The Historical Organs
St. Jakobi, Lübeck, Germany
Friedrich Stellwagen, 1637
Brustwerk
Gedackt 8′
Quintadena 4′
Waldflöte 2′
Zimbel 2fachRegal 8′
Schalmei 4′

Pedal
Subbass 16′
Prinzipal 8′
Spillpfeife 8′
Oktave 4′
Gedackt 4′
Flöte 2′
Rauschpfeife 4fachPosaune 16′
Trompete 8′
Trompete 4′
Regal 2′Friedrich Stellwagen built a Rückpositiv, Brustwerk and a small Pedal divisionin 1636/37, adding to the extant Gothic Hauptwerk (1467–1515). The windchests and nearly all pipes in the manual divisions are original. The Pedal was
enlarged in 1935 by Hugo Distler, and since the most recent refurbishing(Hillebrand 1977/78) the organ has contained 31 stops over three manuals andpedal. It is in the old choir pitch (Chorton) and tuned to the Werckmeister temperament. All the pipes are metal, and additions or expansions have precisely
followed the historical alloy composition and scaling. Walcha’s recordings there
in 1947 were the first to be made for the Archiv Produktion label. (See coverphoto on CD 106–125.)
Helmut Walcha: CD 162, tr. 4–5

ORGAN

Rückpositiv
Gedackt 8′
Quintadena 8′
Prinzipal 4′
Hohlflöte 4′
Sesquialtera 2fachScharf 3–4fach
Trechterregal 8′
Krummhorn 8′

BACH 333

Hauptwerk
Prinzipal 16′
Oktave 8′
Spillpfeife 8′
Oktave 4′
Nasat 22/3′
Rauschpfeife 2fachMixtur 4fach
Trompete 8′57

St. Peter-und-Paul Kirche, Cappel, Germany
Arp Schnitger, 1680

BACH 333

ORGAN

Rückpositiv
Principal 4′
Gedact 8′
Quintadena 8′
Floit 4′Octava 2′
Siffloit 11/2′
Sesquialtera II
Tertian II
Scharff IV–VI
Dulcian 16′
Trompet 8′

58

Hauptwerk
Principal 8′
Quintadena 16′
Hollfloit 8′
Octava 4′
Spitzfloit 4′
Nasat 3′
Gemshorn 2′
Rauschpfeife II
Mixtur V–VI
Cimbel III

Pedal
Untersatz 16′
Octava 8′
Octava 4′
Nachthorn 2′
Rauschpfeife II
Mixtur IV–VI
Posaun 16′
Trompet 8′
Cornet 2′

Of all extant Arp Schnitger organs, that in Cappel is the best preserved and mostvaluable. The ornate exterior of the organ strongly contrasts with the simple design of the church. The instrument was originally built in 1680 for the church of
the St. Johannis monastery in Hamburg. During Napoleon’s occupation the
Church was used for storage, and in 1816 the organ was sold to the small townof Cappel, where for over a century it led an uneventful life. Fortunately for posterity the modest resources of the church made only urgent repairs possible, so theorgan was spared major reconstruction. Helmut Walcha recorded the Orgelbüchlein there in 1952, but shortly afterwards it became unusable until Rudolf vonBeckerath’s 1977 restoration, following which Walcha returned to record his final
LPs of Buxtehude and other pre-Bach composers. There is a conspicuous
wealth of mixture stops, of which the pedal board has two, and the great organ
and chair organ (the small choir organ at the back of the player) have three each
(Rauschpfeife, Mixtur, Scharff, Cimbel, Sesquialtera, Tierce). The organ is stilltuned in the choir pitch (“Chorton”) of the baroque period.
Helmut Walcha: CD 163; CD 207, tr. 1

Martinkerk, Groningen, Netherlands
Arp Schnitger, 1692
Bovenwerk
Praestant I–III 8′
Holfluit 8′
Octaaf 4′
Nasard 3′
Sesquialtera II
Mixtuur IV–VI
Trompet 16′
Vox Humana 8′

PedaalPraestant 32′
Praestant 16′
Subbas 16′
Octaaf 8′
Gedekt 8′
Roerquint 6′
Octaaf 4′
Octaaf 2′
Nachthoorn 2′
Mixtuur IV
Bazuin 16′
Dulciaan 16′
Trompet 8′
Cornet 4′
Cornet 2′

Arp Schnitger continued the work on the main Martinkerk organ following thedeath of the original builder, Jan Helman, in 1690. In 1728, the instrument was
restored and enlarged by Arp Schnitger’s son, Franz Caspar, but following his
death a year later the work was completed by Albertus Anthoni Hinsz. During
the 19th century, the instrument was repeatedly repaired, rebuilt and enlarged,
further suffering at the hands of a series of builders during the first half of the20th century. In 1971, the instrument was finally restored to its 1740 state.
With its 3,500 pipes and 53 registers, the organ is one of the largest North European Baroque organs. The 24-foot pipes in the right pedal and Arp Schnitger’s original 32-foot prestant pipes are the only examples surviving today.
Tuning: a’ = 465 Hz
Marie-Claire Alain: CD 162, tr. 16–20

ORGAN

ManuaalPraestant 16′
Octaaf 8′
Salicet 8′
Quintadena 8′
Gedekt 8′
Octaaf 4′
Gedektfluit 4′
Octaaf 2′
Vlakfluit 2′
Tertiaan II
Mixtuur IV–VI
Scherp IV
Trompet 8′
Viola da Gamba 8′

BACH 333

Rugpositief
Praestant 8′
Quintadena 16′
Bourdon 8′
Roerfluit 8′
Octaaf 4′
Speelfluit 4′
Gedektquint 3′
Nasard 3′
Octaaf 2′
Fluit 2′Sesquialtera II
Mixtuur IV–VI
Cimbel III
Basson 16′
Schalmei 8′
Hobo 8′59

Hauptkirche St. Jakobi, Hamburg, Germany
Arp Schnitger, 1693

BACH 333

ORGAN

Rückpositiv
Werck
Oberpositiv
Brustpositiv
Pedal
Principal 8′
Principal 16′
Principal 8′
Principal 8′
Principal 32′
Gedackt 8′
Quintadehn 16′
Rohrflöht 8′
Octav 4′Octava 16′
Quintadena 8′
Octava 8′
Holtzflöht 8′
Hollflöht 4′
Subbass 16′
Octava 4′
Spitzflöht 8′
Spitzflöht 4′
Waldflöht 2′
Octava 8′
Blockflöht 4′
Viola da Gamba 8′
Octava 4′
Sexquialtera 2fach
Octava 4′
Querpfeiff 2′
Nasat 3′
Scharff 4–6fach
Nachthorn 2′
Octava 2′
Octava 4′
Octava 2′
Dulcian 8′
Rauschpfeiff 3fach
Sexquialtera 2fach
Rohrflöht 4′
Gemshorn 2′
Trechter Regal 8′
Mixtur 6–8fach
Scharff 6–8fach
Flachflöht 2′
Scharff 4–6fachPosaune 32′
Cimbel 3fachPosaune 16′
Siffloit 2fach 2′ Rauschpfeiff 2fach
Dulcian 16′
SuperOctav 2′
Trommet 8′
Dulcian 16′
Bahrpfeiffe 8′
Mixtur 6–8fach
Vox Humana 8′
Trommet 8′
Trommet 8′
Trommet 16′
Trommet 4′
Trommet 4′
Cornet 2′

The organ of St. Jacobi in Hamburg is the largest Baroque organ of the North
German tradition in terms of its resonant capacity, as well as the largest collection of 16th- and 17th-century pipes in a single instrument. In 1720 Johann
Sebastian Bach showed interest in the then vacant position of organist. However, he withdrew his application after he heard of the conditions connectedwith it: as a sign of gratitude, the successful candidate was invited to donate amajor sum to church funds (See LIFE/LEBEN, p. 52). During World War I all
case-pipes had to be handed over to the army. With a dose of idealism as well
as money, the instrument was renovated in 1926–1930. It was stored during
World War II in a shelter underneath the church. Following extravagant changes
post-war, Jürgen Ahrend received the commission in 1986 to return it to theoriginal Schnitger design. Tuning: modified meantone, a’ = 495 Hz.
Bernard Foccroulle: CD 207, tr. 260

St. Petri Kirche, Büßleben, Germany
Georg Christoph Stertzing, 1702
Pedal
Principal 16′
Sub Bass 16′
Violon 16′
Octav 8′
Mixtur 4fachPosaun 16′
Cornet 2′

In 1702, a new organ was built in the Benedictine monastery of St. Peter by the
Eisenach organ builder Georg Christoph Stertzing. Stertzing had built large organs for St George’s in Eisenach and St Michael in Jena, as well as a smaller
one in Udestedt. The organists of all three were members of the Bach family
and Stertzing became highly regarded by them. Sadly, none of these organs
have survived to the present day. During Napleonic secularisation the contentsof the churches were sold. In 1811, the organ was auctioned off and wasbought by the community of Büßleben. Here it carved out a modest existence,
far removed from the great musical centres, where organs had to make room
for instruments suiting the Romantic taste of the time. Büßleben, like Cappel,
was unable to do so: subsequently any renovations did not drastically alter theorgan’s historic character.
Gerhard Weinberger: CD 125, tr. 15–19

