A New Organ for the Noorderkerk - Henk van Eeken

When I heard the congregational singing in the Noorderkerk in Rijssen during a service for the first time, I was immediately reminded of a quote from the well-known organist and organologist  Jan Zwart (1877-1937), who defended the traditional Dutch congregational singing, such as it had survived into the 1930s despite rampant modernisation and neglect. He described it as a 'revelation of primitive beauty'. And indeed it is!

For an organ builder, the chance to build an organ specifically to accompany a singing congregation is a rare one. This was both a highly rewarding, and challenging commission.

The starting point for the new organ in the Noorderkerk was the realisation that, no matter which sounds were used to accompany the congregation, these must be able to support, lead and inspire the people to sing powerfully. The entire concept was developed from this seed. What form should the organ take in order to realise this vision? Which stops were necessary to make this sound-ideal a reality?

With room for a congregation of almost 2000 people, and an entirely traditional psalm-singing practice, the situation in the Noorderkerk is comparable with that which must have existed for centuries in the large Dutch city churches. Many beautiful historic organs are preserved in the city churches of our country, primarily conceived and built to accompany massed psalm singing. The organ builders from the past found solutions to the situation which were highly appropriate for adoption in the Noorderkerk.

The design of the new organ in the Noorderkerk is, then, closely linked to the tradition of the Dutch city organ from the first half of the 18th century.

How did this Dutch city organ develop?

Following the Reformation, the use of the organ during Gereformeerde (‘re-reformed’) services was initially rejected. Only in 1631 was permission given for the introduction of organ accompaniment by the synod of Harlingen. The synod of Delft decided in 1638 that '... the same [congregational singing] is today in a sorry state, and each church may now decide for itself whether to establish [the practice of organ accompaniment]. In the same year, Leiden became one of the first cities in Holland where the organ was used to accompany the singing. The last large city to adopt the practice was Amsterdam in 1680.

From the mid 17th century onwards, the Dutch organs were gradually adapted to fulfill their new task. Specific stops, such as the Cornet, were added in order to make the psalm melody clearly audible. The power of the organs was increased through the enlargement of the plena, and the addition of couplers. Certain reed stops, such as the 16’ manual Trompet were added in order to provide extra support. As a consequence of these developments, the Dutch organ became more and more geared to the accompaniment of congregational singing.

Around 1720, a new phase of developments was prompted by the dying out of the long-standing Van Hagerbeer-Duyschot organbuilding dynasty. The vacuum was filled by a number of highly talented German organbuilders who had travelled to Holland. These require little introduction: Frans Caspar Schnitger, builder of the organ at the Michaëlskerk in Zwolle (1721), Christian Müller, builder of the organ at the St.-Bavokerk in Haarlem (1738), Christian Vater, who built the organ at the Oude Kerk in Amsterdam (1726), Johann Heinrich Hartmann Bätz, builder of the organ at the Evangelisch Lutherse Kerk in The Hague (1762) and Albert Anthonie Hinsz, responsible for the organ at the Bovenkerk in Kampen (1743).

The result of this influx of talent from Central and Northern Germany was a beautiful new organ-type, combining elements of classical Dutch organbuilding with Northern and Central German stylistic traits. These organs represent the optimum accompanimental instruments, with an artistic integrity of the first order.

This hybrid organ-type provided the starting point for the new organ in the Noorderkerk in Rijssen. The chosen structure features a 16’ Manuaal, an 8’ Rugwerk, and a 16’ Pedaal, located in towers on either of the Manuaal.

The key to the organ’s sound can be traced to two basic elements: the principal chorus on each division, and the reeds, with the trumpet family represented on each division. In addition, Manuaal, Pedaal and Rugwerk all feature reeds at 16’ pitch.

The specification is as follows:

Due to the fact that the incorporation of a Bovenwerk was, for acoustical reasons, impractical, a number of typical ‘Bovenwerk stops’ are included in the specification of the Manuaal (or hoofdwerk). The ‘normal’ specification of the Manuaal consists of the Prestant 16, Octaaf 8', Octaaf 4', Quint 3', Mixtuur, Trompet 16 and Trompet 8'. The first draft of the specification also included a Roerquint 6' but this was replaced by a Viola di gamba 8' at the request of the Noorderkerk. If one considers the Octaaf 4' to have a dual function, both as part of the Manuaal, and as part of the absent Bovenwerk, the latter’s specification is made up as follows: Viola di gamba 8', Roerfluit 8', Quintadena 8', Octaaf 4', Gemshoorn 2' and Vox Humana 8'.

The Rugwerk features an 8’ plenum, complemented by two flutes, a Cornet and two reeds. The Tertiaan is copied from the example found in the Arp Schnitger organ (1686) in the Ludgerikirche in Norden, Germany. Perhaps Schnitger witnessed a principal-scaled Cornet during one of his trips to Amsterdam and developed the Tertiaan to accompany the congregation in Norden, Eastern Friesland. The Rugwerk in Rijssen illustrates, therefore, a fragment of the Dutch organ’s development: the Tertiaan represents the old Dutch tradition of principal-scaled Cornet stops and Sexquialteras, with low compositions, while the Cornet represents the flute-scaled type introduced by Christian Müller around 1720

The Pedaal consists of a complete 16’ plenum, including a Roerquint 12', and four reeds. The fifth rank of the Ruispijp is a tierce, which can be disengaged by half-drawing the stop knob.

The organ’s facade is designed in classical style, relating directly to the organ’s concept. The largest facade pipe in the Manuaal is tenor C of the Prestant 16', that of the Rugwerk bass F of the Prestant 8’, and, in the Pedaal, bass F of the Prestant 16'. The colours were chosen following advice from Berend Raangs of Winsum. Henk Seppenwoolde from Rijssen was responsible for the beautiful gilding and lacquering. The woodcarvings are the work of Gert van den Dikkenberg of Veenendaal.

The organ’s wind is provided by three wedge bellows. The wind pressure is 89mm throughout. The pitch is a = 440 Hertz, while the tuning system is that of Herbert Anton Kellner.

The organ contains 2377 pipes, of which 2332 are speaking pipes. 22 of the organ’s pipes are made from wood.

During the construction of the pipework, techniques were used which were common until the end of the 18th century. The pipe metal consists of an alloy of lead and tin, the ratio of which has much in common with that found in historic pipe metal. The metal was cast on a bed of sand and, thereafter, appropriately thinned by hand. This method of casting and treating the metal has an important positive influence on its acoustical properties. The Rijssen instrument is the largest new organ in the Netherlands in which these techniques have been applied.

The traditional singing of the Geneva Psalter with organ accompaniment is a uniquely Dutch cultural inheritance. During the 20th century, it has too often fallen victim to modernisation and neglect. In the Noorderkerk in Rijssen, this living tradition has, fortunately, stood the test of time.

The new organ in the Noorderkerk is built for the accompaniment of the psalm singing. It provides the conditions for, and challenges the organists to maintain, worthy and appropriate accompaniments to the psalms.

May it support the congregation in the Noorderkerk in Rijssen for many generations to come, leading and inspiring powerful singing, ad maiorem Dei gloriam.

 

 

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