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The Klais-Organ (2016) at Concert Hall, Hochschule für Musik Würzburg
Intonation: Andreas Saage
Conception: Christoph Bossert

Produktion Juni 2017 / HfM Würzburg / Jürgen Rummel

In October 2016 the Klais-organ of the University of Music Würzburg was inaugurated. The organ was built by Orgelbau Klais Bonn and voiced / intonated by Andreas Saage. The conception was done in a very effective and intensive cooperation between Hans Reuschel and me.

At the moment, the organ has completed its first building phase and its current stoplist has 45 stops, including extensions and transmissions. Please take a look therefore at the Disposition and the list »Zahlen und Fakten«.

1 Arnstadt, Wender 1703 Man. II und III
2 Hoffenheim, Walcker 1845 Man. III
3 Muliplex Man. I
4 8 stops by itself Pedal
5 Temperament: Bach-Kellner modified
6 Conechest
7 Electric
8 Proportional magnet, to arise and close the cone

There are some extraordinary aspects I will mention:

1 We recreated nearly the whole Disposition of the Wender-organ in Arnstadt 1703; the Flauten and Cythara belong to the Baumeister-organ in Maihingen from 1737, the Vox humana to Lahm im Itzgrund. The Principal 8′ in II was directly intonated in the church of Bad Wimpfen until it was absolutely similar to the Principal-stop of Johann Adam Ehrlich 1746.

2 From there the second half of stops are done with an understanding of the development of colours up to the time around the middle of the nineteenth century, mostly inspired by the organ of Eberhard Friedrich Walcker in Hoffenheim 1845.

3 On the first Manual we created a line of Principals, Quints, Tierces and Septimes to create a symphonic idea on the one hand, and to create possibilities for new sounds at the other hand.

4 The pedal has 8 stops by itself.

5 The whole organ has an unequal temperament, let’s call it »modified Bach-Kellner«.

6 We did not use slider chests, but instead used cone chests for the entire organ.

7 The whole organ is an electrical instrument.

8 Most of the stops have electronic proportional magnets; in consequence, it seems that the whole organ has a mechanical action including also all couplers. If you use a slider chest with proportional magnets, you only have control over a space of two millimetres, but the design of a cone chest allows for a much greater space to be controlled, increasing the effectiveness of the proportional magnets. Now let’s start to reflect on the aesthetic of the sound in detail. An extremely important aspect belongs to the intonation: There is realized a spectrum of precisely speaking stops as a Gedackt on the one hand and a very slow type of speech like the Viola di Gamba, the Holzharmonica or the Physharmonica on the other hand. Now let’s listen to the sound of the Principal 8′ in its attack and ending in the second manual as well as the Viola di Gamba, Holzharmonica and Quintatön. Then we will listen to a music example in Antonio Vivaldis Concerto in d.

Now let’s listen to the sound of the Principal 8′ in its attack and ending in the second manual as well as the Viola di Gamba, Holzharmonica and Quintatön.

1
Einschwingen von Tönen auf c′:
Principal 8′, Viola di Gamba 8′, Holzharmonica 8′, Quintatön 8′
Je kurze Improvisation zu diesen vier Farben

2
Antonio Vivaldi / J. S. Bach:
Concerto d-Moll, Largo e spiccato BWV 596

II (Solo): Gemshorn 8′, Salicional 8′
I: Viola di Gamba 8′
Ped: Quintatön 16′

We find the stops like Principal 8′, Viola di Gamba 8′ and Quintatön 8′ on one chest, as this is typical for the South- and Middle-German styles in Bach’s time. Please listen now to a demonstration of the temperament, beginning with the sound of Principal 8′ on the second Manual compared to the Principal 8′ of the first manual.

3
Temperatur: Bach-Kellner, modifiziert
Kurze Improvisation mit Principal 8′ aus II und I durch den Quintenzirkel

My interest was to create an organ with clear identities in as many styles as possible—a crazy idea?

On the one side there are the historical styles up to the time of César Franck and Max Reger, on the other side my interest is to find a new kind of complexity for new sounds.

