May 09 Pp. 23-25.Indd

Kristian Wegscheider: Master Restorer and Organbuilder Joel H. Kuznik

ention Saxony to most organists, Expansion Mand they immediately think of the By 1993 it was clear that the company 18th century, Gottfried Silbermann and needed new, larger facilities. The com- his catalogue of 31 extraordinary instru- pany had expanded to ten employees, ments, which are still being played.1 with only 400 square meters of workspace An amazing testimony! But today one and with insuffi cient height to assemble hears more and more of Kristian Weg- instruments. Finally a carpenter’s work- scheider, widely admired for his dynamic shop was found in Dresden–Hellerau in restorations of Silbermann organs as the old village center of Rähnitz. During well as those of Hildebrandt, Schnitger the move, the fi rm continued to work on a and Ladegast—and whose reputation restoration of the Silbermann for the Bre- as a builder is so respected that he was men Cathedral (I/8, 1734)8 and an identi- considered for the new organs at St. cal copy of it for the Silbermann Museum Thomas, Leipzig and the Frauenkirche in Frauenstein, so that the dedication of in Dresden. the new workshop in July 1994 could take Steven Dieck, president of C. B. Fisk, place in a concert using both organs with Inc., credits Wegscheider with being the Dresden Baroque Orchestra. “very helpful in discovering the ‘secrets’ After all this excitement, work con- of Gottfried Silbermann and continues to tinued routinely, but always with inter- be, not only for us, but also for any other esting projects. One was the extensive organbuilder. There is no disputing that renovation of the Schulze organ, with Kristian and his shop are the experts on the reconstruction of a 32′ Posaune the work of Gottfried Silbermann.” in Markneukirchen, a town in Saxony Stefan Engels of Leipzig’s University known as a center for making musical of Music & Theatre notes that “Kristian instruments as well as its Museum of Wegscheider is one of the leading organ Musical Instruments. Another instance builders of our time when it comes to was building a new 20-rank organ inside the restoration of historic instruments an historic case in Steinwedel near Han- from the 17th and 18th centuries. His nover, which demonstrated what a build- knowledge of style, his talent for re- er like Wegscheider with experience in search, and his ability to relate to the historical models could do. distinct sounds of old organs is unique. It is a joy to experience this artist and Langhennersdorf, Nikolaikirche his superb work.” But the high point of this period was And, as Steve Dieck points out, Weg- completing the renovation of the organ scheider has an international involvement at St. Nicholas Church in Langhenners- and impact. “Once East Germany opened dorf, a beautiful village near Freiberg. itself to the rest of the world, Kristian’s This Opus 1 by Silbermann’s appren- company became a member of the In- tice Zacharias Hildebrandt (1722) as his ternational Society of Organbuilders. Meisterstück (masterpiece) was built to Shortly after that, he helped to organize Kristian Wegscheider in his shop certify him as an organbuilder. It is a rev- one of the ISO’s biennial congresses held elation to hear—exciting, vibrant, pres- in Dresden. He is currently second vice At the time it was not unusual in the Ahrend, contacted the North German ent, colorful, and commanding. president of the ISO and again helped GDR for restorations and even the re- Organ Academy, and had discussions with But all this came after some blood, to organize the congress in September pair of organs to be delayed up to 20 organ experts, musicologists and organ- sweat and tears. Begun in 1989–90 during 2008, which began in Gdansk, Poland and years. In 1987, that gave Wegscheider ists. This all became invaluable in form- the turbulent reunifi cation of Germany, worked its way by train and boat to Stral- an idea, often treated perfunctorily ing their own fi rm and served as the basis this was Wegscheider’s fi rst big contract sund, Germany, where members of ISO and bureaucratically, to create his own for artistic work. Additional “educational and was threatened by obstacles beyond visited signifi cant organs.”2 workshop specializing in restorations