652:
organists at the church of St. Katharinen in
Hamburg, Johann Adam Reincken, Schnitger installed both a Principal 32' and Posaune 32' into the pedal. This brought a tremendous prestige factor to the instrument. The total costs for this project was 29.108 Marks. The different divisions have the following (German) names: Werck (Hauptwerk), Rückpositiv, Oberpositiv, Brustpositiv and Pedal. The prospect of the Schnitger organ in St. Jacobi is the largest existing example of the so-called "Hamburg Prospects": those having many-tiered divisional structures that was developed by the organ builder family Scherer in Hamburg around 1600. Typical for these fronts are the symmetrical case with the large pedal towers at each side and the staggered arrangement of the manual divisions, although the Oberpositiv did not appear in these frontal prospects. Instead, it was located in a higher position behind the Great (having no back panel). The directness of the sound is in part created by the wide downward shaping arches of the building. These create excellent acoustics. The figures on the prospect were cut by Christian Precht and belong to his latest known works.
1260:
century, with all its surviving components. These included the registers by Johann Jacob
Lehnert from the year 1761 (the Viola di Gamba 8 'in the Werck and the Trommet 8' in the Rückpositiv). No attempt was made to reconstruct the console from 1774. Instead it made more sense to return to the concept of Schnitger, with the short octave in the manual keyboards. This was done according to the model of the Schnitger console received from the Lübeck Dom organ. The recovery of the original case proportions with original Schnitger wind chest dimensions was essential. A compromise here was the addition of the note D sharp (or E flat) in the bass octave of the pedal. This was placed on an auxiliary chest outside the case. The wind supply was set up with six wedge bellows located in the upper area of the tower space, behind the organ.
1248:
an extremely stiff action by Kemper. This effort resulted in a sound that was phonetically uneven, and an action that was unsatisfactory. The use of different wind pressures in the manual divisions and the pedal did not correspond to historical building practice. The pipework had been shortened in different ways during the course of the 19th and 20th centuries to emulate modern pitch. Many pipes on the wind chests became displaced. The sound of the principal choir was too similar to that of the flutes. The reeds had no stability. Furthermore, the proportions of the case were incorrect, because the keyboard extensions led to many additional large pipes that had to be considered. Despite all this, the sound quality of the instrument was still recognizable and continued to fascinate listeners.
1240:
realized the value of this instrument. They advocated for the repair and replacement of the missing front pipes. Substantial funds were raised for this purpose with a series of benefit concerts (called Ugrino concerts) in 1922. Jahnn managed to secure Günther Ramin, organist of the
Leipzig Thomaskirche, for these concerts. Ramin brought back compositions of Hamburg organists of the 17th century alongside works of Buxtehude and Bach to the concert space for the first time in a long while. At the organ convention, initiated by Jahnn in Hamburg and Lübeck in July 1925, the Schnitger organ in St. Jacobi became a great focus of interest in the organ scene of Northern Europe. It became known as a model instrument for Baroque and pre-Baroque organ music.
1274:, regarded as a connoisseur of Schnitger organs (and who had all the resources needed for this project in his workshop) was commissioned for this project. The materials included a provision of wood that had been stored up for decades. Three hundred years after the completion of the organ built by Arp Schnitger, the restored instrument was inaugurated in 1993. Cornelius H. Edskes, the leading Dutch organologist and Schnitger specialist, made sure the restoration was done as fundamentally secure as possible by creating the meticulous documentation needed. The result was a collection of more than 60,000 pieces of data.
1252:
644:
17:
619:
58:
A Rückpositiv (positive organ division) was added before 1543. Further refurbishments followed in the 16th and 17th centuries by several builders. Among them were Jacob
Scherer (from 1551), his son-in-law Dirk Hoyer (1577–1578) who built a new Rückpositiv and two new pedal towers; also Hans Bockelmann (1588–1589) and Hans Scherer the Elder (1588–1592) who provided a new Oberwerk (upper division). Scherer's sons Hans and Fritz refurbished the organ in 1606/7. At the end of the 16th century, musician
2472:
1264:
660:
records of Johann
Mattheson we find part of a rather severe sermon by the pastor of St. Jacobi at the time, Erdmann Neumeister: "He believed with certainty that – if one of the angels were to descend from heaven and, wanting to become an organist of St. Jacobi, played divinely – but if this angel from Bethlehem had no money, they would simply have to fly away again."