ORGAN

Brustwerk
Principal 4′
Gedackt 8′
Quintaden 8′
Traversa 8′
Nachthorn 4′
Octave 2′
Waldflöte 2′
Quinta 11/2′
Mixtur 3fach
Vox Humana 8′

BACH 333

Oberwerk
Principal 8′
Quintaden 16′
Rohrflöte 8′
Quinta 6′
Octav 4′
Rauschpfeif 2fach
Sesquialtera 2fach
Octav 2′
Mixtur 6fach
Cymbel 3fach
Trombetta 8′61

Freiberger Dom, Germany
Gottfried Silbermann, 1714

BACH 333

ORGAN

Hauptwerk
Bordun 16′
Principal 8′
Viola di gamba 8′
Rohrflöt 8′
Octava 4′
Qvinta 3′
Sup.octav. 2′
TertiaCornet (5fach, ab c1)
Mixtur (4fach)Zimbeln (3fach)Trompet 8′
Clarin 4′

62

Oberwerk
Qvintadehn 16′
Principal 8′
Gedackt 8′
Quintadehn 8′
Octava 4′
Spitzflöt 4′
Sup.octav 2′
Flaschflöt 1′
Echo 5fach (ab c1)
Mixtur (3fach)Zimbeln (2fach)
Krumbhorn 8′
Vox humana 8′

Brustwerk
Gedackt 8′
Principal 4′
Rohrflöt 4′
Nassat 3′
Octava 2′
TertiaQvinta 11/2′
Sufflöt 1′
Mixtur (3fach)Pedal
Untersatz 32′
Princ.bass 16′
Sub Bass 16′
Octav Bass 8′
Octav Bass 4′
Ped.mixtur (6fach)Posaun.bass 16′
Tromp.bass 8′
Clar.bass 4′

The great organ in the western gallery at Freiberg Cathedral was built byGottfried Silbermann between 1711 and 1714. Here, Silbermann merged different styles in a way he would never repeat. The overall specification is French,especially in the voicing of the reeds and the design of the windchests. On theother hand, German style is reflected in the powerfully reinforced foundation
stops, the strong emphasis on pedal, and the louder voicing and reinforced
specification of Quintadehn stops and conical reeds. In 1738 the instrument
was slightly modified. Otherwise nothing in the specification has been changed.
In the 1930s, some of the organ’s pipes were modified and the wind supply altered. From 1981 to 1983, the Dresden organ building firm Jehmlich was entrusted with the major historical restoration, and the pipes and wind supply
were restored as much as possible back to their original condition.
James O’Donnell: CD 107, tr. 4; CD 115, tr. 3; CD 116, tr. 21
James Johnstone: CD 116, tr. 8 · Bernard Foccroulle: CD 123, tr. 22–26
Karl Richter: CD 205, tr. 9; CD 206, tr. 6

St. Walpurgis, Großengottern, Germany
Tobias Heinrich Gottfried Trost, 1717
Positiv
Lieblichgedackt 8′
Principal 4′
Flötuse 2fach 4′
Quinte 2 2/3′
Octave 2′
Mixtur 3fach 1′

Pedal
Subbass 16′
Violonbass 16′
Quintatönbass 16′
Octavenbass 8′
Bordunbass 8′
Octavenbass 4′
Posaunenbass 16′
Trompetenbass 8′

Outside of the Schnitger and Silbermann dynasties, Trost is certainly one of themost important family organ builders of the early 18th century, whose organs
were played and admired by Bach. The organ of St. Walpurgis in Großengottern(1717) is the oldest of only three surviving Trost organs. It was rebuilt in the 19th
century and restored in 1997.

ORGAN

ManualQuintatön 16′
Principal 8′
Violdigambe 8′
Bordun 8′
Octave 4′
Gemshorn 4′
Quinta 3′
Nassat 3′
Octave 2′
Sesquialter 13/5′
Mixtur 4fach 2′
Trompete 8′

BACH 333

James Kibbie: CD 125, tr. 13

63

Hervormde Kerk (Grote or Mariakerk), Meppel, Netherlands
Jan Harmenszn. Kamp / F. C. Schnitger 1722
Hoofdwerk
Prestant (R) 8′
Holpijp (K) 8′
Quintadeen (K) 8′
Octaaf (K) 4′
Open fluit (K) 4′
Nasard (S) 22/3′
Octaaf (K) 2′
Ruispijp (K) II
Mixtuur (K) III
Cimbel (R) VI
Dulciaan (R) 16′
Trompet (K, S) 8′

Rugpositief
Holpijp (K) 8′
Prestant (R) 4′
Open fluit (K) 4′
Fluit Quint (K) 22/3′
Octaaf (K, R) 2′
Woudfluit (K) 2′
Quint (R) 11/3′
Sesquialter (K, R) II
Scherp (R) IV
Dulciaan (S) 8′

Borstwerk
Gedekt (R) 8′
Gedekte fluit (R) 4′
Octaaf (R) 2′
Fluit Quint (R) 11/3′
Sifflet (R) 1′
Scherp (R) III
Vox Humana (R) 8′

PedaalPrestant (R) 16′
Octaaf (R) 8′
Gedekt (R) 8′
Octaaf (R) 4′
Mixtuur (R) VI
Bazuin (R) 16′
Trompet (R) 8′
Cornet (R) 4′
Trompet (R) 2′

BACH 333

ORGAN

Kamp (K), F. C. Schnitger (S), Ruiter (R)64

The order for the construction of a two manual organ with attached pedal was
first given to Jan Harmenszn. Camp in 1712 and begun in 1716, but his illness
and subsequent death in 1721 prevented him completing it, a task that fell to noless a builder than Franz Caspar Schnitger. Schnitger introduced some improvements and delivered it the following year. Over the centuries the organ has been
restored and expanded several times, principally in 1950–68 by the Groningenbuilder Mense Ruiter. The organ now numbers 38 speaking voices over threemanuals and pedal. The organ case, the Hoofdwerk and the Rugwerk are original.
Daniel Chorzempa: CD 106, tr. 15/16; CD 113, tr. 4–6/13–15

Kreuzkirche, Störmthal, Germany
Zacharias Hildebrandt, 1723

Zacharias Hildebrandt (1688–1757) was apprentice to Gottfried Silbermann(1683–1753) from 1713 to 1722. He signed a contract with patron Hilmar Statz
von Fullen in 1722 to build the Störmthal organ. Johann Sebastian Bach inspected the organ in November 1723 and “recognised and lauded it as capableand consistent”, composing the Cantata BWV 194 for its dedication. Like many
historical organs, the organ has undergone many changes. The Bautzen-based
company Hermann Eule Orgelbau performed extensive restoration and reconstruction work in 2008 to return the organ as far as possible to its original 1723
condition.
Gerhard Weinberger: CD 125, tr. 26, 28

ORGAN

Pedal
Sub Bass 16′
Posaune 16′

BACH 333

ManualPrincipal 8′
Prestant 4′
Quintadena 8′
Gedackt 8′
Rohrflöte 4′
Nazard 3′
Octave 2′
Tierce 13/5′
Quinte 11/2′
Sifflet 1′
Mixture III
Cornet III

65

St. Laurenskerk, Alkmaar, Netherlands
Franz Caspar Schnitger, 1723

BACH 333

ORGAN

Rugpositief
Praestant 8′ (Tr. II)
Quintadena 8′
Octaav 4′
Nasaat 3′
Fluit 4′
Superoctaav 2′
Quintfluit 3′
Waldfluit 2′
Quintanus 11/2 ′Mixtuur V–VI
Sexquialtera II
Cimbel III
Fagot 8′Vox Humana 8′
Tremulant

Groot Manuaal
Praestant 16′
Praestant 8′
Praestantquint 6′
Octaav 4′
Quinta 3′
Octaav 2′
Flachfluit 2′
Ruyschpyp II
Tertiaan II
Mixtuur VI
Trompet 16′
Viool di Gamba 8′

PedaalPrincipaal 22′
Praestant 16′
Rohrquint 12′
Octaav 8′
Quinta 6′
Octaav 4′
Nachthoorn 2′
Ruyschpyp III
Mixtuur VIII
Basuin 16′
Trompet 8′
Trompet 4′

Originally this organ had 31 stops, but changes in artistic fashion and composition led to major reconstructions, including an independent pedal and the introduction of well-tempered tuning. In 1723, Franz Caspar Schnitger wascommissioned to remodel the instrument. With the breakthrough of Schnitger in
Holland and the death of Johannes Duytschot in 1725, the Dutch school of organ-building came more or less to an end and foreign organ-builders (mostly
from Germany) filled the gap, reaching a synthesis between their native traditions and those of the Dutch school. Following multiple restorations over two
centuries, in 1947 Flentrop and Anton van der Horst largely succeeded in returning the instrument to its original state and restoring its unique sound quality.
Helmut Walcha: CD 162, tr. 6

