The Queen of the Instruments
Due to its diversity in architecture, technique and sound no other instrument is able to captivate us, to touch us at the innermost and arouse admiration like an organ.
Like every handicraft, the organ building is also itegrated into aesthetics and stilistic individual epochs and landscapes and did not remain unaffected by changes in contemporary history.
Why do the famous historical organ works from the 17. and 18. century still sound so outstanding up to this day? Why do the romantic great organs from the 19. and 20. century make such a lasting impression on us? What fascinates us about the individual sound styles of the different countries?
Who persues this question and analyses for example the still preserved instruments in the St. Wenzels church in Naumburg, in Borgentreich, in the cathedral of Merseburg, in the Nikolai church of Leipzig or the cathedral of Bautzen, finds many different parameters for tonal and technical optimisation: Starting with sufficient blowers with „breathing“ wind, over uncomplicated, linear tracker action ways, to the perfect sound radiation of the pipes, these instruments form a closed harmonic unity, a „unitas“, in which the organist not only works as an operator but more as a servant to blend in harmoniously.