journeys” became a regular experience his control. However, he remained deter- “He continues to share his vast knowl- and repair. He overcame numerous and took them to South Germany, Swit- mined and continued working piece by edge of the works of Gottfried Silbermann hurdles—among other things, getting a zerland, Italy, and France. How exhilarat- piece as the church, which was commit- with his many organbuilding colleagues trade license and acquiring the space for ing this must have been—the new free- ted to the challenge, raised funds. What around the world. He has visited the U.S. engaging in a trade, and one couldn’t get dom to explore and discover! exuberance there must have been at re- many times, and was invited to collabo- one without the other. dedication on Reformation Day, 1996! rate with Fritz Noack in making a ‘Hil- In order to bridge the gap, Weg- Wegscheider: fi rst projects debrandt’ style organ for Christ the King scheider worked for almost a year in the The fi rst project was a new instru- Langhennersdorf Nikolaikirche9 Lutheran Church in Houston, Texas.” restoration workshop of the Museum ment for the Allstedt Castle Chapel in 1722 Zacharias Hildebrandt (II+P/21) And those who have been fortunate of Musical Instruments at the Univer- Mansfeld. The small organ was to com- 1989–1996 Kristian Wegscheider to hear Wegscheider’s restorations or sity of Leipzig. With the assistance of plement the Baroque room and conform Hauptwerk new instruments would add, “This is a friends and with some luck, however, to old established models of classical or- 8′ Principal builder about whom Americans need to the initial problems were overcome. ganbuilding. The shop was to do some- 8′ Rohrfl öte know more.” That was all quickly forgotten, once thing that had never been done in East 8′ Quintadena work began in the spring of 1989 with Germany before—to make an instru- 4′ Praestant Background the reconditioning of an old carpen- ment completely from wood, tin, lead, 4′ Spitzfl öte 3′ Quinta Kristian Wegscheider was born in ter’s shop in Dresden’s Neustadt (“new leather and brass without using ply- ′ 1954 in Ahrenshoop, a small resort town city”).4 His fi rst two coworkers were wood, aluminum, nitrate lacquer, plastic 2 Octava III Mixtur on the Baltic Coast of Northern Ger- the organ builder and pipemaker Hart- and prefabricated mechanisms. II Cymbeln many. After stints in the army and a year mut Schütz, who had also trained with Also, this instrument would refl ect III Cornett (from c1) with a furniture-maker, he began his ap- Jehmlich, and his long-time friend and a Wegscheider’s long-held interest in prenticeship with the esteemed Jehm- carpenter, Matthias Weisbach. Require- providing two temperaments that can Oberwerk lich Dresden organbuilding fi rm, which ments were completed in December of be played interchangeably: meantone 8′ Gedackt dates back to 1808 and is associated with 1990, and Wegscheider was able to re- for Renaissance music and well-tem- 4′ Rohrfl öte 3′ Nasat the restorations of the magnifi cent Sil- ceive his certifi cation as a master crafts- pered for Baroque. The idea originated ′ bermann cathedral organs in Dresden man (“Meisterbrief”). in Charles Fisk’s dual-temperament or- 2 Principal 2′ Waldfl öte and Freiberg. The workshop offi cially began operat- gan at California’s Stanford University ′ 6 1 Siffl öte 1 Kristian immediately took an immense ing June 1, 1989, and in September there (1984), but this was to be the fi rst such 1⁄3′ Quinte interest in historic organs and worked on was a big celebration with friends and instrument in Europe, with Wegscheider II Cymbeln restorations in Berlin and Leipzig. He colleagues. For this historic event, a nar- working to improve the result both tech- became head of Jehmlich’s restoration row-gauge steam train was rented, and nically and musically.7 Pedal department and supervised restorations the area in front of the shop was trans- This new organ for Allstedt was fol- 16′ Sub-Baß 16′ Posanenbaß of the 1714 Silbermann in Freiberg’s Ca- formed into an open-air theatre. When lowed by a number of restorations in ′ thedral and the 1868 Lütkemüller organ the borders opened that fall, a group the states of Mecklenburg-Vorpom- 8 Trompete at the Güstrower Cathedral. of fi