Tuesday, June 15, 2010

Oude Kerk Amsterdam

Oude Kerk  Amsterdam

J.S.Bach - Toccata in C, BWV 566 - MATTEO IMBRUNO

J.S.Bach - Dies sind die heil'gen zehn gebot, BWV 678, MATTEO IMBRUNO

The organ and Sweelinck, a famous 16th century organist on this organ.

Matteo Imbruno plays Sweelinck's Ballo del Granduca 
at the Vater-Muller organ of the Oude Kerk of Amsterdam (NL)

The Old Church has a long tradition of having excellent organs and organists. Even during the fifteenth century, an organ was hanging on the west wall (tower wall) of the nave. In 1539, the church acquired a new instrument that was played between 1577 and 1621 by a famous organist by the name of Jan Pieterszoon Sweelinck.

The transept organ, restored to its seventeenth-century composition in 1965, was recently regiven a mean tone temperament, making it one of the best instruments imaginable, to perform the organ music of the Amsterdam 'Orpheus'.

The great organ

The large organ is constructed by Christiaan Vater (1724-1726) of Hannover and is restored by Johan Caspar Muller (the St Bavo-church in the city of Haarlem, NH). Shortly after the completion of the organ the church-tower began to sink (1738-1742). The entire organ needed to be dismantled, and Caspar Muller was chosen to rebuild the organ and to add nine new stops and to double the principals in the treble. In 1869-1870 the organ was revoiced to conform to contemporary taste by C.F.G. Witte

On the original organ (built in 1539 by Hans van Coelen and Hendrick Niehoff) Jan Pieterszoon Sweelinck (1562-1621) made his first musical compositions.

In 1724, the church wardens of the Old Church commissioned Christian Vater, the Hamburg organ builder, to build an entirely new organ to replace the old one. Vater completed this organ in 1726 and the churchwardens were very pleased: the instrument was “absolutely perfect in every way”. In 1738, the tower began to subside. For restoration activities, the organ had to be dismantled. Once the tower had been restored, Caspar Müller was commissioned to re-install the organ. Not only did Müller put it back, but he made major changes as well, his belief being that after its renovation, the organ ‘should speak promptly and forcefully and should be heard during the singing’. The Vater-Müller organ would remain largely unchanged until 1869 when G.F.H. Witte updated it to accommodate contemporary tastes requiring a sound that was less sharp and more rounded. Although Witte changed the sound, hardly a piece of the original material was lost. Since Witte’s renovation, the organ has remained unchanged.

Allegro Organ Concert nr 10
by Georg Friederich
Händel (1685-1759)

Feike Asma plays a toccata on by J. Zwart on the organ of the oude kerk in Amsterdam



Prestant 16
Bourdon 16
Prestant 8
Holpijp 8
Quint 5 1/3
Octaaf 4
Roerfluit 4
Roerquint 2 2/3
Octaaf 2
Fluit 2
Sexquialter IV
Mixtuur V-VIII
Scherp IV-VI
Trompet 16
Trompet 8


Prestant 8
Holpijp 8
Quintadena 8
Octaaf 4
Gemshoorn 4
Quint 2 2/3
Octaaf 2
Woudfluit 2
Cornet V
Sexquialter II-IV
Carillon III-IV
Mixtuur V-VIII
Scherp III-V
Fagot 16
Trompet 8
+ Tremulant


Quintadena 16
Prestant 8
Baarpijp 8
Quintadena 8
Viola di Gamba 8
Octaaf 4
Gemshoorn 4
Nasard 2 2/3
Sexquialter IV
Cymbel III
Trompet 8
Dulciaan 8
Vox Humana 8
+ Tremulant


Prestant 16
Subbas 16
Prestant 8
Roerquint 5 1/3
Octaaf 4
Nachthoorn 2
Mixtuur VI
Bazuin 16
Trompet 8
Trompet 4
Cinq 2

beluister dit concert >>

The Old Church Organ has always been admired. It was once mentioned in the famous 18th-century travelogue written by Charles Burney. Even today, it attracts organ enthusiasts – both listeners and players – from all over the world.

The case for the organ was designed by Jurriaan Westerman. Above the organ are the old city seal of Amsterdam with the cargo ship and the city’s coat of arms with the three Andreas crosses.

The small (or transept) organ

This organ was built in 1658 by the famous organ maker Hans Wolff Schonat. In building it, he used some of the pipes taken from another organ at this location that had been built by Hendrik Niehoff.

The small or transept organ of the Oude Kerk in Amsterdam has two blinds with paintings representing musical instruments. These paintings are made by Cornelis Brizé and were completed in 1658 at the time the original organ was ready.