1277:
The discussion regarding the tuning of the organ led to the decision for modified mean tone temperament. It is a compromise between the standard pure thirds of the mean tone tuning and the requirements for playing organ literature from the 17th and 18th centuries in keys that contain multiple sharps/
1247:
Another step along the way towards restoration was at the old site in the west of the main nave, completed in 1961. It included a new case for the old divisions, a new console with carved heads for register knobs (1950), an extension of the keyboard ranges with the necessary technical adjustments and
43:
boasts four manuals and pedal with 60 stops, 15 of which are reeds – and has approximately 4000 sounding pipes. All in all, from the organ's original installation and its condition today (despite the partial destruction during World War II) not much of its conception has changed. The old pipework and
651:
Arp
Schnitger used the existing instrument and kept 27 of the stops (including some of the oldest pipes of the original 1516 organ) for his project. Schnitger built the rest of the stops himself. He then expanded the four-manual instrument to 60 stops. Despite the advice of one of the most prominent
57:
It is not yet documented when the very first organ at St. Jacobi was built. Nevertheless, it can be attested to that there was a certain organist at St. Jacobi named "Meister Rudolf" around 1300. It is known that from 1512 – 1516 a two-manual instrument was built by Jacob
Iversand and Harmen Stüven.
1239:
In 1917 there was a serious invasion of the tonal quality of the instrument. This happened when the tin prospect pipes had to be taken down and handed over to the army administration's metal collection during the First World War. After World War I, Hans Henny Jahnn and
Gottlieb Harms discovered and
659:
applied for the position of organist at St. Jacobi. However Bach, despite being a famed organist, did not get the position. Instead it was awarded to Johann
Joachim Heitmann, who was able to pay the required high sum of 4000 Mark into the church fund and also marrying the pastor's daughter. In the
1243:
Because the wind chests, pipework and carvings were removed in 1942, this prevented these sound-producing parts of the organ from being destroyed in World War II. When the church completely burned down, Schnitger's case, the bellow enclosure and the console of 1774 were lost. The southern nave was
630:
greatly expanded the instrument from its previous
Renaissance keyboard range. It was enlarged to span four octaves and four manuals. Ulrich Cernitz, St. Jacobi organist of the time (who had studied with Jan Pieterszoon Sweelinck) reported extensively on these expansions which led to the instrument
1259:
The push for a fundamental restoration of the organ came from St. Jacobi organist Rudolf Kelber in 1982. He wanted to get rid of all the technical defects and problems in sound quality. A consensus was reached to restore it to the old state i.e. that of the Jacobi organ as it was in the late 18th
1230:
renewed the console. Further renovations were carried out in 1790 by Johann Daniel Kahl; then once again in 1836 and 1846 by Johann Gottlieb Wolfsteller. In 1866, new wind channels and compensatory bellows were built. Jürgen Marcussen made a further disposition change by installing an additional
1244:
only slightly destroyed, and after its restoration in 1950 the Lübeck organ workshop Kemper made a provisional installation. Kemper had already carried out the restoration work of previous decades under the direction of and cooperation with Hans Henny Jahnn.
663:
It is confirmed that Bach also played the organ in the neighbouring church of St. Katharinen. Apparently the condition of the St. Jacobi instrument was (temporarily) not very good. He therefore left before playing the official audition for the post.
2476:
1226:
In 1722 Otto Diedrich Richborn made a small change in the organ's disposition. Later, in 1761, organ builder Johann Jacob Lehnert from Hamburg also slightly changed the disposition. From 1774 to 1775,
44:
the prospect pipes have been preserved in almost original format. It is the largest organ in existence from before 1700 and is one of the most eminent Baroque instruments that have been preserved.
2517:
62:
thus ended up having one of the most impressive and large instruments in the country at his disposal. The earlier disposition of 1592 with 53 stops and 3 manuals is provided by
668:
2488:
1281:
The Schnitger organ in Hamburg's main church of St. Jacobi has become one of the most influential models for organ building in the last 100 years.
1278:
flats. The discovery of the mean tone temperament was read off of the pipe lengths of the inner pipes of the Principal 32' in the pedal.
2175:
Die Praxis der Orgelstimmung in Norddeutschland im 17. und 18. Jahrhundert und ihr Verhältnis zur zeitgenössischen Musikpraxis.
