This organ is one of Erwin Fehrle's largest and most impressive instruments. His Op. 7 (P/III 35 1972) is built in the Neo-Classical style with a fully developed Werkprinzip and is housed in a freestanding 8mx6m case made of Meranti. The organ has 35 Stops, 6 Couplers, 45 Ranks and 2 407 Pipes (PD-284, RP-549, HW-789, SW-793).
Sketches of the organ's proposed façade were presented to the Building Commission on the 6th July 1970 by the organ consultant, Mr. J Potgieter. By the end of July 1971 the CCM report that the organ was practically completed and ready for installation. Installation in the church occurred during December 1971.
The four divisions are pitched as follows:
16' - Pedaal (PD)
8' - Hoofwerk (HW)
4' - Swelwerk (SW)
2' - Rugpositief (RP)
The organ is laid out as follows:
The base of the case contains the switching and reservoirs. To the right (when facing the instrument) are the CC,CC# and DD of the PD Prinsipaal 16' and CC-BB of the Basuin 16'. These extend upwards to the level of the HW. At about impost level is the SW, with its shutters visible, and immediately above that the en chamade Trompet 8' of the HW. Immediately above and behind it is the HW, flanked on both sides by the PD in its respective towers. The RP sits over the gallery edge, immediately behind the console.
The internal framework is constructed of Maranti (vertical parts) and iron (horizontal parts). This allows the organ to remain remarkably stable during the weather extremes experienced in Johannesburg, where the humidity can fluctuate from 0% to almost 50%! The electric key and stopaction is commanded by a drawtab console with a limited amount of thumb and toe pistons. The Swell and General Crescendo Pedals are both balanced, and the Pedalboard is of the radiating-concave "Willis" type.
Tonally the organ is well suited for the performance of music written in Germany, the Netherlands, Flanders (modern Belgium), and Iberia (modern Spain and Portugal) in the period prior to about 1750, which in its turn is ideal for use in the Protestant Divine Service. As a church organ it is an invaluable resource to a congregation that is characterised by its diversity. The demands placed on the organ and organist would make the average musician shudder, and it is a tribute to organ, organ builder, and organist that these demands are met with ease. As a teaching instrument it is considered one of the premier examples in the Greater Johannesburg.
The organ follows true Orgelbewegung principles in its construction, pipework and voicing. 52% Tin alloys are found in the Principal choruses and 30% Tin alloys in the Flutes and Mutations. The pipes are characterised by bold speech, narrower flues and a prominent chiff in the attack. The voicing imparts a clear, transparent tone to the Principal choruses, and a full, well-rounded timbre to the Flute Choruses. The upperwork is bright, but not shrill. The PD is true to its style and is very complete. The luxury of not having to constantly couple the manuals down cannot be over-enjoyed!
The reeds are solid and round for the PD, tangy and prompt in the case of the RP and SW, and cackle most satisfyingly in the case of the HW. The only shortcoming is that there are no chorus reeds on the SW or HW. The Trompet 8' is a solo stop, and the tonal crown of the entire organ. Another item for the wishlist is to have it playable on one of the other manuals, thereby allowing it to be played in dialogue with the full organ. Oddly enough, the funky "Schnarleywerk" reeds so dear to the Baroque masters are absent here - nary a Regal, Sordun, Schalmei or Bärpfeife to be seen!
Admittedly, the SW falls short of providing the timbres necessary for the authentic interpertation of standard Romantic repertoire. This however, is negated to an extent by the organs excellent ability to interpret works from the Renaissance and Baroque. The more colourful Classical sounds of the Cornet decomposée, Sesquialtera and Trompetta Real give the organ an exceptional personalty and allows the organist the rare opportunity to perform music that is often left to gather dust on the library shelf. The colourful dialogues, tientos, sonatas and entradas of de Cabzón, Lìdon and de Heredia are premier examples of these.
The RP contains the normal German Baroque stops and combination and, due to its position, gives the organ a directness and presence in the body of the church.. The Kromhoorn 8' is a typically nasal German example and the Kwintadeen 8'/Gedek 8' pairing creates a superb aeltes Praestant effect. The ideosyncratic lack of a SW-RP coupler can be attributed to the tastes of the organ consultant.
Differences is taste notwithstanding, this is a superb organ and the Full Organ is an ideal that should be emulated by many an builder - a truly thrilling sound from a thrilling instrument!