Organ Collec­tion

The fruits of their years of work perfecting their organ playing must be demonstrated by the students on the concert hall organ. Nearly all final exams in organ literature take place here, and therefore this organ must be able to take on many different roles like a good actress. The problem with such a "universal organ" is that while it is theoretically supposed to cover the entire organ repertoire, it can never do so with the same quality as stylistically specific instruments. Even compiling all the potentially necessary stops would result in an instrument that is technically complex, not achievable based on good organ building aesthetics, and sonically completely diffuse. Even when narrowing down to selected stylistic areas, compromises are necessary, especially in the intonation, as stops with the same names and the same basic construction can have significant tonal differences in different time periods and national styles. To minimize this problem, it requires an experienced and sensitive intonator who meticulously plans and refines the sound of each individual pipe in detail, but also thorough conceptual considerations in the disposition.

While we have not "reinvented the wheel" in the latter, we have certainly taken a radically new path in terms of the basic structure of the organ, which has since been adopted in other organ constructions in concert halls around the world. The starting point was the determination of those areas of organ music repertoire that this organ must primarily serve. Besides Bach's music, these include primarily German and French compositions of the 19th and early 20th centuries, as well as contemporary music, which, for historical reasons, requires hardly any consideration in the disposition.

The organ builder Gottfried Silbermann can be seen at the intersection of the three aforementioned stylistic areas. On the one hand, he introduced a strong classical French component into central German organ building, and on the other hand, his highly successful work continued well into the 19th century: especially in the second half of the 19th century, an essential Silbermann-inspired tonal core can be observed among central German organ builders around which modern, romantic elements are grouped. A Silbermann tonal foundation can be used not only for a German-Romantic sound but also for a French-symphonic one, as Aristide Cavaillé-Coll continued to use larger 18th-century instruments in some of his grand organs.

These three stylistic spheres were distributed among the four manual divisions as follows: The first two manuals, as the Hauptwerk and Oberwerk, arranged one above the other in the middle of the facade, follow Silbermann's conventions in the disposition, with slight deviations corresponding to the disposition of Silbermann's last and largest organ at the Dresden Court Church; had Silbermann built an even larger organ, he might have assigned the same additional stops. The third manual is a French-symphonic style enclosed division, the fourth is a German-Romantic enclosed division, deliberately soft in dynamic contrast to the other divisions. Both enclosed divisions are situated on the floor, directly next to the console, contrary to the historical practice of placing them higher in the organ, but with a comparable acoustic effect: The horizontal swell shutters allow the sound to be indirectly radiated to the audience through reflection on the stage floor, while the majority of the listeners, seated in the ascending rows at the level of the Hauptwerk, primarily perceive the Oberwerk very directly.

The technical realization of a four-manual organ with 80 stops and mechanical action with also mechanical couplers places the highest demands on the organ builder in terms of technology and craftsmanship precision. In this regard, the Rieger company (Schwarzach/Vorarlberg) convinced us the most with several instruments of this magnitude. Through the use of various technical devices, they succeeded in achieving a pleasant touch, which is still manageable even with four mechanically coupled manuals.

The challenging task for the voicer Klaus Knoth was to clearly delineate the different tonal stylistic spheres on one hand but to also bring them together in synthesis and thus make the overall sound of the organ homogeneous. These impossible requirements were solved in a highly convincing manner, taking into account the necessary voicing compromises: with proper registration, the organ can indeed slip into different tonal garments and clearly imitate the sound images of stylistically specific original instruments. It is a musical chameleon.

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Hauptwerk (I. Manual) C-c4
Principal 16’
Bourdon 16’
Principal 8’
Rohrflöte 8’
Gedeckt 8’
Viola di Gamba 8’
Oktave 4’
Spitzflöte 4’
Quinte 2 2/3’
Superoctav 2’
Cornet V
Mixtur major IV-V 2’
Mixtur minor IV-V 1 1/3’
Trompete 16’
Trompete 8’
Trompete 4’

Positiv (II. Manual) C-c4
Pommer 16’
Principal 8’
Holzgedeckt 8’
Quintade 8’
Salicional 8’
Principal 4’
Rohrflöte 4’
Sesquialtera II 2 2/3’
Octav 2’
Waldflöte 2’
Larigot 1 1/3’
Sifflöte 1’
Scharff IV 1’
Dulcian 16’
Trompete 8’
Cromorne 8’
(Tremolo)

