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The title alone sounds nonsensical to most of us. But there is now an entire book on the subject, carried out with meticulous care by a German writer, describing herself as “a scholar who is not Jewish”, prompted by her accidental discovery that such people and activities once flourished. More than that, they continue into our present era and will do so in the future, it is hoped. Her research led to a comprehensive work in German, published in 2005. Now we have its English translation, published by the Oxford University Press in 2009:

The Organ and Its Music in German-Jewish Cultureby Tina Frühauf

ISBN 978-0-19-533706-8 (284 pages, hard-back)We regard the organ as a Christian possession, a vital part of the religious service. But

it was only slowly accepted ca. 900—1100 CE, when still a primitive instrument, and even then it was not incorporated into the liturgy. By comparison, instrumental music (whatever its form may have been) was apparently used in prayer by the ancient Hebrews; there is even a possibility that an organ — the magrepha — was used in the Temple in Jerusalem. It was not until the 15th century that Christianity adopted the organ as a devotional instrument, and this was slow to take hold. The Presbyterian Church, for example, did not accept the organ in services until well into the 19th century. There was concern that organ music would be regarded as frivolous, unworthy of the gravity of religion.

Jewish orthodox practice continues to take this attitude. An organ (more probably an harmonium) is often in the choir loft of the synagogue, but it is there expressly to entertain wedding guests, for it has no place in the service. However, Frühauf has found evidence that some synagogues in Prague in the 1590s had tiny organs (portatives), used on Friday evening Sabbath services, if only to accompany the psalms. An occasional house also had such an instrument for religious purposes. There was even a Jewish organ-builder in Prague, Meir Mahler. Some Italian synagogues considered using organs too, but rabbinical opinion generally opposed the idea, if only because the organ was known to be a Christian possession. This opinion remained in other European countries too in succeeding centuries. However, the practice was retained in Prague until 1745, when all Jews were expelled; to be reinstated the next century when the Jews were readmitted, if limited then to Reform synagogues.

This leads to a discussion of the appallingly bitter history Jews have sustained. (Much of the following comes from material in the Encyclopaedia Britannica of 1957.)

Two thousand years ago there was great unrest under the Roman rule of the biblical homeland, leading to the destruction of the second Temple in Jerusalem, in 70 CE, and a universal prohibition of music at services as a sign of mourning. At that time, Jews and Christians lived harmoniously side by side as the latter were also under persecution. The Jews made their last stand under Bar-Kochba in 132—135 against the Romans. The ensuing massacre now terminated Jewish access to Jerusalem and forced their dispersal (Diaspora) from this region. They settled in Northern Africa, Italy and Greece, and ultimately found their way into Spain, France and the Rhineland region of Germany.

Jewish Organistsand

Organs in German Synagogues

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With the Roman adoption of Christianity, ca. 300, Jews came under pressure to convert, for these religions were no longer coexisting peacefully. Freedom for the Jewish minority was generally not granted and public office was out of the question. The Church took a divided attitude: the Jews were ‘Christ-killers’ (a view not officially withdrawn by the Vatican until recent years), yet to be kept as a continuing line, if in public contempt, “as evidence for the truth of Christianity”. During the Moorish occupation of North Africa and Spain late in the 1st millennium came a complete relaxation of such attitudes and unrestricted development of Jewish life: a golden age. This was maintained in the early years of Christian rule in Spain, and also under the Carolingian rule in France (ca. 750—1000) and Germany (ca. 750—900). Two leading names in Jewish life shortly after: Judah Halevi, 1086—1141 and Moses Maimonides, 1135—1204. Most Jews were not learned scholars, of course, but peasant farmers, having difficulty competing with their Christian neighbours. Some found their way more readily in commerce as merchants and money-lenders, the latter subject to allegations of usury.

In the 1st Crusade (1096), a Jewish massacre in the Rhineland drove the remaining community eastwards. Similar catastrophes followed: England in 1290 and France in 1306. The excuse offered was that Jews had poisoned the wells or in some other way caused the Black Death, etc. Such outbursts were smaller then in Germany — sporadic, local. The Jews were encouraged to settle in Poland by ‘Casimir the Great’, 1333—70. Spanish massacres occurred in 1391 and 1411. Many Jews sought escape in an outward show of baptism but still continued to practise Judaism in secret; such people were labelled Marranos (Spanish word for pigs, as they were then supposedly pig-eaters?). They flouted danger by transmitting Jewish tradition to their children, who in later generations founded colonies in Turkey, then prepared to accept these settlers. The Church became aware of the Marranos and opened the Inquisition in 1478, seeking to stamp out this practice, if with astonishing barbarity. Finding even that inadequate, the Jews were expelled from Spain in 1492, Portugal in 1496, and Italian regions under Spanish rule in 1597. By then, all western Europe was closed to Jewish settlement except for small regions in Italy and Germany.

Most Jews were now in eastern Europe: Poland, Russia and Roumania, living in ghettos. The term arose in Venice, where it was the name for the Jewish quarter. It was soon applied to all such places in Italy; in Germany Judengasse [Jews’ alley] and in France Carrière des Juifs [Jews’ course]. The 3rd Lateran Council in 1179 forbade Christians “lodging amongst infidels” but did not enforce this until 1555, during the counter-Reformation. The ghetto was a separate region, even walled, with street gates permitting entrance; these were locked at night and also during some church festivals, e.g., Maundy Thursday to the following Saturday. Such times were greatly feared, as enraged mobs (allegedly inspired by their priests’ sermons) regularly made an attack on the ‘Christ-killers’ each Good Friday. Jewish leaders maintained order within the ghetto and were obliged to collect the excessive taxes imposed by the State. A special badge (yellow) and/or hat had to be worn when outside the ghetto during daylight hours as general identification, yellow being regarded as degrading, for it was associated with prostitutes. The size of the ghetto was fixed, permitting no expansion of land area. Additional storeys were necessary, whenever the population increased; sunlight became scarce in the narrow, winding streets. Crowding was extreme, facilitating the spread of infectious disease.

The greatest concentration of ghettos was in Russia by accident, due to the partition of Poland in 1772—95: over that period, Russia ‘inherited’ all the Jews formerly in Poland. The Jews came to be massed in what amounted to one enormous ghetto, the Pale of Settlement (1791), well to the east. There, the Russian leaders sometimes treated them with kindness but more often brutally. Under tsar Alexander II (1855—81), for example, craftsmen and intellectuals could shift into Russia proper, 1855—65. However, pogroms (Russian word for destruction) were more usual, particularly in the 1870s and 1880s, forcing many Jews to flee to English-speaking countries. The Romanoffs (from Alexander III, 1881—94) far worsened the situation by re-introducing the mediaeval scapegoat policy, later to be used so much by the

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Nazis. The downtrodden Russian peasant was given the idea that their circumstance was of Jewish origin. Several Jewish massacres were prompted and financed by the Russian State in this way. The Russian defeat by Japan in 1904—05 provided another excuse for pogroms.

The modern era for Jews commenced with Moses Mendelssohn (1729—86), grandfather of Felix Mendelssohn-Bartholdy (1809—47), the musician. He was a religious Jew, who translated the first five books of the bible into modern German and tried to restore old traditions in Judaism. He also led the move for emancipation, encouraging his fellow-Jews to facilitate their assimilation into contemporary German life by studying secular subjects, and by making themselves more acceptable to their Christian neighbours. To begin, they must be fluent in the local language, apart from the Yiddish of the ghetto: mediaeval German with a few Hebrew words is an oversimplified description of this language but a reasonable starting point; it arose early in the second millennium. Jews in Germany and other parts of Europe struggled with the concept of emancipation at a time when anti-Semitism was still rife. Some went further in choosing the ‘full’ assimilation of conversion instead, either for themselves or their children: e.g., Heinrich Heine, Karl Marx, Benjamin Disraeli, Felix and Fanny Mendelssohn-Bartholdy, Gustav Mahler, Wanda Landowska, Arnold Schönberg, Arthur Schüller, etc.

The concept of emancipation (applied in this case as the Jewish Enlightenment or Haskalah) was laid down in the American Constitution and Bill of Rights (1789—91), and taken up by the leaders of the French Revolution. They had no love for their Jews but preached freedom for all: Jews would be tolerated if they created wealth and became ‘useful’ citizens. Napoleon accepted these premises and imposed Jewish equality in most lands he conquered. He expected Jews to assimilate with all speed but community attitudes were slow to change and many Jews remained wary after centuries of ghetto life. Equality was decreed by law in:

Prussia — 1811 (the rest of Germany in 1871, on unification and the foundation of the Empire),

Belgium — 1830,Denmark — 1849,Norway — 1851 (but no public post allowed until 1891),Austria-Hungary — 1867,Italy — 1870, yet still opposed by the Vatican, for the Inquisition had not officially

been terminated,Spain — ‘tolerance’ by 1876 and equal rights by the middle of the 20th century, if

without a formal declaration of emancipation,Eastern European countries — 1919, under pressure from the Treaty of Versailles, but

this was carried out with great reluctance, generally to a minimal extent.England attempted the “naturalization and emancipation of foreign-born English Jews,

many of whom were cultured and wealthy” in 1753. But public opinion rejected the concept and the ‘Jew Bill’ was repealed later that year. In 1830, with Catholic emancipation, Jewish equality was retested but not achieved until 1855. Baron Lionel de Rothschild was admitted to the House of Commons in 1858, university posts became available to all in 1871, and Lord Nathaniel de Rothschild entered the House of Lords in 1890.