2130:
2323:
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2252:
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2167:
2149:
622:
Schematic "Werkprinzip" of the Hamburg prospect (Pd=Pedal, OP=Oberpositiv, We=Werck, BP=Brustpositiv, RP=Rückpositiv)
2561:
2178:
2276:
2160:
Arp Schnitger und seine Schule. Ein Beitrag zur Geschichte des Orgelbaues im Nord- und Ostseeküstengebiet.
2556:
1289:
Today's disposition dates back to the restoration of 1993, which in effect restored the state of 1762.
632:
656:
59:
1251:
8:
627:
27:
16:
2443:Über die Stimmtonhöhe und Temperatur der Arp-Schnitger-Orgel von St. Jacobi in Hamburg.
2138:Über die Stimmtonhöhe und Temperatur der Arp-Schnitger-Orgel von St. Jacobi in Hamburg.
1227:
63:
618:
2327:
2248:
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643:
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Christian Precht. Ein Hamburger Bildhauer in der Zweiten Hälfte des 17. Jahrhunderts
2483:
67:
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35:, was built from 1689 to 1693 by the most renowned organ builder of his time,
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36:
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2121:
Cornelius H. Edskes, Harald Vogel, translated by Joel Speerstra (2016):
2493:
1267:
Jürgen Ahrend in his workshop during the pre-intonation of the Oberwerk
40:
631:
having more than 56 registers. Renovations were also made by his son,
2041:
32:
2471:
2186:
Die Arp-Schnitger-Orgel der Hauptkirche St. Jacobi in Hamburg.
2477:
Arp-Schnitger-Orgel in der Hauptkirche St. Jacobi in Hamburg
2269:
Hamburgs Anteil am Orgelbau im niederdeutschen Kulturgebiet.
1291:
676:
75:
2144:
Göteborg: Göteborgs universitet, Department of Musicology.
1263:
2273:
Zeitschrift des Vereins für Hamburgische Geschichte.
667:
The disposition of 1721 was notated by organbuilder
2506:Link to the specification and history of the organ
638:
2548:
2106:Pitch: a = 495.45 Hz at 18 degrees Celsius
1231:pneumatic system with five registers in 1890.
2355:
2353:
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2142:Cornelius H. Edskes doctor honoris causa.
2092:One main valve, five stop valves (Ahrend)
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1250:
642:
617:
52:
15:
2109:Modified meantone (−1/5 syntonic comma)
2549:
2392:
2510:Discography of Arp Schnitger organs
594:"Vom f biß ins a wie gebräuchlich".
47:
13:
2376:pp. 190–191, cf. Facsimile p. 147.
2324:Verein für Hamburgische Geschichte
14:
2573:
2465:
2320:Beiträge zur Geschichte Hamburgs.
2177:Göteborg: Göteborgs universitet (
2077:
2061:Sch = Scherer (16th/17th century)
558:"12. Schue lang / und ist offen".
2470:
2247:. Reprint: Kassel: Bärenreiter.
2448:
2431:
2418:
2405:
2400:Arp Schnitger und seine Schule.
2387:Arp Schnitger und seine Schule.
2379:
2366:
2337:
2308:
2295:
2290:Arp Schnitger und seine Schule.
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2228:Arp Schnitger und seine Schule.
2215:Arp Schnitger und seine Schule.
2115:
2070:L = Johann Jakob Lehnert (1761)
1234:
606:
2233:
2220:
2207:
2184:Heimo Reinitzer (ed.) (1995):
2064:F = Gottfried Fritzsche (1636)
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639:New build by Schnitger in 1693
597:
588:
579:
570:
561:
552:
1:
2200:
1221:
2489:Arp Schnitger Organ Database
2441:pp. 227–228; Edskes (1996):
2125:Bremen: Edition Falkenberg.
7:
2499:Page of Hans-Werner Coordes
2361:Arp Schnitger and His Work.
2239:Michael Praetorius (1619):
2136:Cornelius H. Edskes (1996):
2123:Arp Schnitger and His Work.
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1217:5 stop valves, 1 main valve
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79:
10:
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2140:In: Hans Davidsson (ed.):
2133:, pp. 66–69, 178–179.
2089:12 wind chests (Schnitger)
2083:60 stops, about 4000 pipes
612:"Wobey 1. Baß von 12.fuß".
567:To be played at II or III.
2343:Johann Mattheson (1728):
2098:Wind pressure: 80 mm
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2456:Die Arp-Schnitger-Orgel.