66

Bovenwerk
Praestant 8′
Baarpyp 8′
Rohrfluit 8′
Quintadena 8′
Octaav 4′
Fluit Dous 4′
Spitsfluit 3′
Superoctaav 2′
Speelfluit 2′
Sexquialtera II
Scherp IV
Cimbel III
Hautbois 8′
Vox Humana 8′
Tremulant

Grote Kerk, Maassluis, Netherlands
Rudolph Garrels, 1732
Rugwerk
Prestant 16′ (discant)Prestant 8′
Holpijp 8′
Octaaf 4′
Roerfluit 4′
Quint 3′Octaaf 2′
Woudfluit 2′
Sexquialter 3 st. (discant)Mixtuur 4–6 st.
Trompet 8′
Tremulant

PedaalOpen Subbas 16′
Bourdon 16′
Roerquint 12′
Octaaf 8′
Octaaf 4′
Mixtuur 5 st.
Bazuin 32′
Bazuin 16′
Trompet 8′
Trompet 4′

Rudolph Garrels (1675–1750) learnt his trade from Arp Schnitger and, like somany of his students, crossed the border and settled in Groningen, where hebuilt several instruments in the Schnitger tradition. This three-manual organ is agood example of the synthesis between Dutch and German organ building. In
1956–75 extensive restoration was undertaken by Pels & Van Leeuwen. A complete return to the 1732 condition was not possible, given the heavy 1840 restoration. But the entire wind facility was renewed, and the windchests of thehoofdwerk, pedal and rugwerk were restored as far as possible, while the missing bovenwerk’s windchest was replaced by a new handcrafted example. The
entire register mechanics were replaced by new mechanical stops. Much of thehistoric pipe material had been damaged and had to be repaired or newly built
in the old style.
Ton Koopman: CD 106, tr. 18/19; CD 108, tr. 22–24; CD 109, tr. 3/14–17;
CD 110, tr. 1/2/5/6; CD 111, tr. 16

ORGAN

Bovenwerk
Baarpijp 8′
Holpijp 8′
Quintadeen 8′
Viola 8′Prestant 4′
Fluit 4′
Nasard 3′
Octaaf 2′
Sifflet 1′
Tertiaan 2 st.
Mixtuur 4–5 st.
Trompet 8′
Dulciaan 8′
Vox Humana 8′
Tremulant

BACH 333

Hoofdwerk
Prestant 16′
Octaaf 8′
Holpijp 8′
Octaaf 4′
Nachthoorn 4′
Quint 3′Octaaf 2′
Cornet 4′ st. (discant)Mixtuur 4–6 st.
Scherp 4′ st.
Dulciaan 16′
Trompet 8′
Tremulant67

Waalse Kerk, Amsterdam, Netherlands
Christian Müller, 1734

BACH 333

ORGAN

Hoofdwerk
Prestant 16′
Prestant 8′
Roerfluit 8′
Quintadeen 8′
Octaaf 8′
Quint 3′
Gemshoorn 2′
Mixtuur 2′ IV–VI
Trompet 16′
Trompet 8′
Vox Humana 8′
Tremulant

68

PedaalBourdon 16′
Prestant 8′
Roerquint 6′
Octaaf 4′
Nachthoorn 2′
Fagot 16′
Trompet 8′

Rugwerk
Prestant 8′
Holpijp 8′
Octaaf 4′
Quint 3′Octaaf 2′
Terts 13/5′
Mixtuur 13/5′
Scherp VI
Tremulant

Friedrich Christian Müller, who had maintained the Waalse Kerk organ from1722, received a contract in 1733 to build a new organ. He completed it the following year. Müller renewed windchests, the mechanics, the keyboards and thewind supply. He added an independent pedal organ in a new case behind thehoofdwerk, on top of the bellows room. To give the pedal work enough “presence” he made a hatch in the ceiling of the case, which was opened by pullinga rope. A 1965 restoration conducted by the firm Ahrend & Brunzem aimed toreturn the organ to its original state.
Ton Koopman: CD 112; CD 123, tr. 16–21

St. Cyriakus, Duderstadt, Germany
Johannes Creutzburg, 1735
Pedal
*Untersatz 32′
Principal 16′
Sub Bass 16′
Octav 8′
Gedackt 8′
Octav 4′
Mixtur 6fach 2′
Posaunen Bass 16′
Trompeta 8′
Principal 2′
Waldflöta 1′
Cornet 4′

In 1733, Johannes Creutzburg began work on the large organ in Duderstadt.
The organ was generously equipped with 41 stops on three manuals andpedal. It was equal to the instruments of Heinrich Gottfried Trost, JohannFriedrich Wender, Johann Christian Dauphin and Christoph Treutmann. Overtime, the organ was subject to five major renovations according to prevailing
taste, and not always of a high quality. The organ builder Eule from Bautzen
carried out a restoration in the years 2005–6, based largely on Creutzburg’s
original. A few registers from later renovations were also preserved, and a newone was added to the disposition (Unda maris 8′). During the last restoration,
the famous and often quoted register of the Vox humana (human voice) wascompletely reconstructed.
Christian Schmitt: CD 107, tr. 1–2; CD 115, tr. 20; CD 116, tr. 5;
CD 119, tr. 10–18

ORGAN

Brustwerk
Gedackt 8′
Rohrflöta 4′
Principal 2′
Flageolet 2′
Quinta 11/2′
Cymbal 2fach 2′
Fagott 8′

BACH 333

Hauptwerk
Oberpositiv
Principal 8′
Principal 4′*Unda maris (ab c1) 8′
Spitzflöta 8′
Bordun 16′
Quintadehna 8′
Viola di gamba 8′
Gedackt 4′
Gemshorn 8′
Quintflöta 3′
Gedackt 8′
Octav 2′Octav 4′
Nachtflöta 2′
Spitzflöta 4′
Sexquialtera 2fach
Quinta 3′
Scharff 4fach
Super octav 2′
Vox humana 8′
Tertia 13/5′
Cornet (ab c1 ) 4fach 4′
Mixtur 6fach 2′
Trompeta 8′69

Petrikirche, Freiberg, Germany
Gottfried Silbermann, 1736

BACH 333

ORGAN

Hauptwerk
Principal 16′
Octav Principal 8′
Viol di Gamba 8′
Rohr Flöte 8′
Octava 4′
Spitz Flöte 4′
Quinta 3′
Octava 2′
TertiaMixtur 4fach
Cymbel 3fachCornet 4fachFachott 16′
Trompete 8′
Tremulante
Klingel70

Oberwerk
Quintadena 16′
Principal 8′
Gedackts 8′
Quintadena 8′
Rohr Flöte 4′
Octava 4′
Nasat 3′Octava 2′
Quinta 11/3′
Sechst Quint Altra
Sifflöt 1′
Mixtur 3fachVox humana 8′
Sliding Coupler OW-HW
Schwebung

Pedal
Gross Untersatz 32′
Principal 16′
Octaven Bass 8′
Posaune 16′
Trompete 8′

Bass Ventil

The organ in the Petrikirche is a two-manual organ with an unusually rich specificationof 32 stops, a fine representation of the mature Silbermann’s craftsmanship of the late
Baroque. His fame was at its height, as he had recently finished the organ for Freiberg’s
nearby cathedral. Unsurprisingly the city councillors approached him to build the neworgan for the reconstructed St. Peter’s Church. The original disposition was for 31
voices, but Silbermann, as a gesture of gratitude to the city, added one register for free.
The result is an instrument suitable both for music of the Baroque and for a wider repertoire. Interesting features are the many 16′ voices, “French” register Vox humana, apedal coupler on the principle of “Bass Ventil” (valve), meantone temperament andgeneral tuning using “Chorton” (a’ = 463 Hz) instead of the usual “Kammerton”(a’ = 412–418 Hz). The organ has undergone a number of recent restorations including
one by Jehmlich and Wegscheider in 2006–7.
Christian Schmitt: CD 116, tr. 3, 7, 9, 23; CD 119, tr. 1–9; CD 193, tr. 20

Nidarosdomen, Trondheim, Norway
Joachim Wagner, 1741
Pedalwerk
Subbas 16′
Principal 8′
Octav 4′
Quinta 3 eller 6
Mixtur 5fachPosaune 16′
Trompete 8′
Cleron 4′

Nidaros Cathedral is one of the most important churches in Norway. The cathedral’s famous Baroque organ, completed in 1741, was built by renowned organ
builder Joachim Wagner and is one of only five surviving Wagner organs.
Wagner belonged to the community of organ builders around Johann SebastianBach, and his instruments lend themselves particularly well to interpretations of
Bach’s music. Much modification took place subsequently and it was finally put
into storage when a new organ was set up in 1930. However, a surprising
amount of the original material was still intact when the façade and the remainsof the Baroque organ were shipped to Jürgen Ahrend’s workshop in Germany
for repairs. In 1994 the organ was completely restored and again placed in thenorth transept of Nidaros Cathedral.
Simon Preston: CD 122; CD 123, tr. 1–5

ORGAN

Oberwerk
Gedact 8′
Quintadena 8′
Principal 4′
Rohrflöte 4′
Nasat 3′Octav 2′
Tertia 13/5′
Quinta 11/2′
Mixtur 4fachVox humana 8′
Mixtur 3fach
Trompet 8′

