anno in cui subì una riparazione, of 1368, when the organ underwent a repair, which come risulta da libro delle entrate e uscite del Con- we know from a note in the parish-register of the vento dei Domenicani annesso alla chiesa. neighbouring Dominican abbey. Disposizione dello strumento Organo Secondo (Manuale inferiore) Nel 1403 “M. Nicolao ab organis de Alemania”, che In 1403, “M. Nicolao ab organis de Alemania”, who Facciata di 25 canne del Principale a cuspide Voce Umana risiedeva e lavorava a Venezia, costruì un nuovo or- lived and worked in Venice, built a new organ, that con ali dal Fa -1. Flauto in VIII bassi gano che fu usato per circa due secoli confermando was then used for some 2 centuries, hereby confirm- 2 Manuali di 59 tasti Flauto in VIII soprani in tal modo il giudizio espresso dai frati committenti ing the opinion of the Dominican friars, who had said, (Organo Primo dal Do -1 al Re5, reale dal Fa -1, con Flauto in XII nei riguardi dello strumento “qui fecit … organum … “… qui fecit … organum … pulchrum et solemne”. prima ottava corta; Organo Secondo dal Do -1 al Re5, Cornetta pulchrum et solemne”. In 1586, the Dominicans decided for a new-con- con prima ottava corta; reale dal Do1). Tromboncini bassi Nel 1586 i Domenicani decisero di sostituire il vec- struction and consulted the most prominent Vene- Pedaliera di 24 tasti (dal Do1 al Si2; estensione reale Tromboncini soprani chio organo quattrocentesco con uno nuovo e si rivol- tian organ-builder “Maestro Vincenzo Colonna”. The di 12 note; Do1–Si1). Principale bassi [8’] sero a “Maestro Vincenzo Colonna” celebre organaro present gallery and case were erected for that instru- Principale soprani veneziano. Per questo strumento furono costruite la ment. Organo Primo (Manuale superiore) Ottava cassa e la cantoria ancor oggi esistenti. In 1776, the order for the organ, that we can still Principale bassi [12’] Quintadecima Nel 1776 fu stipulato con Gaetano Callido il con- admire, was placed with Gaetano Callido. More than Principale soprani Decimanona tratto per l’ organo che oggi possiamo ammirare. In- centuries later, the instrument is still almost perfect. Ottava Vigesimaseconda fatti, non ostante due secoli di vita lo strumento è In the course of the 19th century, small restorations Quintadecima Viola bassi [4’] rimasto praticamente intatto. Nel corso dell’ ’800 fu- and modifications were carried out: In the pedal sec- Decimanona rono compiuti dei restauri e qualche modifica: trom- tion, the tromboncini were replaced by tromboni with Vigesimaseconda Pedale boncini del pedale furono sostituiti da tromboni con wooden resonators, the cunei-form bellows were re- Vigesimasesta costantemente unito all’ Organo Primo tuba lignea, i mantici a cuneo furono rifatti “a lan- placed by reservoir-bellows, the pedal a leggio by a Vigesimanona Divisione fra bassi e soprani ai tasti La2/Sib2 terna”, la pedaliera a leggio fu sostituita da una oriz- chromatic and parallel pedal. All of this was main- Trigesimaterza [ fino al Fa2] zontale e cromatica; tutto ciò si è mantenuto con il re- tained in the restoration by Franz Zanin from Camino Trigesimasesta [ fino al Do2] Accessori: stauro compiuto dall’ organaro Franz Zanin di Camino al Tagliamento in the years 1975–77, whilst the cor- Contrabassi Tiratutti al Tagliamento fra il 1975 e 77; mentre si è ripristinata netta in the organo primo – formerly modified to be a Ottava di Contrabassi [ al pedale registri tra loro uniti ] Terza mano la Cornetta all’ Organo Primo, resa precedentemente ottavino scalando canne – and the unequal tempera- Duodecima di Contrabassi Unione dei manuali Ottavino scalando le canne, e il temperamento ine- ment were re-established. Voce Umana quabile. Flauto in VIII bassi Flauto in VIII soprani Flauto in XII Cornetta Tromboncini bassi Tromboncini soprani Violoncello bassi Violoncello soprani Tromboni [al Pedale]

138 | | 139 Chiesa di S. Caterina in Treviso Santa Caterina in Treviso Organo Francesco Zanin Organ by Francesco Zanin

