Mixture B

The wide gallery in which the organ sits is quite high at the west end of a large, open building with marble pillars, a coffered, vaulted ceiling and an acoustic to match (five seconds). There is approximately 20' between the main case and the Ruckpositiv with the console sitting centrally, leaving sufficient space around it for twenty players. The touch was quite different to the Mayer organ, still light, but with less sense of 'pluck'. The shallow case is of striking design, with a progressive geometrical increase in size which surrounds and appears to support the large rose window. In the centre is the Schwellwerk, with Hauptwerk on either side, all flanked by the pedal towers. The playing aids are similar to those of the Darmstadt organ though with a further 'free' piston and a full organ piston; there is also a free piston to the Pedal. My time on the Klais was limited as I did not want to trespass too much on the goodwill of my hosts, though Herr Knop's patience and generosity extended to presenting me with a lavishly illustrated colour book of organs in the Mainz area, in which the St Georg Klais is featured. The photograph of the console is my own, but.as the Germans are very strict about copyright I show only the specification and not the splendid colour plate of the organ. Herr Knop was modest about his English, though fortunately it was far better than my German, and he was able to tell me about the work that Klais are to begin quite soon: wooden trackers and action are to be replaced by wire (though due to the language barrier that may have been the other way around*); the mixtures, typical of the 1960 period are to be reduced in pitch and a 32' is to be added to the pedal — whether this is to be a reed or Untersatz was not clear. His warm invitation to visit again when Klais have completed their work is something I look forward to very much.

(*Ed [Edmund Stow, newsletter editor and Organ Builder]tells me that a number of firms experimented with 'wire' actions in the 1960s and that the intention may be to replace wire with wood.)

Religion in this part of Germany is still a very strong spiritual force and is reflected in both the size of the congregations and the feeling of community in both town and village. The German government's commitment to the church as a pastoral and spiritual influence on the development of cohesion amongst its people is something which we in this country would do well to consider.

My thanks to my generous hosts Uta and Friedhelm Kuehn, who, amongst other kindnesses, took me to Arnstadt and Eisenach, lack of space prohibits detail of that fascinating expedition, and to Werner Moeller and his utterly delightful family who arranged for me to play on both of these magnificent instruments. To Gregor Knop, my warmest thanks for finding the enthusiasm to deal with a foreign organist on such a busy day.

Tony Westerman

I Ruckpositiv
Quintade
Holzgedackt
Prestant
Blockflöte
Prinzipal
Larigot
Cornett IV
Scharff IV
Krummhorn
Tremulant
I - II

III Schwellwerk
Holzflöte
Gamba
Prinzipal
Holztraverse
Nasard
Waldflöte
Terz
Oktävchen
Acuta IV-V
Dulzian
Hautbois
Tremulant
III - II

Pedal
Prinzipal
Subbass
Oktave
Rohrgedackt
Superoktave
Koppelflöte
Nachthorn
Rauschwerk III
Hintersatz IV
Posaune
Trompete
Pedal - I
Pedal - II
Pedal - III

II Hauptwerk
Gedacktpommer
Prinzipal
Gemshorn
Oktave
Rohrflöte
Superoktave
Mixtur IV-VI
Cymbel
Trompete
Feldtrompete

1,1/3

2,2/3

1,3/5

1,1/3

1/3

2,2/3