ve made a week-long “discovery mern, Saxony-Anhalt, Brandenburg and Tremulant journey” into the “West” fi nally to hear Thuringia, while at the same there devel- Shove coupler II/I Orgelwerkstatt Wegscheider and investigate for themselves organs oped partnership work in Saxony. Much Pedal coupler I/P Dresden they had often read and heard about, of the work, now with seven co-workers, Manual compass C, D–c3 As Wegscheider writes for his fi rm’s an adventure that just weeks before had involved restoring damaged organs, some Pedal compass C, D–c1 website,3 the creation of his organ work- seemed impossible. long unplayable due to water damage shop in Dresden in 1989 coincided with During this week, the team was able or wood worms. Other builders had re- Choir pitch: a = 468 Hz the fall of the Wall and became pos- to examine the old instruments of East fused to work on them or recommended Modifi ed meantone sible with the parallel vehement political Frisia (Ostfriesland, a costal region along replacements, but to Wegscheider these and social changes. These were indeed the North Sea bordering the Netherlands instruments were too valuable to be dis- Dresden-Loschwitz church complicated times in the GDR, and the to the west),5 which for them was like an carded. Congregations, in turn, were The lessons learned in Langhen- emergence of a new private company “organbuilder’s paradise.” There they also grateful for the efforts of their munici- nersdorf would prove helpful in design- was no simple venture. inspected the shop of the famous Jürgen palities to preserve these organs. ing the 1997 organ for a church in the

MAY, 2009 23

May 09 pp. 23-25.indd 23 4/13/09 8:14:45 AM Dresden-Loschwitz (photo credit: Joel Kuznik) Christ the King Lutheran Church, Houston outlying regions of Dresden-Loschwitz. Dresden-Loschwitz: The organ was conceived as a large one- Loschwitz Church10 Houston, Christ the King Lutheran 18th-century Saxon organ. One can imag- manual and pedal instrument that would 1997 Wegscheider II+P/20 Church ine Bach’s walking in, sitting down without combine the typical stops of Silbermann Wegscheider has been involved in sev- missing a beat and, as was his custom, pull- with other 18th-century Saxon builders Manual I eral “Bach organs.” The fi rst was in collab- ing all of the stops to see whether or not the 16′ Bordun instrument has “good lungs.” in one division, but some stops are also 8′ Principal oration with the Noack Organ Company This Bach Organ possesses attributes playable on a second manual. The build- 8′ Gedackt at Christ Lutheran Church in Houston, commonly found in organs built today in ing, virtually destroyed in the 1945 Blitz 8′ Flauto traverso where he served as co-designer. historical style—tracker action; mechani- by an errant bomb, has been restored 8′ Viola di Gamba cal stop action; keys suspended below the with spectacular but simple beauty. The 4′ Octave Christ the King Lutheran Church, pipe chests; a fl exible wind supply pro- church—with its historic altar rescued 4′ Rohrfl öte Houston vided by bellows; fl at rather than radiat- 4′ Flauto amabile Builder: Noack Organ Company, 1995 ing pedalboard; narrower, shorter manual and restored from the Sophienkirche, ′ Co-designer: Kristian Wegscheider where Bach played two recitals (1825 3 Nasat keys; no pistons or combinations; and tun- 2′ Octave II+P/30 ing in a historic temperament. The Saxon and 1731), and where his son Wilhelm 2′ Flöte style imposes a series of additional design 3 Friedemann was organist (1733–1746)— 1⁄5′ Tertia Hauptwerk characteristics. The entire organ is housed has its organ sitting center stage in the 1′ Flageolet 16′ Bordun in one case, rather than in compartments second gallery. III Cornett (from g) 8′ Principal for each division according to the Werk- The impact of this small instrument is III Mixtur 8′ Viola di Gamba prinzip; the case design and beautifully 8′ Rohrfl öte executed carvings employ 18th-century remarkable and a joy to hear. Just a day ′ after playing and listening to the impres- Manual II (stops from I) 4 Octava Saxon conventions; and the case is built 16′ Bordun 4′ Spitzfl öte of pine and painted (blue-green, red, and sive Silbermann-Hildebrandt (III/47, 2 ′ 8′ Gedackt 2⁄3 Quinta gold leaf). The Oberwerk to