Récit (III. Manual) C-c4
Bourdon 16’
Flûte harmonique 8’
Bourdon 8’
Gambe 8’
Voix céleste 8’
Préstant 4’
Flûte octaviante 4’
Nazard 2 2/3’
Doublette 2’
Octavin 2’
Tierce 1 3/5’
Fourniture IV-V 2 2/3’
Basson 16’
Trompette harmonique 8’
Hautbois 8’
Clairon 4’
(Tremolo)

Schwellwerk (IV. Manual) C-c4
Salicional 16’
Geigenprincipal 8’
Doppelflöte 8’
Lieblich Gedeckt 8’
Viola 8’
Aeoline 8’
Vox coelestis 8’
Fugara 4’
Flauto dolce 4’
Quintflöte 2 2/3’
Piccolo 2’
Terzflöte 1 3/5’
Harmonia aetheria II-IV 2’
Fagott 16’ (durchschlagend)
Klarinette 8’ (durchschlagend)
Trompete 8’
Vox humana 8’
Glocken F-f 2
(Tremolo)

Pedal C-g1
Untersatz 32’
Principalbaß 16’
Subbaß 16’
Violonbaß 16’
Oktavbaß 8’
Violoncello 8’
Gedecktbaß 8’
Choralbaß 4’
Gemshorn 4’
Hintersatz IV 2 2/3’
Kontrafagott 32’
Posaune 16’
Fagott 16’
Baßtrompete 8’
Clarine 4’

Normalkoppeln mechanisch, folgende Koppeln auch elektrisch: III-I, IV-I, III-II, IV-II
Elektrische Koppeln: 16’ IV, 4’ IV, 16’ IV-I, 16’ III-I, 16’ IV-II, 16’ III-II, 4’ IV-Pedal, 4’ III-Pedal
Elektronischer Setzer 256-fach

At the same time when we were in contact with some Italian organ builders regarding the construction of an organ in the style of Italian early Baroque, the Marburg organ builder Gerald Woehl offered an original instrument that he had acquired years earlier from a Venetian church that was to be demolished. The stop composition of this instrument, which was built by an anonymous master in the late 18th century, almost completely matched the sample stop list we had designed for a copy in the same style. For this reason, we decided to purchase the instrument, which found its place at the university after restoration by Gerald Woehl at the end of 2000. Initially, there was a consideration for a new color scheme during the restoration of the case, which also required the reconstruction of some missing wooden parts. However, it would have been a shame to paint over the many, sometimes quirky graffiti, especially from the early 20th century, in which all sorts of people had immortalized themselves. These could have been organists, certainly organ blowers, perhaps also choir singers, and possibly by now a student or two... Therefore, we left the external appearance of the organ as it came from Venice; it bears witness to the effort (and perhaps sometimes boredom?) of many individuals.

The fact that an Italian organ from the late 18th century is able to authentically reproduce the music of the "great" era of Italian organ masters, especially from the early 17th century, is due to the slow development of Italian organ building. The stop list of our organ could easily have been encountered in Rome 200 years earlier. Its sound is of the cantabile, open, clear type, characteristic of many famous Italian singers. In addition, it possesses two important technical-musical features: it has a so-called short octave, meaning that the lowest octave of the keyboard does not contain 12 tones as usual, but only 8, namely C on the traditional key E, D on the key F sharp, E on the key G sharp, then F, G, A, B, and H on their original positions. This allows for different, larger hand grips than on a "normal" keyboard, a requirement often assumed for early Italian music. Furthermore, the organ is not tuned according to the contemporary "equal temperament" system, where all 24 keys can be played equally well (or equally poorly...), but according to the so-called "mean-tone temperament," where only about half of the keys are possible, but they sound considerably more beautiful than in the modern system, a crucial aspect for the tonal characteristics of ancient music.

This organ, after a tiny cabinet organ in the Württemberg State Museum, is not only the oldest in the state capital but also the only playable one that can truly be considered a "historical" organ. Additionally, it is noteworthy that out of the three organs in the organ hall, its sound presence does not noticeably diminish even when the room is full: it was clearly built for a significantly larger church space!