In late 18th century Germany, as part of emancipation and an encouragement to stop more Jews from converting, the Reform Jewish Movement evolved. It took different forms, as the proponents disagreed about details: Liberal, Conservative, etc. Religious services were to be shortened and simplified; the vernacular (German in this case, corresponding languages in other countries) to replace much Hebrew and to be used for the sermon; contemporary music to be permitted. Probably the earliest proponent was the German banker Israel Jacobson, who started by building a school for the children of poor families in Seesen (Westphalia, Rhineland) in 1801. This followed from Mendelssohn’s general education requirement. Going against public resistance, presumably from the local Christians, Jacobson planned

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a synagogue on the school grounds and completed this is 1810. It was under the Reform movement and named the Jacobstempel. For the first time in Germany, the synagogue contained a pipe organ when consecrated in July 1810. Furthermore, the school’s own Jewish organist presided, Gerson Rosenstein (1790—1851); he directed the synagogue music from 1810 to 1847.

Jacobson shifted to Berlin in 1813 when political changes in Westphalia blocked his efforts. From 1815 he began holding Reform services in his home with some sort of organ. These became so popular, so over-crowded that he needed to find larger premises: the house of Jacob Beer (father of the composer Giacomo Meyerbeer, 1791—1864 [born Jacob Liebmann Beer]) was provided and the organ from Seesen brought across — no comment is made what sort of replacement organ the folk in Seesen received. Meanwhile, the orthodox members of Berlin Jewry complained to the Emperor; as the government was apprehensive of religious insecurity, the private services were banned at the end of 1815 (i.e., they were very short-lived). By 1818 the ‘problem’ had been solved by opening the First Temple on Brunnenstraße; also inaugurated were the sermon in German, choral singing and organ-music from a loft, the first such combination for public attendance in Germany, the Jacobstempel being expressly for a school. The rabbi, from Hamburg, was a member of the ‘New Israelite Temple Association of Hamburg’. The Brunnenstraße organ was donated by the Hamburg banker Salomon Heine (uncle of Heinrich Heine, the poet). They had their own organist, Herr Bethuel, for ten years; nothing is known about him. These alterations from orthodoxy gave rise to vigorous debate amongst German Jews. No other congregation followed the lead. There was however a Berlin synagogue on Heidereutergasse which planned an organ and meanwhile used violins, or singers (meshorerim) representing orchestral instruments. That congregation increased so much that they moved into their ‘New Synagogue’ on Oranienburger Straße in 1866 (see below).

Meanwhile, a rabbinical conference in 1845 decided that although the organ is ‘foreign’ to the Jewish liturgy it may be used if it encourages religious devotion. However, all care must be taken to avoid “heathenish aspects” in performance (whatever they might be). The rabbis did at least decide unanimously to allow organ-music in worship on weekdays, Sabbath and Holy Days, for organ-playing was now exempted from ‘work’ (otherwise forbidden on Sabbath and Holy Days). In those times of hand-blown organs, the situation of the blower would have made this impossible for Jews and presumably a ‘gentile’ had to be employed. Other congregations were still wary and orthodoxy ignored such corruption, as now. Jewish organists were probably always in short supply and Christian organists were used. Furthermore, any Jewish organist for some decades had to be taught by a Christian. This usually took place at church-music academies or at conservatoria with church-music departments. Whenever any organ was being purchased by a synagogue, advice was sought from a Christian organist, who could comment competently on the specification of the instrument, the proposed maker and the building but probably had little idea of Jewish liturgical needs. For example, when the first Reform Synagogue in Munich, on the Westernriederstraße, received its organ in 1876, built by März & Son, three experts were appointed, including the celebrated organ-composer (and Catholic) J.G. Rheinberger.

Ultimately, Jewish organ-music came to be written for services and a Jewish literature evolved. However, this took about a hundred years, from 1830 or thereabouts. Once that point had been reached, the Nazi regime forbade publication or distribution of already printed material; the composers either perished in the Holocaust or escaped to countries such as the USA. In the latter case, their activity prospered, but this post-war era is now history and there seems to be little or no succession in the English world. It is estimated that only 15% of reform synagogues seek music for the liturgy nowadays. Of those, a similar fraction have a Jewish organist. Moreover, the organ will be electronic in about 80% of reform synagogues nowadays.

A striking exception occurs in the Temple Emanu-El, New York City, a spacious (but

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acoustically dead) building seating 2,500 with 90 ft. ceiling. Casavant Frères installed a large organ in 1929 behind grilles (opened by Dupré), which was greatly modified over the decades as taste changed; a new organ has been completed in recent years by Sebastian Glück of New York, reusing 65 ranks from the original Casavant organ and “almost all” the windchests. It remains a grandly romantic instrument, the largest synagogue organ, befitting the largest synagogue in the world, with 73-note ranks on the manuals (other than the Great) for the use of super-octave couplers; not that there is any lack of upper-work! The manuals are completely devoid of extension, but that plus borrowing are used on the Pedal. A full description appears in The American Organist, July 2003, pp. 34—36; the stoplist is reproduced here as an appendix, p. 23.

On the other hand, organ music is developing in modern Israel. Many churches have organs, some are in universities and concert halls, and Gideon Shamir is an Israeli organ-builder. Israeli composers are writing organ music! (See below.)

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To return to 19th century Germany, here is an example of a small Reform Synagogue organ in the Johannisstraße, Berlin; built by Carl August Buchholz, 1854:

German Jewish wealth proliferated in the 19th century, when assimilation was so great that German Jews regarded themselves primarily as Germans who happened to be of Jewish descent, still following their religion, not a separate race. This allowed some very large synagogues to be built and furnished with the latest organs made by the leading builders of the time. Their stop-lists read like any church-organ of the period. The buildings imitated Moorish, Egyptian, Gothic or neo-Romanesque styles, the more Mediterranean ones in remembrance of the golden era; some of them apparently had cathedral acoustics to match the appearance. Typically, a gallery over the Ark accommodated the organ and choristers, providing perfect placement. These buildings also functioned as concert halls from the start of the 20th century, especially during the Nazi period from 1933, when Jews were forbidden to attend concerts, or any other public activity for that matter. Organ music generally commenced such synagogue concerts, and occasionally organ recitals took place there. Frühauf provides examples from 1927 to 1941 (pp. 149—153), taken from contemporary reports, not exclusively in the Jewish press; a small sample:—Breslau Synagogue, 11th Sep. 1933: Prelude and Fugue in a, (presumably BWV 543) — Bach. Organist: Erich Schäffer. At the same venue, using the same organist (reported on 30th Nov., 1933): 2nd Sonata — Mendelssohn; Concerto in F for Organ and Orchestra — Handel. Westend Synagogue, Frankfurt am Main (reported on 21st Dec., 1933): Toccata and Fugue in d (presumably BWV 565) — Bach. Organist: Siegfried Würzburger.Great Synagogue, Wiesbaden (reported in April 1934): Passacaglia and Fugue — S. Würzburger (world premiere); Prelude — Max Wolff. Organist: Erich Wolff.Dresden Synagogue, (reported on 6th Feb., 1936): ‘Jewish Preludes’ by Hugo Leichtentritt & Arno Nadel. Organist: Hermann Schwarz.Friedenstempel, Berlin, March 1936: Prelude on Hebrew Motifs — A. Nadel (world premiere). Organist: Hermann Schwarz.

Manual 1Bourdon 16’Principal 8’Gamba 8’Rohrflöte 8’Octav 4’Gemshorn 4’Quinte 22/3’Octav 2’Mixtur IVTrompete 8’

Manual IIGedeckt 8’Salicional 8’Flûte 4’

PedalViolon 16’Subbaß 16’Violon 8’Cello 8’

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Reform Congregation (Friedenstempel?), Berlin (2 concerts, reported in Feb. and March, 1936): Various works (not listed) by Max Reger. Organist: Ludwig Altmann.Fasanenstraße Synagogue, Berlin, April 1936: Various works (not listed) by Guilmant and Altmann. Organist: Ludwig Altmann.Friedenstempel, Berlin, Jan. 1937: Chaconne — Buxtehude. Organist: Hermann Schwarz.Great Synagogue, Frankfurt am Main, 28th Nov., 1937: Variations on “Moaus zur” —S. Würzburger. Organist: Martha Sommer.Reform Congregation, Berlin, April 1938: Suite gothique — Boëllmann. Organist: Richard Altmann.

Several of these concerts were for charities. It is amazing to find that two are listed in Sep. 1940 and 1941, both in the Lützowstraße Synagogue in Berlin, long after the havoc of Kristallnacht (see below); it must have been one of the few survivors of that terrible night. The music was by Frescobaldi and Mendelssohn, played by Erwin Rosenthal and Horst Faerber on the two concerts respectively.

The design of synagogue organ reflected altered taste over several decades: German Romantic; then the Alsatian reform movement of Schweitzer, attempting to unify French and German styles; finally the Orgelbewegung neo-classical manner. Key action tubular-pneumatic to electro-pneumatic; rarely mechanical action. Material below will give a glimpse into the remarkable development over this time.

With the infamous Kristallnacht (“Night of Broken Glass”) on 9th—10th November 1938, this all came to its end. Rampaging mobs, aided and abetted by law-enforcement officers, destroyed synagogues en masse throughout German-speaking lands, sparing very few. Those buildings which did escape were subsequently annihilated in the Allied bombing raids of the 1940s. (An occasional organ had already been sold to a church, e.g., the 1865 organ by Ibach & Sons at the Aachen Synagogue was sold to the Catholic Church in Fleckenberg, Sauerland in 1906; it has been restored by Breil [1955—58] and now stands in the Trennstätt church in Lippstadt.) Jewish organists, aware of their predicament from 1933, had in most cases already fled and resettled in countries where sanity still prevailed.