2454:Reinitzer (ed.) (1995):
2439:Die Arp-Schnitger-Orgel.
2437:Reinitzer (ed.) (1995):
2426:Die Arp-Schnitger-Orgel.
2424:Reinitzer (ed.) (1995):
2413:Die Arp-Schnitger-Orgel.
2411:Reinitzer (ed.) (1995):
2374:Die Arp-Schnitger-Orgel.
2372:Reinitzer (ed.) (1995):
2345:Der musicalische Patriot
2303:Die Arp-Schnitger-Orgel.
2301:Reinitzer (ed.) (1995):
2095:6 wedge bellows (Ahrend)
2073:A = Jürgen Ahrend (1993)
2067:S = Arp Schnitger (1693)
633:Hans Christoph Fritzsche
2314:Karin Eckhardt (1987):
2152:, pp. 19–41.
626:Between 1635 and 1636,
31:(St. James' Church) in
2562:Individual pipe organs
2359:Edskes, Vogel (2016):
1268:
1256:
669:Otto Diedrich Richborn
648:
623:
383:III Unten in der Brust
21:
2533:53.55028°N 10.00028°E
2479:at Wikimedia Commons
2275:No. 38, pp. 351–352 (
2188:Hamburg: Christians.
2162:Kassel: Bärenreiter.
1266:
1255:Reconstructed Console
1254:
657:Johann Sebastian Bach
647:Polygonal Pedal Tower
646:
621:
348:Klingende Zimbel III
324:Nasatt vff die Quinte
285:III Oben in der Brust
60:Hieronymus Praetorius
53:Preceding instruments
19:
2173:Ibo Ortgies (2007):
674:Disposition of 1721
73:Disposition of 1592
2529: /
2504:www.arpschnitger.nl
2322:Vol. 32). Hamburg:
2170:, pp. 240–241.
628:Gottfried Fritzsche
2557:Culture in Hamburg
2538:53.55028; 10.00028
2347:. Hamburg, p. 316.
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1228:Johann Paul Geycke
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64:Michael Praetorius
22:
2475:Media related to
2131:978-3-95494-092-9
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66:in his treatise,
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68:Syntagma Musicum
48:Building history
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2036:: IV/II, II/III
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1610:III Oberpositiv
1561:Rauschpfeiff II
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1395:Scharff VI-VIII
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1057:Scharff IV–VI
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971:Scharff IV–VI
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948:
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904:
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879:Mixtur VII–IX
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2253:3-7618-1527-1
2250:
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2226:Fock (1974):
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2210:
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2195:
2194:3-7672-1187-4
2191:
2187:
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2179:gbv.de online
2176:
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2168:3-7618-0261-7
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2150:91-85974-37-4
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1706:Scharff IV-VI
1705:
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1466:
1462:
1459:
1453:Cimbelsterne
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1300:I Rückpositiv
1297:
1294:
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1282:
1279:
1275:
1273:
1272:Jürgen Ahrend
1265:
1261:
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788:
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764:
760:
759:
751:
748:
747:
743:
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739:
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732:
731:
727:
724:
723:
719:
716:
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711:
708:
707:
703:
700:
699:
695:
692:
691:
686:
685:I Rückpositiv
682:
679:
678:
675:
672:
670:
665:
661:
658:
653:
645:
636:
634:
629:
620:
609:
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591:
582:
573:
564:
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551:
546:
545:
535:
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531:
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524:
523:
519:
516:
515:
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494:
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489:
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467:
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463:
459:
456:
455:
451:
448:
447:
443:
440:
439:
434:
430:
427:
420:
418:
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409:
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398:
397:
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371:
368:
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363:
360:
359:
355:
352:
351:
347:
346:
342:
339:
338:
334:
331:
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323:
322:
318:
315:
314:
310:
307:
306:
302:
299:
298:
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291:
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286:
282:
279:
272:
271:
267:
266:
262:
261:
257:
254:
253:
249:
246:
245:
241:
238:
237:
233:
230:
229:
225:
222:
221:
217:
214:
213:
208:
204:
201:
194:
191:
190:
186:
183:
182:
178:
175:
174:
170:
167:
166:
162:
161:
157:
156:
152:
149:
148:
144:
141:
140:
136:
133:
132:
128:
125:
124:
120:
117:
116:
112:
111:
107:
106:
102:
99:
98:
94:
91:
90:
85:
84:I Rückpositiv
81:
78:
77:
74:
71:
69:
65:
61:
45:
42:
38:
37:Arp Schnitger
34:
30:
29:
26:organ of the
18:
2514:
2469:
2458:pp. 290–291.
