Organ reform movement

The Organ Reform Movement or Orgelbewegung (also called the Organ Revival Movement)^[1][2] was a mid-20th-century trend in pipe organ building, originating in Germany. It was influential in the United States in the 1930s through 1970s, and began to wane in the 1980s. It arose with early interest in historical performance and was strongly influenced by, among others, Albert Schweitzer's championing of historical instruments by Gottfried Silbermann and others, as well as by Schweitzer's declaration that the criterion for judging an organ is its fitness to play the polyphonic music of J. S. Bach. Concert organist E. Power Biggs was a leading popularizer of the movement in the United States, through his many recordings and radio broadcasts. The movement ultimately went beyond the "Neo-Baroque" copying of old instruments to endorse a new philosophy of organ building.

History

The Organ Reform Movement sought to turn away from many of the perceived excesses of Romantic or Symphonic organ building and repertoire, in favor of organs understood to be more similar to those of the Baroque Era in Northern Germany, especially those built by Arp Schnitger. This took the form of a vertical style of registration in which ensembles were ideally built up with no pitch being duplicated in the same octave, and then the ensembles were crowned with high-pitched mixture stops. The movement endorsed the so-called Werkprinzip, in which each division of the instrument was based on a principal-scale rank of a different octave.

Organ voicers strove for an articulate pipe speech characterized by chiff, and avoided nicking and other means of achieving 'smoothness'. Low wind pressures were revived. Casework was sometimes eschewed in favor of open standing pipework, and swell boxes became less common.

In Europe the movement was indelibly connected with tracker action (mechanical instruments); in North America this was not the case, and many instruments characteristic of the Organ Reform Movement had electric action.

Some of the leading organ-builders of the movement were:

• (in Europe) Rudolf von Beckerath, Dirk Andries Flentrop, Frobenius Orgelbyggeri, Marcussen & Søn;
• (in North America) G. Donald Harrison, Holtkamp Organ Company, Lawrence Phelps, Schlicker Organ Company.

Reversals

A common criticism of the Organ Reform Movement was that its principles could be more dogmatic than musical.^[3] Some of the alterations that the movement executed on pre-movement instruments have since been reversed to support a wider range of repertoire, such as on the organs of Auckland Town Hall^[4] and Princeton University Chapel.^[5]

References