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 peasants had disappeared and there was no money to adapt the organ to modern ideas. Jürgen Ahrend discovered that it was a source to rediscover the old craft. He restored the neglected organ in the original style.

                              This organ is the most beautiful organ of the North German Renaissance-Baroque style

Book Schnitger-Wilde organ

I am busy to write a book about voicing the samples of this beautiful historic organ. The method does not require any special knowledge or skills; it is described in a way that any organist can understand. I have an absolute hearing and a long experience with voicing of pipes.

That should not be compared with the voicing of samples. They contain sounds of pipes that were already well voiced and stored in the samples. The voicing of the samples is about bridging the difference between the large space of the church and the much smaller living room.

The books I have already written about voicing have proven that this adaptation is easy to do.

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.

The Art of Organ building

Organs already existed in earlier centuries, but it was not until the 10th or 11th century that there was a serious musical instrument. Because many factors influence the tone formation in an organ pipe, organ builders have long sought for a pipe shape whose mutual proportions were such that it generated the most characteristic organ tone. Sufficient carrying capacity and a song-rich clarity are two qualities that must be present in good proportions. The human voice was their benchmark, a vocal sound in which the fundamental tone has a moderate carrying capacity and the overtones form a formant. A formant is a coloring group of overtones that remains the same per pitch, like a vowel that remains the same regardless of the pitch.

In the Renaissance period, the tones of an organ met the requirements and inspired Jan Pieterszoon Sweelinck and Michael Praetorius to compose their music. The organ builders had the sounds well in their ears, but noticed small deviations during voicing that gave a pleasant nuance to the tone. They didn't correct the difference, because it sounded sweet. The tones of the pipes had to meet three properties: carrying capacity - coloring brightness - sweetness. Johann Adam Reincken and Johann Sebastian Bach composed with these tones.

                                          The art of organ building reached its peak between 1600 and 1700

This high degree of sound beauty can still be heard excellently in the organ that Antonius Wilde built in 1598 for the St. Jacobi Church in Lüdingworth. It was extended in 1682 by Arp Schnitger with a positive. He judged that the sounds of Wilde's pipes were of a high class and voiced his pipes in the same style. It was the Golden Age of the Art of Organ building

This art gradually diminished as the drama of the Baroque passed to the much more light-hearted style of the Rococo. The organ got less personality. The romantic followed and had the pipes work at a higher wind pressure, so that the refinement of the sounds was lost. Gradually, the craft of organ builder was reduced to factory work, where parts of moderate quality were connected to each other. Because the art of organ building had been lost, it had to be rediscovered. This was only possible by orienting themselves to the baroque organs that had retained the original style.

Lüdingworth is a small village, where in later centuries there was no money to adapt the organ to new ideas. After 400 years, the original pipes still sound unchanged. For organ connoisseurs such as Cor Edskes and Jürgen Ahrend, the source material was to rediscover the Art of Organ building.


                                                 Lüdingworth has a valuable organ with a magnificent sound beauty

Sample set with authentic organ sounds

In the Renaissance and Baroque periods, pipes were vocally voiced, because people wanted to stay close to the choral sounds. Pipes gain in sound beauty as they age and this is remarkably well preserved in the pipes of this Schnitger-Wilde organ. Due to a lack of money, the pipes were never adapted to the requirements of a later time. This special sound beauty is superbly captured in the DRY samples.

There is no sample set with a better representation of the authentic organ sound.

Each tone starts with a characteristic accent, then builds up to a sound with the beautiful resonance. This is optimally recorded in the samples, but only audible in the living room after voicing the samples. Due to the lower volume, these subtle sounds are reproduced too weakly. The voicing is described in my book on this organ (coming soon). The result is lively sounds with great expressiveness.

I know the organ from my own performances in Lüdingworth. Now that I have voiced the samples in my living room, the sounds are completely identical to those of the church. It is the best sample set for reproducing sounds from the Renaissance-Baroque period in the living room. It is a pleasure to play this organ and everyone is welcome to experience it for themselves.

The church has only a brief echo; 2 seconds. There is nothing wrong with using one of the Impulse Response recordings for wider acoustics. The acoustics of the Martinikerk in Groningen are particularly suitable for use with this organ. On my organ, I can use the left pedal to select the desired reverberation time.

       
                                                                                                                               see    Sonus Paradisi

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