Holzhey-Orgel  Weissenau 1787

Johann Nepomuk Holzhey belonged in the 18th century to the large organ builders in the middle German area. He had a striking personal style. His organs where close both to the Rococo and to the Classicism. With Holzhey the classical organ in central Germany reached its peak.

The construction of organs has Holzhey learned from his uncle Alexander Holzhey, strongly influenced by Karl Riepp. His uncle built organs in central German style; Riepp inclined to the French style.

Holzhey had the talent to connect the styles to attractive sound instruments. His organs could sound both mild and powerful. The sounds are very close to the sound ideals of J.S. Bach.


Principal                8’
Rohrflöten             8’
Salicional              8’
Undamaris Schweb 8’
Flautravers            8’
Octav                   4’
Holflöten               4’
Fugari                   4’
Quint                    3'
Syflöt                   2’
Hörnle 2fach          2’
Cimbal 5fach         2’
Fagott     bas        8’
Hautbois  disc       8’

Nachthorn              8’
Dulciana                8’
Spizflöten              4’
Flageolet               2’
Cornet Resit 4fach  4’
Vox Humana bass   8’
Vox Humana disc    8’
Cromorne bass       8’
Schalmei   disc   
Tremulant diskant
 Subaß          16’
 Octavbaß       8’
 Violonbaß      8’
 Cornetbaß      4’
 Bompard       16’
 Trompet         8’
 Claron           4’

Holzhey-Orgel Weissenau

Prospectum has created a perfect set of the Holzhey organ. The sample set brings the sounds of a large organ in a church with cathedral acoustics to the living room.

The registers show a variety of sounds from the time of the Rococo turning over in the classism. It is a unique achievement to capture the different timbres of this striking organ in samples, so that every timbre comes to its fullest right and the sounds blend well into the wide acoustics.

Each specific sound character is perfectly stored in the samples and is in unprecedented many combinations without large volume differences.

Therefore, this is an excellent sample set for an organ in the living room.



Prestant              16’
Principal               8’
Copel                   8’
Quintadena           8’
Gamba                 8’
Viola Schwebung    8’
Octav                   4’
Flöten                  4’
Nasard 2fach         2’
Superoctav            2’
Sexqualter 3-4f      3’
Mixtur 6fach          2’
Cornet 3fach         3’
Trompet               8’
Clairon                 4’


Plenum sound
The concept of the organ is focused on transparent sounds with a great clarity. The lower keyboard is the classic Main organ where Principals from 16 feet to the highest footages of the 6 strong Mixture build up to a brilliant Plenum sound. The sounds have a perfect balance between strength and clarity.
A careful intonation of the samples is needed to translate these qualities well to the living room.

Flöten und Streicher
The main work is enriched by numerous coloring flute sounds plus the strings Viola 8’ and
Gamba 8’. These are floating tuned against each other, but each has its own timbre.

The French influence can be heard well in the reeds with their rich overtones, the sounds are more focused on singing than on powerful sounds. The Trumpet 8’ becomes more vital by the addition of the Claron 4'. The sound of the Cornet joins to the reeds.

The second keyboard, the Positive organ is a moderate version of the Main organ like South German tradition. The organ is very expressive by adding special registers such as an overblown flute the Flautravers 8 ', the intimate get Flöte 4', the Unda Maris 8' floating against the Salicional 8'. The reeds of this manual is in the bass a Fagott-8' and a bright Hobo 8' in the treble. In the large room, the reeds sound transparent with a fine shine.

In large instruments the third manual is often targeted as a sharp Cornet, but in this organ it is an Echo organ. It is behind closed doors in the lower part of the organ case, that is why the volume is much less than in the first and second keyboard.

The echo work has a wide scaled Nachthorn 8’, a Dulciana 8' and two silent flutes. For solo, there is a choice of two reeds supplemented by a singing Cornet sound.

Scale of the pipes

Sometimes Holzhey took the scaling of the pipes from Karl Riepp, such as the scale of the Principal 8 ', the base of the organ sound in the time of the Baroque. The higher octaves, however, he scaled to his own insights of sound performance. Thus was born a new scale line that was the starting point for the total Principal plenum, with which Holzhey qualified himself in the tradition of the South German masters.

The register Quint, Nazard, Sexquialter, Hörnle and Cornetbass are in Principal scale. Because the main part of the pipe is part of the Principalchoir, are thus to 54% of all its organs in a unit bore pipes. Only the Cornet is as mixed voice wide scaled, but the Cornet bass as principal again.

The adjustment of the pipes on the acoustics of a room was first and foremost about the different cut ups and the regulation of the air flow at the foot hole. The strings and flute, however, are customized for the organ in Weissenau individually.

This richness of colors, designed by Holzhey (beats, overblown flutes, Quintadena and strings, also in four foot), is typical of the South German organ.

Excellent Sample Set

The sample set that Prospectum made by the Holzey organ of Weissenau, is the result of a good insight of how a large organ in a church with an exceptional acoustic must be stored in samples, that accurately transmit all qualities to the living room. Due to the generous acoustics, it's hard to save the sounds in detail in the samples, as well as to transfer the huge acoustics. A strategic place is chosen for the microphones, as close as possible to the pipes, but yet evenly from each tab.

The acoustics are there working already, but not so intense that they masks the chiffs of the starting tones. It is also a good place to hear how the sounds blend. Microphones are placed at a greater distance for a second set of samples to store the full acoustics. The organist at home hears the sounds reflecting in a large room, without the disadvantage of WET samples such as by the Bovenkerk in Kampen and the Dom in Utrecht, which produces more hall as sounds.