Hauptwerk 1755) at Dresden’s Hofkirche and the 8′ Flauto traverso 2′ Octava coupler is activated by shoving the Ober- imposing new Kern at the Frauenkirche 8′ Viola di Gamba III Mixtur werk manual forward, and the Oberwerk (IV/67, 2006), the sound of this little or- 4′ Rohrfl öte II Cimbel does not couple to the Pedal. The pipe gan in the suburb of Dresden-Loschwitz 4′ Flauto amabile IIII Cornet scalings are taken from Hildebrandt’s, and moved 45 American organists last Sep- 3′ Nasat 8′ Trompete the principal pipes have a high tin content tember to spontaneous smiles of delight 2′ Flöte 8′ Vox Humana rather than lead.11 3 ′ and satisfaction. The stunning immedia- 1⁄5 Tertia Oberwerk Stuttgart, Musikhochschule cy of the sound combined with the bril- Pedal 8′ Gedackt liance of the ensemble and the colors of 16′ Bordun 8′ Quintadena Another “Bach organ” was built by individual stops was a joy to hear. 8′ Octavbaß 4′ Principal Wegscheider for the Musikhochschule And then listening to Wegscheider 8′ Violonbaß 4′ Rohrfl öte in Stuttgart, which has a large collection 2 ′ himself—on how Silbermann swept into 4′ Octavbaß 2⁄3 Nasat of historic prototypes. One can see an this part of Germany with the fresh bold 16′ Posaune 2′ Octava overview at . 3 ′ Tremulant 1⁄5 Terz building, on the speech and design of his 1 ′ pipework, and clarifying differences of Manual shove coupler 1⁄3 Quinta Stuttgart: State University of Music and Pedal couplers I/P, II/P 1′ Siffl et temperament in the area—was an infor- ′ Performing Arts 8 Krummhorn 2006 Wegscheider mative revelation. The man has a large Manual compass C–e3 II+P/21 presence, an expansive expression of Pedal compass C–e Pedal speech, and in his eyes the gleam of an Pitch: a = 440 Hz 16′ Principal Bass Hauptwerk 16′ Subbass 8′ Principal inspired creator, all refl ected in his resto- Tuning: modifi ed Valotti ′ rations and new designs. Wind pressure: 70 mm 8′ Octaven Bass 8 Rohrfl öte 4′ Octava 8′ Viola di Gamba 16′ Posaunen 8′ Quintadena Visit Us Online: 8′ Trompete 4′ Octave Organmaster Shoes www.organmastershoes.com 3′ Quinte Fast Service · Ship Worldwide 2′ Octave The Right Shoe On The Pedals! The organ at Christ the King Church 2′ Terz (from 2′) [listed as 2′ but 3 follows the example of Hildebrandt, thus actually 1 ⁄5′] Women’s Mary Jane x Whole & Half Sizes adding a Bach organ of a new dimension III Mixtur ′ Size 4-11, $50* x 3 Widths (N, M, W) on the North American continent. 8 Trompete x Genuine Leather Fritz Noack and the Noack Organ Com- pany were selected to design and build the Positiv organ. Noack is an American builder born 8′ Gedackt and trained in Germany and uniquely situ- 4′ Spitzfl öte ated to bridge the Saxon past and the Texan 4′ Flauto dolce present. Kristian Wegscheider of Dresden, 2′ Gemshorn Black Navy restorer of important Silbermann organs, II Cymbal Men’s Classic Oxford ′ White Bone Our Suede Leather Soles accepted appointment as a design consul- 8 Vox Humana help you feel what pedal Size 6.5-13, $58* tant; Reinhard Schaebitz of Dresden, voic- Gold Silver er in the restorations, assisted in the voic- Pedal your foot is touching! Size 14-16, $95* *plus postage ing; and most of the metal pipes were built 16′ Subbass near Dresden in the workshop of Günter 8′ Principalbass Call To Order FREE catalog: (413) 773-0066, 9-5pm, Mon-Fri Lau. The result is a wonderful instrument 4′ Octave 44 Montague City Rd., Greenfield, MA 01301 USA which not surprisingly, but quite remark- 16′ Posaunebass ably, evokes the look, feel, and sound of an 8′ Trompettenbass

24 THE DIAPASON

May 09 pp. 23-25.indd 24 4/13/09 8:15:05 AM Current work includes: Choir & Organ, December 2006; . Fritzsche-Treutmann-Organ in Harbke 7. On his website Wegscheider has an ar- (restoration in cooperation with ticle (page 9ff.) on the use and design of an Dutschke-Orgelbau), completed 12/07 instrument with two temperaments, “Zwei and dedicated 5/08 Stimmungsarten in einer Orgel—Möglich- Altarpositiv, Kreuzkirche in Dresden, keiten der Realisierung” (Two Temperaments dedicated 5/08 in an Organ—Possibilities of Realizing). 8. Rohrfl öte 8′, Principal 4′, Flöte 4′, Na- Stellwagen Organ in Stralsund St. 3 sat 3′, Octave 2′, Sesquialtera 1 ⁄5′, Quinte Marien (1659). 