Sonus Paradisi
Schorndorf - Bornefeld Organ 1962 [Hauptwerk]
Schorndorf - Bornefeld Organ 1962 [Hauptwerk]
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Schorndorf Bornefeld Organ (1961-62)
| Organ builder: | Walcker Ludwigsburg, op. 4441 Design and stop list: Helmut Bornefeld, Heidenheim (Brenz) |
| Year: | 1961/62 |
| Renovations: | 2014 Renovation (repair of case and pipework) and new technical construction including windchests and tracker action by Mühleisen, Leonberg. No changes were made to the sound characteristics. Voicing: Reinhard Metzger; consultation: KMD Jürgen Schwab, Stuttgart |
The penetrating voicing design of this organ was supported by proper scaling and first-class materials; only tin alloy and copper were used for the metal pipes (including the 16' principal). The musical intention was to give the individual divisions characteristic plenums which combine to form a magnificent overall plenum, but without restricting the richness of color. No. 5 (Nonenkornett 22/3′), for example, gives a decidedly “heavy” 16' darkening of the Great division, but is at the same time (with and without foundation) one of the most luminous solo stops of the organ. No. 8 (Gambetta 4' 22/3′), consisting of narrow-bassed Gemshorns, has the task of creating a truly homogeneous accompanying choir for the numerous c.f. mixtures of the other works, together with No. 3 (Gemshorn 8' ). No. 10 (Quarte 11/3′ 1' ) consists of two narrow ranks for the pre-plenum, but it can also be used to sharpen the the mixture, or present a “glassy” cantus firmus.
With its reed overtones, the Brustwerk is reserved for the “dramatic” cantus firmus, with its enclosed wide choir (Nos. 13, 15 and 21 (Rohrpommer 8', Flötgedackt 4', Recorder 1' ) for the “mystical” melody, although here too the plenum has a considerable sharpness.
The Rückpositiv has a more “lyrical” character (with predominantly medium-scaled voices of high blendability). No. 33 (Unruh 3f 1/3') is a Zimbel with different composition on the C and C# sides (with medium-scaled principals) for extreme solo and plenum intensity.
In the Pedal (in addition to sufficient c.f. possibilities), particular importance was given to a “gravity” ballancing the brightness of the manuals.
These and many other individual stops in combination with the beautiful room acoustics result in a pleno power and a richness of color that should not be so easy to exhaust. Our only wish is that we may be granted the time, in peace, to make the dormant possibilities of this instrument fruitful for the best of old and new organ music.
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