On the sample set of Weissenau the relationship between sounds and acoustics is per keyboard adjustable. The reeds of the Echo can be heard far away, while the second stop on the lower manual is perceived close to the console.

The organ has a wide range of eight foot and four foot registers, which are not intended to amplify the sound, but to color them very nuanced. Many combinations are possible and lead to surprising sounds. The Quintadeen 8' is a strikingly beautiful register, the sound is insistent and melodic. The Flautravers 8' is an overblown flute. The Copel 8' and Nachthorn 8' sound as modest flutes.

Trembling registers were popular in the age of romanticism, but they are not belonging specifically to this period of time. In many baroque organs they were already planned, especially in the southern countries. More than 400 years ago every Italian organ has a Voce Umana, a trembling Principal stop.

Heinrich Trost built the Unda Maris in organs, which have been played and appreciated by Bach.
Joseph Gabler made trembling register in the organs of Weingarten and Ochsenhausen.

Holzhey built the organ of Weissenau 30 years later and placed trembling stops on two keyboards; the Gamba 8' on the main work with a Viola 8' as a beat. The Positive organ got the Salicional 8' and the Unda Maris 8'.   


This change of style is to be seen on the housing; the Rococo style is changing over in the style of classicism. Holzhey did not built the case himself, sculptors and cabinetmakers were tasked, as was then the common practice.

Only after the case was set up, the organ builders start the actual work. A close interaction between housing design and plant arrangement is increasingly being abandoned. The design for the noble enclosure comes from the construction director of the Abbey.

The instrument has a free-standing table, which was arranged before the West Windows. Therefore, the tracker actions are often rerouted.

Still Holzhey’s instruments let play itself almost "as easily as a piano play", as Ernst Ludwig Gerber in his historical biographical lexicon of sound artists of the year 1812 expressly noted.

An ideal Sample Set

This organ offers a great choice of timbres in eight foot and four foot registers without large differences of the volume. At a chamber organ it is more valuable to have many timbres, than having registers that are building to a powerful volume. Therefore, this is a successful Sample set for an organ in the living room.

Much attention has been given to the reeds and it can be heard that Holzhey had a preference for the French intonation of lively sounds. The serene sound of the Vox Humana of the Echo is strikingly beautiful. Also the Oboe of the Positive has a sublime sound.

The emotional atmosphere of the sounds is different per keyboard. The Main organ sounds wide and lively, the Positive organ is colouring and attractive , the Echo organ sounds thin and far away. Each keyboard can be placed in the acoustics at your own preference.

The price of this Sample Set HW4 and HW5 is 239 Euro for the two channel version (plus VAT). The Premium-version with four channels is 299 Euro (plus VAT).                      
                                  mail to    Prospectum

Buch Holzhey-orgel

Die Abtei-Kirche von Weissenau ist eine große Kirche mit einer beeindruckenden Akustik. In diesem Raum können die Klänge der Holzhey-Orgel schön resonieren und jene herrliche Klänge sind gut in den Samples gespeichert. Das Intonieren von Pfeifenorgeln hat mich gelehrt, dass eine Anpassung ist erforderlich, um die Samples in der heimischen Umwelt ähnlich an der Kirche klingen zu lassen.

Es ist nicht leicht, die verschiedenen Klänge, jede nach ihrer eigenen Natur ins Wohnzimmer zu übertragen. Nach an der Intonation gearbeitet zu haben, klingt die Holzhey-Orgel in meinem Wohnzimmer jetzt als der Organist am Spieltisch in der Kirche sie hört. Kirche und Akustik werden entsprechend zur eigenen Umgebung übergetragen.

Über diesen grundlegenden Bearbeitung schrieb ich ein Buch, mit dem jeder Organist das gleiche Ergebnis erzielen kann. Der große akustische Raum ist proportional reduziert ins Wohnzimmer übertragen, wo die Orgel sowohl kraftvoll und brillant kann klingen als auch dünn und weit entfernt im großen Raum.

Das Buch wird auf Anfrage mit Angabe der e-Mail-Adresse und die vollständige Postanschrift gratis geschickt.   
                                            Mail an: John Boersma 

French influence

The influence of the French organ building traditions is unmistakably in this organ. The usual cornet in the French organs is also planned, but the sounds are wider and strengthen the character of the reeds. By separating the bass and treble, there are more opportunities to colour the sound.

The French influence is also noticeable in the reeds, because of exuberant overtone development. However, the French récit-manual is replaced by an Echo work with fine intruding sounds in the two reeds. The cornet isn’t sharp here but is broad singing and fills up the sounds of the reeds.

In the pedal, the Gravity and Brillance comes from the family of the trumpet: Bompard 16 ', trumpet 8' and Claron 4'. Holzhey didn’t made pedals mixtures, these registers can be found in the Main work.

The Principalen two foot or higher are missing in the second and third manual. Now there is one more place for colouring sounds of strings and flutes and a brilliant of a Cimbel.

The French intonation can be hears as well in the sparkling sounds of reeds in the Positive, Fagott-Oboe 8'.

In the Echo work the Vox Humana 8' sound with a fine serene sound of great beauty. Due to the large room, the register has a special glow. It invites to be played often.

The second reeds of the Echo work, the Cromorne – Schalmei 8' sounds more broadly as the Vox Humana. A nice register to be used alternately or together with the Vox Humana.

Holzhey‘s labial voices are some more fundamental as the former Baroque organs, what makes a bridge to the romantic organs. The basis of the sound remains a complete Principal choir like Southern German style, characterized by thirds in the mixture voices (Sexquialter, Nazard, mixture).