Organo collocato in apposita tribuna posta davanti Organ on a separate gallery above the old presbytery, all’ antico presbiterio, entro cassa armonica in abete in a harmonic case of natural spruce. treviso naturale. Prospect with 5 divisions of 7 / 9 / 5 / 9 / 7 and Prospetto suddiviso in cinque campate (7/9/5/9/7) 2 divisions with organetti morti. e due con organetti morti. Tin-prospect starting at F of the Tenori I. Facciata di canne in stagno, profilo diritto, bocche a Compass of the manual 60 keys, with split keys for mitria, a partire dalla nota Fa -1 del registro ­Tenori I. Ab, ab, ab1 and d#, d#1, d#2, short octave, lower keys of Tastiera di 60 note (Do -1–La4) con tasti spezzati per box-tree with ornamented front, upper keys of ebony. le note Lab 1, 2 e 3 e Re# 2, 3 e 4, prima ottava corta, Pedal of nut-tree a leggio, 20 keys with short octave. tasti naturali ricoperti in bosso con frontalini a Spring-chest of nut-tree. ­chiocciola, diesis in ebano. 3 cunei-form bellows electrically or manually. Pedaliera in noce, a leggio, di 20 note (Do -1–Si1) con Mean-tone temperament. prima ottava corta. Pitch 440 Hz at 18 °C. Somiere maestro del tipo a vento, in noce. Wind-pressure 45 mm water-gauge. Manticeria composta di 3 mantici a cuneo azionabili Division bass / treble at c1/c#1. manualmente e con corde. Temperamento mesotonico. Corista 440 Hz. a 18 °C. Pressione del vento 45 mm. di colonna d’ acqua. Divisione bassi/soprani tra i tasti Do3 e Do#3.

Disposizione dello strumento

Tenori I bassi [16’] Voce Umana Tenori I soprani Flauto in VIII bassi Tenori II bassi Flauto in VIII soprani Tenori II soprani Flauto in XII bassi Ottava Flauto in XII soprani Quintadecima Flauto in XV bassi Decimanona Flauto in XV soprani Vigesimaseconda Vigesima II larga bassi Vigesimasesta Vigesima II larga soprani Vigesimanona Cornamuse bassi Tremolante Cornamuse soprani Usignoli [a tre canne] Accessori: Tiratutti a pedalone

