Henrich Bader-organ Walburgiskerk Zutphen

Hans Henrich Bader originating from Germany, was commissioned in 1639 to extend the old Hans Graurock organ from 1534 with a rückpositiv. The sounds he presented convinced the parish management of his craftsmanship. They extended the order to a complete replacement of the old organ. Bader built an organ with a Hoofdwerk, a Rugwerk and an independent Pedal, what nowadays is still the basis of the organ. The organ remained unchanged during 170 years. Until the beginning of the 19th century the desire arose to have a more powerful organ.

Johannes Wilhelmus Timpe, pupil of Henry Freytag, was commissioned in 1813 to rebuild the organ. He provides the old Hoofdwerk housing of a new lower structure and he placed the wind-chests in the former base housing. Further, he made a case for the Bovenwerk, which could be played with the third keyboard. The keyboards, the tracker action and the wind-chests were created new, as well as the bellows room and the wind channels. The organ got also another place, it was moved from the Maria Portal to the choir of the church.

A significant change of the disposition and a stronger sound craft belong to his assignment, as well as a lowering of the pitch. The new Bovenwerk got imitative registers in the usual style of that time, such as the Carillon, a Travers flute and a contemporarily Vox Humana. Timpe conserved almost all the pipes of Bader and the new registers were calculated in the style of Bader. Despite the adjustments, the organ was not romanticized, register in this style were failed.

N.A. Lohman added in 1824 a wedge bellows and he renewed the Viola di Gamba 8' of the Bovenwerk. , G. Spit moved the organ in 1906 to the Tower wall of the church. On this occasion, all reeds were replaced by serial production of inferior quality. G. Spit was followed up by J.C. Sanders, later by Sebastian Blank.

 1. Quintadeen                  16’
 2. Prestant                       8’
 3. Holpijp                          8’
 4. Octaaf                         4’
 5. Gemshoorn                    4’
 6. Quintfluit                      3'
 7. Octaaf                         2'
 8. Mixtuur                   4-6 st
 9. Fagot                         16'
10.Trompet     bass/discant  8'

 1. Prestant                    8'
 2. Baarpijp                      8'
 3. Roerfluit                      8'  
 4. Fluit-Travers   discant   8’
 5. Octaaf                       4’
 6. Fluit d'Amour               4'
 7. Woudfluit                    2'
 8. Flageolet                    1'
 9. Carillon         discant  3st 
10. Vox Humana               8'
 1. Prestant                 16'
 2. Subbas                    16'
 3. Octaaf                      8'
 4. Gedekt                      8'
 5. Octaaf                      4'
 6. Bazuin                     16'
 7. Trompet                    8'
 8. Trompet                    4'
 1. Quintadeen                   8’
 2. Holpijp                         8'
 3. Prestant                     4'
 4. Fluit                            4'
 5. Quint                          3‘
 6. Octaaf                        2‘
 7. Quintfluit                1 1/2'
 8. Terts                     1 3/5‘
 9. Mixtuur                 4-5 st
10. Kromhoorn

Because of the changes that have been executed by several organ builders, the organ deviated more and more from the originally Bader concept. At the beginning of the 20th century started the "Orgelbewegung", of which Albert Schweitzer was an exponent. The understanding grew that the art of organ building was perished and it was necessary to find back the bases of the classical organ-building from the Baroque period. Sebastian Blank was in 1976 commissioned to make some improvements at the disposition of Hoofdwerk.

With the increasing understanding about the Baroque sound from the period of Bach, the organ builder were better capable to give old organs back their original sound. A thorough restoration of the Bader organ was carried out by Orgelmakerij Reil in Heerde in the period 1993-1996. Hoofdwerk, Rugwerk and Pedaal were brought back as much as possible to the original state of 1643, but the Bovenwerk of Timpe remains preserved. In the current restoration the reeds are again replaced by the Reil on the new, but now by copies of the original Bader reeds. The choice arose from the starting point for the restoration: a reconstruction, which went not further back than the state in 1813. The additions of Timpe were retained, but the voicing was aimed at the vocal character of the seventeenth century. The pitch was an 1/6 comma Meantone and the case was made less deep to encourage the broadcasting. Further, the hard playing organ got a whole new mechanism.

