Organ with three Keyboards

The organ consists of 35 registers divided over three manuals and pedal. A special feature of the organ is the asymmetrical size of the two pedal towers due to the unequal height of the church ceiling. The Oberwerk offers a full plenum, based on a 16 foot Quintadena. The Trommet 8 has the characteristic North German sound. The pipes of the Zimmel are in the style of Schnitger composed of Quarten and Sexten, who produce a non-harmonic series of overtones as if bells are ringing. The Zimmel is not intended to be used in a plenum, but a solo register for fast solo passages.

The Positive has a less extensive plenum, but offers the option of coloring it by choosing a Terz sound from the Sexquialter and/or the Tertian instead of the Mixtuur. The full sound of the Positive is crowned by a melodious Dulcian 16.

The Pedal is a completely independent work and provides a solid foundation to the sound of the organ with its 16' Trombone and an 8' Trumpet. The small reed stop Cornet 2 is used for pedal solos.

The typical Renaissance Borstwerk is based on a reed stop: Regal 8'. The thin sound can be amplified with a Gedacht 8' added to the sample set

Thus, the sample set offers 36 speaking voices. In addition, there are two secondary registers: a Zimbelstern and a Vogelgezang (Rossignol), which are indispensable for early music.

In the 18th and 19th century nothing has been changed on the organ. The wealth of the farmers had disappeared, so there was no money to adapt the organ to new ideas. In the time of the Orgelbewegung (1900-1930) this was done. The wind pressure was reduced, the windchests were fitted with shock bellows and the mechanics were adjusted.

A careful restoration by Jürgen Ahrend in 1981-1982 reversed these changes; he completely restored the organ to its original style and tuned it in meantone with the original pitch of A = 469Hz. Since then, the organ in Lüdingworth has been one of the most beautiful organs of the North German Renaissance-Baroque style.

Schnitger-Wilde organ    Lüdingworth

The Hadeln region, the area east of Cuxhaven, was sometimes referred to as the Farmer Republic. The ruling class of free farmers had formed a form of self-government independent of the Landlord. The self-confidence, wealth and pride of the farmers is reflected in beautiful church buildings in Altenbruch, Otterndorf and Lüdingworth. They called it a Farmer’s Cathedral. Around 1600 the area belonged to the surrounding areas of Groningen, where a Farmer’s Cathedral was also built in Noordbroek. The region is still called Altes Land, not a German name but a corruption of the Groningen aole land (old land).

The St. Jacobi Church in Lüdingworth shows a richly decorated interior. Entering the elongated nave of the church, closed off by a flat ceiling, and viewing the vaulted three-nave choir, the visitor is overwhelmed by unsuspected splendor. Numerous artifacts from the Middle Ages, the Renaissance and the Baroque make a great impression. The congregation of Lüdingworth was able to have a precious organ built. Antonius Wilde from Otterndorf built an organ in 1598 with an Oberwerk and a Borstwerk with beautiful vocal sounds, which fit in well with the rich choral tradition of the region.

In 1682 Arp Schnitger was commissioned to extend the organ with a Positiv. He made the cabinet similar to Wilde's Oberwerk. The pipes of Antonius Wilde remained an unchanged part of the organ and the Schnitger voiced his pipes from the Positiv in the style of the Wilde pipes. The more than 400-year-old pipes of the Oberwerk and the Borstwerk still sound in the organ. The aging of the metal gives the pipes a special resonance with great sound beauty. Renaissance and Baroque organ works sound wonderful on this organ.

Perfect Sample set from Sonus Paradisi

The DRY samples of the age-old pipes demonstrate the special sound beauty perfectly. Each tone starts with a characteristic accent and then builds up to a sound with the beautiful typical resonance of old pipes. This is excellently captured in the samples, but because the sound relationships in a living room are different from a church, voicing is needed to compensate for this. I have heard the organ in the church and now it sounds exactly the same in my living room. Few sample sets allow the sounds from the Renaissance and Baroque times to sound so naturally in the living room. Everyone is welcome to play my organ.

On the pipes of this Schnitger-Wilde organ, a soft k-sound marks the beginning of the tone. It sounds like the g in the English word go and gives a musical accent to the tone.
In the Renaissance and Baroque periods, pipe tones were vocally voiced, because people wanted to stay close to choral sounds. The sounds of the organ and the sounds of the choir sounded alternately in the church. Vocal sounds also sound better in a living room than the heavy sounds of basic-tone organs.

The accent on the tones must be strengthened by voicing, but with this samples it is not difficult. The pipe tones are stored so evenly in the samples that the master slider allows all tones to receive the same correction at the same time. This increases the liveliness of the sounds and allows an organist to better express what he wants to convey musically.
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