Review “Organistbladet” (in Danish)
Percy Whitlock
4 Extemporizations
1. Fanfare
Johann Sebastian Bach
Partita diverse sopra
”Sei gegrüßet, Jesu gütig”, BWV 768
2. Chorale
3. Variatio I
4. Variatio II
5. Variatio III
6. Variatio IV
7. Variatio V
8. Variatio VI
9. Variatio VII
10. Variatio VIII
11. Variatio IX
12. Variatio X
13. Variatio XI
Jean-Baptiste Robin
14. Regard vers l’Aïr
Marcel Dupré
Symphonie-Passion, Op. 23
15. Le monde dans l’attente du Sauveur
16. Nativité
17. Crucifixion
18. Résurrection
CD 2
Dietrich Buxtehude
1. Magnificat primi toni, BuxWV 203
Searle Wright
2. Lyric Rhapsody
Ludwig van Beethoven
Suite für eine Spieluhr, WoO 33 (arr: André Isoir)
3. Adagio
4. Scherzo
5. Allegro
César Franck
6. Deuxième Choral en si mineur
Johann Sebastian Bach
7. Ciaccona in re minore, BWV 1004 (elaborazione per organo di Ulisse Matthey)
Léon Boëllmann
8. Ronde Française, Op. 37 (arr: Gaston Choisnel)
Louis Vierne
Pièces de Fantaisie
9. Naïades, Op. 55:4
10. Sicilienne, Op. 53:2
11. Toccata, Op. 53:6
Restoration 2012-2020: Restoration Planning 2012-2017 ©
By Kristian Krogsøe
Despite the rough and partly disrespectful treatment of the organ with conflicting aesthetic directions over 90 years, the organ before the restoration was still considered to be one of Scandinavia’s best and most beautiful sounding organs, which says quite a lot about the essential quality of the organ due to the farsighted design and extensive reuse of older pipe material in 1928. However, a visit to the interior of the organ in 2012 presented a completely different picture of the organ’s conditions. The impressive instrument was worn and characterized by various aesthetics. The solid original constructions in oak, pine, and iron had been mixed up with organ-foreign materials such as aluminum, copper, plastic, flexible tubes, and plywood.
The originally service-friendly arrangement with full-length pipes in descending order on the windchests had been replaced with shortened, heavily modified, and relocated stops, which gave a provisional impression. Plans were being made for minor adjustments, but after careful considerations with cathedral organist Kristian Krogsøe and others, it was concluded that the only reasonable thing would be to let the organ undergo a complete overhaul, with great confidence in the fact that the organ from 1928 was a masterpiece that should be brought back to life again. At that time, we were already aware that restoration of this scale would be highly demanding with a complete technical renovation and cleaning/repair of all parts, but most time-consuming would be the fact that almost every single pipe should be enlengthened and revoiced back to the state of 1928. Similarly the console would undergo a complete renovation after many years of wear and tear, and in connection with this, it would be equipped with updated electronics to ensure complete reliability.
The planning process began with a comprehensive survey of the entire complex and altered pipe material from 1730 to 2003, as well as a review of preserved documentation and written sources from various archives. Gradually a clear picture crystallized of what needed to be done, and in close collaboration with Kristian Krogsøe, I worked out a detailed restoration program. An organ committee was set up with the participation of the experienced and skilled organ professors Ulrik Spang-Hanssen and Flemming Dreisig.
Kristian Krogsøe made a significant effort with grant applications, and within a couple of years he succeeded in raising about 18,000,000 DKK from the A. P. Møller and Hustru Chastine McKinney Møllers Foundation for General Purposes, Merchant Herman Salling’s Foundation, Augustinus Foundation, Aage and Johanne Louis-Hansen Foundation, and particularly for the restoration of the organ case, which was carried out by Bevaringscenter Nord, from Johan Otto Wroblewski’s Foundation.
After having invited six international organ builders to offer, Marcussen & Søn (DK) was finally chosen to be the responsible organ builder. Director Claudia Zachariassen was in charge of the planning and participated in negotiations about construction and finances along with workshop manager Hans Ulrick Hansen. Bernd Lorenzen had the technical responsibility, and chief voicer Jens Christensen was responsible for the immense pipework. A tragedy that casts a shadow over the working process was the fact that Jens was diagnosed with cancer in 2018. He continued working until the summer of 2019 when his strength no longer sufficed. He passed away on September 11, 2019, and by that time working with the pipework had understandably been delayed.
The thought of missing Jens’ enthusiasm for the project was difficult, and the positive energy and vast experience he added to all the preparatory work were invaluable. The situation after the death of Jens was sad and somewhat critical, but after constructive discussions, Claudia Zachariassen initiated a collaboration with the Dutch firm Flentrop Orgelbouw and their chief voicer Dick Koomans. Together with Jens’ successors Stefan Paulsen and Daniel S. Christensen (who is also a co-owner and sales director at Marcussen & Søn) he had a highly successful collaboration, where a good working atmosphere and complementary skills resulted in a brilliant tonal outcome. Daniel also completed the organization of the pipework after which he let it restore and reconstruct as historically accurate as possible.