Bader used lead for all the pipes

It is noteworthy that during this restoration was determined that the pipes of Bader were made of lead, so no alloy with tin. For the restoration Reil had to find old lead because the current lead is too pure. Old lead contains chemical impurities, which have a positively affect on the sound and that's why lead from more than 100-year-old water pipes has been collected. The beautiful vocal sounds of Bader organ were received with lead pipes of the old composition. Lead is a heavy, but soft material and to prevent a collapse of the large bass pipes under their own weight, they are mounted half standing/half hanging. In advance the lead plates are hammered to get the necessary strength.

In this period, I visited the Orgelmakerij Reil every week and I have witnessed how the organ came into existence. During the restoration, Reil discovered that eleven principal pipes of Bader were exploited by Timpe as dumb pipes, without changing anything in the pipes. Thus, the restorers could learn much about the original voicing and the pitch of Bader. These pipes are made sounding now.

The beauty of sound of the Principals is striking in all octaves, with a mild articulation and the vocal character of the men's choir where the clear tenors are not missing. The Principal plenary of the Hoofdwerk sounds delicate and wide. The Rugpositief however, is much more direct in tone, it speaks articulated with a penetrating sound. The Flutes and the Quintadenen are very characteristic. The new reeds made in the style of Bader, match beautiful in the sound idiom of Bader. Who ever wants to fly with a Drone through a cathedral, can experience it here and listen at the same time to the shining sounds of the organ.

The Henrich Bader organ is one of the largest organs in the Netherlands from the period of the late Renaissance to early Baroque. Also the later manufactured pipes of Timpe are as good as possible voiced in the same vocal sound idiom.

Reil Choir Organ in the Bovenkerk in Kampen

Henk Stoel, a resident of the city of Kampen, was so impressed by the sonorous but also remarkably clear sound of the lead pipes, that he the Orgelmakerij Reil in the year 1999 instructed to build a choir organ with these pipes and donated the organ to the Bovenkerk in Kampen. The instrument has 29 register: 12 on the Hoofdwerk, 10 on the Bovenwerk and 6 on the Pedaal. The 29 register is a Klaroen-2st. reeds, which is placed on the roof of the Bovenwerk. The Klaroen is to play via the third keyboard, the "récit" (from c1).

A for any organist comprehensible method for the adjustments of the samples is described with text and photos in the book. Free to request with a mention of the complete postal address.
                                                               John Boersma

Sample Set  Bader Organ Zutphen

Jiri Zurek have I asked if it was possible to record the sounds as dry as possible, so that the typical character is not blurred by the huge reverb of the church. He succeeded in it by placing the microphones on a short distance and the details of the sounds are saved perfectly in the (semi) Dry set. They represent the special properties of this lead pipes well, so that all the phenomena of the articulation and building up of the bright tones can be heard, as the organist them hears at the console in the church. Because of the samples are meant to be used at a lower volume in the living room, they must be adapted to reproduce the articulation and the sound at this level adequately.

I learned the making of organ pipes in the organ workshop of Reil in the period that the Bader-organ was restored there. For my own chamber organ I constructed a register of lead pipes. Because I have an absolute pitch I could voice the samples as they sound in my living room like in the church.
I photographed my voicing’s and reproduced them in a book. Every organist can voice the sounds on his own organ with this book, even if he does not have an absolute pitch. In the book I described how the optimal voicing can be found at every Hauptwerk organ in any environment.

Preferably I use Dry samples and I add an exactly dosed reverb from the Lexicon MX 300. Here's stored the reverb of churches in many sizes. The reverb that is stored in the samples reproduce the reverberation of an empty church. That is not real, because an empty church has too much hall. Because of recording the reverb in the church at a larger distance of the pipes, it sounds as if the pipes are far away. The organist at the console in the church hears the pipes on a short distance and then he hears reflections in the acoustics. The Lexicon does that the same way.

Jiri Zurek of Sonus Paradisi has delivered a fantastic performance by saving the bright sounds of this Bader organ similar to the original in the samples.