Chamber organ built for Mr. Freeman, Great Britain 2014 

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Stoplist

Upper Manual:
Principael 8’ oak (C-B shared with Holfluyt)
 
Lower Manual:
Holfluyt 8’ oak
Fluyt 4’ C-f#: oak, g'-d''' bottle pipes: organ metal
Nasat 3’ c-b: oak, c’-d''' bottle pipes: organ metal
Octaeff 2’ C-B: oak, c'-d''' bottle pipes: organ metal
 
Playing aids: Manual coupler: push-pull 'shove'type
  Pedal coupler to lower manual - upper manual always coupled
  Tremulant: lost wind
 
Case: The renaissance style case is made of oak, the back is of spruce
Manuals: The natural keys are covered with boxwood and the sharps are made of ebony
Pedal board: oak
 
Manual compass: C-d'''
Pedal compass: C-d'
Tuning: Bach-Kellner: a'=440

 

Recordings:

Johann Ludwig Krebs (1713 - 1780) - Vom Himmel hoch da komm Ich her
Johann Sebastian Bach (1685 - 1750) - Wer nur der lieben Gott last walten
Johann Kuhnau (1660 - 1722) - Biblischer Sonate III Kon Hizkia

House organ 2

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The design of this organ is inspired by late 17th century examples. The façade is based on a number of southern rugwerk cases, such as the one at Cuijk. The rugwerk of the organ in the Waalse Kerk in Amsterdam also provided inspiration. The case is made of vintage Slavonic oak. Its measurements and relationships are inspired by the baroque rules, such as certain geometric series, the golden section, and square root of 2. The instrument is intended as a study organ with a beautiful appearance and a warm, mild sound.

The dimensions of the case are as follows:  
Height: 2450 mm
Width: 1145 mm
Depth: 525 mm

The single wedge bellows is located in the lower case. The blower is situated under the bellows. The organ has a shared windchest with pallet boxes at both front and back. Its pipework is arranged in a pyramid form. As a consequence the largest pipes on the windchest are situated in the middle of the case. The white keys are covered in boxwood, the black keys with ebony

Specification:

Lower manual:
Holfluyt 8’ oak, the largest 7 pipes in the lower case.
Fluyt 4’ bass in oak with pierced stoppers, treble: open pipes made of organ metal with a high lead content.
Nasard 3’ bass in oak with pierced stoppers, conical treble pipes made of organ metal with a high lead content.
Cromhorn 8’ pear wood resonators with brass shallots.
 
Upper manual:
Principael 8’ from tenor F. Oak with pear wood facings.
Roerfluyt 8’ bass octave shared with
Holfluyt 8’ oak with pierced stoppers
Praestant 4’ C-A oak. B flat-b1 in façade, remainder on windchest
Octaeff 2’ bass octave from oak, remainder from organ metal with a high lead content.
 
Manual compass: C,D-c3
Pedal compass: C,D-d1
Pedal coupler to I or II
Tremulant to both manuals
Tuning: Meantone

Recordings:

1. H. Scheidemann (1596-1663) - Praeambulum in d-moll
2. J.J. Froberger (1616-1667) - Canzona II in g-moll
3. J.J. Froberger (1616-1667) - Toccata V 'Da sonarsi alle Levatione' in d-moll

 

House organ 3

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Specification:

Manual 1:
Holpijp 8’ oak, the largest 5 pipes in the lower case.
Roerfluit 4’ bas oak, treble from pear wood
Nasard 3’ treble from organ metal
Kromhoorn 8’ pear wood resonators with brass shallots.
 
Manual 2:
Roerfluit 8’ bass octave shared with
Holpijp 8’ oak with pierced stoppers
Prestant 4’ the largest 5 pipes from oak, F - fis in façade and g t/m e’’’ on windchest
Octaaf 2’ bass octave from oak, remainder from organ metal with a high lead content.
 
Manual coupler I + II and II + I
Pedal coupler to I or II
Tremulant
Tuning: Modified meantune tuning after Stade


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