Adam Steigleder bis J.S. Bach:

4
Adam Steigleder (1561 – 1633)
Toccata primi toni

II: Qu. 16′, Pr 8′, Qu.6′,Oct.4′, Mixt. 4f, Cymb.2f
Ped: Vl. 16′, Prb 8′, 5 1/3′, Mixt. 6f

5
Adam Steigleder (1561 – 1633)
Galliarda

III: Vox h. 8′, Rqu. 2f.

6
Giovanni Gabrieli (1557 – 1612)
Ex Psalmo 81 Buccinate in neomenia tuba
(aus: Symphoniae sacrae II für vier Chöre)
Intavolierung á 5 von Johann Woltz (1617)

II rH, III lH
II: Qu. 8′, 6′, Trp.8′, II/II4′
III: Dc.8′, Hzh.8′, Spfl.4′, Tertia 3 1/5′, Sesqu.2f, Rqu.2f., Vox h. 8′
Ped: Vlb.16′, Sal.8′, 5 1/3′, Oph.8′, I/P in I: 1 1/3′, Pr 1′

7
Hans Leo Hassler (1564 – 1612)
Vater unser im Himmelreich Quarta pars
Intavolierung von Johann Woltz (1617)

II r.H, III lH
II: Qu. 16′, Sal. 16′, Gh.8′, Äqu.II aus, II/II4′
III: Vox h.8′, Spfl. 4′, 3′,
Ped: Corn.2′

8
Francisco Correa de Arauxo (1584 – 1654)
Quinto Tiento de medio registro de Tiple de Septimo tono

Disk. in I: Pr 8′, Gh.8′, II/I, Äqu.Bass I , CornettMixtur
Bass in I: Pr 8′, Gh.8′, II/I, Äqu.Bass I aus

9
Heinrich Scheidemann (1596 – 1663)
Magnificat IV. Toni, 2. Versus

I: 1 1/3′
II: Pr 8′, Sesqu.2f, I/II, I/II
III: Fg 16′, III/III4′, Äqual III aus
Ped: Princb.8′, Octb. 4′
II rH, III lH

10
Heinrich Scheidemann (1596 – 1663)
Praeambulum in G

II: Pr 8′, Gh 8′,6′, Oct. 4′, Cymb.2f., Trp.8′
II/II 16′, Äqu II aus, I/II, III/II
I: Pr 2′, 1 1/3′
III: 3′, Rqu. 2f, Fg 16′, Htb.8′, Vox h.8′
Ped: Unt.32′, Vlb 16′, Prb.8′, Mixt.6f,, Pos.16′, Corn.2′
Transm.: Bd 32′, Sal.b.16′, Qub. 16′, Gedb.16′, Qub. 10 2/3′, Terzb. 6 2/5′, 5 1/3′

11
Francois Couperin (1668 – 1733)
Offertoire sur les Grands Jeux

aus Ped: Trp.8′, Corn.2′
aus I Doppelg.8′, Pr.4′, 1 3/5′Disc., Corn.Mix 4f, Oph. 8′, Clairon 4′, Äqub.I aus, II/I, Ped/I, III4′/I,
aus II Trp.8′
aus III Grged 16′, Sal.8′, 6′, Spfl.4′, 3 1/5′, Sesqu.2f., Harm.aeth.3f.
Trio: III rH, I lH
III r.H.: Grged 16′, Sal.8′, 6′, Spfl.4′, 3 1/5′, III/III4′, Äqu. III aus
I: Oph.8′, Pr.4′, 2 2/3′
II/P: Fl. 8′

12
»Scheidemann in französischer Manier« als Wiederholung des Praeambulum in G

13
Girolamo Frescobaldi (1583 – 1643)
Toccata prima (2. Buch)

aus I: Pr 8′, Pr.2′, 1 1/3′
aus II: Oct.4′
aus III: Rqu.2f., III/III 4′, Äqu.III aus, I/III, II/III
Ped: Pr 16′, I/P, II/P, III/P

14
Johann Pachelbel (1653 – 1706)
Toccata in g

II Ged. 8′, Gh 8′, Flaut 8′
in Takt 3: + Cythara
Ped. Vlb. 16′, Gh 8′

15
J. S. Bach (1685 – 1750)

Durch Adams Fall ist ganz verderbt BWV 1101
aus II: Vdg 8′, Qu 8′, Cymb.2f, III/II
aus III: Dc.8′, Hzh.8′, Spfl.4′, 3 1/5′, 3′, Fl.2′, Rqu.2f, Vox h.8′