140 | | 141 z a r a g o z a s p a i n

| 143 zaragoza

Javier Lambán Montañés Presidente de la Diputación de Zaragoza

a ciudad de Zaragoza es heredera de una rica his- he city of Zaragoza is heiress of a rich history, rooting in the dedica- toria que se inicia con la dedicación al emperador tion of the new city called Caesaraugusta to the emperor of Rome deL Roma, el 14 a. C., de la ciudad nueva Caesaraugusta, Tin the year 14 B. C., soon to be the administrative capital of a large re- pronto capital administrativa de una gran región, el gion, the Conventus Caesaraugustano. The year 719 A. C. saw the begin- Conventus Caesaraugustanus. En 719 se inicia la etapa ning of the Islamic era in the city then called Saraqusta, which was musulmana de la ciudad denominada Saraqusta, ciu­ open-minded and rich in arts and culture. Situated in the centre of the dad abierta y rica en artes y cultura, que se erige en important territory Marca Superior, it rose to the level of the caliphate of el centro de la importante Marca Superior, encumbra- Córdoba little later, from which it separated again in 1018, through the da poco más tarde al nivel del Califato de ­Córdoba, might of the first empire of independent Taifas of the whole of Andalu- del que se separará en 1018, con la fuerza del primer sia. One hundred years later, it is conquered by Alfonso I, who renders reino de taifas independiente de todo al-Andalus. it capital of the large and widespread area that is to form the Reino de Cien años más tarde, en 1118 es conquistada por Al- Aragón (empire of Aragon), hereby initiating an age of fertile co-exist- fonso I, que la convierte en la capital del extenso y ence of Christians, Judes and Muslims in the spheres of faith, philosophy amplio espacio que constituirá el Reino de Aragón, co- and arts. menzando así una época fértil entre creencias, pensa- Music has been present in the city from its very origins. Splendid mo- miento y arte de cristianos, judíos y musulmanes. saics from the Romanesque time showing musical themes testify this. La Música estuvo presente desde los comienzos A unique capital dating back to the early 11th century, full of musicians, de la historia de esta ciudad. Mosaicos hermosos de amongst whom stands out an organ player, is to be admired in the ca- la época romana con imágenes musicales lo atesti- thedral of Jaca, the cradle of the empires of Aragón. The Crónicas of the guan. Un singular capitel de comienzos del siglo XI royal coronations of Aragon in the cathedral La Seo in Zaragoza during poblado de músicos, entre los que se destaca un tañe- the 14th century mention numerous Órganos de manos (manual organs) dor de órgano, aparece en la Catedral de Jaca, cuna and from the same time we know of the existence of two organ-builders­ del Reino de Aragón. Las Crónicas de las coronaciones of those instruments. The 15th century was productive in construction de los Reyes de Aragón en La Seo de Zaragoza durante of Órganos positivos, the most outstanding of which was made for the el siglo XIV, ponen en manos de los ciudadanos y visi- cathedral of the city of Zaragoza in 1469 by the organ player of the tantes numerosos órganos de manos y en esa misma same cathedral, Juan Ximenez Garcés, similar to the instruments built época sabemos de la existencia de dos constructores by ­foreign makers for Barcelona and Valencia. de estos instrumentos. El siglo XV fue rico en cons- Around the late 15th and early 16th centuries, the local Moorish arti- trucción de órganos positivos, destacando el que en sans Mahoma Mofferriz, father and son, construct claviórganos, which 1469 construye para la catedral de la cuidad de Zara- are widely accepted by the nobility of the whole nation. Renaissance- goza, el tañedor y organista de la misma Juan Ximé- time organs arrive to the city through the work of the organ-builders nez Garcés, comparable a los que organeros extranje- Córdoba, and in that time of the 16th century Guillaume de Lupe, though ros habían construido en Barcelona y Valencia. Entre a french national, settled in Aragon since early in his life will enrich finales del siglo XV y comienzos del XVI, los artesanos them by adding mixturas and the split manual. In the course of the zaragozanos moros Mahoma Mofferrriz, padre e hijo, 17th century Jusepe de Sesma builds well-crafted, excellent organs, which

144 | | 145 construyen claviórganos, plenamente aceptados por he already equips with registros de lengüetería (reed la nobleza de toda la nación. Los órganos renacen- stops); this is to entail a process, that will culminate tistas llegan a la ciudad de manos de los organeros in the 18th century with the perfection of the Spanish Córdoba y en aquel siglo XVI, Guillaume de Lupe, fran- organ, which is nourished by vigorous reed stop sec- cés de nacionalidad, pero afincado desde joven en tions, as can be seen in the work of the aragonese or- zaragoza Aragón, los enriquece con mixturas y teclado partido. gan-builder Juan Antonio Turull in the monumental Durante el siglo XVII Jusepe de Sesma construye por organ of the San Pablo church. toda la región perfectos y logrados órganos en los Although from that time onwards the Spanish que ya introduce registros de lengüetería; proceso baroque organ undergoes a decline, the restoration que culminará en el siglo XVIII con la perfección del of the classic organs still existing in the region, ini- Órgano español, nutrido de sonora trompetería, como tiated some decades ago, mainly by the Diputación lo muestra el trabajo del organero aragonés Juan An- of Zaragoza with the technical advising of the Ins­ tonio Turull en el monumental órgano de la Iglesia de titución “Fernando el Católico”, once again makes San Pablo. Zaragoza leader of a large musical region, standing Si a partir de este momento comienza un declive out through its historical organs, which were respon- del órgano barroco español, la restauración de los ór- sible for the remarkable reputation of such important ganos clásicos aún existenes, iniciada ya hace algu- musicians and organ players as Sebastián Aguilera nas décadas, en la región aragonesa y llevada a cabo de Heredia and Pablo Bruna. principalmente por la Diputación de Zaragoza, bajo They are organs, which frequently, with their extra­ el asesoramiento de la Institución “Fernando el Cató- ordinary sounds, attract the people of Zaragoza, lico” sitúa a Zaragoza, de nuevo, a la cabeza de una ­allowing them to revive and feel their rich and long gran comarca musical destacable por sus Órganos ­history. Históricos, por los que fueron conocidos músicos y ta- ñedores de gran importancia, como es el caso de Se- Zaragoza, february 2001 bastián Aguilera de Heredia y Pablo Bruna. Órganos que, con sus extraordinarios sonidos, ­reúnen con frecuencia a los zaragozanos que de esta Javier Lambán Montañés manera reviven y sienten su rica y ancestral historia. President of the Deputation of Zaragoza

