BACH 710 - Bach on Silbermann Organs - Vol. 3: Ponitz & Grosshartmannsdorf_____________________________________________________________________________________________________________________Gottfried Silbermann (1683-1753) and Johann Sebastian Bach (1685-1750) were contemporaries and worked together
both as colleagues and as friends. Silbermann would later become godfather to Bach’s son, Carl Philipp Emanuel.
Perhaps the single most important feature of Gottfried Silbermann's instruments is their distinctive sounds. From thesilvery flutes to the strong and reedy 16' Posaune in the pedal, Silbermann's sounds were unique, and indeed wereconstantly praised by organists in their testimonies of his instruments. Frequent reference was made to a play on hisname, as organists praised his "Silberklang" or "Silvery Sounds". Such was his reputation, that on June 30th 1723
Gottfried Silbermann was granted the privileged title: "Honorary Court and State Organ Builder to the King of Polandand Duke of Saxony".
Bach was also famous throughout the area as an organist, and was frequently asked to test new organs on which hewould invariably improvise. But it is noteworthy that through personal friendship and mutual respect he neverofficially tested one of Gottfried Silbermann’s instruments, though he played them frequently. In 1736 Silbermann
completed a fine 3-manual, 43-stop instrument for the Frauenkirche, Dresden. The Organ was dedicated on Sunday
November 25th. A week later, on December 1st, as the Dresdner Nachrichten reported:"The famous Capellmeister to the Prince of Saxe-Weissenfels and Director Musices at Leipzig, Mr. Johann SebastianBach, made himself heard from 2 to 4 o'clock on the new organ in the church of Our Lady, in the presence of the Russian
Ambassador, Von Keyserlingk, and many Persons of Rank, also a large attendance of other persons and artists, withparticular admiration, wherefore also His Royal Majesty most graciously named the same, because of his great ability incomposing, to be His Majesty's Composer".
Bach and Silbermann also worked together on the escapement mechanism for some of the world’s first pianos, orforte-pianos. Bach tried one of Silbermann’s early efforts and commented critically by pointing out serious defects heavy touch and weakness of the higher notes. These defects were later remedied, with Bach’s approval. Frederickthe Great purchased a number (possibly fifteen) of these new fortepianos for his summer palace Sans Souci at
Potsdam. When Bach visited Potsdam in 1747 he was required to improvise upon all of them, the whole Royal party
moving from room to room. It was this occasion which gave rise to the Musical Offering.
The music of Bach, played on Gottfried Silbermann’s organs: a perfect combination.

_____________________________________________________________________________________________________________________The Organ in Grosshartmannsdorf Village Church by Gottfried Silbermann (1683-1753).

On October 27th, 1738 a new church for the Village of Grosshartmannsdorf was dedicated, and Gottfried
Silbermann was contracted to supply a new organ. In May 1740 the organ case was completed, and in themonth of July, 1741, the case was painted. On August 15th 1741 twelve 4-axle wagons made the journey fromSilbermann’s workshop in Freiberg bringing all the necessary materials, together with Master Silbermann andfour apprentices. They were lodged in Grosshartmannsdorf. Fifteen weeks later the Organ was completed. Itwas inaugurated on December 3rd, 1741 by Freiberg Cathedral Organist Erselius.
While many of Silbermann’s village organs were broadly similar in specification, the PONITZ Organ was incontrast a much grander affair, and indeed its price at 1500 Taler was more than double the modest 600 Taler
for Grosshartmannsdorf. The extra cost went into a much more substantial specification – a comparison of thetwo organs is given below.
The Ponitz Organ was completed and handed over on November 18th, 1737. Contemporary reports show that
this instrument was very highly regarded at the time, spreading the fame both of the instrument and itsbuilder. This fine organ retains its original sound and specification.
The two manuals can be compared in specification. The Pedal sections are the same for the two instruments,both having a Subbass 16', Posaunenbass 16’, and Octavbass 8'.

HAUPTWERKGrosshartmannsdorf

Prinzipal 8'
Rohrflöte 8'
Quintadena 8'
Octava 4'
Spitzflöte 4'
Quinta 3'
Octava 2'

PONITZ
Bordun 16’
Principal 8'
Viol di Gamba 8
Rohrflöte 8'
Octava 4’
Spitzflöte 4'
Quinta 3'
Octava 2'

OBERWERK
Grosshartmannsdorf

PONITZ
Principal 8’
Gedackt 8'
Gedackt 8'
Quintaden 8’
Octava 4’
Rohrflöte 4'
Rohrflöte 4'
Nasat 3'Nassat 3'Octava 2'
Octava 2'
Gemshorn 2’
Gemshorn 2’
Tertia (1+3/5') Sesq. (1 + 3/5’)
Quinta 1 + ½’ Quinta 1 + ½’
Sufflet 1’
Sufflot 1’

Our program opens with three of Bach’s more grand and powerful works which demonstrate the resources ofthe larger Ponitz Organ. While the Fugue of BWV 546 dates back to Weimar, the mighty Prelude is a muchlater Leipzig composition, probably dating around 1730.
Similarly the Prelude and Fugue BWV 548 is a Leipzig work, also composed around the late 1720s or early
1730s.
The Prelude (Toccata) and Fugue in F Major, BWV 540, though no less grand a work, dates entirely fromWeimar. It was during his Weimar years that Bach and his cousin Walther transcribed orchestral works ofother composers, notably Italian, for solo keyboard, either organ or harpsichord; indeed the canonic beginningof this Toccata is modeled after Vivaldi’s Double Violin Concerto in d-minor which Bach transcribed as BWV
596.
The somewhat lighter Prelude and Fugue in G, BWV 550, is also a Weimar composition.
Having thus sampled the Ponitz Organ, we move now to the smaller Grosshartsmanndorf instrument for six ofthe Eight Short Preludes & Fugues, BWV 553-560 (The remaining two, BWV 555 & 556, can be heard onVol. 2: BACH 709 of the Bach on Silbermann Organs Series). Authorship of these is sometimes questioned: if
they are not by Bach then possibly by his pupil Krebs.
_____________________________________________________________________________________________________________________Visit the Gottfried Silbermann Website at: www.BaroqueMusic.org/silbeng.html