16
J. S. Bach (1685 – 1750)
Praeludium D-Dur BWV 532

aus I: Pr 8′, Pr 4′, 2 2/3′, Pr 2′, 1 1/3′, Oph 8′
aus II: Pr 8′, Vdg 8′, Qu 8′, Oct 4′, Fl trav 4′, Mixt 4f , Cymb.2f, Trp 8′, Äqu II aus, II/II 16′, I/II, III/II
aus III: Gh 8′, Ged 8′, 6′, Spfl 4′, 3′, 3 1/5′, Sesqu 2f., Rqu 2f, Fg 16′
Ped: Unt 32′, Vlb. 16′, Prb 8′, Pos 16′, Trp8′, Corn 2′
Transm.:
Bd 32′, Salb.16′, Qu. 16′, Ged.16′, 10 2/3′, 6 2/5′, 5 1/3′, Oct. 4′, Sesqu.2f, III/P 4′, III/P
ab OP Fis: Ped.: + Mixt 6f

17
J. S. Bach (1685 – 1750)
Concerto G-Dur BWV 592
nach Prinz Johann Ernst von Sachsen-Weimar

II: Pr 8′, Vdg 8′, Qu 8′, Fl 8′, Oct. 4′
III Lab.klar 8′, Spfl 4′, Fl trav 4′, Trem.
Ped Sal 16′, Sal 8′, Fg 16′, III/P
II – III

18 alternativ zu 17

aus I: Doppelg 8′, III/I, Äqu. B/D in I aus, I/4′
aus III: Gh 8′, Sal. 8′, Labklar 8′, Spfl 4′, 3 1/5′, 3′, Rqu 2f., Htb 8′
II: Qu 16′, Pr 8′, Vdg 8′, Qu 8′, II/II4′, Äqu II aus
Ped Vlb.16′, Sal 16′, Qu 16′, 5 1/3′, Travfl.4′, I/P
I – II

19
J. S. Bach (1685 – 1750)
Triosonate Nr. 6 G-Dur BWV 530, Satz 1

III: Gh 8′, Dc 8′, Hzh 8′, Spfl 4′, Fl tr 4′, 3′, Trem
II Qu 16′, Vdg 8′, Fl 8′, II/II 4′, Äqu II aus
Ped Gedb 16′, Sal 8′, I/P
in I: Doppelg. 8′
II rH, III lH

20
J. S. Bach (1685 – 1750)
Triosonate Nr. 6 G-Dur BWV 530, Satz 2

aus III Dc 8′, Hzh 8′, II/III
aus II Fl 8′, Cyth. 8′
I: Doppelg. 8′,
III: 4′/I, Trem, I/I 4′, Äqu B/D I aus
Ped: Qub 16′
III rH, I lH 8va B.

21
J. S. Bach (1685 – 1750)
Triosonate Nr. 6 G-Dur BWV 530, Satz 3

aus I Doppelg. 8′, I/I 4′,Äqu B/D I aus, III/I
aus III: Sal 8′, Labkl 8′, Spfl 4′, 3′, 3 1/5′, Rqu 2f., Htb 8′
II: Pr 8′, Vdg 8′, Qu 8′, Fg 16′, II/II 4′, Äqu II aus
Ped Salb 16′, Qub 16′, 5 1/3′, Travfl. 4′, I/P
I rH, II lH

22
J. S. Bach (1685 – 1750)
Triosonate Nr. 2 c-Moll BWV 526, Satz 1

I: Doppelg 8′
aus II: Ged 8′, Trem II, II/II 4′, Äqu II aus, III/II
aus III Hzh 8′, Spfl 4′, Trem III
Ped: Vlb 16′, Sal 8, Ged 8′
I rH, II lH 8va B

23
In gleicher Klangfarbe wie 22 aus I, II, III, gespielt in III:
W. A. Mozart, Sonate B-Dur, KV 590, Satz 1

24
J. S. Bach
Fantasia C-Dur BWV 573

aus I: 5 1/3′, 3 1/5′
aus II: Trp 8′, Äqu II aus, II/II 16′, I/II
aus III: Fg 16′
Ped: Vlb 16′, Fg 16′, III4′/P