Zaragoza, febrero de 2001

Javier Lambán Montañés Presidente de la Diputación de Zaragoza

Zaragoza Catedral de La Seo

146 | | 147 Catedral de la Seo Zaragoza

Órgano histórico año 1469, con múltiples reformas zaragoza Caja gótica, año 1469 Constructor Joan Ximénez Garcés, 1469 Restauradores Última reforma Pedro Roques, 1857 Escuela aragonesa del siglo XVIII

Composición del Órgano

Órgano Mayor (C–g3) Órgano de Eco Flautado 16’ Flauta dulce 8’ Flautado 8’ Viola dulce 8’ Violón 8’ Nasardos 4 hileras Octava 4’ Clarinete 8’ Ocarina 4’ Voz humana 8’ Docena 2 2/3’ Trompeta expresiva 8’ Quincena 2’ Oboe 8’ Corneta 5 hileras 8’ (Tiples) Lleno 4 hileras 1’ Címbala 3 hileras 1/2’ Contras de 12 notas 16’ / 8’ Euphon 8’ Contras harmonía de 12 notas 16’ Trompeta de batalla 8’ Clarín claro 4’ / 8’ 2 Tambores Bajoncillo y Clarín 4’ / 8’ 2 Temblantes Pajaritos Órgano de Cadereta Flautado 8’ Acoplamiento al pedal Violón 8’ Octava 4’ Docena 2 2/3’ Quincena 2’ Diecinovena 1 1/3’ Corneta 5 hileras 8’ (Tiples) Lleno 4 hileras 1’ Bombarda 16’ Trompeta Real 8’ Bajo de Trompeta 8’ Bajoncillo 4’

148 | | 149 Iglesia de San Pablo Zaragoza

Órgano de estilo barroco Caja gótica del siglo XVI zaragoza Constructor Reconstrucción del Órgano de Juan Antonio Turull Escuela aragonesa del siglo XVIII Restauradores Orgelbau Felsberg, Chur/Suiza

Composición del Órgano

Órgano Mayor (CD–c3) Bajos Tiples Flautado Mayor Flautado Mayor Violón Violón Octava Octava Octava Octava Docena Docena Quincena Quincena Decinovena & Veintidosena Decinovena & Veintidosena Lleno 4 hileras Lleno 4 hileras Sobrelleno 3 hileras Sobrelleno 3 hileras Címbala Címbala Corneta Magna 7 hileras Nasardo 12a Nasardo 12a Nasardo 15a Nasardo 15a Nasardo 17a Nasardo 17a Trompeta Real Trompeta Real Bajoncillo Bajoncillo Orlos Orlos

Cadereta (CD–c3) Flautado 13 Flautado 13 Octava Octava Quincena Quincena Decisetena Corneta de 5 hileras Lleno 3 hileras Lleno 3 hileras Nasardo 15a Nasardo 15a Bajoncillo Clarín

Contras 26 Gaita Tambor Temblante Pajaritos

150 | | 151 Iglesia Parroquial de Santa Maria Tauste Provincia de Zaragoza

Órgano del siglo XIX zaragoza Constructor Pedro Roques, año 1862 Organería aragonesa del siglo XIX, el más destacado constructor Restaurador/es Órganos Späth S. L., año 1998

Composición del Órgano

Bajones (C–c1) Tiples (c#1–g3) Eufone Clarinete Trompeta Real Trompeta Real Trompeta de Batalla Trompeta de Batalla Bajoncillo Clarín Lleno de 4 hileras Lleno de 4 hileras El Patio de la Infanta Diezinobena Diezinobena Ibercaja Quincena Quincena Zaragoza Docena Docena Octaba Octaba Órgano plateresco aragonés del siglo XVII Flautado de Violón Violón Flautado de 13 Flautado de 13 Constructor Corneta Magna Joseph de Sesma, 1692 Restauradores José María Arrizabalaga Escuela aragonesa del siglo XVII Composición del Órgano

Bajones (C–c1) Tiples (c#1–a2) Bajoncillo Clarín Dulzainas Dulzainas Címbala 2 hileras Címbala Lleno 3 hileras Lleno Decinovena Decinovena Quincena Quincena Teclado manual de 56 notas (C–g3) Octava Octava Teclado partido entre c1/c#1 Flautado Violón Flautado Violón 12 pisas para los contras 8’ y 5 1/3’ Corneta Inglesa 4 hileras