BACH 333

Hauptwerk
Bordun 16′
Principal 8′
Rohrflöte 8′
Octav 4′
Spitzflöte 4′
Quinta 3′
Octav 2′
Waldflöte 2′
Cornet 3fachScharff 5fachMixtur 3fach
Trompet 8′71Nikolaikirche, Leipzig-Zschortau, Germany
Johann Scheibe, 1746

BACH 333

ORGAN

ManualQuintaton 16′
Principal 8′Gross Gedackt 8′
Viol di Gamba Bass 8′
Viol di Gamba Descant 8′
Octave 4′
Flauto Dolce 4′
Hohlflöte Bass 3′
Hohlflöte Descant 3′
Octave 2′
Super Octave 1′
Mixture72

Pedal
Sub Bass 16′
Violon 8′
Posaunen Bass 16′

Johann Scheibe (c.1675–1748) was a master organ builder from 1710 until
his death in 1748. From 1744–46, he built the organ in Zschortau under thepatronage of Heinrich August Sahrer von Sahr. Bach inspected the organ on
7 August 1746 and found “everything capably, diligently and well built”. In 1870,
the organ was moved to a second gallery and a second manual was added.
The second gallery was removed in 1954 and the organ returned to its original
location. Extensive restoration and reconstruction work was undertaken in 2000
to return the instrument to its original condition.
Gerhard Weinberger: CD 115, tr. 9–11; CD 124, tr. 20; CD 125, tr. 29

Hofkirche, Dresden, Germany
Gottfried Silbermann, 1755
Pedal
Untersatz 32′
Prinzipalbass 16′
Oktavbass 8′
Oktavbass 4′
Pedalmixtur 6fachPosaunenbass 16′
Trompetenbass 8′
Clarinbass 4′

The organ of the Hofkirche is the last surviving of three Silbermann organs tohave existed in Dresden. It was Gottfried Silbermann’s (1683–1753) last work,
completed after his death by his former pupil Zacharias Hildebrandt. It has 47
stops on three manuals and pedal, and about 3,000 pipes. The Baroque casecreated by Joseph Hackl burned down completely and was later rebuilt fromphotographs. In 2001–2 the instrument was extensively restored following themodel of the completed original of 1755 and returned to its original pitch ofa’ = 415 Hz. With the reconstruction of the historic bellow system, the recreation of an almost authentic sound of the last organ from Gottfried Silbermann’s
workshop was successful.

ORGAN

Oberwerk
Brustwerk
Quintaden 16′
Gedackt 8′
Prinzipal 8′
Prinzipal 4′
Gedackt 8′
Rohrflöte 4′
Quintaden 8′
Nassat 3′
Unda maris 8′ (neu) Sesquialtera [22/3′+13/5′]
Echokornett [8′] 5fach
Oktave 2′
Oktave 4′
Quinta 11/2′
Rohrflöte 4′
Sufflöt 1′
Nassat 3′
Chalumeaux 8′
Oktave 2′
Mixtur III
Tertia [13/5′]
Flaschflöt 1′
Mixtur 4fachVox humana 8′

BACH 333

Hauptwerk
Prinzipal 16′
Bordun 16′
Octav-Prinzipal 8′
Viola di Gamba 8′
Rohrflöte 8′
Kornett [8′] 5fach
Oktave 4′
Spitzflöte 4′
Quinta 3′
Oktave 2′
Tertia [13/5′]
Mixtur 4fach
Zimbeln 3fach
Fagott 16′
Trompete 8′
Tremulant (zum HW)

Gerhard Weinberger: CD 116, tr. 2473

Arlesheimer Dom, Switzerland
Johann Andreas Silbermann, 1761

BACH 333

ORGAN

Hauptwerk
Bourdon 16′
Montre 8′
Bourdon 8′
Prestant 4′
Nazard 22/3′
Doublette 2′
Tierce 13/5′
Sifflet 1′
Fourniture 3fach
Cymbale 2fachCornet 5fach**
Trompette 8′
Voix humaine 8′**Cornet: c1–c3
Tremulant

Positif
Bourdon 8′
Prestant 4′Flûte 4′
Nazard 22/3′
Doublette 2′
Tierce 13/5′
Larigot 11/3′
Fourniture 3fach
Cromorne 8′
Tremulant

Pedal
Subbass 16′
Octavbass 8′
Quinte 51/3′
Prestant 4′
Fourniture 3fachBombarde 16′
Trompette 8′
Clairon 4′

This organ, one of the largest by Johann Andreas Silbermann (1712–1783), retains in its restored state the greatest number of original pipes of any exampleof his work. French influence is apparent in the number of Tierce stops and theCornet mutation stops as well as in the tone-colour of the reeds. Typically German, on the other hand, is the use of the Sifflet and Cymbale registers. The
organ is justly famous for the quality of its 4′ Prestant, which is responsible forthe very individual sound of the full organ. Between 1888 and 1918 majorchanges were made, disguising the Baroque concept and the Silbermann character. As a result, in 1959 an ambitious restoration scheme began, entrusted toMetzler & Söhne of Dietikon. Wherever possible the cores of Silbermann’s pipes
were restored and none of the nineteenth-century builders’ pipes were reused.
Daniel Chorzempa: CD 107, tr. 6–11

74

Récit/Echo
Bourdon 8′
Prestant 4′
Nazard 22/3′
Doublette 2′
Tierce 13/5′
Basson/Trompette 8′

Eton College, Windsor, United Kingdom
Johannes Mitterreither, 1773 / Flentrop, 1973
PedaalBourdon 16′
Prestant 8′
Gedekt 8′
Octaaf 4′
Fagot 16′

In 1773, Austrian Johannes Mitterreither built the original organ with a case by
Abraham Harthals for St. Mary’s Episcopal Church in Rotterdam. Upon the
church’s closure around 1913, the organ was rescued and transferred to Eton
College, where its pipework was incorporated into a four-manual Willis electropneumatic instrument. In 1973, in the original housing, an organ in the style ofMitterreither’s was realised by Dutch builder Flentrop, with Peter Hurford as
consultant. It consitutes the only authentic continental organ of this period in
the UK.
Peter Hurford: CD 110, tr. 3/4; CD 115, tr. 8/15; CD 116, tr. 12/20/22;
CD 124, tr. 5; CD 208, tr. 21

ORGAN

Rugpositief
Gedekt 8′
Prestant 4′
Roerfluit 4′
Gemshoorn 2′
Larigot 11/3′
Dulciaan 8′
Tremulant

BACH 333

Hoofdwerk
Bourdon 16′
Prestant 8′
Holpijp 8′
Octaaf 4′
Fluit 4′
Quint 3′Octaaf 2′
Mixtuur IV
Cornet III af c'
Trompet 8′
Tremulant75

Stadtkirche, Brand-Erbisdorf, Germany
Adam Gottfried Oehme, 1772

ORGAN

ManualPrincipal 8′
Rohrfloeth 8′
Quintadena 8′
Prästant 4′
Quinta 3′
Octava 2′
Cornet ab c' IV
Mixtur IV
Mixtur III

ManualGedackt 8′
Oktava 4′
Rohrfloeth 4′
Nasat 3′Octava 2′
Quinta 11/2′
Suffloet 1′
Sesquialtera 4/3′, 13/5′

Pedal
Subbass 16′
Octavenbass 8′
Posaunenbass 16′
Trompetenbass 8′

In 1772, Adam Gottfried Oehme from Freiberg built the organ of the Evangelical
Lutheran Church of Brand-Erbisdorf. Oehme was the last immediate student ofGottfried Silbermann. Following two major repairs, in 1993/94 it was decided tobring the organ back to its original state. The pipe work was in bad condition
and required extensive work. The wooden pipes were heavily affected by worm
and were reconstructed according to the old scale and design. The windchests
were completely reworked and a new blower system was installed. The organ
was tuned in equal temperament at a’ = 467 Hz.

