February

Construction of the main components is nearing an end

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Thomas testing the manual action

Great division

The day of the first concert of 1997 in the auditorium (minus organ of course!), workmen are finishing the refurnishing of seats which has been undertaken at the same time as the organ installation

Back wall of the Great case, where the Bombarde will go

Bombarde pipe holes

Inside the Great division

For centuries organ builders have signed their work. In the 20th century they can now also add their passport photos.

(from left): Armin Schwendinger, Dominik Maetzler, Georg Pfeifer, and Thomas Hayden

February 2: Installation of the organ is now finished for three of the four Rieger craftsmen responsible for this first stage: (from left): Armin Schwendinger, Dominik Maetzler, Georg Pfeifer, and Thomas Hayden. All have returned home except for Dominik who remains to finish the last sections and pipe placements, and to help with the next vital stage, the tuning and voicing. 

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The vital work of tuning and voicing is now in the hands of Klaus. It is possible to voice about only one rank a day

Mechanical action: pedal trackers

Massive wind trunking which connects the wind chest to the pedal pipes

Wide-scale flute pipes - these produce a stronger fundamental. The scale shown here is the widest used by Rieger

Martin savours the first sounds of the flûte harmonique

Bombarde pipes are gradually being added. Compare with view Feb 7

More of the Hauptwerk pipes are added each day. The frame for the cornet ranks can be seen mid-photo. Compare with same view, Feb 7

Scaffolding is erected in front of the case to enable Klaus to reach the large front Principal pipes

Scaffolding going up - vertigo sufferers need not apply!

Tuning roll (or scroll) at the top of the open metal pipes

Tuning wire of a pedal reed pipe. Note the wooden resonator.

Cornet pipes in their place ready for tuning. Compare with earlier view Feb 11

A bird's-eye view of some of the Hauptwerk pipes on the windchest

Now for the first sounds as Klaus gets to work on the voicing. Then Alois and Klaus listen, Martin tries the flute, principal and gamba ranks

The sound "doughnut" which is suspended above the stage (seen top right of the picture here) may be raised slightly to improve sight-lines

Alois practises a Bach trio sonata

In the auditorium, Klaus and Martin listen as Alois gives a demonstration of the 18 ranks voiced so far.

Fluorescent lighting is now installed inside the case

C and C sharp side of the Hauptwerk; from the the left, Gedackt 8', Octave 4'. Cornet V

The wooden ladder for access to Hauptwerk and Schwellwerk divsions is fixed to the rear of the case next to the Pedal reed

Light filters through from the Schwellwerk

Pedal stopped pipes (Untersatz 32' and Subbass 16') are of oak and pine

T he 5 ranks of the Cornet are now complete

Dominik installs the Untersatz pallet springs

C side of the Pedal Principals 16, 8 and the 4' Choralbass

A finger gives an idea of the thinness of the tracker rods

Looking upwards to the Bombarde reed pipes which project horizontally from the rear of the case

Hauptwerk ranks: from the rear, Gedackt 8'. Spitzflote 4', Superoctave 2'

Klaus listens...

The Hauptwerk Spitzflote 4' (pointed flute)

Tight-fitting stoppers of the pedal Untersatz

FOOTNOTE: Dominik sends a message to his ex-teacher, Herr Hugo Morscher of Schoppernau, that he still practises - sort of....

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