A few reform synagogues in Germany installed organs in the 1840s and 1850s; other European countries, England and the Ukraine followed suit. Statistics were compiled in 1906 by Jakob Thon to give an idea of the organ ‘explosion’ by then in the numerous Reform German Synagogues. Critical is the congregation’s size:—Under 100 members: almost no organs (few with an harmonium); 762 congregations!,100—300 members: 10% had an organ, 3% an harmonium (number of congregations not stated),300—500 members: 30% had an organ (77 congregations),500—1,000 members: 50% had an organ (number of congregations not given), over 1,000 members: 75% had an organ (51 congregations) — only 1 harmonium.

These are striking figures! The final squabble over an organ occurred in Cologne (1902—06), between a coalition of Zionists and Orthodoxy versus the Reform group, the former still referring to the organ as “a sign of assimilation and imitation of Christian worship”. Under argument, whether to install an organ in the Roonstraße Synagogue. Ultimately the congregation was divided: Reform members took over the Roonstraße Synagogue and the Orthodox members departed. That was the last debate in Germany. With still increasing wealth amongst German Jews, the synagogue organs already in place were commonly replaced by larger, ‘better’ instruments.

Concerning the Oranienburger Straße Synagogue (above), debates over an organ began in 1861; a 30-member committee was formed, which included four rabbis, Julius Stern (Director of Music) and Louis Lewandowski (1821/23—94, cantor = chazzan). Approval was

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given. Lewandowski, in 1862, made his appeal based on the superiority of the organ in leading a large body of singers “in the immeasurably vast space of the new synagogue”, in spite of “the peculiarities of the ancient Jewish style of singing”. The Board approved in 1863 by a comfortable majority and the organ was inaugurated at the consecration of the Synagogue in 1866. Frühauf does not, regrettably, provide that specification but shows instead the immense replacement organ by E.F. Walcker in 1910 (see below). Lewandowski became Choirmaster and Director of Music; he may be considered the founder of Reform Synagogue Music. He went on to compose much liturgical music with organ accompaniment but little solo organ music (also much secular music). A Christian organist was employed, Hugo Schwantzer (1829—86). Much later came another Christian, Arthur Zepke (1892—1973), who played from ca. 1925 to 1935. He left then as Nazi law forbade Jews employing Christians. The Jewish organist Ludwig Altmann (1910—90) took over in 1936 but emigrated to the USA promptly. He was succeeded by Paul Lichtenstern (1903—91), pupil of Zepke, the last organist at this notable instrument (see below for more data on these musicians).

Oranienburger Straße Synagogue, Berlin. E.F. Walcker, 1910:—Manual IPrinzipal 16’Bourdon 16’Prinzipal 8’Synthematophon 8’Viola di gamba 8’Doppelflöte 8’Gemshorn 8’Bourdon 8’Flauto dolce 8’Quinte 51/3’Oktave 4’Gemshorn 4’Rohrflöte 4’Quinte 22/3’Oktave 2’Mixtur IV—VI 22/3’Cymbel IV 11/3’Kornett III—V 8’Trompete 16’Trompete 8’Clairon 4’

Manual IILieblich gedeckt 16’Geigenprinzipal 8’Fugara 8’Salicional 8’Konzertflöte 8’Lieblich gedeckt 8’Aeoline 8’Voix céleste 8’Prinzipal 4’Flauto dolce 4’Fugara 4’

Flautino 4’Mixtur IV 22/3’Trompete 8’Clarinette 8’

Manual IIIBourdon 16’Hornprinzipal 8’Viola di gamba 8’Violoncello 8’Quintatön 8’Flûte harmonique 8’Rohrflöte 8’Dulciana 8’Geigenprinzipal 4’Viola d’amour 4’Flute octave 4’Piccolo 2’Sesquialtera 22/3’ & 13/5’Scharf V 2’Groß Kornett III—V 8’Bombarde 16’Trompette harmonique 8’Orchester Oboe 8’Clairon harmonique 4’

Manual IV (Echo)Quintatön 16’Prinzipal 8’Echo Gamba 8’Hohlflöte 8’Bourdon doux 8’Voix céleste 8’Nachthorn 8’Prinzipal 4’

Spitzflöte 4’Quinte 22/3’Oktave 2’Mixtur V 22/3’Trompete 8’Vox humana 8’GlockenspielTremolo

PedalPrinzipalbaß 32’Prinzipalbaß 16’Kontrabaß 16’Subbaß 16’Harmonikabaß 16’Quintbaß 102/3’Oktavbaß 8’Terzbaß 62/5’Oktavbaß 4’Flötenbaß 4’Kornettbaß III 8’Posaune 32’Posaune 16’Trompete 8’Clairon 4’

Echo PedalGedecktbaß 16’Gambabaß 16’Flötenbaß 8’Cello 8’Sanftbaß 8’Basson 16’

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Here is a much smaller stoplist, but still a complete one, for the Reform Synagogue at Frankfurt am Main, built by E.F. Walcker in 1859. Unusual for that maker, Barker lever was employed (Walcker generally reserved this for very large organs):—

Strasbourg’s Consistorial Synagogue possessed an excellent acoustic, according to the organist (from 1914 to 1939), Emile Rupp. Its very large, ultra-romantic 2-manual organ of 1898 was also by Walcker, with 54 note manuals (to F) but only a 25-note pedal-board (to D):—

Manual IBourdon 16’Prinzipal 8’Viola di gamba 8’Kopula 8’Flauto 8’Salizional 8’Quinte 51/3’Oktave 4’Kleingedeckt 4’Traversflöte 4’Quinte 22/3’Mixtur V 2’Scharff III 1’Trompete 8’

Manual IIPrinzipal 8’Gedeckt 8’Dolce 8’Rohrflöte 4’

Fugara 4’Nassard 22/3’Flautino 2’Kornett IV 8’Fagott 8’Klarinette 8’

Manual IIIGedeckt 8’Aeoline 8’Physharmonika 8’Flöte 4’

PedalPrinzipalbaß 16’Subbaß 16’Violonbaß 16’Oktavbaß 8’Violoncello 8’Posaunenbaß 16’Fagott 8’

Manual IPrincipal 16’Bourdon 16’Principal 8’Viola di gamba 8’Gemshorn 8’Gedeckt 8’Doppelflöte 8’Bifra 8’Stentorflöte 8’Dolce 8’Prästant 4’Rohrflöte 4’Mixtur (no. of ranks?) 22/3’Piccolo 2’Trompete 8’Clairon 4’

Manual IILieblich Gedeckt 16’Geigenprincipal 8’Quintatön 8’

Konzertflöte 8’Stentorgamba 8’Salicional 8’Aeoline 8’Vox coelestis 8’Flauto dolce 4’Fugara 4’Doublette 2’Kornett (no. of ranks?) 8’Klarinette 8’

PedalPrincipalbaß 16’Violonbaß 16’Subbaß 16’Bourdon doux 16’Quintbaß 102/3’Octavbaß 8’Violon 8’Octav 4’Posaunenbaß 16’

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We are not given any information about how its design arose. Rupp wrote of it: “In spite of the temple’s outstanding acoustics . . and the first-class quality of the material and work . . one could only describe the practical value of this instrument for the Israelite ritual, which places such elevated requirements on the music, as a very relative success . .” He was unhappy about the excessive 8’ registers and their style, the sparse mutations and insufficient mixtures. (The Bifra was a second double-flute on the 1st manual, with mouth heights a little different from each other to give an undulating effect; the Stentor flues were under high pressure; etc.) He also found the lack of stop-changing devices onerous in handling the modern Jewish German choral works of the service, with their frequent and wide-ranging dynamic changes “which have to be taken at lightning speed”. Money was found and the organ rebuilt according to the French neoclassical style by E.A. Roethinger of Strasbourg. Many registration aids were incorporated.

Strasbourg Consistorial Synagogue: rebuilt organ by E.A. Roethinger, 1923—25:—

Grand-Orgue (I)Montre-Violon 16’Bourdon 16’Montre 8’Bourdon 8’Flûte harmonique 8’Violoncelle 8’Prestant 4’Flûte à cheminée 4’Nazard 22/3’Doublette 2’Tierce 13/5’Grand-Cornet III—VPlein-Jeu IVTrompette 8’Clairon 4’

Positif expressif (II)Bourdon à cheminée 16’Cor de chamois 8’Flûte à cheminée 8’Quintaton 8’Salicional 8’Unda maris 8’Fugara 4’Flûte pastorale 4’Cor de daim 4’Quinte pastorale 22/3’Flageolet 2’Tierce conique 13/5’Larigot 11/7’Piccolo 1’Clarinette 8’Basson 8’Trémolo

Récit expressif (III)Quintaton 16’Diapason 8’Cor de nuit 8’Flûte traversière 8’Viole de gambe 8’Harpe éolienne 8’Voix céleste 8’Prestant de viole 4’Flûte octaviante 4’Viole d’amour 4’Quinte conique 22/3’Octavin 2’Tierce 13/5’Septième 11/7’Plein-Jeu IVBasson 16’Trompette harmonique 8’Basson-Hautbois 8’Voix humaine 8’Clairon harmonique 4’Trémolo

PédaleBasse acoustique 32’Grosse-Flûte 16’Basse de viole 16’Soubasse 16’Bourdon-Basse 16’Grosse-Quinte 102/3’Flûte 8’Violoncelle 8’ Bourdon 8’Flûte 4’Bombarde 16’

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One of the most modern organs to be considered here was greatly influenced by the Orgelbewegung (if clearly no neo-baroque instrument!). Built by G.F. Steinmeyer of Oettingen as their Op. 1525, it was installed in the new Prinzregentenstraße Synagogue, Berlin, in 1930. Advice was given by a Prof. Wolfgang Reimann. One does not doubt his eminence but his knowledge of synagogue requirements was apparently not questioned and he specified an instrument considered “the best” then available. A competition was arranged well ahead of time, in 1928, to select the official organist and 40 applicants appeared for their first audition! This was reduced to 15 for the second round, when 3 finalists were chosen. For the last trial, these three were to play Bach’s ever-popular Toccata and Fugue in d, a piece of their own choice, an improvisation on a given theme, and then accompany a solo melody by the Cantor for which there could be no preparation. The position was awarded to Erwin Jospe, “though owing to my youth — I was only 21 — grave reservations had been expressed”. He had been trained by a Prof. Heitmann, organist at the Kaiser Wilhelm Memorial Church and at the Academy for Church and School Music, Berlin. Jospe held the position until 1934. For some time near the end of this period, Werner Baer (see below) was an assistant organist, then from 1934 to 1938 the principal organist. Both players found that fundamental sounds and expressive stops were the mainstays of their synagogue work, and that whenever the mutations and mixtures were employed the congregants generally complained! The organ had solo purposes also at the service, and the synagogue was used for concerts, so that its many choruses were surely used on those occasions!