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Principale 8‘ (geteilt in Baß und Diskant)
Ottava 4‘
Decimaquinta 2‘
Decimanona 1 1/3‘
Vigesimaseconda 1‘
Vigesimasesta 2/3‘
Vigesimanona ½‘
Trigesimaterza 1/3‘ (Baß)

Flauto in ottava 4‘
Flauto in Duodecima 2 2/3‘
Voce umana 8‘
Cornetti (Diskant)
Tromboncini 8‘ (geteilt in Baß und Diskant)

Contrabassi 16‘ (Pedal)
Ottava di Contrabassi 8‘

Stimmung: reine Mitteltönigkeit
Manualumfang C-f‘‘‘ (kurze Oktave), Pedalumfang C-g° (kurze Oktave)

This organ was built in 1997 by Jürgen Ahrend (Leer-Loga) in stylistic reference to the most significant North German organ builder of the Baroque period, Arp Schnitger. Ahrend has restored several Schnitger organs and is considered the foremost expert in this style.

Its sound is characterized by a clear freshness, one can almost feel a brisk breeze of sea air sweeping through the room with the strict brilliance of the mixtur stops. At the same time, it is an extremely sensitive instrument; in order to prevent it from being too loud, the organ builder chose a very low wind pressure. This results in a very easy touch, as the player needs to exert much less force than on a piano to press down a key - requiring an extremely controlled touch to play flawlessly. Additionally, the wind is very lively, and improper touch can lead to a very "unstable" sound. Therefore, this organ demands a high degree of sensitivity from the player, which is why it is both feared and loved by students - the latter being because (most...) students feel supported by it, like a strict but fair and, above all, very competent teacher.

Like many older organs, this organ is not tuned to a modern system but instead follows a tuning system calculated by a contemporary of Schnitger, the significant music theorist Andreas Werckmeister, which is situated roughly in between the equal temperament and well temperament systems. Even remote keys that began to be used towards the end of the 17th century sound fairly acceptable, but the more commonly used keys sound significantly better.

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Hauptwerk
Prinzipal 8‘
Hohlflöte 8‘
Oktave 4‘
Oktave 2‘
Mixtur III
Sesquialtera II

Hinterwerk
Holzgedackt 8‘
Flöte 4‘
Nasat 3‘
Waldflöte 2‘
Terz 1 3/5‘
Dulzian 8‘

Pedal
Subbaß 16‘
Oktave 8‘
Trompete 8‘

Manualkoppel, Pedalkoppel, Tremulant
Stimmung: Werckmeister III (modifiziert)
Manualumfang C-e‘‘‘, Pedalumfang C-e‘

In the original conception of the organ ensemble, no organ specifically for the interpretation of J.S. Bach's music was planned, because there is no such thing as "the" Bach organ and because the North German and French organs also represent Bach's music relatively well. However, in the wake of German reunification, awareness grew for the specific characteristics of the central German organ landscape in which Bach grew up. Fortunately, in 2006 it became possible to create an organ in a sufficiently large space in the second construction phase, which fills this gap that, as has since become apparent, was more significant than initially assumed.

The sound structure of this "Bach organ" is greatly inspired by the instrument built in 1703 by Johann ??? Wender in the Bonifatiuskirche in Arnstadt, where Bach was the first organist and where he significantly developed his organ aesthetics. In addition to this Thuringian core, there are some Saxon elements, clearly visible in the external appearance of the prospect, which are associated with the work of the most famous Saxon organ builder, Gottfried Silbermann. In this respect, this organ is actually a cousin of the French organ, as Gottfried was the younger brother of Andreas Silbermann, was trained by him as an organ builder, and subsequently imported French stylistic elements to Central Germany.

The construction of this organ was a very special challenge. Most Central German baroque organs are very powerful, as they had to lead and accompany powerful congregational singing. Adapting such tonality to a relatively small classroom was a difficult task, which the Dresden organ building workshop Kristian Wegscheider also brilliantly solved in terms of voluminous stops like trumpet and trombone. But thanks to its Thuringian genes, the organ also has a large number of delicate pastel colors, and therefore it is ultimately even more subtle than its Alsatian cousin.