Teclado con octava corta Teclado „partido” en c1/c#1

152 | | 153 Iglesia Parroquial de Nuesta Señora de la Asunción Cariñena Provincia de Zaragoza

Órgano barroco de la primera mitad del siglo XVIII zaragoza

Constructor Bartholomé Sánchez, año 1734 Escuela organera aragonesa del siglo XVIII Restauradores Bernhard Fleig, Basel/Suiza Claudio y Cristina Rainolter, Tarazona/España

Composición del Órgano

Bajones (C–c1) Tiples (c#1–c3) Clarín de 15na Clarín de Campaña Címbala 4 hileras Cimbala 4 hileras Lleno 5 hileras Lleno 5 hileras Bajoncillo Clarín claro Diezinovena Diezinovena Trompeta en 8va Clarín claro Quincena Quincena Nasardo 17na Trompeta Real Dozena Dozena Nasardo 15na Corneta Magna Octava Octava Nasardo en 12na Nasardo en 15na Octava Octava Flautado Mayor Flautado Mayor Nasardo 17na Flauta Trabesera Violón

Órgano de Cadereta

Nasardo 12na Lleno Lleno Violón Violín (Ecos) Dezinovena Quizena y 12na II Octava Octava Quincena Corneta en Eco Violón

Tambores Pajarillos Teclado con octava „larga”: C, D, Eb, E, F, F# (48 notas) Teclado partido entre c1/c#1 11 pisas para las contras C–H, sin C#, que cantan un juego fijo de trece palmos (8’)

154 | | 155 Colegiata de Santa María de los Sagrados Corporales Darocca Provincia de Zaragoza

Órgano de estilo barroco zaragoza con añadidos posteriores hasta el siglo XVIII caja gótica del siglo XVI Constructor Pasqual Mallen Fachada gótica, años 1488–1498 Reforma Nicolas Salanoba y Thomas Crañera, año 1718 Restaurador/es Gabriel Blancafort, Collbató, año 1964

Composición del Órgano

Bajones (C–c1) Tiples (c#1–f3) Flautado Mayor de 26 (16’) Flautado Mayor de 26 (16’) Flautado de trece (8’) Flautado de trece (8’) Violón Violón Octava Octava Tapadillo Tapadillo Nasardo en 12na Nasardo en 12na Docena Quincena Nasardo en 15na Corneta Magna Nasardo en 17na Tolosana III Lleno IV Lleno IV Nasardo en Ecos Corneta en Ecos Címbala Címbala Bajoncillo en Ecos Clarín en Ecos Trompeta Real Trompeta Real Bajoncillo Clarín claro Chirimia Clarín de Campaña Trompeta Magna

Órgano de Cadereta

Violón Violón Teclado manual de 54 notas (C–f3) Octava Octava Teclado partido entre c1/c#1 Nasardo en 15na Octava Segunda Pedalero al estilo aléman de 30 Quincena Nasardo en 12na notas, acoplado al teclado manual Decinovena Quincena Címbala Corneta Regalia Címbala III Regalia