Prinzregentenstraße Synagogue, Berlin, built by G.F. Steinmeyer, 1930:—

Manual IGroßprincipal 16’Principal major 8’Violoncello 8’Gemshorn 8’Harmonieflöte 8’Gedeckt 8’Oktave 4’Rohrflöte 4’Quinte 22/3’Superoktave 2’Cornett III—V 8’Mixtur IV 2’Cymbel IV 1’Trompete 16’Tuba 8’Clairon 4’

Manual IIBourdon 16’Principal 8’Gamba 8’Gamba celeste 8’Dulciana 8’Konzertflöte 8’Nachthorn 8’Kleinprincipal 4’Blockflöte 4’

Salicet 4’Rohrquinte 22/3’Schwiegel 2’Terz 13/5’Sifflöte 1’Großmixtur IV—V 22/3’Scharf III—IV 11/3’Basson 16’Trompete 8’Euphone 4’

Manual IIIStillgedeckt 16’Hornprincipal 8’Spitzflöte 8’Quintatön 8’Salicional 8’Unda maris 8’Praestant 4’Flauto amabile 4’Koppelflöte 4’Flautino 2’Larigot 2’Echomixtur III—IV 22/3’Oboe 8’

[separately enclosed:Zartgedeckt 8’Vox humana 8’]

PedalMajorbaß 16’Kontrabaß 16’Harmonikabaß 16’Subbaß 16’Großnassat 102/3’Principal 8’Gedecktbaß 8’Violon 8’Choralbaß 4’Waldflöte 2’Rauschpfeife IV 22/3’Kontrabombarde 32’Posaune 16’Baßtuba 8’Trompete 4’

[by transmission:Echobaß 16’Flötenbaß 8’Fagottbaß 16’]

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One sees in such a remarkable specification the attempt to increase the range of music effectively playable on a single instrument. That Steinmeyer and G. Donald Harrison were on friendly terms comes as no surprise. Electro-pneumatic action, with registration aids according to that period.

Notes on some of the organists:—Hugo Schwantzer, 1829—86: Christian — organist and organ-teacher in Berlin, who founded his own conservatorium. As an organ-composer, Frühauf has found only the Prelude, Op. 19 and Nine Preludes, Op. 21; neither show any link to the Jewish liturgy. He was organist at the Berlin Reform Congregation on the Heidereutergasse from 1852 (see above). They expanded so much that the ‘New Synagogue’ on the Oranienburger Straße was needed; conceived in 1861, this venue was consecrated in July 1866 with Schwantzer the official organist. For the consecration he wrote and played his Op. 19. Schwantzer was presumably important in his teaching role at the synagogue.Louis Lewandowski, 1821 (or 1823)—1894, Cantor at the Heidereutergasse Synagogue, then Choirmaster and Director of Music at the New Synagogue, Berlin. Lewandowski wrote much liturgical music; he is regarded as the founder of Reform Synagogue Music, adapting the style of Mendelssohn to traditional synagogue music. His few solo organ works are late compositions:Toda W’simrah, part 2 (1883) a large collection of 4-part choral works with cantor and organ ad lib., containing 29 short organ pieces, anything from 4 to 43 bars, to be played in groups as desired during silent prayers.

Five Festival Preludes, founded on Synagogue melodies, Op. 37 (Bote & Bock, 1889)Sacred Moments — Consolations: Nine Short Pieces for Harmonium, Organ or Piano,

Op. 44 (Carl Simon, ca. 1892). [Suitable for the bereaved, sitting shivah in the 7 days of mourning at home.]

Five Pieces for Harmonium, Op. 46 (Carl Simon)Five Preludes on Synagogue Melodies for Harmonium, Organ or Piano, Op. posth. 47

(Carl Simon, 1895).Moritz Deutsch, 1818—92, Cantor in Breslau, Silesia (Wroclaw in Poland after 1945):

Twelve Preludes for Organ or Piano on Ancient Synagogue Chants, for religious service or domestic use (1864; published by Hainauer, Breslau in 1880)

Siegfried Würzburger, born in Frankfurt am Main ca. 1880—90. Almost blind from birth, he studied music at the Higher Conservatorium in Frankfurt. This included organ lessons from Carl Breidenstein (of the Conservatorium) who was also choirmaster at Frankfurt’s ‘Great Synagogue’. He married a professional pianist (Gertrud Würzburger); together they founded a private conservatorium ca. 1907. From the 1910 decade, Siegfried was organist at the Westend Synagogue in Frankfurt where he frequently improvised on themes from the Jewish liturgy. At least two written works survive:

Passacaglia on Moauszur; Passacaglia & Fugue on Kol Nidrei (both ca. 1933).Frühauf discusses the latter in detail (pp. 166—168): Introduction of theme — 5 variations (each with cadence, ad lib.) — Interlude — Double Fugue in 4 voices. She summarises it as “a total assimilation [of synagogue chant] into Western art music”, using the model of Rheinberger. He “did not create a substantial and unique repertoire for organ” but taught a great deal. She mentions specially three pupils who deputised as organist at the Westend Synagogue:Martha Sommer (b. 1918), who left Germany in 1939, went to Holland and later England, finally settling in the USA. She was organist, for 44 years, for the congregation Habonim in New York City.Walter Würzburger, 1914—95, son of Siegfried and Gertrud. He shifted to France in 1933 and to Australia in 1940, where he continued his studies in composition (but the region is not

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mentioned), finally settling in England. At that stage he no longer held an organist’s post but he composed a Fugue (1943) and a Prelude & Fugue (1991), both for organ.Herbert Fromm, 1905—95, the most distinguished of this group. His training at the State Academy of Music in Munich was comprehensive, equipping him as pianist, organist, conductor and composer. Initially he became a conductor at the municipal theatres of Bielefeld and Würzburg, and had no synagogue activity. It was only when he was thrown out of these posts in 1933 that he turned to the organ, working also in a Jewish Cultural Organisation in Frankfurt as accompanist, conductor, etc. He became an assistant organist to Würzburger at Westend, 1934—36, deriving further organ training, whilst the teacher at the same time admired his gifts for improvisation and composition. Fromm was also chief organist at Wiesbaden’s Great Synagogue in 1935. Over these years he wrote:

Passacaglia & Triple Fugue (1935)Eight Short Chorale-Preludes on Lutheran melodies (1936) — arguably study-works.

Recognising his dire circumstances in Germany, he gave a farewell concert on 9th Jan. 1937, playing works by Bach (not specified by Frühauf) plus the compositions above, then departed for the USA. He had already given a New York concert in the summer of 1936 and returned to Germany for no apparent reason, surely aware of the worsening Jewish situation. It was a letter from Buffalo, also in January 1937, offering him the post of organist at Temple Beth Zion, to begin on 1st July that year, which decided the issue. Having started this work, he was offered (and accepted) the position of organist and choirmaster at the First Presbyterian Church in East Aurora (very close to Buffalo)! He was quickly recognised as exceptionally talented, giving well-received pubic concerts and radio broadcasts apart from his religious work. News of his early success reached Germany where he was declared the “Innovator of Synagogue Music” (Oskar Guttmann, May 1938). With this encouragement and freedom from Nazi oppression, Fromm’s work flourished. He also attended counterpoint lessons at the University of Buffalo (ca. 1939) and from 1940—41 was a pupil of Paul Hindemith at the Berkshire Music Center in Tanglewood, Massachusetts. Over this time he became Organist and Director of Music at Temple Israel, Boston (founded 1854!), remaining there for over 30 years. [This is not the earliest Reform Congregation in the USA with an organ; that distinction goes, surprisingly, to a synagogue in Charleston, South Carolina in 1841]. Fromm recommended Nathan Ehrenreich (formerly choirmaster at a Frankfurt synagogue) as his successor at Temple Beth Zion in Buffalo. Fromm’s style of writing was greatly influenced by Hindemith and the music poured forth, providing much liturgical material; and for the organ:—

Suite [6 pieces on Hebraïc themes] (1959)Prelude on High Holiday Motifs (1965)Three Partitas: on Baruch Haba & Veni Emmanuel (1962);

and on ‘Let all mortal flesh’ (1969)In Memoriam (1963)Silent Devotion (1963)Sonata [‘Days of Awe’] (1966)Ten Studies (1983)Prelude & Postlude [in ‘The Boston Organ Book’, 1990]

Leon Kornitzer, 1875—1947, chief cantor at the Hamburg Reform Temple from 1913.Prelude to W’hagen haadenu (Lewandowski’s style)Interlude, from K’wakkorass, as transition to B’rosch haschanah

(evoking Salomon Sulzer, an earlier cantor in Vienna)Emanuel Kirschner, chief cantor at the Westernriederstraße Synagogue, Munich from 1881. Initially uncertain about adopting the organ into the liturgy, he finally became enthusiastic and wrote some organ preludes.Joseph Ziegler (b. 1880 in Austria), who worked in Munich as conductor:

Fantasia in g on Kol Nidrei — and other liturgical organ pieces.