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Hauptwerk
Principal 8’
Rohrflöte 8’
Quintadena 8’
Viola di Gamba 8’
Octave 4’
Quinte 3’
Octave 2’
Tertia 1 3/5’
Mixtur III
Trompete 8’

Positiv
Gedackt 8’
Spitzflöte 4’
Flûte douce 4’
Gemshorn 2’
Cymbel II
Vox humana 8’

Pedal
Subbass 16’
Principalbass 8’
Octave 4’
Posaunenbass 16’
Trompetenbass 8’

Manualkoppel, Pedalkoppel
Manualumfang C, D – d’’’
Pedalumfang, C, D – f’
Ungleichschwebende Stimmung, Chorton (ca. 1 Halbton über der heutigen Norm)

France developed a significant and unique organ tradition from the time of Louis XIV to the Revolution, which is essential for a young organist to study due to its distinct characteristics (ornamentation, rhythmic aspects). In organ building as well, France underwent its own, relatively homogeneous development. Sound-wise, French organs are characterized by a variety of nasal tones, clearly inspired by the French language, and technically realized through specific overtone constellations and numerous reed stops (such as trumpet, crumhorn, the distinctively nasal Voix humaine). Contrasting this, in terms of silvery mixture brilliance, there is a rather warm, dark shading; this is often used to cloak a pedaled trumpet-melody in a tenor register with a warm tone, resembling the typical introductory pieces of organ suites with a solo Gregorian chant-like melody.

Given that some of the best French organ-building firms are located in Alsace, we explored the region and found Gaston Kern, a friendly, high-caliber craftsman and artist who impressed us with his loving handling of wood and metal materials. His experiences gathered during several restorations led to the choice of Johann Andreas Silbermann, a German organ builder trained in Paris but active in Alsace, as a stylistic model. Silbermann’s organs, in comparison to central French instruments, have a slightly softer, more emotionally resonant sound, an advantage in small organ rooms.

The organ, typical of France, has a Rückpositiv located behind the player on the floor; its stops are thus positioned behind the player’s back. The third manual is not a solo Récit as in most old French organs; rather, it is an Echowerk, hidden behind the music stand, as is common in Alsace.

The two wedge-shaped bellows for the wind supply are located in a separate enclosure to the left of the organ and are visible.

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Grand-Orgue (II)
Bourdon 16‘
Montre 8‘
Bourdon 8‘
Préstant 4‘
Flûte 4‘
Grosse Tierce 3 1/5‘
Doublette 2‘
Fourniture III
Cymbale III
Cornet V (ab c‘)
Trompette 8‘
Voix humaine 8‘

Positif (I)
Bourdon 8‘
Préstant 4‘
Flûte à chéminée 4‘
Nasard 2 2/3‘
Doublette 2‘
Tierce 1 3/5‘
Larigot 1 1/3‘
Fourniture III
Cromorne 8‘

Echo (III)
Bourdon 8‘
Flûte 4‘
Cornet III (ab g°)

Pédale
Soubasse 16‘
Flûte 8‘
Trompette 8‘

Tremblant
Accouplement Pos./G.O.
Tirasse G.O.

Stimmung: nach J. A. Silbermann
Manualumfang C-d‘‘‘
Pedalumfang: wahlweise C-f‘ auf einer Klaviatur deutscher Art, Kontra-A, C-f‘ auf einer französischen Klaviatur, dem sogenannten „Messerrückenpedal“ mit kurzen, aus dem Fundamentbrett herausstehenden Tasten

The Jurine organ at the HMDK Stuttgart fills the gap in the representation of French Romantic music, represented by composers such as César Franck, Camille Saint-Saëns, and Charles-Marie Widor, and in organ building by Aristide Cavaillée-Coll. With a vocal-like gentle tone up to powerful symphonic sound, sonorous string, flute, and brass colors are the characteristics of these special instruments, which Cavaillée-Coll developed and refined throughout his life. The development of organ music by Franck, Saint-Saëns, and Widor goes hand in hand with that of organ building. An important element is the continuous dynamic range, which is maximized in the Jurine organ by a general swell, which, despite the small number of stops, creates a striking effect. "Pâte sonore" is crucial. This is how organ builder Michel Jurine from Lyon describes the tonal principle of the new organ, now located in Room 2.83 and expanding the extensive organ collection. The traditional pipe display of the organ has been abandoned in favor of a four-part louver swell. A highlight of the new organ is the "voix humaine", the pipes by Joseph Merklin from the 1850s, which made their way from a dissolved convent in Belgium through Jurine's storage to Stuttgart, allowing their delicate original sound to be heard once more. The Stuttgart artist Nikolaus Koliusis incorporates celestial images on the four movable prospect surfaces, conveying both vastness and proximity as well as a glimpse into the depths of the universe.

