Henrich Bader orgel     Walburgis church Zutphen

In 1639 Hans Henrich Bader was commissioned to extend the old organ of Hans Graurock from 1534 with a choir organ. The sounds he presented convinced the church administration of his craftsmanship. Bader was allowed to replace the old organ completely.
It became an organ with a main work, a choir-positive and an independent pedal, which is still the basis of the organ as we know it today. Until the beginning of the 19th century the organ remained unchanged, then the desire for a powerful instrument arose.

Johannes Wilhelmus Timpe, a pupil of Freytag, was instructed in 1813 to rebuild the organ. He built a new housing under the old main housing and in the former sub-housing he laid down the wind chests of the main organ. He also added an upper work that could be played with the third keyboard. The organ also received another place and moved to the choir of the church. The new Upper work got imitation registers such as the Carillon, the Flute and a contemporary Vox Humana. Timpe kept almost all the pipes of Bader and the new registers were scaled in the style of Bader.


With increasing understanding of the Baroque sound from Bach's time, the organ builders were increasingly able to give back to the old organs their original richness of sound. A thorough restoration of the Bader Organ was carried out in the period 1993-1996 by the organ builder Reil in Heerde. In addition, the main organ, the choir organ and pedal were brought back as far as possible in the state of 1643, but the Upper work of Timpe was preserved.

Bader made all pipes of lead

It is noteworthy that during this restoration it was found that all pipes were made of lead by Bader, i.e. no alloy with tin. For the restoration had to be searched for old lead, because the present lead is much too pure. Old lead contains traces of other metals that have a positive effect on the sound, and therefore lead was collected from more than 100 years old water pipes. The beautiful vocal sounds of the Bader Organ are won with pipes of the old lead composition. For my own house organ I also made a register with old lead.

The tonal beauty of the Principals is striking, with a mild articulation and the vocal character of a male chorus with bright tenor voices. The Principal plenary of the main work sounds different, indented and wide. The choir positive, on the other hand, has much more a direct sound, with an articulated start and a pithy sound. The Flutes and the Quintadenen are very characteristic.

The reeds were replaced by this restoration, but now by copies of the original Bader reeds. The starting point of the restoration was a reconstruction that went no further than the state in 1813. The additions of Timpe remained intact, but now with a careful voicing in the style of the vocal character of the Bader Sounds.
The organ received an unequally floating mood (1/6 comma) and the housing was less deeply made to promote the sound transmission. In addition, the hard-playing organ received a completely new tracker action..

Characteristic of the sound idiom from which Bader has built his organ are the beautiful sounds of the new reeds, which have been created as copies of the original Bader reeds in the historical idiom of Bader.

The Henrich-Bader-Organ in der Walburgis-church in Zutphen is one of the largest organs in the Netherlands from the late Renaissance early Baroque period. The pipes of Timpe are also voiced in the same sound idiom.

 1. Prestant               8'
 2. Baarpijp               8'
 3. Roerfluit               8'  
 4. Fluit-Travers disc.  8’
 5. Octaaf                  4’
 6. Fluit d'Amour         4'
 7. Woudfluit             2'
 8. Flageolet              1'
 9. Carillon disc.      3st 
10. Vox Humana        8'
 1. Quintadeen          8’
 2. Holpijp                8'
 3. Prestant              4'
 4. Fluit                   4'
 5. Quint                  3‘
 6. Octaaf                 2‘
 7. Quintfluit        1 1/2'
 8. Terts              1 3/5‘
 9. Mixtuur          4-5 st
. Kromhoorn
 1. Prestant              16'
 2. Subbas                16'
 3. Octaaf                  8'
 4. Gedekt                 8'
 5. Octaaf                  4'
 6. Bazuin                16'
 7. Trompet               8'
 8. Trompet               4'
 1. Quintadeen          16’
 2. Prestant                8’
 3. Holpijp                  8’
 4. Octaaf                  4’
 5. Gemshoorn            4’
 6. Quintfluit              3'
 7. Octaaf                  2'
 8. Mixtuur            4-6 st
 9. Fagot                  16'
10.Trompet bass/disc.  8'

Sample Set  of Bader Organ  Zutphen

By placing the microphones at a short distance, Jiri Zurek of Sonus Paradisi was able to perfectly store the sounds with all the details. The phenomena of the chiff of the pipe and the build-up to the full sound can be heard just as the organist it hears at the console in the church. I got to know the organ sounds at the restoration and because I have an absolute hearing I was able to voice the samples so that they sound in my living room like in the church. I photographed my voicings again, now with a high resolution to depict them perfectly sharply in the book.

Each organist can therefore, even if he does not have an absolute hearing, voice the sounds on the organ. Because the sound also depends on the loudspeakers, I have described how the optimal intonation can be found at each Hauptwerk organ.

Jiri Zurek of Sonus Paradisi has made a fantastic performance with the saving of the clear sounds of this Bader organ in the samples equal to the original.

A method for the adaptation of the samples, which is comprehensible for each organist, is described in the book with text and photos. The book is adapted to Hauptwerk 5 and will be sent free on request
                  with the e-Mail address and the complete postal address.
                                                        Mail to:  John Boersma