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Heinrich Schalit, who trained in music in Vienna, had his initial success as a secular composer. He moved to Munich in 1907 and in 1910 studied the organ at the Royal Bavarian Music Academy. During the European turbulence between 1916 and 1920, motivated by the Zionist movement, he felt the ‘call’ to write Jewish music. In 1971 he wrote in a letter: “Between 1928 and 1932, when there was no composer of Jewish birth who could have even thought of writing music with a consciously Jewish heartbeat, I was already a well-known composer of Jewish religious music . . .” One example, his ‘Eastern Jewish Folk-songs’, Opp. 18 and 19.

In 1927 he became organist at the Great Synagogue, Munich and now turned to liturgical Jewish music with a passion, writing that the music of Lewandowski and Sulzer “gave Jewish music a Romantic and operatic sound rather than a spiritual one”. He sought to merge traditional elements with the German choral style of the 19th century. In 1931 (over 6 weeks) he composed his Freitagabend-Liturgie [‘Friday-Evening Liturgy’], Op. 29, for Cantor, Chorus and Organ. Given the political climate then, no publisher could accept it and so Schalit himself published it (in 1933). It received its premiere in September 1932 in the Lützowstraße Synagogue, Berlin, where the music-director (Alexander Weinbaum) had “severely criticised the state of synagogue music” in 1931, encouraging Schalit to write the work. Oskar Guttmann reviewed the event:

“For the first time in decades, a musical work [with organ] has been heard in the synagogue whose disposition and instinct can be characterised as liturgically Jewish. It was created not merely by a musician, but by a Jewish master — a Jewish human being, who tries to allow the inherent melos [Greek for tune or melody] of the Hebrew language, its rhythm and meter, its accentuation, to resonate. Thus, for the first time, a fully correct intonation of the Hebrew text [is given]. The Hebrew metre as well, the symmetry and asymmetry of diction, is considered, so that the musical form does not senselessly destroy the word but rather grows out of it. Schalit borders on modernity. Through the use of church modes and their conforming harmonisation, a unique and solemn atmosphere is created . . . The house of worship was surprisingly full, as it is during the High Holidays, which is proof of a broad interest in the renewal of synagogue music.” (Journal of the ‘Bavarian Israelite Community’, 1st November, 1932)

Schalit settled in the USA, revising the work in 1951 as ‘Sabbath Eve Liturgy’ for the American Reform Congregation, adding two solo organ movements: ‘Prelude’ and ‘Silent Devotion’. The last movement of the original work (Nachspiel [‘Postlude’]) is discussed in detail by Frühauf (pp. 140—145).Hugo Chaim Adler, 1896—1955, Cantor at Mannheim Synagogue, who applied polyphony to liturgical melodies. As organ-composer, Frühauf gives only:

Toccata & Fugue on a Hebraïc Theme, op. 11a (1931)Two Pieces, Op. 11b (1931)

The Op. 11a received its premiere outside a synagogue, in Cologne, when the organist was Hermann Schroeder (1904—84), still a student of church-music, later a leading church-musician and composer in Germany.Samuel Adler (b. 1928 in Mannheim), son of Hugo. The family escaped to the USA in 1939, where Samuel had his lessons from Fromm, Walter Piston, Aaron Copland and Paul Amadeus Pisk (see below). Samuel directed the music at Temple Emanu-El, Dallas, 1953—56, then taught at N. Texas State University and the Eastman School, New York. His organ pieces are judged “mostly difficult”:

Two Meditations (1966)Toccata, Recitation & Postlude; Reflections (both 1971?)

Paul Amadeus Pisk, 1893—1990, pupil in Vienna of Schönberg, he fled to the USA in 1936. Several works for organ, e.g.,

Six Chorale-preludes, Op. 41 (1938)Suite in 4 movements, Op. 64

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Arthur Zepke, 1892—1973, Christian, trained at the State College of Music, Berlin then Cathedral organist in Gnesen (now Gniezno, Poland). He was organist at Berlin’s New Synagogue (from about 1925), where he formed an excellent relationship with the congregants and other synagogue musicians. He apparently adapted very well to their liturgical needs. Only because of Nazi policy forbidding Jews to employ ‘gentiles’ did he leave at the end of 1935, when he was succeeded by:Ludwig Altmann, 1910—90, who had recently been a pupil of Zepke. Altmann had earlier studies in musicology at Breslau, then continued at the State Academy for Church and School Music in Berlin, 1929—33, when he studied piano, organ, choral conducting, theory and composition. His organ lessons were on an instrument by Schnitger, ca. 1700! In 1933 he had become organist at a Berlin picture-theatre, playing a cinema-organ (rather a change from Schnitger!); this venue was used as a Jewish prayer-centre! In 1934 he accompanied services at what sounds like a concert-hall and only in 1935 started to work as synagogue organist, assisting Zepke. He became chief organist at the New Synagogue in 1936 but realising his plight, should he remain much longer in Germany, left for the USA, arriving in New York in January 1937. From then he dropped the last ‘n’ in his name to become ‘Altman’. Organ-playing was poorly paid, mainly as it was part-time, and so he commenced as piano-teacher. Soon after he was given work as a synagogue organist in San Francisco, where the organist had formerly been a Christian. He was also organist at Second Church of Christ, Berkeley and would ultimately play for various denominations: Baptist, Episcopal, Presbyterian. This free interchange pleased him greatly, considering what he had just left in Europe. However, his main duties, for nearly 50 years, were at Temple Emanu-El, San Francisco. Altman was at some stage San Francisco Municipal Organist and official organist for the San Francisco Symphony Orchestra. He edited a slim volume of Beethoven’s organ works for Hinrichsen in 1962 (No. 1438) and that was my practical introduction to him some decades ago. A sample of his compositions for the organ:

Ten Pieces for Organ Clock,The God of Abraham Praise,Two Organ Preludes,Two Fantasias (on ‘Benediction’ and ‘Guidance’).

Arno Nadel, born (1870—80?) in Vilna, Poland [later Vilnius, White Russia] — died in Auschwitz, 1943. Early musical training in Königsberg [now Kalingrad]. In 1895, Nadel was a student at the Jewish Teacher Training Institute, Berlin. On completion, he was an educator and choirmaster at the Kottbuser Ufer Synagogue. He was an avid collector of synagogue music from 1923 to 1938 and included in this Eastern European Jewish folk music. Nadel was also a gifted poet, playwright and painter, recognised for these attributes. His music encompasses synagogue and folk music. These pieces were presented at lecture-recitals to a variety of congregations, more as educational material than religious events or entertainments. Nadel had much in common with Hans Samuel (see below) and they exchanged letters. In a letter to Samuel in 1931, for instance: “How are you faring with the society for the cultivation of Jewish music that you discussed in your letter? Would it be possible for me to give a lecture in December, in Essen? Perhaps with your support? You would perform something by yourself and something by me, perhaps the organ piece that I am sending with this letter, and that I hope you will kindly assess in your next letter.”

Nadel wanted to make the Jewish liturgy more ‘aesthetic’ and to make the organ ‘legitimate’ as synagogue instrument. He published his commentaries on these matters. Frühauf discusses these and some of his music in detail (pp. 154—162). For the organ:—

Prelude (or Interlude) for the High Holidays (Motifs: Bar’chu & Mammelech), 1920s,Passacaglia on Wadonaj pakad es ssarah [‘And God remembered Sarah’]

— Torah-reading for New Year, from Genesis 21:1—34, February 1933,Prelude on Hebraïc Motifs, 1936.

Nadel always remained patriotic towards Germany, convinced that after the “bloody detours