25 alternativ zu 24

aus II: Sal 16′, Pr 8′, Qu 8′, Oct 4′, Cymb 2f. Trp 8′, Äqu II aus, II/II 16′, III/II
aus III: Labkl 8′, 6′, 3′, 3 1/5′ (rep. Terz), Fl 2′, Rqu 2f, Fg 16′, Htb 8′
Ped: Unt 32′, Vlb 16′, Mixt 6f, Pos 16′, Trp 8′
Transm: Otc 4′, Sesqu 2f, Fg 16′, Oph 8′

26
J. S. Bach (1685 – 1750)
Praeludium Es-Dur BWV 552

aus I: Pr 4′, 2 2/3′, Terz/B 1 3/5′
aus II: Pr 8′, Qu 8′, Oct 4′, Mixt 4f, Cymb 2f, Trp8′, Äqu II aus, II/II 16′, I/II, III/II
aus III: Grged 16′, Labkl 8′, 6′, Spfl 4′, 3′, 3 1/5′, Fl 2′, Rqu 2f
Ped: Unt 32′, Vlb 16′, Pr 8′, Mixt 6f, Pos 16′, Corn 2′
Transm: Pr 16′, Qub 16′, Octb 8′, Gh 8′, Ged 8′, 6 2/5′, 5
1/3′, Oct 4′, Sequ 2f., Fg 16′, Oph 8′, I/P, III/P

If we examine the organ of Johann Nepomuk Holzhey built in the monastery of Neresheim in South Germany 1797, we see influences by Holzhey’s teacher Joseph Riepp. The South German organ builder Riepp spent many years in France. When he came back to Ottobeuren, he created a synthesis of the French style of reeds and noble Plein jeus with the South German colours of the fundamental string and flute stops. This was the starting point for his pupil Holzhey. He then added to the Riepp-Style the plenum with Terz-Mixtures, the fundamental-stop Quintatön and the Italian »Voce umana«. It is then only a small step to imagine the style of Eberhard Friedrich Walcker, who was born 1794. For me is the type of organ, as Holzhey has invented, the entrance to a real universal organ. To built up different styles of organ-sounds in one organ I call this »Orgel als Geschichtetes« (»The layered organ«).

I want to point out once more the special decisions we made in Würzburg, to create the idea of stylistic identity. The main aspect for me is: these decisions have a positive side and a negative side. If you can tolerate the negative side, then my decision is clear in four points:

1
Unequal temperament: Necessary until 1800 / worse for Franck and Reger, but not impossible
Decision: Unequal temperament in the whole instrument

2
Conechest: Usual in South Germany / Unknown before 1750 / Since 1752 but absolutely possible to use for all kind of sound / Necessary to create a large symphonic sound
Decision: Cone chest in the whole instrument

3
Mechanical action: Necessary until ca. 1880 / Useful in every style
Decision: Proportional magnets in the whole instrument including all kind of couplers

4
»Key-sounds« (»Touchstone timbres«)
Sounds until J.S.Bach:
Principal sound in a »speaking manner«;
Concept of Mixtures: Belonging to 16′, 8′, 4′ ranks: 6 / 4 / 3 / 2
Quintatön
Vox humana
Vocal quality of reeds
16′ or 8′ in a more indirect manner
(Arnstadt: 5 1/3′ in the Hauptwerk without real 16′)
Sounds in the romantic period:
The manner of »Klarinettenfarbe« by reed, by aliquots, by mixing string- and flutestop
Hautbois
Decision: All of these colours and characters must be realized.

Ad 1: Unequal temperament
The unequal temperament is the most difficult question for the universal organ.

Please listen to the following example. First you will hear the first movement of Mendelssohns first sonata in f-minor in a demonstration by Principal 8′ from the first Manual. You will hear a real biting temperament.

27
Mendelssohn
Sonate 1 f-Moll, erste Takte aus Satz 1

I Pr 8′

But then I will add all the Principal-stops from 16′ to 1′ and afterwards all Terzstops. The Quint-Aliquots have been mostly omitted. Then I add also the clarinet-sound. If you then listen again to the tonality of f-minor in Mendelssohns first sonata, I think that it creates an atmosphere of impressive tension!

