The queen of instruments

Through its diverse architecture technology and tone probably no other instrument can so aptivate us, touch us so deeply or produce such enormous admiration.

As with all works of art, organ building is also connected with the style and aesthetics of individual epochs and is not isolated from shifts in the zeitgeist.

Why do the famous historical organs from the 17th and 18th centuries still sound so outstanding today?

Anyone exploring this question that analyses instruments such as that in the St. Wenzelskirche Naumburg, in the St. Bavokerk in Haarlem or in the Jacobikirche in Hamburg, for example, will find many different parameters for the optimisation of tone and playing technique. Beginning with sufficient bellows capacity with “breathing” wind, through uncomplicated and straight action paths, up to perfect tone production by the pipes, these instruments form a closed, harmonious unit, a “unitas”, in which the organ player, who can be seen more as a servant than as an “operator”, can be harmoniously integrated.

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