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and mistakes” there would be a return to the “freedom of the spirit and the noble arts”. In his last letter, he invokes divine protection over “Holy Germany, the wise nation of poets and thinkers”. Shortly after, he was deported to Buchenwald concentration camp, to be murdered at Auschwitz in 1943.Werner Baer, 1914—92, German, began his music-studies in childhood. As a teenager he proceeded to the Berlin Hochschule für Musik [‘College of Music’], where he was a piano pupil of the great Artur Schnabel; he also took organ lessons from Karl Straube in Leipzig. He became repetiteur for the Berlin Municipal Opera. In the 1930s he was piano accompanist on the European concert tours of Richard Tauber, Joseph Schmidt and Alexander Kipnis, all three leading singers (and also Jews). In need of more employment, he was an assistant synagogue organist, and from 1934 to 1938 principal organist, at the Prinzregentenstraße Synagogue, with its large, modern organ by Steinmeyer, (succeeding Erwin Jospe, born in 1907, who occupied this position from 1928). Baer was eventually picked up by the Nazis and sent to Sachsenhausen concentration camp. He was able to escape and fled to Singapore, where he taught at Raffles College and was Municipal Organist. Late in 1939, soon after the start of the war, he was interned and sent to Australia with 300 other internees regarded suspiciously as aliens. He was placed in a camp at Tatura and surely had contact with the ‘Dunera boys’. [An infamous event: in July 1940, about 2,500 refugees (in Britain) from Nazi Europe, mostly Jews, were shipped out of Liverpool on HMT Dunera, on suspicion of espionage. They were treated very poorly, even beaten, on the trip to Sydney, which lasted nearly two months and dumped in internment camps in Hay and Tatura. A medical officer in Sydney, realising what had happened on the crossing, provided a report which led to the court martial of the officer-in-charge; those transcripts will not be released until 2040! A film starring Bob Hoskins was made in 1985 to depict this example of perverted British justice. The ‘Dunera Boys’ made the most of their internment and spent much time in intellectual activities until the British Government realised their appalling blunder and had them released as ‘friendly enemy aliens’ in 1942. Many entered the armed forces, yet they were still not permitted to bear arms. About one half remained in Australia, much to our advantage.] Werner Baer was one of those freed in 1942 who joined the Australian Army. His musical activities flourished after the war, as pianist, organist, conductor, adjudicator, music critic, etc. As broadcaster, he was ABC Music Supervisor for NSW from 1951, retiring in 1979. He produced some compositions plus arrangements and orchestrations. Older readers may recall his broadcast performances on the ABC weekly (Sundays) ‘Organists of Australia’. Undoubtedly grateful for his life in Australia, Baer surely regretted the absence of his Steinmeyer organ, or a close substitute in this country.Hans Samuel, 1910—76, son of the liberal rabbi, Salomon Samuel, in Essen. Hans had his first organ lessons from the local synagogue organist, starting in 1918, then from the cathedral organist, Norbert Förster. He attended the Torshoff Conservatorium in the 1920s, graduating as piano teacher in 1925, when he was only 15 years old! He had further organ studies at the Church of the Redeemer, Essen, under Church Music-Director Ebing; and still later at the Conservatorium for Church Music, Dortmund, under Peter Grunnemann. This group of teachers showed him all too clearly how the synagogue music he knew imitated so much the music of the church. He wished to alter that, seeking an historical Jewish style but linking that to the modern organ.

By 1933 he was in Berlin, fully trained but able to obtain only part-time synagogue employment. Rachel Thaller, Samuel’s adoptive niece, told Frühauf in 1997 that Samuel was unusually shy and this “added a certain strangeness to his behaviour”; perhaps a reason for his failure to find work rapidly. He did in fact fill in at times at the Oranienburger Straße Synagogue with its very large Walcker organ of 1910; by 1936 he was ‘permanently’ engaged at the Friedenstempel (Temple of Peace) in Berlin-Halensee until its destruction in November 1938. He was a particularly capable organist, with pedal technique thought most unusual for a Jewish player! He was also a proficient piano accompanist and chamber-music performer.

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He wrote theoretical works on Jewish music: organ music in Judaism needs to be dominated by the recitative but is well-served by the other elements required in Christian worship, the harmony, counterpoint, etc. These ideas were published and widely circulated at the time. At the same time he produced about a hundred works, almost all including the organ, differentiating between ‘synagogue organ music’ and ‘Jewish organ music’. Frühauf discusses Samuel’s output in detail (pp. 170—184). Here is a small sample:—

Recitative trio-prelude to the Ma-ariv Sabbath prayer,New adaptation of the Kiddush,Four Fughettas on the Bar’chu-motif CHDC in the evening prayer,Improvisation on Motifs for the High Holidays (Prelude for 1st evening of New Year),Pentatonic Toccata, Variations and Finale,Fugue on Achas w’achas (Day of Atonement),Passacaglia in the neo-phrygian style,Fantasia in the neo-phrygian style,Prelude and Fugue in the neo-phrygian style.

Samuel wanted to settle in the USA but was unable to secure entry, just as the German situation early in 1939 was becoming more desperate. In March 1939 he was part of an illegal landing in Palestine, arranged by the Zionist Federation. The Palestine Conservatorium of Music and Dramatic Art in Jerusalem (later renamed Rubin Academy of Music) gave him a post as piano and organ teacher. The Jerusalem YMCA had a 4-manual 1932 Austin organ of ultra-romantic design, containing 47 stops, the largest in the Middle East for many years and a favoured venue for organ music. (See Appendix, p. 22 for stop-list.) He became organist at the ‘German Colony Church of St. Immanuel’ in Jaffa, but also played for the Presbyterian Church of Scotland in Jaffa, whose congregants were Roumanian immigrants! By 1958 he was the Presbyterian Church’s chief organist, giving some recitals there. Samuel was disappointed however that there was no opportunity for him in Israel as a synagogue organist as orthodoxy ruled; another attempt (in 1940) to enter the US had failed. After the war he tried to re-enter Europe but was rejected; in Hamburg, for instance, no synagogue remained. Rejection also occurred in other places (e.g., Paris), where no reason is provided. Rachel Thaller’s explanation about his personality may hold the clue.

By good fortune he began to live with the Ricardo family in 1946 and they virtually adopted him. David Ricardo was born into an orthodox Jewish family in Amsterdam in 1904, where his father was rabbi of the Portuguese community. David became well-versed with Sephardic music, emigrated to Palestine in 1933, retaining his ties with the Sephardic Jews of Amsterdam. He feared their musical tradition would soon be lost because of the German occupation of Holland. In 1941 he began to collect and notate this material in collaboration with Hans Samuel. This music had hitherto been unknown to Samuel, as he had always been exposed to Ashkenazic music. It had a very deep impact; he found the Sephardic culture more beautiful. Substantial works were now influenced in this way. Samuel then went further, using motifs from Yemenite and Moroccan Judaism (the latter closely linked, however, to Amsterdam’s Sephardic community). He even incorporates impressionism “and an extreme use of polyphony”, burying the Jewish elements. (Rachel Thaller, mentioned above, was David Ricardo’s daughter.)Hans Samuel never felt ‘at home’ in Israel, showing not only shyness but depression. His large output received little attention and generally remained unpublished, quickly forgotten.Herman Berlinski, 1910—2001, probably the greatest member of this list. [Additional refs.: The Amer. Org.: April 1989, pp. 52—53; Sep. 1995, pp. 66—67 and Dec., 2001 (Obituary), p. 48] Berlinski’s family came from Lodz, Poland and settled in Leipzig in 1905, seeking to escape anti-Semitism. Herman was born in Leipzig, studied the piano whilst attending the Bürgerschule (‘Middle-class School’) 1917—19 and the Höheres Israelitisches Realgymnasium (‘Upper Israelite Grammar School’) until 1927 when he entered the Leipzig Conservatorium. There he continued the piano under Otto Weinreich, studied conducting from Max Hochkofler, and theory from Sigfrid Karg-Elert. Berlinski graduated in 1932 with concert

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and teaching diplomas. As a budding composer, his main interest then was in cabaret and theatre! This became impossible under the commencing Nazi regime and he shifted to Paris in March 1933 “to live in exile . . . existentially as a Jew and not as a German any longer”. He entered the École Normale de Musique in 1934 where he studied the piano under Pierre Marie and Alfred Cortot; he had further lessons from Nadia Boulanger, 1934—38. (He married in 1934, his wife, Sina Goldfein, also a pianist; they had one son, who now lives in Israel with his family.) These were difficult times financially for all and especially hard on a student whose visa was for study alone. He gave some piano lessons illegally and promoted himself to become music-director at the avant-garde Yiddish Theatre in 1935. In 1936 he was music director of Les Ballets Hans Weidt. Berlinski entered the Schola Cantorum in 1937, to study from Jules Lefebre and Jean-Yves Daniel-Lesur. A lasting friendship with the latter was formed. He became acquainted with La Jeune France: Yves Baudrier, Daniel-Lesur, André Jolivet and Olivier Messiaen (Jehan Alain was asked to join but refused). Hearing of the death of his father in 1938, Berlinski wrote a quartet: Chazoth, for piano, flute, oboe and clarinet; it received its premiere that year at the Salle Erard. Whilst serving in the French Foreign Legion in 1939, stationed near Lyons, he was asked to play the harmonium for Mass at Christmas, no Christian player being available. Berlinski had never received training as organist; this was perhaps his first attempt, albeit on a pipe-less instrument. He later wrote:

‘I became deeply enamoured with the noëls, with the atmosphere, and with the church. It was an incredible poetic experience in the midst of war and its boredom. That was my second organ lesson.’

Regarding the first lesson, that had come during his Conservatorium days in Leipzig:‘My piano examination consisted of Bach’s ‘Goldberg Variations’, Liszt’s B-minor Sonata, and a monstrous piece by Max Reger, ‘Variations on a Theme by Telemann’. I was practising at the Conservatorium on the stage of the Concert Hall when Karl Straube came in. He waited for me to finish, because he wanted to give an organ lesson. He said, “Berlinski, you are wasting your time on the piano. Why don’t you study the organ? I’ll teach you.” And I said, “Herr Professor, I would love it, but how?” And he replied, “The Institut Landeskirchenmusik [The State Institute for Church-Music]”. The state’s church music school was a Protestant school. It had nothing to do with anti-Semitism; it was even difficult for Catholics to get in. Straube said, “So, you convert.” I said, “There are many reasons to convert but organ playing is not one of them”. So that was my first organ lesson, one with Straube that I didn’t have.’

Berlinski emigrated to the USA in 1941, working as freelance composer and piano-teacher in New York. In 1944 he became a member of the ‘Jewish Music Forum’ of New York, having no desire to forget his past and his roots. By 1947 he had become a U.S. citizen. The contact with Daniel-Lesur led to studies under Messiaen at Tanglewood in 1948. By then, some of his works were receiving their premieres: ‘The City’, a song cycle for soprano and piano, and ‘I Sought Him’, a cantata for soprano, women’s chorus and harp; publication of the latter soon followed. It was Messiaen who inspired Berlinski to devote himself to the organ, and he later described it:

‘I started writing major symphonic works when I worked with Messiaen in Tanglewood, but the organ seduced me and fulfilled all my symphonic aspirations. I could compose for it, play it, and I didn’t have to go through a conductor. Most probably the eleven symphonies I wrote for organ by now would have been eleven symphonies for orchestra. That may or may not be a loss, I don’t know.’