28
Demonstration:
Sonate 1 f-Moll, erste Takte aus Satz 1

Gespielt wird in I Ton c° mit Aufbau einer Registrierung aus allen Prinzipalen der Manuale I bis III sowie aller Terzen
in I: 3 1/5, 1 3/5; in III: Tertia 3 1/5′,
Harm. aet.;
in II: Sesquialtera,
in I: Super III/I, Cornett-Mixtur.
dann: Beginn Mendelssohn, Sonate 1, Satz 1 in ausgearbeiteter Registrierung

Ad 2: Cone chest

My second point is my decision for the cone chest in mechanical action. Why? In my opinion, the two most convincing arguments are:

a The cone chest is much more able than the slider chest to efficiently use wind resources to create a symphonic sound, especially if you are using a lot of fundamental stops and couplers.

b The first use of the cone chest in Baroque music dates from 1752, but the historical examples are lost. Now, in Würzburg we now again have the opportunity to listen to the connection of Baroque voicing to the cone chest. It is a wonderful and convincing sound.

Please listen now to the »Tuttis« in 3rd, 2nd and at last 1st Manual together with Pedal. In a second step the octav-couplers will be added.

29
Tutti in III // Tutti in II // Tutti in I
Summierung bis Generaltutti

Ad 3: Proportionalmagneten

My third point is the connection between proportional magnet and cone chest. You have heard in the first example the sensibility of touch in relation to only one key and one pipe of Principal, Gamba, Holzharmonica or Quintatön.

Now I will show in some very simple examples belonging to the tutti-sounds, that the action in every case is sensitive, even if you play with the octave couplers.

30
An- und Abspracheverhalten der
Tuttis in III, II und I

Please listen now, if I add on tone c° all stops from 32′ to 1′:

31
Demonstration: Summierung in Manual I auf Ton c° von 32′ bis 1′

Now I will demonstrate the result, if I influence the cone, to stay somewhere between minimum and maximum:

32
Man I: Proportionalmagnet
Stärke 2 // 3 // 4 // 5 // 6 // 7 // 8 // 9

It’s obvious that this leads us to a lot of possibilities to work with wind. The next example will also be straightforward:

33
Kurze Improvisation mit unterschiedlicher Leistung der
Proportionalmagneten = des Kegelhubs

Ad 4: »Key-sounds« (Touchstone timbres of the organ)

My fourth point concerns the importance of »Key-sound«, as you could listen to:

A »Key-Sound« of the French Romantic Cavaille-Coll-Tradition: Hautbois

The most important »Key-Sound« in the French tradition is the reed, in the classical time Trompette or Cromorne, in the romantic period the Hautbois, the Clarinette, the Trompette.

The »Key Sound« in the romantic period in Germany is the combining of string and flute sounds as a »Klarinettenfarbe«.

34
A »Key-Sound« of the French Romantic Cavaille-Coll-Tradition
Französische Romantik in einer Improvisation in folgenden Abschnitten:

Manual III: Fond d’Orgue mit Hautbois 8′
Manual I mit solistischer Klarinette 8′
Manual I mit Flötenreg. 8′,
Manual III mit Solo-Trompette
(hier: Zusammensetzung aus verschiedenen Zungen)
Man. II mit Solo-Trompette
(hier: Zusammensetzung aus verschiedenen Zungen)
aus II und III
Voix humaine 8′ (pp)

A »Key-Sound« in the German Walcker-Tradition: Physharmonica, Holzharmonica

35
Christian Fink (1831 – 1911)
Moderato C-Dur

III: Hzh.8′, Phys.h 8′
Ped Gedb. 16, III/P

Now please listen to possibilities to use the swells for Holzharmonica and Physharmonica. Both stops are part of the swell, but additionally the Physharmonica has its own wind-swell.

36
Schwellmöglichkeiten:

a Hzh.8′
b Phys.8′
c Hzh.8′ + Phys.8′

Now listen to some very short other examples during the romantic period in Germany:

37
Julius Reubke (1834 – 1858)

Sonate c-Moll (Beginn)

38
Franz Liszt (1811 – 1886)
Phantasie über B-a-c-h (Beginn)

39
Franz Liszt (1811 – 1886)
aus der Fuge: »Aeoline 16«

III: Grged 16′, Dc 8′, Phys. 16′

40
Max Reger (1873 – 1916)
Choralphantasie über »Wachet auf! ruft uns die Stimme« (Beginn)

III: Grged.16′, Hzh. 8′
II: Cythara 8′
Ped: Sub. 16′, Gedb. 16′

I think, that we now have reached the aspect of »Gebrochenheit im Klang«—»Broken sound«—a way to let speak sounds indirectly.