BACH 333

James Johnstone: CD 107, tr. 3

For specifications and information on the contemporary organs recorded in
Bach333, please refer to www.bach333.com

76Saint-Pierre-le-Jeune, Strasbourg, France
Johann Andreas Silbermann, 1780
Récit Expressif
Bourdon 8′
Prestant 4′Flûte 4′
Doublette 2′
Larigot 11/3′
Sesquialtera II
Cymbale II
Trompette 8′
Voix humaine 8′

PédaleFlûte 16′
Soubasse 16′
Bourdon 16′
Montre 8′Flûte 8′Prestant 4′
Quarte de nasard 2′
Fourniture IV
Cymbale II
Bombarde 16′
Trompette 8′
Clairon 4′

The organ of the church of Saint-Pierre-le-Jeune in Strasbourg is a late workof Johann Andreas Silbermann and was completed in 1780. In its original specification it was a single-manual instrument with pedal and 16 stops. In 1819–20 a choirorgan with six stops was added by Johann Conrad Sauer (1775–1828), a son of
the builder of the same name who had worked for Silbermann. The instrument underwent substantial enlargement and rebuilding on two subsequent occasions: in
1897–1900 when it was moved, and in 1948–50 by Ernest Mühleisen, who enlarged it to three manuals and 41 stops. Surviving windchests and pipes from theSilbermann and Sauer instrument were retained, so that when Alfred Kern began
the 1966 renovation he had much of the original material at his disposal. Helmut
Walcha used it for most of his later stereo cycle on Deutsche Grammophon.
Helmut Walcha: CD 109, tr. 11–13; CD 113, tr. 7–12; CD 116, tr. 15/18/19;
CD 117, tr. 7/25; CD 121

ORGAN

Grand-Orgue
Bourdon 16′
Montre 8′
Bourdon 8′
Prestant 4′Flûte à cheminée 4′
Quinte 22/3′
Doublette 2′
Sifflet 1′
Cornet V
Fourniture IV
Cymbale III
Trompette 8′
Clairon 4′

BACH 333

Positif de dos
Bourdon 8′
Prestant 4′
Nasard 22/3′
Doublette 2′
Tierce 13/5′
Fourniture III
Cromorne 8′77

20th Century and Contemporary organs

Klosterkirche, Sorø, Denmark
Marcussen & Sons, 1942
The organ of the Klosterhirche has 37 stops. It is considered one of the most significant and successful'organ reform movement' organs in Denmark. The facade is in Gothic style, but contains parts fromthe beginning of the 1500s, as well as a backlit facade from 1628 by Johan Lorentz.
Simon Preston: CD 115, tr.16; CD 116, tr.11; CD 117, tr.24; CD 118; CD 125, tr.1-4/6

Jaegersborg Church, Copenhagen, Denmark
Marcussen & Son, 1944
Hovedværk
Principal 8´
Rørfløjte 8´
Oktav 4´
Gedaktfløjte 4´
Quint 2 2/3
Oktav 2’
Mixtur IV
Trompet 8’

Rygpositiv
Gedakt 8´
Principal 4´
Rørfløjte 4´
Quintatön 2´
Scharf II
Krumhorn 8´Brystværk
Gedakt 8´
Spidsgedakt 4´Principal 2´
Nasat 1 1/3
Cymbel I
Ranket 16’

Karl Richter: CD 111, tr. 14-15; CD 115, tr. 17; CD 162, tr. 7-10

Pedal
Subbas 16´
Principal 8´
Gedakt 8´
Fagot 16´
Regal 4´Knox Grammar School, Sydney, Australia
Ronald Sharp, 1960
Hauptwerk
Prinzipal 8’
Rohrflöte 8’
Prestant 4’
Spitzflöte 4’
Nasat 2 2/3’
Oktav 2’
Mixtur IV
Cymbel III
Dulzian 16’
Trompete 8 ‘
Trompete 4’

Brustwerk
Gedackt 8’
Rohrpfeife 4’
Prinzipal 2‘
Blockflöte 2’
Quint 1 1/3’
Sifflöte 1’
Sesquiltera II
Scharff III
Rankett 1’6
Regale 8’
Recit
Cornet V

Pedal
Subbass 16’
Prestant 8’
Oktav 4’
Nachthorn 2’
Mixtur IV
Posaune 16’
Trompete 8’
Schalmey 4’
Kornett 2’

The Ronald Sharp organ in the War Memorial Chapel of Knox Grammar School is well known boththroughout Australia and internationally. It is the first major modern mechanical action organ in the
country. Although unorthodox in some tonal and mechanical aspects, this instrument is one of greatmusical beauty. Built largely in the early 1960s, Ronald Sharp later completed the organ with theaddition of all the prepared-for reed stops.
Peter Hurford: CD 106, tr. 10; CD 110, tr. 9-11; CD 124, tr. 6; CD 209, tr. 7-9

Sankt Hans Kirche, Odense, Denmark
Marcussen & Sons, 1962
The present organ was built by Marcussen and Søn, Åbenrå, in 1962. It has 37 stops divided into threemanuals and pedals.
The organ pipes are very different in size. The smallest pipe is only 1 cm and produces a very hightone, while the deepest tone is produced by a 16ft pipe. In total, there are 2,462 pipes, and this makes
the instrument suitable for both service and church music events. In 1998, a coral cell was also
procured.
Kevin Bowyer: CD 109, tr. 6; CD 110, tr. 14/18-19; CD 115, tr. 6; CD 117, tr. 13; CD 124, tr. 1-2; CD 125,
tr. 5/14/30-31; CD 201, tr. 5

Reformed Church, Meppel, Netherlands
Ernst Leeflang, 1963
Hoofdwerk
Prestant 8'
Roerfluit 8'
Octaaf 4'
Gedekte Fluit 4'
Vlakfluit 2'
Mixtuur V 1 1/3'
Trompet 8'

Rugwerk
Holpijp 8'
Prestant 4'
Koppelfluit 4'
Nasard 2 2/3'
Octaaf 2'
Sesquialter I-II 1 1/3'
Dulciaan 8'
Tremulant

PedaalBourdon 16'
Prestant 8'
Quintaaf II 4'
Fagot 16'

The Leeflang organ of the Kruiskerk, built in 1963, is of a neo-Baroque character. It underwent arenovation in 2007 but this expressly aimed not to remove all the neo-Baroque features.
Daniel Chorzempa: CD 106, tr. 15-16, CD 113, tr. 4-6/13-15

St. Katharina, Blankenburg, Germany
Johannes Klais, 1964
Rückpositiv
Hohlflöte 8’
Traversflöte 8’
Principal 2’
Quinte 2 2/3’
Terz 1 3/5’
Cymbel 3 ranks 2/3’

Hauptwerk
Rohrflöte 8’
Quintadena 8’
Praestant 4’
Flötgedackt 4’
Waldflöte 2’
Quinte 1 1/3’
Mixtur IV ranks 1’
Trumpet 8’

Pedal
Subbaß 16’
Octavbass 8’
Choralbass 4’

In 1964, Johannes Klais built an organ of 14 stops – Hauptwerk and Unterwerk, with a Pedal standing
in its own case at the back, retaining the historic case of the preceding organ. In 1983, the organ wasdestroyed by fire and the reconstruction began in 1985. Hans-Gerd Klais sought to produce an organ
which respected the practices of Rhineland organ building from the second half of the 18th century.
Simon Preston: CD113, tr. 1-3

Church of Our Lady of Sorrows, Toronto, Canada
Lawrence Phelps, 1965
Great
Prinzipal 8’
Rohrflöte 8’
Oktave 4’
Waldflöte 4’
Nasat 2 ⅔’
Superoktav 2’
Mixtur V 1 ⅓’
Trompete 8’

Positiv
Holzgedackt 8’
Salizional 8’
Prinzipal 4’
Rohrquintade 4’
Gemshorn 2’
Sifflöte 1’
Sesquialtera II 2 ⅔’
Scharf IV 1’
Musette 8’
Tremulant

Pedal
Untersatz 16’
Oktavbass 8’
Pommer 8’
Choralbass 4’
Nachthorn 2’
Rauschpfeife III 2’
Fagott 16’
Klarine 4’This pipe organ comprises 25 stops and 35 ranks over the Hauptwerk (Great), Positiv and Pedal andfeatures a detached drawknob console with mechanical key and stop action. Each division isseparately encased, with open toe, unnicked, low pressure polished tin pipes in classical form.
The organ was built in 1965 by Casavant Frères, of Saint-Hyacinthe, Quebec, under the tonal directionof famed organ designer Lawrence I. Phelps (1923-1999).
Peter Hurford: CD 106, tr. 11-14; CD 108, tr. 2; CD 117, tr. 4/6/15/21; CD 124, tr. 10/13-14/16/19

Freiburg Münster, Germany
Marcussen & Sons, 1965
Hauptwerk
Prinzipal 8’
Rohrflöte 8’
Oktave 4’
Blockflöte 4’
Oktave 2’
Mixtur V-VII 1 1/3’
Trompete 8’

Rückpositiv
Gedackt 8’
Prinzipal 4’
Rohrflöte 4’
Gemshorn 2’
Sifflöte 1 1/3’
Sesquialter II 2 2/3’
Scharff IV-VI 2/3’
Dulzian 8’
TremoloPedal
Prinzipal 16’
Oktav 8’Oktav 4’
Hintersatz V 2 2/3’
Fagott 16’
Schalmei 4’During the course of the renovation of all the organs in the Freiburg Münster in 1963-65, the organ
builders Marcussen of Åbenrå (Denmark) built a new “Swallow’s Nest” organ. In designing the casethey based their work on plans from 1870-74. The disposition was redesigned with the spatialconditions of the building in mind. The pipework is new, as is the technical layout, with key-channel
chests and tracker action. The disposition, tuning and, the acoustically ideal position make this organ
particularly suitable for the interpretation of Baroque music.
Wolfgang Rübsam: CD 106, tr. 6; CD 115, tr. 5; CD 116, tr. 13-14/16-17; CD 117, tr. 2/11; CD 125, tr.
10; CD 201, tr. 3

Kreuzbergkirche, Bonn, Germany
Johannes Klais, 1969
Oberwerk
Principal 8´
Viola da Gamba 8
Rohrflöte 8´
Oktave 4´ (Prospekt)
Gedackt 4´
Quinte 2 2/3´
Superoktave 2´Terz 1 3/5´Cornett 3f
Mixtur 4f
Trompete 8′
Voxhumana 8′

