Recent Organ Design Innovations and the 21st-century - Stichting ...

In addition to expanding many of the Sinzig features, the Cologne instruments contain several
new ideas. For example, a “Bass Organum” stop in the pedal couples the pedal to itself at a fourth
below and major third above the given pitch. In addition a knob at the left of the console can vary the
blower power from zero to full. The effect of altering an organ’s blowers while the instrument is playing,
resulting in a gradual destabilizing and sinking of the sound, has been explored since the 1962 Radio
Bremen compositions. However, in contrast to simply switching the power on and off, the knob on the
Cologne organ permits quick and efficient destabilization under complete control of the performer. The
Cologne organ also permits MIDI in/out, allowing the organ to be played by or in collaboration with a
computer, much in the same manner as the Fokker organ after renovation. One final novel addition is a
rotation function for the Koppelwerk Cymbal mixtures. Labeled “Quadrupla” I through V, each setting
mixes the four cymbals in diverse ways, creating varied complex mixture compositions. The first four
settings represent miscellaneous fixed arrangements, while the fifth cycles through the first four at
speeds variable by knobs situated below the buttons, creating a constantly shifting and somewhat
aleatoric overtone structure within held notes.
Throughout history organ builders have incorporated new sounds and specifications to suit the
tastes of the time. In the Sinzig and Cologne organs, Peter Bares has created instruments intended for
experimentation in certain musical parameters. In the spirit of the new spectral approach to organ
composition begun in the 1960s by such composers as Bengt Hambraeus, Mauricio Kagel, and György
Ligeti, as well as organist Karl-Erik Welin, these organs offer composers a palette of sounds with which
to mold complex and dynamic soundscapes – soundscapes inspired by the electronic additive and FM
synthesis compositions of the 1950s and 60s. The enthusiasm for the Cologne organ among current
composers is evident through the numerous works composed for the instrument since its inauguration
six years ago. Current organist Dominik Susteck has released two recordings of the organ and is
engaged year-round performing and hosting guest performers for a variety of concerts, often in
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