In a letter (1987), Berlinski expands his thoughts very greatly, in replying to the question how his works differ from Messiaen’s:

‘A composer comparing himself to another composer is on treacherous ground. . . . Messaien is a French Catholic and I am a Jew with an eastern European background and a French-German music education. What unites us is the fact that we have composed music with obvious religious intent and intensity. Messiaen was able to fall back upon a well-established organ tradition going back to the 16th century. His

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teacher, Charles Tournemire, one of the great organist-composers of Sainte-Clotilde in Paris, had already built a bridge to the past by establishing a set of creative principles based on Gregorian chant, upon which a great deal of Messiaen’s music was to be established. There simply was no similar tradition of Jewish organ music to which I could appeal. I was therefore forced to invent an organ idiom of Jewish significance on my own.

Catholic mysticism and Jewish mysticism differ greatly from each other. Messiaen’s mysticism is utterly otherworldly. His birds and birdcalls are part of his spectral realm of angelology. His contact with earthly reality is tenuous. Jewish mysticism, on the other hand, even the esoteric speculations of the Kabbalah and especially the liturgical poetry between the 9th and 13th centuries of our time, never leaves the ground of Jewish existence.

Jewish existence, moreover, includes an awareness of persecution and this awareness leads in a straight line to the consciousness of the Holocaust. That, after all, is also a tradition, albeit a tragic one. For this, a language steeped in the melos of my people had to be forged and I forged it in every one of my eleven sinfonias for organ.

This never-ending process was a long and at times painful one. Some of the titles of my sinfonias bear witness to this creative attempt: Sinfonia No. 1 [Litanies for the Persecuted], Sinfonia No. 2 [Holidays and Festivals], Sinfonia No. 3 [in which the trumpets may be said to echo the Holocaust], Sinfonia No. 4 [the search for meaning in the name of God], Sinfonia No. 5 [with its Holocaust poems by Nelly Sachs], Sinfonia No. 6 [the prayers for peace of mind], Sinfonia No. 7 [David and Goliath — the eternal struggle against the Goliath of the world], Sinfonia No. 8 [Prophet Eliyahu’s quest for the voice of God], Sinfonia No. 9 [The Glass-bead Game — the transference of Jewish existence into the universal realm of existence and its meaning as such]. These works reveal a different approach to religiosity than that of Messiaen. His music suns itself in the felicity of faith and in the radiance of the divine image. Mine hovers over the abyss of Jewish existence. There is little felicity, and faith is continuously shaken by seismographical tremors of Jewish existence throughout the ages. The birds in my compositions do not sing: they hover over a desolated landscape [Litanies for the Persecuted] or cry to the Lord for want of food [Oratorio: Job].’

During the early 1950s Berlinski met Joseph Yasser, a reform synagogue organist approaching retirement, aware of the need to attract younger Jews into the fold. A Berlinski relative had recently died in England, leaving Herman a legacy, so in 1953, spared of economic need, he became a full-time student again, now immersed in Hebrew music at the Jewish Theological Seminary; he graduated in 1960 with a doctorate in sacred music. As dissertation he wrote an oratorio (duration 90 minutes): Kiddush Ha-Shem. Meanwhile, he had studied the organ under Yasser and become assistant organist (in 1954) to Robert Baker at Temple Emanu-El (New York). ‘The Burning Bush’ (1956), one of the earliest works he wrote for solo organ, gave him instant fame and he realised that there was an audience keen to hear organ music based on ancient Hebrew melodies. By 1962 he was chief organist at Temple Emanu-El but left in May 1963 to direct the music at the Washington Hebrew Congregation, D.C., retiring in 1977. His compositions are numerous, even ignoring those in Germany, which are all lost. A small sample, for organ:—

Eleven Sinfonias, 1954—77 (some solo, some with other instruments),The Burning Bush, 1956 (commissioned by the American Guild of Organists),Two Preludes for the High Holy Days: Passacaglia on Kol Nidrei & Prelude for New

Year, 1956,Suite from the World of My Father: Chazoth & Higun, 1957 (the former based on his

quartet of 1938, done as a recollection as the original was lost),Prelude: In Memoriam, 1958,Elegy, 1958,

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Three Preludes for Festivals, 1961,Processional Music, 1962,Prelude for the Sabbath (date?),Ein musikalischer Spaß [‘A Musical Joke’], Theme and Variations on Mozart’s

4-movement Sextet of that title, for 4 strings and 2 horns, K.V. 522 (1787), 1993.Haim Alexander (born Heinz Alexander, 1915, in Berlin), grew up in an orphanage. He began piano studies at age 5 and played for religious services on the school’s harmonium. He came to know Lewandowski’s music. Further studies were at the Stern Conservatorium in Berlin — he was rejected from entering Berlin’s Higher Conservatorium on racial grounds. He emigrated to Palestine in 1936 and continued his music studies. From 1945 he taught composition, harpsichord and piano at the Rubin Academy, later becoming Professor and Director of Theory. He returned to Germany (with hesitation!) in 1958, 1962 and 1964 for additional studies. His works are dominated by piano and chamber music, teaching works and choral music. There are but two solo organ works:—

Choral-fantasia De profundis (1972). It uses the Lutheran chorale Aus tiefer Not . . . Curiously, it was written for an Arab organist in Nazareth!

‘The West-Eastern Bridge: Stories from Jerusalem’ (1998), commissioned by Oskar Blarr for Orgelpunkt Europa and premiered during that series in Düsseldorf, 24th June 1998. Frühauf regards this as “the last composition to come directly out of the German-Jewish tradition”. It is a 4-movement sonata (ca. 20 minutes), summarising the composer’s life: movement 1 in homage to Bach; movement 2: ‘Ostinato’, a trio on a 2-bar ostinato, relecting his early years in Israel, the total destruction of his family by the Nazis; movement 3: ‘Reflections on a Yemenite Folk Song’ (from psalm 118), the bridge between Eastern and Western culture; movement 4: a toccata on Ma ’oz Zur (for Hanukkah), to represent his youth in Berlin.

Alexander has been slow to assimilate completely into modern Israeli life, retaining a German-Jewish identity.There are now contemporary Israeli musicians who see the organ without religious connection; an Israeli Organists’ Club exists, founded by Gerard Levi (immigrant from France) with Gideon Shamir. They arranged the 1st Israeli Organ Festival of 2003. Eighteen solo concerts took place in 3 venues: Clairmont Recital Hall, Tel Aviv University (3-manual organ of 39 stops, 2001, by Hermann Eule); Hecht Museum Auditorium, Haifa University (2-manual organ of 33 stops, 2000, by Shamir); Brigham Young University (3-manual organ of 39 stops, Marcussen, 1987 — stop-list below). Imported organists for this publicised event were François Espinasse (from Saint-Severin, Paris), Vincent Warnier (from Saint-Étienne-du-Mont, Paris) and Istvan Ella (from Budapest). Local organists contributing were Sabin Levi, Elisabeth Roloff, Roman Krasnovsky, Yuval Rabin and Brother Armando Pierucci.

Shamir, born in Israel, was a pianist child prodigy, trained in England where he won 1st prize in a 1959 competition. Instead of pursuing a concert life as pianist, he trained next as organ-builder with Walcker in 1963—64. Returning to Israel, Shamir founded a music school in Ashdod, which he directed for 12 years, and commenced work as organ-builder. At present he is Israel’s sole organ-builder and provider of organ-maintenance.

He was not the first! Brother Delfin Fernandes Taboada, Franciscan monk, born in Spain, lived in the St. Savior Monastery, Jerusalem and worked as organ-builder for nearly 50 years, dying in 2002. He was a music student at the Milan Conservatorium and had some experience in organ-building under the Italian builders Costamagna and Tamburini. Taboada built or modified organs in Israel and maintained others, which go back to the 19th century (organs having been imported as far back as the 17th century), e.g., 14-stop organ by Mauracher (Salzburg, 1893), 16-stop Mader (Marseilles, 1893), 20-stop Sauer (1910), etc. Taboada is named as builder (1955) of the 55-stop, 3-manual organ in the old Church of the Nativity in Bethlehem; and one of 2 manuals, 38 stops (1982), in the Basilica of Nazareth.

