Glumslöv
The church in Glumslöv is a small stone church from the middle ages. The entrance is on the south side, leaving the space in the back of the church free from floor to ceiling for the organ. Thus, although the room is relatively little and the ceiling quite low, it was possible to include the Præstant 8’ down to E in the facade of the organ. In addition, there remained plenty of space behind the main case for a larger pedal division and a windsystem with two large wedge bellows.
The design of the case is based on the classical North-German type now known as the “small Hamburg case. The facade pipes are made of 85% tin, hand scraped and burnished. Hammered lead is used for the gedackt and trumpet in the hauptwerk, and in the pedal for all three metal stops. The remaining metal stops are made of 75% hammered lead. The subbas is made of wonderful Swedish fir, and the flutes 8’ and 4’ in the bröstwerk are made of quarter-sawn oak.
The small reed in the bröstwerk is based on a similar stop in Steinkirchen. This stop is basically a regal with double-conical resonators as an old vox humana, but with the larger lead-faced shallots in the bass octave, and the stop has a milder sound than a normal regal. The 4’ flute in the bröstwerk is a characteristic open conical flute in oak. In Glumslöv, it bears the name of the gentleman whose contribution financed the construction of the new instrument – Ernst Ehrneli.
Many details of the keydesk and the organ bench are made of cherry. The keys themselves are covered in cow bone and ebony, the stopknobs are turned in jakaranda, the pedal keys are faced with maple and jakaranda. The carvings on the case are made from lime, which has been treated with red-tinted wax and highlighted with gold.
The windsystem consists of two large wedge bellows mounted high on a frame behind the organ, allowing one to pass behind the instrument. The bellows are inflated by pulling on the ropes which hang to the side of the frame. The wind pressure is 68 mm. The organ is tuned in Kellner’s “Bach” temperament.
Construction of the Glumslöv organ began in May of 2001, and the organ was delivered one year later and installed during the summer and fall.
Disposition
Werk |
Bröstwerk |
Præstant 8’ | Trägedackt 8’ |
Gedackt 8’ | Ehrneliflöjt 4’ |
Octava 4’ | Waldflöjt 2’ |
Spetsflöjt 4’ | Krumphorn 8’ |
Kvinta 3’ | |
Octava 2’ | Tremulant |
Mixtur III | I / P |
Trumpet 8’ | II / P |
Pedal |
|
Subbas 16’ | |
Principal 8’ | |
Fagott 16’ | |
Trumpet 8’ |
The following persons have worked with the new organ:
Peter Alatalo: | Organ casework, wind system, keyboards, carvings |
Christer Andersson: | Metal pipes |
Håkan Lindberg: | Key action |
Karl Nelson: | Design, wood and metal pipes, voicing and tuning |
Johan Sköld: | Windchests, subbas, pedal keyboard, bench |
Johan Gustavsson: | Stop labels |
Susanne Sundström: | Design of carvings |
Tomas Öjersson: | Metal work |
Carmen Deas: | Finish, gilding of carvings |
Mikael Forsberg: | Consult, architect |
Kenneth Hultgren: | Painting of main case |
Magnus Wihlborg: | Finish, gilding of carvings |
Tonal examples
Johan Lorentz
Preludium
Dieterich Buxtehude: Auf meine lieben Gott
Allemande
Double
Sarabande
Courante
Gigue
Dieterich Buxtehude:
Klag-Lied
Christian Heinrich Rinck: Ah,vous dirai – je, Maman
Variation 2
Variation 7
Heinrich Scheidemann
Gott sei gelobet und bebenedeient
Photos