2455:
2450:
2442:
2438:
2433:
2425:
2420:
2415:pp. 130–131.
2412:
2407:
2399:
2394:
2386:
2381:
2373:
2368:
2360:
2344:
2339:
2334:, pp. 88–89.
2319:
2315:
2310:
2302:
2297:
2289:
2284:
2272:
2268:
2260:
2244:
2240:
2235:
2227:
2222:
2214:
2209:
2185:
2174:
2159:
2141:
2137:
2122:
2116:Bibliography
2054:
2047:
2040:
1866:
1765:
1609:
1464:
1299:
1288:
1280:
1276:
1270:
1258:
1246:
1242:
1238:
1235:Restorations
1225:
1212:
1205:2 tremulants
1084:
1011:
898:
793:
684:
673:
666:
662:
654:
650:
625:
608:
603:"Aus dem F".
599:
590:
581:
572:
563:
554:
486:Spitzquinte
481:GemßhornBaß
432:
416:
382:
284:
206:
83:
72:
56:
25:
23:
2536: /
2265:Gustav Fock
2156:Gustav Fock
2049:Zimbelstern
1571:Super Octav
1431:Bahrpfeiffe
1330:Quintadehna
1285:Disposition
1209:Zimbelstern
976:Cimbel III
866:Super Octav
779:Bahrpfeiffe
709:Quintadehna
635:, in 1655.
547:Annotations
457:Principal C
415:Spitzflœit
176:Baarpfeiffe
2551:Categories
2524:10°00′01″E
2521:53°33′01″N
2445:pp. 22–23.
2243:. Vol. 2:
2230:pp. 54–55.
2217:pp. 52–65.
2201:References
2042:tremulants
1807:Waldtflöht
1737:Vox humana
1716:Cimbel III
1651:Spitzflöht
1640:Holtzflöht
1550:Flachflöht
1506:Spitzflöht
1484:Quintadehn
1363:Querpfeiff
1352:Blockflöht
1222:Later work
1044:Waldtflöht
1036:Holtzflöth
989:Vox humana
931:Spitzflöht
858:Flachflöht
826:Spitzflöht
810:Quintadehn
725:Blockflöht
435:CDEFGA–cd
399:Quintflœit
340:Kleinflœit
231:Quintadeen
168:Schalmeyen
142:Blockflœit
126:Quintadeen
1930:Nachthorn
1875:Principal
1796:Hollflöth
1774:Principal
1768:CDEFGA–c
1629:Rohrflöht
1618:Principal
1612:CDEFGA–c
1539:Rohrflöht
1473:Principal
1467:CDEFGA–c
1308:Principal
1133:Nachthorn
1093:Principal
1020:Principal
1014:CDEFGA–c
923:Hollflöht
915:Rohrflöht
907:Principal
901:CDEFGA–c
850:Rohrflöht
802:Principal
796:CDEFGA–c
693:Principal
655:In 1720,
509:Krumbhorn
501:Spillpipe
441:Principal
407:Waltflœit
391:Krumbhorn
353:Trompette
292:Principal
215:Principal
192:Krumbhorn
92:Principal
86:CDEFGA–c
2428:pp. 130.
2267:(1939):
2158:(1974):
2103:Tuning:
2034:Couplers
1695:Gemshorn
1465:II Werck
1405:Siffloit
1167:Dulciane
963:Gemshorn
794:II Werck
749:Siffloit
525:Trommete
517:Bassaune
332:Gemßhorn
263:Rußpipe
255:Querpipe
247:Holflœit
158:Ziflœit
150:Gemßhorn
134:Holflœit
2363:p. 145.
2292:pp. 45.
2005:Trommet
1994:Trommet
1983:Dulcian
1972:Posaune
1961:Posaune
1838:Dulcian
1748:Trommet
1726:Trommet
1592:Trommet
1442:Trommet
1420:Dulcian
1319:Gedackt
1213:Trommel
1183:Trommet
1175:Trommet
1159:Posaune
1151:Posaune
1109:Subbass
1062:Dulcian
997:Trommet
981:Trommet
884:Trommet
834:Gedackt
771:Dulcian
701:Gedackt
533:Cornett
496:Mixtur
491:Zimbel
465:GroßBaß
385:FGA–ga
300:Holpipe
273:Mixtur
268:Scharp
239:Holpipe
209:FGA–ga
113:Mixtur
108:Scharp
33:Hamburg
2402:p. 62.
