Michael Gerhard Kaufmann
Michael Gerhard Kaufmann was born in
1966. He studied School and Church
Music as well as German Language and
Literature in Karlsruhe (Germany). He
holds a doctorate in musicology and an
honorary professorship at the Trossingen University of
the Arts. He is the coordinator of the study network
«OrganExpert» and the archiepiscopal organ inspector
for the Archdiocese Freiburg. He is active as teacher,
author, editor and organist and is a member of the
Executive Committee of the German Association of Organ
Consultants (VOD), the Society of Friends of the
Organ (GdO) and the Swiss foundation Cultural Heritage
(SKO).Philipp Caspar Andreas Klais
Philipp Caspar Andreas Klais, born
1967, grew up in an organ builders
workshop and followed in the footsteps
of his father, grandfather and greatgrandfather.
He received his education
as an organ builder at a French organ builders' workshop
and within his father’s workshop.
16 years ago he took over the management of the organ
construction workshop Klais Bonn. Among the the
many organs since completed in the Bonn workshop
since then, include the Cathedral of Cologne, the Concert
Houses of Singapore, Auckland, Birmingham, Peking
and Arhus, as well as the Church of St. Elisabeth
in Marburg and the Cathedral of Zaragoza.
Presently, a new organ is being built for the Church of
St. Maximilian in Dusseldorf.Andreas Ladach
Andreas Ladach was born 1969 in Wuppertal
(Germany). After high school
(Gymnasium with Abitur) and civil service,
he began to study electrical engineering
and to play the organ. He was
offered a used organ in 1996, which he sold to a Polish
church. This sale inspired him, after completion of his
studies, to begin procuring and selling used pipe organs
throughout Europe. In 2002, he bought the Wuppertal
Trinitas Church in order to install a permanent
exhibition of used organs. He speaks five languages
and annually sells, or acts as a broker for, 80 organs
Rudolf Meyer (1943 *) studied organ,
school music, church music and composition
in Zurich, Paris and Haarlem.
Following his choir master tenure in
Burgdorf and Rapperswil, he took charge
from 1976-2001 of an occupational and concert
class at the Zurich University of the Arts and became
the organist at the Winterthur City Church. In addition
he was Guest Professor in Syndey, Australia and in Cologne.
In Winterthur he led the restoration of the Walcker
Organ (1888) and the resulting five International
Organ Conferences, which focused on contacts. He
strives for ease of contact with out-dated organs and
postulates «Organ-Rights», a legal statue for these instruments.
In addition to concerts, master classes and
his organ expertise, Meyer regularly directs complex
choral projects. Most recently, Bach’s St. Matthew Passion
in 2011, performed with modern concert practices.
He increasingly enjoys composing.Johann Trummer
Johann Trummer was born in 1940. He
studied theology and musicology at the
University of Graz (Austria). In addition,
he studied organ with Franz Illenberger
and harpsichord with Vera Schwarz at
the University of Music and Performing Arts. Since
1996, he has worked at the University of Music in Graz
in various capacities, such as director of the Institute
for Performance Practice (1981-2000), Leader of the
Department of Church Music (1973-1991). He served
on the board for the Institute of Church Music and Organ
(2000-2008) and is a member of the Board of Directors
of the New Bach Society (Leipzig). As a priest
in the diocese Graz-Seckau, he was a member of the
Executive Committee of Seminary of Graz from 1969
Prof Dr Kaufmann:
Are the Provisions of UNESCO of Chartres and Venice good enough?
When organs are removed from churches, memory is gone. One should consider the instrument as a life - one should consider its CV. No doubt it will have inspired ten organists to write for it and then an organist wants to do away with it. . . We need to consider the cultural impact of that.
Italy - lots of organs are being removed.Philipp Klais:
There have been a flood of English organs coming to Germany. German organs of the 1950s and 1960s are going into Eastern Europe. Often in the past organs were thrown away. We need strong cultural heritage provisions to give rights to the organ. We should not treat all instruments in the same way. It's sad to see organs leave the spaces that they were made for: they need to be treated as a family member.
The organ in the chapel of the Palace of Wurzberg was removed in the 1930s. It is still in our workshop awaiting the right space to home it . . . Andreas Ladach:
Every organ is tailor made for a space and use somewhere else is only partial in success. See www.ladach.de
which is a board for second hand organs.
In the process of organ transfer, in the decision to change an organ, in the old building everyone hates the organ. In the new building, everyone loves the organ, often because it is the best in the area (to say nothing of the great efforts that people have expended in succeeding in the acquisition of the instrument
Often it's organists who threaten the organ. Renovation of electronpneumatic actions creates a lot of organ-builders' work.
It's easy to get rid of an organ - you remove the covering of a key and then get the newspaper to photograph it and then the three million euros flows in to repair it . . . I have experienced instances where organists have deliberately sabotaged the organ, creating a cipher or something, for this reason.
Any removal of an organ from its original place should be decided by courts with the expertise of art historians and other heritage consultants on hand.
Prof Dr Trummer:
The East has catch-up potential and the west wants to dispose of instruments. (??Mentioned Cardinal Kunig of Vienna and the story of wanting an instrument for a cathedral?? ??Moscow?? ) Minsk cathedral organ is being renovated at the cost of the State. Other instruments in demand in Eastern Europe since the fall of the Soviet occupations. But in the eats there is confusion - Orthodox liturgy was only singing, without organs. Other than what was experienced on a limited basis in that context, the organ was known only in concert halls. In Soviet times, organ composition was only allowed if it was dedicated to the State.Philipp Klais
In Paris the Radio France concert hall was gutted and the new concert hall did not want an organ. There was a 100 rank instrument that needed a new home. As a matter of interest, they subsequently wanted and installed a new instrument.