Organ Works

Bad Salzuflen, Liebfrauenkirche

Renovierung und Vollendung der Breil-/Steinmann-Orgel (1962/1984) | IV/43 | 2019



The building of the Liebfrauenkirche in Bad Salzuflen in 1958 created a light, clearly divided space for worship. The unusually tall wooden-ceilinged central aisle is flanked by very low and narrow side aisles leading into tall, transept-like niches with equally tall windows. This gives an optically spacious area, flooded with light, in front of the vaulted apse.

In 1962 Franz Breil (Dorsten) installed the first organ in the front left-hand niche. By 1970 only 18 of the 26 planned stops had been installed. Completion, however, was not to be.

In 1984 the Steinmeyer firm built a new organ on the rear gallery in the present-day case in front of the large west window. This was the first stage of a planned 3-manual instrument incorporating the pipework and certain technical components from the Breil organ. With its 24 stops (HW, RP, Ped) and empty Schwellwerk, this instrument remained unfinished for 35 years.

The case consists of symmetrical, unadorned, open boxes of similar width arranged in Werkprinzip fashion. These are painted red inside, and, with the blue swell shutters and otherwise white-finished surfaces, provide a variety of colour. The manual divisions are arranged vertically in tripartite divisions, with 16ft Pedal flats hanging on either side. A reed stop with trumpet-like resonators projects out from the base of the Rückpositiv. The overall sober impression fits well into the architecture of the church.

The main aim of our renovation project, apart from technical and tonal overhaul, was the completion of the organ by the addition of hitherto missing registers and enlargement through the intended Schwellwerk.

In detail – 4 vacant Pedal stops, including reeds, were completed. In the Hauptwerk an 8ft string stop took the place of a Farbton (a high-pitched mutation), the mixtures were reconstituted and the Dulzian 16 moved to the Rückpositiv at 8ft pitch and replaced by a Trompete 8. The Prinzipal 4 in the Rückpositiv is also new, with the existing rank extended down to 8ft. The former over-prominent Horizontaltuba was placed on a lower wind pressure. It also received new, markedly thinner tongues and leathered shallots. The Schwellwerk and associated mechanical action is completely new, apart from the shutters and the old Vox Humana transferred from the Rückpositiv. A special addition was a Violon 16 on electric chests, installed as a ‘floating’ register which can be coupled to all divisions. With this developed specification – almost doubled in size (see below) – the organist has comprehensive registration possibilities at his/her disposal. Furthermore, the old pipework underwent re-balancing, resulting in a unified, rounded tonal whole, with noticeably greater fullness, colour and volume, yet without losing the original voicing character.

On the technical side we have completely overhauled the existing windchests and made them wind tight. The old Breil slider solenoids (HW) were renewed. The action, too, needed various corrective measures, including some new components. Newly-added balanciers for the larger pallets, together with weight and friction-reducing improvements, have led to a lighter touch and better articulation.

The manual couplers were electrified and brought together on the former coupler manual, i.e. the manual divisions can be freely coupled to Manual 1. This is achieved through a new BUS system, which also incorporates a new setter facility. The whole electrical system was brought up to modern safety standards and re-cabled throughout.

The wind system suffered before from audible instability. Two new blowers, overhaul of the whole system with new wind regulators and direct connection of wind-hungry pipes through newly-added motors have given the instrument a stable wind system, which even creates a slight increase in pressure when big chords are played.

Finally, it became necessary to re-arrange the new motorised stop-tablets with the result that – for practical reasons to suit the player - the registration panel has been moved from the right- to the left-hand side.


I. Hauptwerk C-g3

  1. Pommer 16‘   Br
  2. Prinzipal 8‘   Br
  3. Grobgedackt 8‘   Br
  4. Viola da Gamba 8’   (statt Faberton 2f. 2/3’) Sp
  5. Oktave 4‘   Br
  6. Flöte 4‘   St
  7. Superoktave 2‘   Br
  8. Kornett 2-3f. 2 2/3’   (vorher Sesquialtera 2f.) Br/St/Sp
  9. Mixtur 4f. 2‘   (vorher Hintersatz 4f.) St/Sp
  10. Trompete 16’   Sp
  11. Trompete 8’   Gi
    Violon 16'  TM IV.
    Tuba 8'  TM IV.

II. Rückpositiv C-g3

  1. Prästant 8‘   (vorher 4‘, C-G kombiniert mit Rohrflöte) St/Sp
  2. Rohrflöte 8‘   Br
  3. Oktave 4‘   Sp
  4. Gedacktflöte 4‘  Br
  5. Quintade 2 2/3‘   Br
  6. Gemshorn 2‘   Br
  7. Sifflöte 1 1/3’   Br
  8. Scharff 4f. 1’   Br
  9. Dulcian 8’  (vorher 16‘, aus HW) Gi/Sp
    Tremulant    (druckerniedrigend)
    Violon 16'  TM IV.
    Tuba 8'  TM IV.

III. Schwellwerk C-g3

  1. Geigenprincipal 8’   Sp
  2. Konzertflöte 8’   Sp
  3. Lieblich Gedackt 8‘   Sp
  4. Gambe 8‘   Sp
  5. Vox coelestis 8‘   Sp
  6. Fugara 4’   Sp
  7. Querflöte 4’   Sp
  8. Echocornett 2f. 2 2/3’   Sp
  9. Flauto piccolo 2’   Sp
  10. Progressio 3-5f. 2'  Sp
  11. Trompete 8’   Sp
  12. Oboe 8’   Sp
  13. Vox humana 8’   (aus RP) Gi
    Tremulant   (druckerhöhend) Sp
    Violon 16'  TM IV.
    Tuba 8'  TM IV.

IV. Koppelmanual / Solo C-g3

  1. Violon 16’   Sp
  2. Tuba 8'  (horizontal am RP)  Gi/Sp

Pedal C-f1

  1. Prinzipal 16’   St
  2. Subbass 16’   Br
  3. Quintbass 10 2/3’   Sp
  4. Oktave 8’   Br
  5. Gedacktbass 8’   Sp
  6. Oktave 4’   Br
  7. Posaune 16’   Sp
  8. Trompete 8’   Sp
    Violon 16'  TM IV.
    Tuba 8'  TM IV.

Koppeln: II-I, III-I, III-II, Sub III, II-IV, III-IV, Sub IV, Super IV, I-P, II-P, III-P, Super III-P

3 feste Kombinationen (Organo Pleno, Streicher, Tutti)

Br = Breil (1962, 1970)
Gi = Giesecke
St = Steinmann (1984)
Sp = Späth (2019)

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