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Brieg (Brzeg), St. Nicolai

Orgel in Brieg, St. Nicolai

Michael Engler II, 1724-1730

State of preservation: Technical structure and about 80 % of stops still extant in 1922; destroyed in 1945.

Engler's organ in Brieg, one of the biggest in Silesia, also formed a model for Silesian organs of the 18th century. Part of this was the improved option to play with other instruments in chamber pitch. Some organs had special chamber stops tuned at chamber pitch. Engler used a second option, a transposition shift for the parapet positive and four (softer) pedal stops (Subbaß 16’, Octav 8’, Flaut 8, Superoctav 4’).

The colourful specification of several strings (Salicet), the undulating flute stop „Unda maris“ and flute stop variants in different scales (RP: Flaut allemand and Flaut lieblich 8’; OW: Spitzflaut and Nachthorn 4’) show the influences from Bohemia-Austria-S Germany on Silesian organs, the rich reeds and the omnipresent „Quintatön“ the proximity to northern and central Germany.


Disposition 1730:


Bordun Flaut     16’
Quintatön           16’
Salizet                 16’
Violonbaß           16’ (“ins halbe Clavier”)
Prinzipal               8’ (front)
Gemshorn            8’
Flaut major          8’
Salicet                   8’
Oktave                   4’
Flaut minor          4’
Quinte                   3’
Superoktav           2’
Sesquialtera 2f.
Mixtur 6f.
Cimbal 2f.
Trompete              8’

Prinzipal             8’ (front)
Flaut allemand  8’
Quintatön            8’
Flaut lieblich      8’
Oktave                 4’
Quinte                  3’
Superoktave        2’
Sedezima             1’
Mixtur 3f.
Oboe                     8’

Prinzipal              8’ (front´)
Rohrflaut             8’
Unda maris         8’
Prinzipal              4’ (front)
Spitzflaut             4’
Nachthorn           4’
Quinte                  3’
Octava                  2’
Quinte                  1½’
Sedezima            1’
Mixtur 4f.
Vox humana        8’

Majorbaß             32’
Prinzipal              16’ “ganz im Gesicht”
Subbaß*               16’
Quintatönbaß       16’
Salicetbaß            16’
Offenbaß               16’
Octavbaß*               8’
Flautbaß*                8’
Gemshornquint      6’
Superoctavbaß*      4’
Mixtur 6f.
Posaunenbaß        32’
Posaunenbaß        16’
Trompetbaß             8’

2 «würckliche Heerpaucken», Tremulant (OW), 2 manual couplers, pedal coupler; transposition shift to chamber pitch for RP and the pedal stops marked „*“


© Greifenberger Institut für Musikinstrumentenkunde |