Rückpositiv
Gedackt 8´
BassGedackt 8´Diskant
Flaut travers 8´Diskant
Rohrflöte 4´
Principal 2´ (Prospekt)
Sifflöte 1 1/3´
Tintinabulum 2f (1 3/5´ + 1´)Mixtur 3f
Dulcian 8´Tremulant

Pedal
Subbass 16´
Principal 8´ (Prospekt)
Gedackt 8´Oktave 4´
Posaune 16´
Trompete 8´With a historic housing of unknown origin, the case was equipped in 1998 by the organ builder Klais,
Bonn, with a completely new play area, some new pipe work and a modern compositor setting. It has
26 sounding registers, divided into 2 manuals and pedal with mechanical play and electrical register
fracture.
In 1902, a pneumatic tractor and more pipe work was added to the historical casing. In 1969/70 Klais,
provided the organ with a new pipe system, new play equipment and mechanical Traktur.
Simon Preston: CD 109, tr. 4-5

New College Chapel, Oxford, United Kingdom
Grant, Degens & Bradbeer, 1969
Great
Bourdon 16’
Prinzipal 8’
Spitzflöte 8’
Oktave 4’
Spitzgedackt 4’
Terz 3 1/5’
Quint 2 2/3’
Oktave 2’
Mixtur IV-VI
Vox Humana 8’
Trompete 8’
Cornet V
Tremulant

Positiv
Holzgedackt 8’
Quintadena 8’
Praestant 4’
Rohrflöte 4’
Prinzipal 2’
Quintatön 2’
Scharfzimbel III
Sesquialtera II
Holzregal 16’
Schalmei Krummhorn 8’
Tremulant

SwellFlûte-à-Cheminée 8’
Salicional 8’
Celeste 8’
Prinzipal 4’Flûte Conique 4’
Nazard 2 2/3’
Quarte 2’
Tierce 1 3/5’
Larigot 1 1/3’
Octave 1’
Neuviéme 8/9
Fourniture IV-V
Trompette 16’
Hautbois 8’
Trompeta Real 8’
Tremulant

Pedal
Prinzipal 16’
Subbass 16’
Oktave 8’
Rohrflöte 8’
Oktave 4’
Nachthorn 2’
Mixture IV
Fagot 32’
Fagot 16’
Kupfer Trompete 8’
Trompete 4’
Tremulant

The Grant, Degens and Bradbeer organ of New College Chapel was installed in 1969 and was bothvisually and aurally to be a radical change from prevailing trends in British organ building. Inspired by
the bold new instruments being built in northern Europe in the 1960s, this organ fully embraced theorgan reform movement (Orgelbewegung), which opposed the excesses of romantic organ building
and sought to create instruments which were eclectic but could also adequately serve bothpolyphonic music of the 17th and 18th centuries and contemporary music. In the 1980s, wellintentioned changes were made to the organ but by 2014 the organ needed a restoration and theopportunity was taken to reverse many previous changes.
Peter Hurford: CD 107, tr. 13, CD 125, tr. 20

St. Nicholas Church, Frauenfeld, Switzerland
Metzler, 1969
Hauptwerk
Prinzipal 16’
Pommer 16’
Oktav 8’Hohlflöte 8’
Dolkan 8’
Octav 4’Koppelflöte 4’
Quinte 2 2/3’
Octav 2’
Mixtur 4-5 fach 2’
Cimbel 5fach 2/3’
Trompete 8’

Brustwerk
Holzgedackt 8’
Prinzipal 4’
Gedacktflöte 4’
Spitzflöte 2’
Sifflöte 1’
Terzian 2fachCimbel 2fach 1/3’
Rankett 16’
Vox humana Tremulant 8’

Rückpositiv
Prinzipal 8’
Gedackt 8’
Quintadena 8’
Octav 4’
Rohrflöte 4’
Octav 2’Nasat 1 1/3’
Sesquialtera 2fachScharff 4fach 1’

Pedal
Prinizpal 16’
Subbass 16’
Octav 8’
Gedackt 8’
Quinte 5 1/3’
Octave 4’
Nachthorn 2’
Rauschpfeife 5fach 2’
Posaune 16’

Dulzian 16’
Krummhorn 8’

Trompete 8’
Trompete 4’
Cinq 2’Each division of the 45-stop three-manual instrument has a comprehensive disposition with ample
representation of principal and wide-scaled choruses, as well as reeds and mutations. For Bach inparticular it is important that an instrument offers a variety of possibilities for the cantus firmus. This
instrument presents a wide choice of cantus firmus and trio registrations, so that varying conceptionsof timbre can be realised. The significance of this organ lies in the co-ordination of every individualpart within the larger structural purpose. A beautifully articulate sound combines here to produce anartistically integrated whole. Wolfgang Rübsam chose this organ for the majority of his first complete
Bach cycle.
Wolfgang Rübsam: CD 106, tr. 1-5; CD 107, tr. 4/11-12/14-15; CD 108, tr. 3-4/11-12/15/18-20; CD 109,
tr. 7-8; CD 110, tr. 15-17; CD 111, tr. 5-9; CD 115, tr. 7/13-14/18-19; CD 116, tr. 1; CD 117, tr. 5/ 9-10;
CD 120; CD 124, tr. 8-9; CD 125, tr. 9/21-24/27; CD 209, tr. 4-6

Lübeck Cathedral, Germany
Marcussen & Sons, 1970
Hauptwerk,
Prinzipal 16 'Oktave 8'
Spitzflöte 8 'Octave 4'
Nachthorn 4 'Spitzquinte 2 2/3'
Octave 2 'Mixture 6-7fach
Zimbel 4fach
Trumpet 8' (horizontal)

Rückpositiv
Prinzipal 8 'Gedackt 8'
Quintatön 8 'Octave 4'
Rohrflöte 4 'Oktave 2'
Waldflöte 2 'Sifflöte 1 1/3'
Sesquialtera 2fachScharf 5-6fach
Dulzian 16 'Krummhorn 8'
Tremulant
ZimbelsternNightingale

Oberwerk,
Gedackt 16 'reed pipe 8'
Spitz viol 8 'beat 8'principal 4 'Flute 4'fifth 2 2/3 'Gemshorn 2'
third 1 3/5 'mixture 5X
Glockenzimbel 2x
Trumpet 8'
Vox humana 8 'Tremulant

Pedal
principal 16 'subbass 16'
fifth 10 2/3 'octave 8'
gedackt 8 'octave 4'night horn 2 'octave 2'
mixture 6fold
trombone 16 'bassoon 16'
trumpet 8 'zinc 4'The organ in the northern aisle was built in 1970 by the renowned Danish company Marcussen andSons. The work structure corresponds to the classical North German organ: Hauptwerk, Rückpositiv,
Oberwerk, lateral pedal towers.
Simon Preston: CD 208, tr. 18-20; CD 209, tr. 10-14.

Abbey of Melk, Austria
Gerhard Hradetzky, 1970
Hauptwerk
Gedackt 16’
Prinzipal 8’
Hohlflöte 8’
Oktave 4’
Spitzflöte 4’
Superoktave 2’
Mixtur major 2’
Mixtur minor 2/3’
Trompete 16’

Positiv
Gedackt 8’
Quintadena 8’
Prinzipal 4’
Rohrflöte 4’
Oktave 2’
Blockflöte 2’
Quinte 1 1/3’
Sesquialtera 2’
Scharff 1’
Krumhorn 8’
TremulantPeter Hurford: CD 111, tr. 12-13.

Schwellwerk
Holzflöte 8’
Gamba 8’
Bourdon 8’
Prestant 4’
Flöte 4’
Nazard 2 2/3’
Doublette 2’
Tierce 1 3/5’
Plein jeu 1 1/3’
Bombarde 16’
Trompete 8’
Hautbois 8’
Clairon 4’
Tremulant

Pedal
Prinzipal 16’
Subbaß 16’
Quintbaß 10 2/3’
Oktavbaß 8’
Gemshorn 8’
Nachthorn 2’
Rauschpfeife 2 2/3’
Posaune 16’
Trompete 8’
Schalmai 4’
Choralbaß 4’

Clare College Chapel, Cambridge, United Kingdom
Rudolf von Beckerath, 1971
Pedal
Unterbass 16’
Principal 8’
Gedackt 8’ 2003
Choralflöte 4’
Rauschpfeife IV
Fagott 16’
Schalmei 4’Great
Principal 8’
Röhrflöte 8’
Octave 4’
Blockflöte 4’
Nasat 2 2/3’
Flachflöte 2’
Mixture V
Trumpet 8’

Swell
Gedackt 8’
Gamba 8’ 2003
Principal 4’
Rohrflöte 4’
Octave 2’
Larigot 1 1/3’
Sesquialtera II 2 2/3 + 1 3/5’
Scharff IV
Barpfeife 8’
TremoloThis organ is an example of the organ reform movement that started in early 20th century Germany.
The organ world was undergoing a reaction against the perceived heavy, ponderous tone of preWorld-War I instruments. The Clare College instrument combines the centuries-old north German
practice of housing each division of the organ in its own case (so-called Werkprinzip) with modern
styling.
Gillian Weir: CD 207, tr. 14