1 1 ⁄3′, Siffl öte 1′, Tremulant. Choir pitch: cur- Notes rently a1=464.6 Hz. Original temperament unknown; since 1995 well-tempered (Weg- 1. Frank-Harald Gress, Die Orgeln Gott- scheider). Gress, pp. 95–97 with photo. fried Silbermanns (Dresden, Michel Sand- 9. Bruce Stevens, Historic Organ Study stein Verlag, 3rd edition, €38.00). Available Tours (Saxony, Germany, brochure 2007), from . CDs: Quer- p. 45. stand recordings available from OHS. 10. Ibid, p. 34. 2. . 11. Information on the Bach Organ at Christ 3. . This the King can be found at their website, which background section is largely a paraphrase includes several sound fi les . also several articles, one of which explicates 12. . Die Hochschule bekommt ihre sche” (Thoughts—Goals—Hopes), Decem- “Bach-Orgel” (The College Gets Its Bach Or- ber 1998. gan); with photos and drawings. 4. Across the Elbe River from the Altstadt 13. . (“old city”), where the restored Zwinger Museum, the Hofkirche (Cathedral), and Frauenkirche. Joel Kuznik has served as a college organ- 5. The organs have been recorded by ist and professor, a church musician, a pastor, and as a business executive on Fifth Avenue, Petrikirche, Freiberg (photo credit: Wegscheider) Harald Vogel in two volumes available from ; Vol. I is available Wall Street, and at MetLife. After several from Gothic. Vogel has also written a book years of retirement from business, he revived Manual compass: C, D–d3 2′ Tertia (from 2′) [listed as 2′ but writing for professional journals, something 3 ′ Orgellandschaft Ostfriesland (1997; €30.00; Pedal compass: C, D–f actually 1 ⁄5 ] he had done since his college days. After at- Pitch: a1 = 466 Hz IV Cornet (from c1) #OC-09620), which has this description: “This fundamental work on the organ culture of tending the Bachfest 2003 in Leipzig, he again Tuning: Modifi ed Pythagorean IV Mixtur began writing articles and reviews. With over III Cymbel East Frisia provides deep insight into the de- ′ velopment of organ building and organ music 60 pieces in print ranging from reviews of 8 Trompette concerts and festivals, travelogues, books on In the winter 2005–06 issue of Spek- 16′ Fachott in the coastlands bordering the Netherlands. trum, Prof. Jürgen Essl writes: During the past thirty years, East Frisia has church music, concert hall organs, CDs and Oberwerk become an European center for organ cul- DVDs, he was recognized and named to the In the fall of 2006 organ music of Bach ′ ture. Visitors come from all over the world Music Critics Association of North America 16 Qvinta dena (MCANA) in May 2005. He is also a member will ring out. Then the long-anticipated 8′ Principal to experience the wonderful sounds of the “Bach organ” will supplement the univer- 8′ Gedackts many original instruments. Here, it is possible of the American Bach Society and serves on sity’s instrument collection. The Dresden 8′ Qvinta dena to hear Gothic music played on a late Gothic the board of the Bach Vespers at Holy Trin- organ builder, Kristian Wegscheider, re- 4′ Octava organ, Renaissance music played on a Dutch ity in New York City, where he has lived for ceived the commission to build an organ 4′ Rohr-Flöte Renaissance organ, North German Baroque 32 years. of 21 stops on two manuals and pedal ac- 3′ Nassat organ music played on a Schnitger organ, and His organ teachers were Austin C. Lovelace, cording to 18th-century Thuringian and 2′ Octava late 18th-century organ music played on a Ro- Frederick Swann, Ronald Arnatt, David 1 Saxon models. It is intended to be the ideal 1⁄3′ Qvinta coco organ.” Craighead, Jean Langlais, Marie-Madeleine instrument for presenting Bach’s organ 1′ Suffl öt 6. . Fisk’s Opus 85, Memorial member of the AGO, he has served as dean construction, its keyboard range, its speech III Mixtur Chapel, Stanford University: description, stop of the Ft. Wayne chapter, on the executive and intonation. 