Now I will give the word to Martin Sturm, interpreter, improvisor and composer, who participated very seriously in all steps concerning the concept-development of this organ.

Martin Sturm:

Ladies and Gentleman, when we talk about the new organ in Wurzburg, it is important to briefly look back in the history of the organ. »Shocking and Glorious«—this beautiful, dialectic exclamation could be (seen as) the headline of the whole organ development. This development sounds almost like the biblical Genesis. A line of continuous differenciations. The medieval man, whose quiet and still environment is hard for us to imagine, could have experienced this exact kind of amazement while hearing a great Blockwerk organ. The ideal of the human voice was transcended and elevated in the organ; eternal breath, unbelievable volume—unknown to any other instrument. The beginning of the development was marked by the separation of the Blockwerk in high and low registers. In the Renaissance at the latest, other instruments had to be incorporated in the organ. The »Fixmensur« of the Blockwerk was already a thing of the past and the differenciation between narrow and wide, labial and lingual had already begun. Furthermore the sounds of the nature such as the bird whistles etc. became a part of the organ, taking part in the transcendend impact of the organ. The traumatic events of the 30-years War lead to the coexisting of two perspectives: immense joy of life as opposed to the longing after death. This and the rich liturgies of the Counterreformation lead to a greater focus on affect, emotions and feelings; especially in catholic south Germany it felt like a necessity to develop the colours of the organ. Each and every one of them had its own extreme affect: the fragile Gambe stood next to the dark, soft Flute or the melancholic, strong Quintatoen. The variety of colors grew over time, as the dimension of space gained importance and the romantic philosophy of transition emerged; this aspect was clearly mirrored in the development of the organ, whose dynamic now ranged between the very soft Fernwerk and the loud Hochdruckwerk.

The dynamic and chromatic variety had evolved to a complex network of opposites, where every individual stop was connected to the complete organ. At the latest after the invention of the Railway the idea of »distance« was put in a totally different light, therefore it is no wonder that this newly acquired dimension transpired into music. Sudden dynamic changes from ppp to fff became something relatively normal. The reaction of the organ builders was to develop mechanisms which allowed such sudden dynamic changes like the Walze. It is easy to notice that the evolution of the organ is not based on addition, but on the differentiation of elements that have the same origin, similar to the dispersion of light when passing through a prism. And it is a dialectic concept: numerous opposites live at the same time in the same place. The philosophy of the Renaissance calls this possibility of the simultaneous coexistence of opposites »principle of God« and names it »coincidentia oppositorum«: The organ as a transcendental instrument, as a instrument between earth and heaven. Like in the whole history of German culture, the seamless development of the organ experiences its cut in the first half of the 20th century. Two awful world wars accompanied by horrifying ideologies took a toll on culture and organ building. One example could be the big Walcker organ of the »Reichsparteitagsgelaende« in Nuremberg. Built in 1936 for the festivities of the Nazi party, its 220 stops hardly have any fragile or poetic colors among them. Despite a big variety of 8′-stops, there is no Aeoline or Dolce to be found. Typical for the Nazi-ideology: everything fragile, sickly or weary were banned from society, thus from the organ. What remains is easy to imagine: an empty mass of sound, a brainless superficiality without any depth. The »Orgelbewegung«, whose initial purpose was the revival of forgotten fragile sounds combined with modern ideas, also fell into a delusion. After Nazi Germany and the Third Reich with its dangerous and sentimental Propraganda it is understandable to avoid emotionality. And because of this fear of effusive emotions, the old consequent approach of implementing extreme opposites, for example the very clear vocality of a Principal next to the instrumental fragility of a »Gambe« or a soft Flute was no longer in focus; furthermore, any kind of extreme was banished. Nothing should be too loud and overwhelming, nothing too soft and sweet, neither too explosive nor too slow. The result was an organ without a distinct profile, without any real contrasts. Hereby the organ was robbed of its inner complexity and dialectic. Each stop played mostly a functional role and a seemingly individuality was only allowed if it did not bother the rest of the instrument. At this point mediocrity is sufficient. But how can colors melt together and compose something new if this structure of functions does not leave any room for defined characters? The increasing interest in romantic sounds brought along the necessity for an organ stop to have more than just one function. This lead often to unfortunate compromises and to a much larger lack of character. Like always, the type of organ also mirrored the society: A consumption oriented society where each person is only seemingly a free individual, as long as he or she does not interrupt or disturb with themes like death, pain or illness. But art has the mission to point out this disturbing themes and to interrupt this modern culture of collective distraction. To be an instrument of this art, modern organ building has to leave the dangerous dead end of functionality and has to return to its historic concept of extreme individuality and further differentiation. At the beginning I called the organ an instrument of transcendency. The organ always was influenced by social and technological developments on one side, and human and aesthetic necessities on the other side. Next to this, the organ was also an instrument to elevate and transcend the experiencing of our auditive environment. How could this look like today?