2389:p. 61.
2330:
2305:p. 32.
2277:online
2251:
2192:
2166:
2148:
2129:
2016:Cornet
1919:Octava
1908:Octava
1897:Subbaß
1886:Octava
1823:F/Sch
1701:Sch/F
1684:Octava
1662:Octava
1566:Sch/S
1545:Sch/S
1534:Sch/S
1528:Octava
1495:Octava
1374:Octava
1358:Sch/F
1341:Octava
1336:Sch/F
1325:Sch/F
1302:CDE–c
1191:Cornet
1125:Octava
1117:Octava
1101:Octava
955:Octava
939:Octava
842:Octava
818:Octava
741:Octava
733:Nahsat
717:Octava
687:CDE–c
473:Octava
449:Mixtur
369:Zincke
308:Flœite
223:Octava
118:Gedact
100:Octava
39:. The
20:Façade
1869:CD–d
1867:Pedal
1785:Octav
1673:Nasat
1087:CD–d
1085:Pedal
1028:Octav
947:Nasat
433:Pedal
361:Regal
184:Regal
41:organ
2328:ISBN
2249:ISBN
2190:ISBN
2164:ISBN
2146:ISBN
2127:ISBN
2039:Two
1956:F/S
1946:F/S
1925:F/?
1881:A/S
1791:S/A
1780:F/?
1754:S/A
1721:S/A
1711:F/A
1668:Sch
1624:S/A
1598:F/S
1587:F/S
1490:F/S
1448:L/A
1437:S/A
1400:F/A
1390:F/A
1380:F/A
1369:F/A
1347:F/A
1170:16′
1162:16′
1154:32′
1112:16′
1104:16′
1096:32′
887:16′
813:16′
805:16′
774:16′
520:16′
512:16′
468:16′
460:16′
452:12′
444:24′
234:12′
218:12′
24:The
2271:In
1986:16′
1975:16′
1964:32′
1900:16′
1889:16′
1878:32′
1595:16′
1487:16′
1476:16′
1423:16′
1194:2′
1186:4′
1178:8′
1136:2′
1128:4′
1120:8′
1073:8′
1065:8′
1047:2′
1039:4′
1031:4′
1023:8′
1000:4′
992:8′
984:8′
966:2′
958:2′
950:3′
942:4′
934:4′
926:8′
918:8′
910:8′
869:2′
861:2′
853:4′
845:4′
837:8′
829:8′
821:8′
782:8′
744:2′
736:3′
728:4′
720:4′
712:8′
704:8′
696:8′
536:2′
528:8′
504:4′
476:4′
421:4′
410:2′
402:3′
394:8′
372:8′
364:8′
356:8′
343:2′
335:2′
327:3′
319:4′
311:4′
303:8′
295:8′
258:6′
250:3′
242:6′
226:6′
195:8′
187:8′
179:8′
171:4′
153:2′
145:4′
137:4′
129:8′
121:8′
103:4′
95:8′
2553::
2352:^
2326:.
2181:).
2022:S
2019:2′
2011:S
2008:4′
2000:S
1997:8′
1989:S
1978:S
1967:S
1936:S
1933:2′
1922:4′
1914:S
1911:8′
1903:S
1892:S
1855:S
1852:8′
1844:S
1841:8′
1833:S
1813:S
1810:2′
1802:S
1799:4′
1788:4′
1777:8′
1751:4′
1743:S
1740:8′
1732:S
1729:8′
1698:2′
1690:S
1687:2′
1679:S
1676:3′
1665:4′
1657:S
1654:4′
1646:S
1643:8′
1635:S
1632:8′
1621:8′
1577:S
1574:2′
1556:A
1553:2′
1542:4′
1531:4′
1523:L
1520:8′
1512:S
1509:8′
1498:8′
1479:A
1445:8′
1434:8′
1426:S
1415:F
1408:1/
1377:2′
1366:2′
1355:4′
1344:4′
1333:8′
1322:8′
1314:A
1311:8′
1211:,
756:′
752:1/
671::
70::
2318:(
2279:)
2196:.
1412:′
1410:2
754:2
417:D
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