8′ Vox humana list, and discography. The organ uses well- board of the New York City chapter, and on Kristian Wegscheider is an undisputed tempered and one-fi fth comma meantone, the national fi nancial board. He holds a BA expert in this area, and it would be hard to Pedal with which Harald Vogel was helpful. An en- summa cum laude from Concordia Sr. College fi nd a more fi rst-class organ. Naturally there 32′ Groß-Untersatz lightening article by Jonathan Ambrosino on (formerly at Ft. Wayne), a Min.Div and STM is no absolute “Bach Organ.” Johann Sebas- 16′ Principal Bass Martin Pasi’s organ with dual temperament from Concordia Seminary, St. Louis, and an tian Bach, as is well known, played on many 8′ Octaven Bass for the Omaha Cathedral can be found in MM from the Eastman School of Music. organs and was frequently active as consul- 16′ Posaune tant and examiner. The composition of the 8′ Trompete The Twelfth Annual organ is therefore also no copy of an existing Tremulant historical instrument, but an approximation Manual compass: C, D–c3 of the Bach sound world in a variety of ways. Pedal compass: C, D–c1 Albert Schweitzer Organ Festival The new organ is based on Bach’s expert Manual coupler II/I opinion of existing instruments of similar Pedal coupler P/I 18th-century size, e.g., (Gottfried) Silber- A Weekend in Celebration of Excellence in Organ Music: mann and Trost, on the compositional char- Tuning: 462.5 Hz A Gala Concert, ORGAN COMPETITION, Services, and Masterclass acteristics of his organ music, the restoration Temperament: Neidhardt II experience of the organbuilder and last but (for a small city), 1732 not least on the size of the room.12 High School Division Panel of Judges In summary, restorations include or- Essl added in an e-mail to the author, gans by: “Indeed there were a large number of Gottfried Silbermann First Prize: $2,000 Other prizes awarded special problems for which Kristian had Niederschöna, 1715/1993, I/14 a good solution and fought hard to get Bremen Cathedral, 1734/1994, I/8 College/Young Professional* the right results.” Jacobikirche, Freiberg, 1717/1995/2006, II/20 Freiberg, Petrikirche Reinhardtsgrimma, 1731/1997, II/20 First Prize: $3,500 Other prizes awarded Wilma Another recent collaboration, this Tiefenau, 1725/1997, I/9 Jensen time with Jehmlich, was the restoration Dresden Cathedral, 1755/2002, III/47, This includes an appearance on of Silbermann’s largest two-manual or- jointly with Jehmlich Orgelbau our 2009-2010 Concert Series gan, at the Petrikirche in Freiberg, com- Petrikirche, Freiberg, 1735/2007, II/32, pleted and rededicated in July 2007.13 It jointly with Jehmlich Orgelbau is an instrument with pizazz, brilliance, *Through age 26 and clarity, while individual stops re- Zacharias Hildebrandt tain character and color. It also happens Langhennersdorf, 1722/1996, II/21 that the best CD that effectively refl ects AUDITION TAPES/CDS: Wegscheider’s work is a recent release Friedrich Ladegast John of a recording at the Petrikirche on the Biederitz, 1868/1997, II/12 Due on June 5, 2009 Weaver Syrius label, Johann Sebastian Bach, Vol. Hohenmölsen, 1851/1998, II/24 4, with works from the early Weimar pe- Merseburg Cathedral, 1855/1866/2003, THE COMPETITION: riod played with verve, imagination, and IV, 84, joint with Eule/Bautzen and excitement by Helga Schauerte (Syrius Scheffl er, Frankfurt/Oder September 11-13, 2009 141433, €22.00; ; Pomssen Wehrkirche, 1671/2000/2007, the Organ Historical Society carries other 1/13 For Information & recordings by Schauerte). Wegscheider’s fi rm has built to date Application: Freiberg: Petrikirche thirty new organs including: Frederick 1735 Silbermann Silbermann Museum, Frauenstein, copy First Church of Christ 1959, 1993/94 Jehmlich Brothers of Bremen positive, 1994, I/8 Hohman 2006–07 Wegscheider, together with 250 Main Street Jehmlich Orgelbau Güstrow Cathedral, 1996, I/15 registers II+P/32 with bass drums, bells, cymbelstern, 2 Wethersfield, CT 06109 cuckoos, drum, nightingale PAST JUDGES: Colin Andrews, Hauptwerk Dresden–Loschwitz, 1996, II/20 Diane Meredith Belcher, Benjamin ′ 16 Principal Bremen Cathedral, 2002, I/8 Doby, Paul Fejko, Janette Fishell, 8′ Octav Principal www.firstchurch.org/asof ′ Cologne–Michaelshoven, 2003, II/ 28 (in Gerre Hancock, Paul Jacobs, 8 Viol di Gamba the style of Silbermann/Hildebrandt) 8′ Rohr-Flöte 860.529.1575 Ex. 209 Marilyn Mason, Katharine Pardee, 4′ Octava Stuttgart, Musikhochschule, 2006/2007, Cherry Rhodes, Catherine 4′ Spitz-Flöte II/21, Bach Organ music@firstchurch.org 3′ Qvinta Sacrow-Potsdam, Heilandskirche, 2008/ Rodland, John Rose & John Walker 2′ Octava 2009, II/17 registers

MAY, 2009 25

May 09 pp. 23-25.indd 25 4/13/09 8:15:27 AM