Trinity College Chapel, Cambridge, United Kingdom
Metzler, 1972
Hauptwerk
Principal 16’
Octave 8’
Hohlflöte 8’
Octave 4’
Spitzflöte 4’
Quinte 2 2⁄3’
Superoctave 2’
Sesquialter III
Cornett IV
Mixtur IV-V
Trompete 8’
Vox Humana 8’

Rückpositiv
Principal 8’
Gedackt 8’
Octave 4’
Rohrflöte 4’
Octave 2’
Gemshorn 2’
Larigot 1 1⁄3’
Sesquialter II
Scharf III
Dulcian 8’
Tremulant

Schwellwerk
Viola 8’Suavial 8’
Rohrflöte 8’
Principal 4’
Gedacktflöte 4’
Nasard 2 2⁄3’
Doublette 2’
Terz 1 3⁄5’
Mixtur IV
Fagott 16’
Trompete 8’
Tremulant

Pedal
Principal 16’
Subbass16’
Octavbass 8’
Bourdon 8’
Octave 4’
Mixtur V
Posaune 16’
Trompete 8’
Trompete 4’

In 1972, the College Council commissioned the Swiss firm Metzler Söhne to build a mechanical-action
instrument based on the surviving pipework, and within the original cases, of the 1694 and 1706
“Father Smith” organs. Bernhardt Edskes designed the “new” 42-rank organ which was completed in
1976.
Simon Preston: CD 106, tr. 17

Laurenskerk, Rotterdam, Netherlands
Marcussen & Sons, 1973
Rugwerk

Hoofdwerk

Bovenwerk

Borstwerk

Chamadewerk

Quintadeen 16'

Praestant 16'

Gedekt 16'

Gedekt 8'

Praestant 8'

Octaaf 8'

Praestant 8'

Praestant 4'

Holpijp 8'

Open fluit 8'

Baarpijp 8'

Blokfluit 4'

Quintadeen 8'

Quint 5 1/3'

Roerfluit 8'

Nasard 2 2/3'

Clarin fuerte 4' (bas/desc.)

Gedekte Quint 10
2/3'

Octaaf 4'

Octaaf 4'

Viola di Gamba 8'

Octaaf 2'

Clarin 2' (bas)Octaaf 8'

Roerfluit 4'

Spitsfluit 4'

Viola di Gamba 8'(beating)

Gedekte fluit 2'

Orlos 8' (bas/desc.)

Gemshoorn 8'

Quint 2 2/3'

Octaaf 2'

Octaaf 4'

Octaaf 1'

Roerquint 5 1/3'

Octaaf 2'

Ruispijp 3-4 st.

Open fluit 4'

Tertiaan 2 st.

Octaaf 4'

Woudfluit 2'

Mixtuur 8-10 st.

Terts 3 1/5'

Scherp 4-5 st.

Koppelfluit 4'

Trompeta magna 16'(desc.)
Trompeta brillante 8'(bas/desc.)
Trompeta de batalla 8'(bas/desc.)

PedaalPraestant 32'
Octaaf 16'
Open Subbas 16'

Sifflet 1 1/3'

Scherp 6-8 st.

Roerquint 2 2/3'

Regaal 16'

Nachthoorn 2'

Sesquialter 2-4
st.

Trompet 16'

Nachthoorn 2'

Kromhoorn 8'

Dwarsfluit 1'

Mixtuur 6-8 st.

Trompet 8'

Terts 1 3/5'

Regaal 8'

Ruispijp 5 st.

Scherp 4-6 st.

Cornet 5 st.

Mixtuur 5-7 st.

Cornet 3 st.

Dulciaan 16'

Cimbel 3 st.

Trompet 8'

Bombarde 16'

Bazuin 32'

Kromhoorn 8'

Trompette 8'

Bazuin 16'

Voix humaine 8'

Fagot 16'

Clairon 4'

Trompet 8'

Tremulant

Trompet 4'

Tremulant

Tremulant

Mixtuur 10 st.

Zink 2'The large organ in the church today was built by Marcussen & Son in 1973. The instrument is based on
32-foot pedal and it consists of six divisions (Rugwerk, Hoofdwerk, Bovenwerk, Borstwerk,
Chamadewerk and Pedaal). It is a completely mechanical organ with 85 speaking stops andapproximately 7600 pipes, and is thought to be the largest purely mechanical organ in Europe.
Gillian Weir: CD 106, tr. 7-9

Vor Frue Kirke, Nyborg, Denmark
Poul-Gerhard Anderson, 1973
Svelleværk
Gedakt 16’
Rørfløjte 8’Tværfløjte 4’
Fløjte 2’
Mixtur IV
Trompet 8’
Gamba 8’Vox Celeste 8’
Principal 8’
Oktav 4’
Obo 8’
Dulcian 16’

Pedal
Subbs 16’
Gedakt 8’
Quint 5¹⁄₃’
Fagot 16’
Trompet 8’
Tremulant Sv.
Oktav 8’Oktav 4’
Fløjte 2’
Clarion 4’(vakant)(vakant)

Hovedværk
Principal 8’
Oktav 4’
Oktav 2’
Mixtur V(vakant)
P.+H.
Gemshorn 8’
Ital. fløjte 4’
Quint 2²⁄₃’
Tertz 1³⁄₅’
Trompet 8’
P.+R.

Rygpositiv
Principal 4’
Spilfløjte 2’ Scharf III
Tremulant Rp.
H.+S.
P.+S.
Trægedakt 8’
Koppelfløjte 4’
Nasat 1¹⁄₃’
Krumhorn 8’
H.+R.
R.+S.

In 1973, Poul-Gerhard Andersen built the church's main organ. In 2010 it was decided to restore theorgan and Andersen & Bruhn were enlisted to do so. It was expanded to contain about 2,400 pipes.
Simon Preston: CD 117, tr. 1/3/8/12/14/16-20/22-23

Bethlehemkerk, Papendrecht, Netherlands
K.B. Blank, 1976
Hoofdwerk
Bourdon 16’
Prestant 8’
Bourdon 8’
Octaaf 4’
Spitsfluit 4’
Quint2 2/3’
Octaaf 2’
Mixtuur 4-6 st.
Cornet 5 st.
Trompet 8’

Borstwerk
Holpijp 8’
Prestant 4’
Roerfluit 4’
Nasard 2 2/3’
Woudfluit 2’
Terts 1 3/5’
Flageolet 1’
Dulciaan 8’
Tremulant

PedaalSubbas 16’
Prestant 8’
Octaaf 4’
Bazuin 16’
Trompet 8’

The organ, with its 23 voices and 1468 pipes, was based on the practices of builders such as Schnitger,
Hinsch, Müller and Bätz, from around 1750.
Peter Hurford: CD 207, tr. 13/15

Ratzeburg Cathedral, Germany
Rieger, 1978
Rückpositiv
Principal 8’
Rohrflöte 8’
Quintade 8’
Octav 4’Koppelflöte 4’
Quinte/Sesquialter
II 2 2/3’ / + 1 3/5’
Principal 2’
Quinte 1 1/3’

Hauptwerk
Principal 16’
Principal 8’
Spitzflöte 8’
Metallgedeckt 8’
Octav 4’
Quinte 2 2/3’

Schwellwerk
Bordun 16’
Holzprinicpal 8’
Bleigedackt 8’
Gamba 8’Schwebung 8’
Octav 4’

Brustwerk
Holzgedackt 8’
Holzrohrflöte 4’
Gemshorn 2’
Terzsepta IV 1 3/5’
Zimbel II 1/3’
Regal 16’

Pedalwerk
Principal 32’
Principal 16’
Subbaß 16’
Octav 8’
Gedackt 8’
Octav 4’

Super Octav 2’
Cornett V 8’

Blockflöte 4’
Viola 4’Vox humana 8’
Tremulant

Scharff IV 1’

Mixtur major VI
2’
Mixtur minor IV
2 2/3’
Fagott 16’
Trompete 8’
Spanische
Trompete 8’
Spanische
Trompete 4’
Glockenspiel in C
(5 Glocken)

Nasat 2 2/3’
Waldflöte 2’

Rohrpfeife 4’
Rauschpfeife
IV 2 2/3’
Kontrafagott
32’
Bombarde 16’

Terz 1 3/5’
Sifflet 1’
Mixtur VI 2 2/3’

Posaune 8’
Schalmei 4’
Rauschwerk

Rankett 16’
Krummhorn 8’
Tremulant
Zimbelstern in G
(5 Glocken)

Dulzian 16’
Oboe 8’Franz. Trompete
8’Tremulant
Carillon (37Bronze-Glocken)

Peter Hurford: CD 113, tr. 16-18; CD 116, tr. 2/10

St. Catharine's College, Cambridge, United Kingdom
E.J. Johnson & Son, 1978
Great
Open Diapason 8’
Stopped Diapason 8’
Principal 4’
Open Flute 4’
Nazard 2 2/3’
Fifteenth 2’
Nachthorn 2’
Tierce 1 3/5’
Mixture II
Scharf II
Trumpet 8’

Choir-organ(Ruckpositif)
Gedeckt 8’
Principal 4’
Koppelflute 4’
Nasat 2 2/3’
Octaaf 2’
Spitzflute 2’
Quint 1 1/3’
Terz 1 3/5’
Cymbel III

Swell

Pedal

Stopped Diapason 8’
Salicional 8’ 19th C.
Voix Celeste 8’
Principal 4’
Fifteenth 2’
Mixture II-III
Fagot 16’
Trumpet 8’
Krummhorn 8’Clarion 4’.