156 | | 157 Imprint Contact contact Copyright © 2002 Alkmaar Innsbruck Toulouse by echo International Schnitger Organ Competition Städtisches Konzertbüro Festival International Toulouse Les Orgues European Cities of Louise Henriëttestraat 14 Stiftgasse 16 34, rue Pargaminières Historical Organs / NL - 1814 XD Alkmaar A - 6020 Innsbruck F - 31000 Toulouse Europae Civitates The Netherlands Austria France Historicorum Organorum T = F +31 - 72 - 5 12 05 28 T +43 - 512 - 53 60 16 60 T +33 - 5 - 61 22 20 44 under the chairmanship www. schnitger.nl F +43 - 512 - 53 60 649 F +33 - 5 - 62 27 67 61 of the cities of Innsbruck alkmaar @ echo-organs.org innsbruck @ echo-organs.org www. toulouse-les-orgues.org and Göteborg Artistic representative Pieter van Dijk Artistic representative Reinhard Jaud toulouse @ echo-organs.org Artistic leader Jan Willem Jansen www. echo-organs.org info @ echo-organs.org Freiberg Lisboa Gottfried-Silbermann-Gesellschaft e. V. Festival Internacional de Órgão de Lisboa Treviso No part of this publication may be reproduced Geschäftsstelle Freiberg Rua Rosa Araújo, 6 – 3º Comitato promotore or used in any form or by any means without Schlossplatz 6 P - 1250-195 Lisboa Festival Organistico „Citta diTreviso“ written permission from ECHO D - 09599 Freiberg Portugal Via Canova 48 Germany T +351 - 21 - 3 57 31 31 I - 31100 Treviso T +49 - 37 31 - 2 22 48 F +351 - 21 - 3 54 33 30 Italy Editor F +49 - 37 31 - 2 11 62 lisboa @ echo-organs.org T = F +39 - 0422 - 54 58 95 Reinhard Jaud www. silbermann.org Artistic leaders João Vaz & António Duarte treviso @ echo-organs.org Innsbruck, Austria freiberg @ echo-organs.org Artistic leader Andrea Marcon Artistic representative Dietrich Wagler Designer Roskilde Michael Kitzinger, da Roskilde Domkirke Zaragoza St. Pölten, Austria / [email protected] Göteborg Domkirkens kontor José L. González Uriol Göteborg International Organ Academy Domkirkestræde 10 Institución „Fernando el Católico“ Printed by Ebbe Lieberathsgatan 25 DK - 4000 Roskilde Diputación de Zaragoza Grasl Druck & Neue Medien SE - 412 65 Göteborg Danmark Pza. España, 2 Bad Vöslau, Austria Sweden T +45 - 46 - 35 16 24 E - 50071 Zaragoza T +46 - 31 - 7 73 52 11 roskilde @ echo-organs.org Spain Paper F +46 - 31 - 7 73 52 00 Artistic representative Kristian Olesen T +34 - 976 - 28 88 78 Unimatt 150g (Sappi) www. hum.gu.se / goart / organac.htm F +34 - 976 - 28 88 69 goeteborg @ echo-organs.org zaragoza @ echo-organs.org Typeset Contact Per-Göran Huss Artistic representative José L. González Uriol Thesis / The Sans (LucasFonts) Artistic leader Hans Davidsson

158 | | 159 photographers © Alkmaar Leen Spaans p. 13, 25 Fotostudio Wick Natzijl p. 14, 16, 19, 22, 27, 29

Freiberg Foto Böhme (Frauenstein) p. 31 Michael Lange (Dresden) p. 37, 38, 40, 43, 45

Göteborg Kjell Holmner p. 49, 52 Henrik Tobin p. 55, 58, 63, 65 Lasse Lindkvist p. 60, 61, 62 Ulf Celander p. 66

Innsbruck Die Fotografen (Innsbruck) p. 69, 73, 77, 78, 80, 81 Fotostudio Friedl Murauer p. 71 Watzek (Hall) p. 83

Lisboa www.echo-organs.org Juventude Musical Portuguesa p. 85, 88, 91, 92, 93, 95

Roskilde Sten Lange (København) p. 97 Ib Glaser (Roskilde) p. 98 alkmaar alkmaar alkmaar alkmaar alkmaar alkmaar alkmaar alkmaar alkmaar Henrik Wichmann (København) p. 102, 104, 107 freiberg freiberg freiberg freiberg freiberg freiberg freiberg freiberg freiberg Flemming G. Rasmussen p. 108 göteborg göteborg göteborg göteborg göteborg göteborg göteborg göteborg göteborg innsbruck innsbruck innsbruck innsbruck innsbruck innsbruck innsbruck innsbruck innsbruck Toulouse lisboa lisboa lisboa lisboa lisboa lisboa lisboa lisboa lisboa S. T. C Mairie de Toulouse p. 111, 119, 122, 126, 127 roskilde roskilde roskilde roskilde roskilde roskilde roskilde roskilde roskilde Francis Alexandre p. 113 toulouse toulouse toulouse toulouse toulouse toulouse toulouse toulouse toulouse (Archives municipales treviso treviso treviso treviso treviso treviso treviso treviso treviso de Toulouse) zaragoza zaragoza zaragoza zaragoza zaragoza zaragoza zaragoza zaragoza zaragoza Jean Dieuzaide p. 115 Philippe Rouquier p. 125

Treviso Orio Frassetto, Roberto Esci p. 4, 5; 129, 130, 133, 134, 136, 137, 139, 141

Zaragoza tempo (Zaragoza) p. 143, 144, 147, 148, 151, 152, 155, 157

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