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I. Grand Orgue
Bourdon 16‘
Montre 8‘
Salicional 8‘
Bourdon 8‘
Flute Harmonique 8‘
Prestant 4‘

II. Récit expressif
Bourdon Harmonique 8‘
Gambe 8‘
Voix Céleste 8‘
Flute octaviante 4‘
Octavin 2‘
Trompette harmonique 8‘
Basson-Hautbois 8‘
Voix humaine 8‘
Tremblant
Appel Trompette

Pedal
Soubasse 16‘*
Violoncelle 8‘*
Flute 8‘*
Octav 4‘*
* Transmission aus G.O.

Recit/G.O., Recit/Ped., G.O./Ped.
Generalschweller

It is the little sister of the concert hall organ, but also a descendant of the French Baroque organ. A symphonic French organ in a small classroom is almost a contradiction in terms, as this type, as exemplified by Aristide Cavaillé-Coll, the most famous French organ builder of the 19th century, is designed for large church spaces. However, the home organ of the significant French composer Jehan Alain (1911-1940), which has been accessible again for fifteen years after restoration and whose core is also an instrument by Cavaillé-Coll, shows that the typical "perfume" of this organ style can also develop in a smaller space through a more intimate, volume-controlled instrument. The directors of the Lucerne organ building company Goll, Jakob Schmidt (+) and Beat Grenacher, who built the organ for us in 1997, convinced with a concept where the front of the organ is almost completely closed. Inside the organ case, the sound generates a unique reverberation, with sound only emerging through a few narrow openings surrounded by a few pipes. The good sound mix makes this organ particularly smooth in registration. The same applies to its easy and precise key action, making it an ideal teaching instrument: comfortable to play, yet demanding in response to any inaccuracy.

The organ deliberately does not precisely emulate the style of Cavaillé-Coll, but is held in a slightly older style, for example, inspired by the organ builders Callinet who also worked in Alsace in the early 19th century, enriching a certain late Baroque foundation containing German elements with romantic colors. Therefore, the organ is also suitable for Bach's music. When interpreting the works of César Franck or Charles Marie Widor, for whom almost all essential tonal colors are found, the listener receives an impression of Parisian atmosphere from the 19th century, reduced to a "salon sound." French stop names were only used in the Swell organ to indicate the stylistic hybrid nature. As this organ is occasionally used for exams and class concerts, it has, in addition to the mechanical stop action, electronic combination pistons for the quick change of pre-programmed tonal colors.

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Hauptwerk
Bourdon 16‘
Principal 8‘
Rohrflöte 8‘
Octave 4‘
Spitzflöte 4‘
Quinte 2 2/3‘
Octave 2‘
Cornett V (ab c°)
Mixtur IV
Trompete 8‘

Positiv
Gedackt 8‘
Salicional 8‘
Principal 4‘
Rohrflöte 4‘
Waldflöte 2‘
Quinte 1 1/3‘
Sifflet 1‘
Sesquialtera II
Krummhorn 8‘

Récit
Quintaton 16‘
Bourdon 8‘
Gambe 8‘
Voix Céleste 8‘
Fugara 4‘
Flûte trav. 4‘
Nasard 2 2/3‘
Octavin 2‘
Tierce 1 3/5‘
Trompette harm. 8'
Hautbois 8‘

Pedal
Subbas 16' (aus HW)
Octavbass 8‘ (C-H aus HW)
Rohrgedackt 8‘ (aus HW)
Posaune 16‘

Tremulant für Pos. und Rec.; 6 Normalkoppeln, III-I 16‘, III-P 4‘
Manualumfang C-a‘‘‘, Pedalumfang C-f‘
Leicht ungleichschwebende Stimmung

The romantic movement in Germany, first visible in literature but also in history and politics following the Napoleonic Wars, had one of its most important starting points at the same time in Ludwigsburg in the person of Eberhard Friedrich Walcker, the most important German organ builder around the mid-19th century. His organs are characterized by a rich variety of 8' labial voices, i.e. finely graded, primarily soft colors in the fundamental pitch. As these take up a lot of space, a selection had to be made for the small room, in which all essential stop groups (principals, strings, flutes) were distributed across the three manuals in various tonal and dynamic variants. Also, due to limited space, the wind pressure had to be kept as low as possible. As a result, the organ acquires a warm, sensitive basic character, more typical of early romantic rather than late romantic organs. The organ workshop Konrad Mühleisen in Leonberg, which completed the instrument in 1998, intentionally designed the mechanical playing action softly, inspired by the playing style of many romantic organs.