Todays reality is strongly shaped by the internet. Never before did we have such a general view over knowledge from all times at the tip of our fingers. Never before could we look back at our history with such precision. Never before was the world so connected and never bevore could we think connections like we do since the internet exists. Because of this I want to name a composer who never wrote a solo piece for the organ but whose compositional concept could be a very important aspect for the organ of our time, Bernd Alois Zimmermann (1918 – 1970) had the idea of a music in which different times become simultaneous. His collages are built of different musical quotes in which opposing musical concepts are given the space to be combined. He named this philosophical concept »the spheric form of time«. Past, present and future were combined to form a living sculpture in which anything is connected to everything, completely detatched from its classification in time and style. The intense tension between these elements leads to a mutual interaction and alienation, therefore to a completely new musical result. BAZ artistic concept meanwhile became our daily reality. Parallel to this concept, the organ can be seen as an time sculpture, as an »spheric form of sound«. As long the organ remains silent, all parameters of its sound are present in each pipe, but silent and timeless. In the moment we press the key the sound begins to act in time. Every individual stop, or even better, every pipe in its individual attack point and its own variation of colour, can be related to any other pipe or stop, detached from its sound and style. Our todays’ knowledge of the variety of historical sounds and their common denominators, allows us to think an organ in which real, authentic sound of different times can be combined in one instrument, evolving new sound and possibilities. Another important characteristic of our time: Our todays’ auditive envelopment mostly exists of noise and extreme volume.

How can we reach a real emancipation of noise within the organ? And how can we reach the transcendence of this noise? The factor of noise in the organ sound is to be found especially at attack point of a pipe. And therefore we need the possibility to evolve this short moment of a first attack into a temporal flexible and independent element of the organ sound. The new cone chest action in Wurzburg with its proportional magnets allows us to do that. And how can we transcend the extreme volume of our daily environment? Surely through the accentuation of silence. The possibility to create sounds between nothing and »something« is more important than ever. An other answer could be the application of Zacharias-reeds. This wonderful achievement allows a single stop to be simultenous the loudest and softest voice of an organ. Just one coulour that can metamorphose from extreme volume to a softest echo in just a few seconds. These few examples should be enough to show, that the organ connects us to our history while we design the organ of our time. And—if this new organs will be individual, extreme, flexible, fragile, complex, simply human enough—it hopefully will be the beginning of a new era in the differentiation of the organ. The new instrument in Wurzburg allows us to experience a seamless transition between times and sounds, to enjoy noise on its way from silence to an stable tone. It is to hope, that this new instrument has the fascinating power to be a shocking and glorious experience for every listener and player.
Thank you very much!

Now listen at last to my improvisation »Praeludium C-Dur – Licht und Schatten« I use for this improvisation:

Was Kunst zu allen Zeiten artikuliert, ist das Verhältnis von Etwas zu dessen Gebrochenheit einerseits, zu dessen Überhöhung andererseits.

Christoph Bossert

What art articulates at all times is the relation of something to its fracture on the one hand, to its superelevation on the other hand.

Christoph Bossert

Now listen to some new possibilities, as there is the »Inverskoppel«, but also the known possibilities of »Winddrossel« or »Sostenuto-Funktion«.

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Improvisation »Praeludium C-Dur – Licht und Schatten«