Dutch/Italian organist Matteo Imbruno plays Scheidemann's "Alleluja" at the Transept organ
of the Oude Kerk of Amsterdam (NL)


Hoofdwerk (C-d''')
Prestant 8'
Holpijp 8'
Quintadena 8'
Octaaf 4'
Quint 3'
Super Octaaf 2'
Gemshoorn 2'
Trompet 8'

Gedekt 8'
Prestant 4'
Octaaf 2'
Dulciaan 8'
Pedaal (C-d')
Bourdon 16'
Octaaf 8'
Trompet 8'
koppel: Ped + Hw
a'=440 Hz
1/4 komma middentoon

The instrument was used for concerts commissioned by the city’s administration. During the 18th century, it was used less and less frequently so that when an organ had to be built for the Zuiderkerk in 1821, the pipes from the small organ in the Old Church were used. The case, however, remained behind. In 1964 and 1965, a new organ was built for the old organ case by organ makers Ahrend & Brunzema from the East Friesian town of Loga near Leer. Its disposition was taken from the famous collection of dispositions of Joachim Hess, an organist from Gouda, and dates from 1774. It has become a beautiful instrument with great artistic eloquence and was even enlarged after being retuned in 2001 to a 17th-century mean-tone tuning.

The cabinet organ

The cabinet organ was built in 1767 by Amsterdam organ maker Deetlef Onderhorst, supposedly for a private client. In 1946, the organ was repaired by organ builder A. Blik who also replaced its manual wind chest with an electronic system. In 1977, the organ was completely restored by Adema's Kerkorgelbouw. The restoration included having the cabinet restored and completed and removing the white coat of paint that had been added in 1953.


Holpijp 8 vt. gehalveerd
Prestant 8 vt. discant
Prestant 4 vt. gehalveerd
Fluyt 4 vt. Gehalveerd
Quint 3 vt. bas
Octaaf 2 vt. gehalveerd
Sexquialte 2 vt. sterk, discant

After its most recent restoration, the organ was installed in the choir of the Old Church.

Chaconne in F from the 9th Suite "Uranie" by Johann Caspar Ferdinand Fischer at the choir organ of the Oude Kerk (Amsterdam, NL)

Los Angeles (CA): Walt Disney Concert Hall

4 Manuals, 110 Ranks, 73 Stops (+ 10 Ext. + 20 Tr.),
6134 Pipes

Builder: Glatter-Götz & Rosales, 2004

Frank Gehry Saint-Saens Symphony#3 for Organ


Part I


JOSEF RHEINBERGER: Introduction & Passacaglia, from Sonata No. 8 in e, Op. 132

FANNIE DILLON: Woodland Flute Call

CÉSAR FRANCK: Pièce heroïque

Part II

ERIC DeLAMARTER: You raise the flute to your lips, from Four Eclogues.


PETER HURFORD: Paean –Samuel Soria

(2003 Dobson/Cathedral of Our Lady of the Angels, Los Angeles, CA) Delos CD 3343

Part III

GEORGE BAKER: Berceuse-Paraphrase

HEALEY WILLAN: Introduction, Passacaglia and Fugue in e-flat

FREDERICK SWANN: 2 Encores (Allegro after Corelli; Trumpet Tune)



I. Positive 21 (18)
Quintaton 16
Principal 8
Flûte harmonique 8
Gedackt 8
Gambe 8
Unda maris 8
Octave 4
Hohlflöte 4
Nasard 2 2/3
Super Octave 2
Waldflöte 2
Tierce 1 3/5
Larigot 1 1/3
Mixture IV 1 1/3
Llamada 16 Tr. Llam.
Cor anglais 16
Llamada 8 Tr. Llam.
Trompeta de L.A. 8 Tr. Llam.
Trompette 8
Cromorne 8
Llamada 4 Tr. Llam.
Clairon 4
+ Schweller
+ Tremolo

II. Great 36 (18)
Grand Bourdon 32 Ext., result.
Violonbasse 32 Tr. Ped.
Praestant 16
Bourdon 16 Tr. Ped. Sb.
Violonbasse 16 Ext.
Principal 8
Diapason à pavillon 8
Flûte harmonique 8
Chimney Flute 8
Violoncelle 8 Ext.
Grand Nasard 5 1/3
Octave 4
Spire Flute 4
Grande Tierce 3 1/5
Octave Quinte 2 2/3
Super Octave 2
Corneta magna VII
Grande Fourniture II-III 2 2/3
Mixture VIII 2
Cymbale IV 1
Contre Basson 32 Ext., Fac.
Basson 16
Trompeta de L.A. 8 Tr. Llam.
Basson 8
Basson 4

III. Swell 24 (20)
Bourdon 16
Diapason 8
Flûte traversière 8
Bourdon 8
Viole de gambe 8
Voix céleste 8 CC
Dulciane doux 8
Voix angélique 8 TC
Principal 4
Flûte octaviante 4
Nasard 2 2/3
Octavin 2
Tierce 1 3/5
Piccolo 1
Plein Jeu harmonique III-V 2 2/3
Bombarde 16
Llamada 8 Tr. Llam.
Trompeta de L.A. 8 Tr. Llam.
Trompette 8
Hautbois 8
Voix humaine 8
Clairon 4
+ Schweller
+ Tremolo fast
+ Tremolo slow