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Hauptwerk
Bourdon 16‘
Principal 8‘
Rohrflöte 8‘
Gamba 8‘
Octave 4‘
Flöte 4‘
Quinte 2 2/3‘
Octave 2‘
Trompete 8‘

Positiv
Viola 8‘
Traversflöte 8‘
Bordon 8‘
Prestant 4‘
Rohrflöte 4‘
Nasat 2 2/3‘
Waldflöte 2‘
Terz 1 3/5‘
Larigot 1 1/3‘
Clarinette 8‘
(seit 2008 mit Windschweller)

Schwellwerk
Holzflöte 8‘
Salicional 8‘
Schwebung 8‘
Fugara 4‘
Dulcflöte 4‘
Flöte 2‘
Oboe 8‘

Pedal
Subbaß 16‘
Gedecktbaß 8‘ (aus Subb.)
Octavbaß 8‘
Choralbaß 4‘ (aus Octav.)
Fagott 16‘
Fagott 8‘ (aus Fag. 16‘)

Tremulanten Pos. und SW; 6 Normalkoppeln, III-III 16‘
Manualumfang C-a‘‘‘; Pedalumfang C-f‘; Stimmung gleichschwebend

The organ built in 1996 by Johannes Rohlf (Neubulach) was intended to have three manuals despite a modest number of stops, in order to enable the practice of complex literature from the 19th and 20th centuries. This was achieved by incorporating the pedal stops into the 3rd manual, extended up to a‘‘‘, a concept that Rohlf had already implemented in several other organs. The organ is characterized by an extremely precise and sensitive action as well as by a pleasantly flexible wind supply system; as a result, it is both an inspiring and demanding practice instrument – feared as a teaching instrument by students more than any of our other organs! It tolerates no inaccuracy on the part of the player.

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Hauptwerk (I)
Rohrflöte 8‘
Principal 4‘
Octave 2‘

Positiv (II)
Gedackt 8‘
Rohrflöte 4‘
Nasard 2 2/3‘
Blockflöte 2‘
Terz 1 3/5‘

Pedalwerk (III)
Bourdon 16‘
Flötbaß 8‘ (Prinzipal)
Flötbaß 4‘

Tremulant für Positiv; 6 Normalkoppeln; 2 Zimbelsterne (Windräder mit kleinen Glöckchen)
Manualumfang C-a‘‘‘, Umfang der Pedalklaviatur C-g‘.
Stimmung leicht ungleichschwebend

The three-manual organ with 15 stops built by Eduard Wiedenmann in 1986 replaced a worn-out small organ with electropneumatic key action (the connection between the key and the valve under the pipes is not made, as with all our other organs, by a direct mechanical connection, but by means of lead pipes containing compressed air, hence with a slight time delay). Today, one might preserve this old organ, despite its lack of tonal attractiveness, perhaps out of respect (or curiosity), but back then it was considered hindering for precise teaching due to the inherent inaccuracy of the key action system. The Wiedenmann organ, with its smooth and precise mechanics, is the complete opposite and, even though it is almost only used for practice now, remains an indispensable member of our organ ensemble.

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Hauptwerk
Koppelflöte 8’
Prinzipal 4’
Quinte 2 2/3’
Oktave 2’

Positiv
Gedeckt 8’
Blockflöte 4’
Nasat 2 2/3’
Gemshorn 2’
Terz 1 3/5’

Schwellwerk
Gemshorn 8’
Rohrflöte 4’

Pedal
Subbaß 16’
Rohrgedackt 8’
Choralbaß 4’
Fagott 8’

6 Normalkoppeln

She is the only traveler among our organs, usually located in a small chamber, but occasionally allowed to be presented in the glorious light of the concert hall. The portable chest organ built by Armin Hauser in 1997 has a movable keyboard for continuo purposes, allowing it to be played in two pitch levels (415/440 Hz), which is important for ensembles with old instruments.

Principal 8‘ (Diskant)

Holzgedackt 8‘

Octave 4‘

Rohrflöte 4‘

Nasard 2 2/3‘

Gemshorn 2‘

Gleichschwebende Stimmung