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A great deal of rebuilding has occurred and new organs are again being installed, so that there are about 50 organs in the country, almost one half in Jerusalem! Most are in churches. One astonishing address, for an 1847 10-stop organ (1 manual with pedal) by Agati of Italy, is the Jerusalem Tourist Office! A list is provided in the excellent article ‘Organ Culture of Israel and Palestine’ by Gerard Levi and Sabin Levi, The American Organist, November 2005, pp. 60—65. From the same authors: ‘Organ Culture in Israel and Palestine’, BookSurge, USA: ISBN 1-4196-1034-1, “the first comprehensive professional study on the subject”. Some stop-lists:—Evangelical Lutheran Church of the Redeemer, Jerusalem — Karl Schuke, Berlin, 1971 & 1984

Brigham Young University, Mount of Olives, Jerusalem — Marcussen, Denmark, 1987

Who plays the organ in Israel? In the early days, when Jewish organists were almost non-existent there, Max Lampel was the pioneer, using the YMCA Austin organ in concerts and broadcasts on Israeli radio. He taught at the Jerusalem Music Academy and is thought to have been the first organ-teacher in the state. Next came Valery Maisky from the USSR in 1973 (brother of the cellist Misha Maisky), who founded the Israel Bach Society in 1974; their fortnightly concerts included lectures on Bach’s organ music. Maisky was busy as international recitalist until his premature death in 1981 (car accident). Elisabeth Roloff, born in Germany, was trained in Cologne and London; she subsequently studied under Marie-Claire Alain in the 1970s and became organist at the German Lutheran Church in Paris. From the 1980s she has been the organist at Jerusalem’s Church of the Redeemer (stop-list above); she continues as recitalist and teaches at the Rubin Academy. Several others are also active now: Alexander Gorin, Roman Krasnovsky, Boris Kleiner and Rina Schehter, all immigrants from the former USSR; Sabin Levi from Bulgaria (not related to Gerard Levi);

Manual 1 (56 notes)Principal 8’Gemshorn 8’Oktave 4’Rohrflöte 4’Nasat 22/3’Waldflöte 2’Mixtur IV—VTrompete 8’

Manual II (56 notes)Gedackt 8’Blockflöte 4’Principal 2’Quinte 11/3’Sesquialtera IIScharff IIIKrummhorn 8’Tremulant

Pedal (30 notes)Subbas 16’Oktave 8’Pommer 8’Nachthorn 4’Hintersatz IIIFagott 16’

Couplers:I—Pedal, II—Pedal, II—I

GreatBordun 16’Principal 8’Spidsfløjte 8’Oktav 4’Gedaktfløjte 4’Quint 22/3’Oktav 2’Cornet IIIMixtur IV—VTrompet 8’Spanish Trompet 8’

PositiveGedakt 8’Principal 4’Rørfløjte 4’

Oktav 2’Sesquialtera IIQuint 11/3’Scharf IV—VDulcian 8’

SwellRørfløjte 8’Salicional 8’Vox celeste 8’Oktave 4’Traversfløjte 4’Nasat 22/3’Waldfløjte 2’Terts 13/5’Mixtur V—VIFagot 16’

Obo 8’Clairon 4’Tremulant

PedalPrincipal 16’Subbas 16’Oktav 8’Gedakt 8’Oktav 4’Hintersatz VBasun 16’Trompet 8’

Five unison couplers plus Swell octave to Pedal

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Juan Onassis from Uruguay; Pnina Adani is Israeli-born, a concert organist; Yuval Rabin (Israeli-born, 1973) was a student of Guy Bovet in Switzerland in 2005.And the new music? Some examples:—

Intrada — Passacaglia Piccola, by Giora Schuster (1966—67),Præambulum, Fughetta canonica, Toccata and Imitatio I—III, by Zeev Steinberg

(1967), composed for the International Schnitger Organ Competition in Zwolle,Intrada and Passacaglia, by Artur Gelbrun (1981); transcribed from the last of his 6

pieces for orchestra: Hommage à Rodin (1979—81),Three Strange Visions of Hieronymus Bosch, by Jacob Gilboa (1987),Magrefa II: Intermezzo, by Ari Ben-Shabetai (1998). Frühauf writes: “In this

composition, full-voice harmonies alternate with long-held chords and a hocketlike broken character. A periodic interruption of the wind supply underlines the intended unevenness.” Evidently a contemporary piece, free of restraint from classical or romantic ideals.

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AppendixTwo further stop-lists:—

1. International YMCA, Jerusalem —Austin of Hartford, Connecticut, Op. 1819, 1932

The Austin was the only concert organ in this region for 40 years. It was dismantled in the 1970s and the components placed in storage. Two attempts have been made to reassemble the instrument in different locations; neither succeeded and in the process “most of the pipes were lost” [Levi & Levi, 2005]. The instrument was of historic interest and important in providing a basis for Israeli organ-composers before the advent of modern instruments.

2. Temple Emanu-El, New York City. (opposite page)Casavant, 1929, of 109 ranks; modified extensively by Austin, 1950s, according to the ‘neo-classical’ taste then, giving a hybrid instrument Berlinski had as his inspiration; remade by Sebastian Glück, New York (2002) as a “monumental symphonic” organ, retaining 65 ranks of the Casavant (marked ‘C’ in the following). There is no borrowing throughout the manuals, except for the Tuba section (one 73-note rank); 73 note stops on the manuals (other than the Great) make super-octave couplers optimal but are hardly needed any longer. [The American Organist, July 2003, pp. 34—36]

H.F., November 2010

GreatDouble Open Diapason 16’First Open Diapason 8’Second Open Diapason 8’Wald Flute 8’Dulciana 8’Octave 4’Flute 4’Twelfth 22/3’Fifteenth 2’Tromba 8’Clarion (ext.) 4’Chimes (Echo)

SwellBourdon 16’Open Diapason 8’Gedackt 8’Salicional 8’Voix Celeste 8’Aeoline 8’

Unda Maris 8’Octave 4’Flute 4’Piccolo 2’Mixture VDouble Trumpet 16’Cornopean 8’French Trumpet 8’Clarion (ext.) 4’Vox Humana 8’Valve Tremolo

ChoirConcert Flute 8’Dulciana 8’Flute 4’Orchestral Oboe 8’Clarinet 8’English Horn 8’CelestaElectric Tremolo

EchoEcho Dulciana 8’Unda Maris 8’Cor-de-Nuit 8’Concert Flute 8’Vox Humana 8’ChimesValve Tremolo

PedalContra Bourdon 32’Diapason 16’Bourdon 16’Echo Bourdon (Sw.) 16’Octave (ext.) 8’Gedackt (ext.) 8’Double Trumpet (Sw.) 16’Trombone 16’Tromba (ext.) 8’

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Great (II), 6’’ pressure (reeds at 8’’)Double Open Diapason ‘C’ 16’Bourdon ‘C’ 16’First Open Diapason ‘C’ 8’Second Diapason ‘C’ 8’Third Open Diapason ‘C’ 8’Open Flute ‘C’ 8’Chimney Flute ‘C’ 8’Gemshorn ‘C’ 8’Principal ‘C’ 4’Octave ‘C’ 4’Harmonic Flute ‘C’ 4’Twelfth ‘C’ 22/3’Fifteenth ‘C’ 2’Cornet VMixture Major V—VIISharp Mixture IVDouble Trumpet 16’Trumpet 8’Clarion 4’Chimes (in Echo)Celesta

Swell (III, enclosed), 8” & 10”Bourdon Doux ‘C’ 16’Open Diapason ‘C’ 8’Stopped Diapason ‘C’ 8’Flûte Harmonique 8’Viole de Gambe ‘C’ 8’Voix Céleste ‘C’ 8’Æoline ‘C’ 8’Flûte Conique ‘C’ 8’Flûte Céleste ‘C’ 8’Principal ‘C’ 4’Violina ‘C’ 4’Flauto Traverso ‘C’ 4’Piccolo ‘C’ 2’Sesquialtera I—IIClear Mixture IIIFull Mixture III—IVBombarde Harmonique 16’Trompette Harmonique 8’Hautbois 8’Voix Humaine ‘C’ 8’Clairon Harmonique 4’Tremulant

Choir (I, enclosed), 61/2’’Gemshorn 16’Open Diapason 8’Melodia 8’Gamba 8’Gamba Céleste 8’Dolce 8’Dolce Céleste 8’Principal 4’Chimney Flute 4’Nazard 22/3’Recorder 2’Tierce 13/5’Mixture IIIBassoon 16’Trumpet 8’Clarinet 8’Clarion 4’TremulantCelestaCelesta Dampers OffGreat/Choir Transfer

Solo (IV, enclosed), 10”Stentorphone ‘C’ 8’Major Open Flute ‘C’ 8’Violoncello ‘C’ 8’Fugara ‘C’ 4’Grand Chorus VHarmonics ‘C’ VEnglish Horn (free reeds) ‘C’ 8’Orchestral Oboe ‘C’ 8’Tremulant

Brass section, 15’’Bombarde Harmonique 16’Trompette Harmonique 8’French Horn ‘C’ 8’Clairon Harmonique 4’ChimesCelesta

String Ensemble (enclosed), 131/2’’Contra Gamba ‘C’ 16’Grand Gamba ‘C’ 8’Grand Gamba Céleste ‘C’ 8’First Violin (parent) ‘C’ 8’Second Violin (sharp) ‘C’ 8’Third Violin (flat) ‘C’ 8’Viola ‘C’ 4’Viola Céleste ‘C’ 4’Cornet des Violes ‘C’ VTremulant

Echo (enclosed), 8’’Open Diapason ‘C’ 8’Cor de Nuit ‘C’ 8’Viole Ætheria 8’Voix Mystique ‘C’ 8’Spire Flute ‘C’ 4’Shofar ‘C’ 8’Musette ‘C’ 8’Tremulant

Tuba organ, 26’’Tuning reference (12 pipes) 4’Chazozerot (from tenor C) 16’Chazozerot (same rank) 8’Chazozerot (same rank) 4’

Pedal, 7’’ & 12’’Grand Open Bass ‘C’ 32’Open Diapason Wood ‘C’ 16’Open Diapason Metal (Great) 16’Violone ‘C’ 16’Dulciana ‘C’ 16’Gemshorn (Choir) 16’First Bourdon ‘C’ 16’Second Bourdon (Great) 16’Bourdon Doux (Swell) 16’Quint ‘C’ 102/3’ Principal 8’Open Flute ‘C’ 8’Violoncello ‘C’ 8’Stopped Flute ‘C’ 8’Fifteenth 4’Open Flute ‘C’ 4’Mixture IVContra Trombone ‘C’ 32’Trombone ‘C’ 16’Bassoon (Choir) 16’Trumpet 8’Clarion 4’Chimes

Echo Pedal (encl. except Princ.)Sub Bass 16’Principal 8’Stopped Flute 8’

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