IV. Llamarada 17 (9)
Flautado grandioso 8
Octava real 4
Lleno fuerte V 2 2/3
Compuestas V 1 3/5
Llamada 16 Ext.,*
Bombardon 16
Llamada 8 hor., 17",*
Trompeta de L.A. 8 Fac., hor.,* Trompeta armonica 8
Llamada 4 Ext.,*
Clarín armonico 4
+ 2 Campanitas (Glock.)
+ 2 Pajaritos (Nachtigall)
+ Schweller (außer *)
+ Tremolo (außer *)

Pedal 12 (8)
Flûte 32
Violonbasse 32 Facade
Praestant 16 Tr. Great
Subbass 16
Bourdon 16 Tr. Swell
Violonbasse 16 Tr. Great
Grosse Quinte 10 2/3
Octave 8
Flûte 8 Ext.
Bourdon 8 Ext. Subb.
Violoncelle 8 Tr. Great
Super Octave 4
Flûte 4 Ext.
Mixture V 5 1/3
Contre Bombarde 32 Ext.
Contre Basson 32 Tr. Great
Grande Bombarde 16
Bombardon 16 Tr. Llam.
Basson 16 Tr. Great
Trompeta (armonica) 8 Tr. Llam.
Basson 8 Tr. Great
Clarín (armonico) 4 Tr. Llam.
Basson 4 Tr. Great

Klosterneuburg Freundt organ built in 1642, Austria.

Gustav Leonhardt plays Johannes Speth (1664-c1720) - Toccata Nr. 1 d-moll

The Abbey

Klosterneuburg is the 26th district of Vienna. The abbey is a Roman Catholic Augustinian monastery established on a hill rising directly from the banks of the Danube. An abbey, in the German-speaking world, is frequently called a Stift because often its foundation was made possible by a generous benefactor.

It was founded in 1114 (first documented mention 1108) by Saint Leopold III, Margrave of Austria and his wife, Agnes. Leopold was a Babenberger and is the patron saint of Austria. The abbey was given over, in 1133, to the Augustinian Canons. The donation included impressive buildings on vast area, comprising the abbey facilities and the collegiate Romanesque church (3-aisled, transept with regular crossing), built between 1114-36.

The towers were built in 1394 and 1638 respectively. Jakob Prandtauer drew the plans for a Baroque enlargement of the abbey in 1706. In 1730, Donato Felice d'Allio began to draw his plan for a new building, significantly influenced by Joseph Emmanuel Fischer von Erlach, commissioned by Emperor Karl VI, who wanted to make Klosterneuburg his official residence ("Austrian Escorial"). In 1776, this plan had to be simplified by D. Kaselikand, between 1836-1842, J. Kornhäusl carried out the first quarter of the plan, the rest was not realised.

The decorations and furnishings in their present Early Baroque form date from the 17th and 18th centuries and are due to transformation of aisles into chapels, the building of a western gallery and stucco work, High Baroque frescoes by Johann Michael Rottmayr and stuccoes by Santino Bussi (1680-1723).

The exterior was extensively restored by Frederich von Schmidt, in the 19th century (Neo-Gothic western towers, 1887-92). Other additions include the Freisinger or Wehinger chapel (1394, restored 1869-1881); auxiliary altars (from 1700 with paintings by Paul Strudel and sculptures by the Spät brothers); remarkable choir stalls by Matthias Steinl (1723); the high altar (1728); the Leopold chapel (former chapter hall with Gothic windows dating from 13th and 15th centuries), adaptated between 1677-1680 which contains the famous Verdun altar (Margrave Leopold's tomb), a marvellous winged altarpiece made from enamel panels by Nikolaus von Verdun (1181), in 1331 transformed into a winged altarpiece with painted panels.

The Organ

    The organ in Klosterneuburg is from the 17th century. It was built between 1636 and 1642 by the young organ builder Johannes Freundt, from Passau. The organ was exclusively installed for solistic organ playing on high feasts. 
    Over the next centuries, adaptations took place several times, but fortunately these were only minor. A complete restoration was planned for 1942 but the war made it impossible. The action was moved to Vienna to be repaired, but was destroyed in a bombing attack. 
    After the war, the political situation made it very difficult to restore the organ to its original glory. It wasn’t until 1983 and 1990 that a complete restoration according to historical principles could be performed by the Kuhn company (Männedorf, Switzerland) that brought back this unique piece of art to its original conditions. 
It is one of the finest Baroque organs in Europe.


I. Rückpositiv

II. Hautpwerk
Klein Copl4'
Octav Copl
3Cimbel scharf 1/4'

Offne Floeten



3,6Mixtur 4'

3Cimbel gross 2/3'



III. Brustwerk



Mixtur 4'VII-VIII

Rauschwerk 2'III


1,6Octav Pusaun8

    Légende / Legend
      1990 installation
      1984 installation
      1950 installation
      1934 installation
      With an extra key for B below low C
      Activated/deactivated ventil stop "Wind Hinterladen"
    Other Details
    • Manual compass: (CDEFGA-c3)
    • Pedal compass: (CDEFGA-b0)
    • Couplers:
    • Small Pedal
    • Diapason: A=476
    • Slightly modified mean tone temperament

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