Principal 16’
Dulciana 16’
Octave 8’
Stopped Flute 8’
Fifteenth 4’
Nason Flute 4’
Mixture III
Bombarde 16’

Behind an 1895 façade a new organ was built in 1978 by E. J. Johnson. Although the intention was tobuild a neo-baroque organ, a number of stops from the old organ were incorporated into the new
instrument. During the refurbishment and re-voicing work by Flentrop in 2002, wind pressures werereduced. This enabled the sound of the organ to be much more in accordance with the acoustics of
the Chapel.
Peter Hurford: CD108, tr. 13-14; CD 125, tr. 7-8/11/25

St. Peter, Waltrop, Germany
Wilhelm Sauer, 1984
Hauptwerk
Rohrgedackt 16'
Prinzipal 8'
Hohlflöte 8'
Viola da Gamba 8'
Oktave 4'
Gedacktflöte 4'
Quinte 2 2/3'
Prinzipal 2'
Cornett 5 fachMixtur 5-6 fach (2')
Zimbel 3 fach (1/2')
Trompete 8'
Tremulan

Schwellwerk
Doppelflöte 8'
Gedackt 8'
Salicional 8'
Praestant 4'
Blockflöte 4'
Nasard 2 2/3'
Waldflöte 2'
Quinte 1 1/3'
Terzseptime 2 fach (13/5'+1 1/7')
Scharff 4 fach (1')
Dulzian 16'
Hautbois 8'
Clairon 4'
Tremulant
Glockenspiel

Simon Preston: CD 109, tr. 1-2; CD 110, tr. 12-13

Pedal
Prinzipal 16'
Subbaß 16'
Großnasard 10 2/3'
Prästant 8'
Pommer 8'
Holzoktave 4'
Nachthorn 2'
Hintersatz 5 fach (2 2/3')
Holzposaune 16'
Trompete 8'
Zink 4'

St. Peter Mancroft, Norwich, United Kingdom
Peter Collins, 1984
Great
Bourdon 16’
Principal 8’
Spitz Flute 8’
Octave 4’
Hohl Flute 4’
Quint 2 2/3’
Octave 2’
Block Flute 2’
Tierce 1 3/5’
Mixture IV-V;
Cymbal II
Trumpet 8’
Tremulant

Ruck Positive
Gedact 8’
Quintadena 8’
Principal 4’
Rohr Flute 4’
Gemshorn 2’
Tapered Quint 1 1/3’
Sesquialtera II
Scharf IV-V
Curtall 16’
Cremona 8’
Tremulant

Echo
Stopt Diapason 8’
Salicional 8’
Celeste 8’
Coppel 4’
Principal 2’
Octave 1’
Tertian II
Vox Humana 8’
Tremulant

Pedal
Principal 16’
Subbass 16’
Octave 8’
Wood Flute 8’
Tenor Octave 4’
Mixture IV
Posaune 16’
Trumpet 8’

This organ takes as a point of reference North German organs of the 17th century, particularly those ofArp Schnitger and his contemporaries, It has proved a revelation for the music of Böhm, Buxtehude,
and the early works of J.S. Bach. The organ is entirely mechanical in its action And the voicing, pipescales and wind pressures draw on historic principles. Tuned in Valotti’s temperament, it has an
unsteady wind supply from its single wedge-shaped bellows.
Garham Barber: CD 108, tr. 7-10; CD 114; CD 115, tr. 1

Augustinerkirche, Vienna, Austria
Reil Brothers, 1985
Hauptwerk
Bordun 16
Principal 8′
Gedackt 8′
Cornett Disc. V (ab c1) 8′
Spitzflöthe 4′
Octava 4′
Quinte 3′
Octava 2′
Trompete Bass (bis h0) 8′
Trompete Disc. (ab c1) 8′
Mixtur IV-VI 1/2'
Tremulant

Oberwerk
Gedackt 8′
Quintadena 8′
Principal 4′
Rohrflöthe 4′
Nasat 3′Octava 2′
Gemshorn 2′
Sifflöthe 1′
Sesquialtera II 22/3′
Tremulant

Pedal
Sub-Bass 16′
Octava-Bass 8′
Posaunen-Bass 16′
Trompeten-Bass 8′
Cornet 2′
Tremulant

The small organ of the Augustinerkirche was built in 1985 by the Reil brothers on behalf of the Wiener
Festwochen to commemorate the 300th anniversary of J.S. Bach’s birth.
It has two manuals and 25 stops, combining characteristics of the organ builders Gottfried Silbermann
and Tobias Trost. In building an organ in the style of the ones Bach played, the listener particularly
experiences Bach's sound world.
Peter Hurford: CD 115/2, 4

St John's Smith Square, London, United Kingdom
Johannes Klais, 1993
SwellFlûte Harm. 8’
Gambe 8’
Voix Céleste 8’
Prestant 4’Flûte Octav. 4’
Nazard 2 2/3’
Octavin 2’
Tierce 1 3/5’
Sifflet 1’
Plein Jeu IV
Basson 16’
Tromp. Harm. 8’
Hautbois 8’
Vox Humana 8’
Chalumeau 4’
Tremulant

Great
Bourdon 16’
Principal 8’
Doppelflöte 8’
Gemshorn 8’
Octave 4’
Rohrflöte 4’
Quinte 2/3’
Superoctave 2’
Cornet V
Mixtur V
Trompette 8’

Rückpositv
Rohrflöte 8’
Quintadena 8’
Principal 4’
Blockflöte 4’
Octave 2’
Hohlflöte 2’
Larigot 1 1/3’
Sesquialter II TG
Scharff IV
Dulcian 16’
Cromorne 8’
Tremulant

Pedal
Unterstaz 32’
Principal 16’
Subbass 16’
Quinte 10 2/3’
Octave 8’
Gedackt 8’Tenoroctave 4’
Rauschpfeife 2 2/3’
Posaune 16’
Fagott 16’
Trumpet 8’

A three-manual tracker-action organ, with 48 stops, 3,574 pipes and 999 stop combinations, wascommissioned by Simon Preston from Johannes Klais of Bonn. Solid European white oak makes themain frame and wind-chests and thin levers of Alaskan pine connect the keyboard to pipes on thechests. A large number of metal pipes are made from tin and lead with varying compositions. The
principal choruses which make the tonal backbone are almost pure tin; but for the flutes and the soft,
broad, warm-sounding stops the amount of lead increases. The case - discovered in a Suffolk churchand donated by a local grandee who had been married in St John's before its wartime bombing – wasmodified, as in its original state it would have housed only a quarter of the stops required for amodern concert organ.
Simon Preston: CD 108, tr. 1/5-6/16-17/21; CD 109, tr. 9-10; CD 124, tr. 3-4/11-12/15/17-18

Tonbridge Chapel, Kent, United Kingdom
Marcussen & Sons, 1995
Rygpositiv
Principal 8’

Hovedværk
Principal 16’

Svelleværk
Bourdon 16’

Soloværk (in swell)Flûte Harmonique 8’

Gedackt 8’

Principal 8’

Diapason 8’Flûtes Cèlestes 8’ II

Quintaton 8’
Octave 4’
Kobbelflute 4’

Rohrflute 8’
Viola da Gamba 8’
Voix Céleste 8’

Dulciana 8’
Unda Maris 8’Flûte traversière 4’

Quint 2 2/3’
Superoctave 2’

Gamba 8’Hohlflute 8’
Rohrgedackt
8’
Octave 4’
Spitzflute 4’

Prestant 4’Flûte octaviante 4’

Clarinet 8’
English Horn 16’

Waldflute 2’

Octave 2’

Octavin 2’

Tremulant

Tierce 1 3/5’

Blockflute 2’

Nazard 2 2/3’

Larigot 1 1/3’
Scharf 1’ IV
Dulcian 16’

Mixture IV-V
Cymbel II-III
Cornet V, fraf’Trompete 16’
Trompete 8’
Clarion 4’
Trompette en
chamade 8’

Tierce 1 3/5
Piccolo 1’
Plein Jeu V

Cromorne 8’
Tremulant

Basson 16’
Trompette 8’
Hautbois 8’
Voix Humaine 8’
Clairon 4’
Tremulant

Simon Preston: CD 110, tr. 7-8; CD 111, tr. 1-4/10-11; CD 124, tr. 7

Pedal
Bourdon32’
Principal
16’
Subbass 16’
Octave 8’
Open Flute8’
Octave 4’
Nachthorn
4’
Mixture VVI
Bombarde
32’
Posaune 16’
Fagot 16’
Trompete8’