Philosophy

The border area of the Eifel region, where Germany, Belgium and the Netherlands meet has, enriched by French influences, created a unique organ landscape. This “Organ style of the Rhine-Maasland” marks an organ type with very special characteristics: French-oriented flutes, Cornetts and strong reed voices naturally appear. Likewise the full and round sounding, manufactured according to Brabant role models principals belong to this style. The “singing pronunciation” of the local inhabitants is reflected in the intonation of our instruments. Together with a free-breathing, vowel-oriented wind system, it creates a unique synthesis.

To practice professional and creative organ building means to aquire a great amount of experience. The employees of Weimbs Orgelbau gain this experience first and foremost through numerous restorations of instruments of different eras, styles and systems. From this wealth of experience we draw the ideas for new organ concepts.

The organ dynasty König and its successors, which had been active in the Rhineland in the 18th century, have significantly influenced the style in which Weimbs Orgelbau designes instruments today. It is characterised by stop specifications that have a broad base of 16′-, 8′- and 4′-voices with highly differentiated sound nuances. Even the resounding reed stops in French design have a high priority in our design. – We also like to experiment with the timbres of other organ lstyles, for example from Italy or the tradition of England and America. We are always fascinated by the combination of different types of organs and merge them into new entities of sound.

To philosophise about an organ or about the space in which it will stand is to reflect – to think about a mostly non-existent entity of technology, architecture and sound. It is important to find out the boundaries of the space in which the organ will stand, to perceive its acoustics in its details, the smells and the lighting. These explorations and impressions are prerequisites for comprehensive further planning.

If we work on already existing organs, the task is different, but by no means easier. While there are many constants, it takes a lot of time and contemplation to recognize all those often hidden details that our predecessors devised in a very different context.

If, as in the case of a new church building, not even the space is existant, then it is particularly important to work closely with architects and acousticians. We have always been available as a constructive partner in close cooperation with the planning committees. Thus, Weimbs Orgelbau’s team can point to a lot of positive experiences and successes in this area as well.

Organ building is in a sense contradictory to itself. The organ is a historically evolved instrument developed over centuries. In that regard, organ structures appear today, first of all, in the light of historicism. At the same time we build organs in the age of computers. What is almost unimaginable in the construction of stringed instruments or in the more manageable technique of piano making has become a rule in organ building: it has always been open to the influences of current technology. This may also have contributed to the size of the instrument. At the turn of the century, pneumatics and electrics became important components of the then modern organ. Today, highly specialized electronic systems take this position to control tone and register fracture as well as many special functions.

The right way …

It is therefore important to find new ways within each of these two poles – historical and orientation to the future – as well as to find the right path individually for each organ. This is the “philosophy” of all employees at Weimbs Orgelbau.

For the future we wish to continue our openness of our partners and confidence in high-quality organ construction, because only this brings us to our goal – a technical, architectural and above all excellent result in sound.