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2013.1 |

Beschreibung

p. 04. Jan Van Mol
The rood screen
p.  16. Victor Timmer & Ton van Eck
Over contacten tussen de Limminghe, Cavaillé-Coll en Philbert
p. 20. Gilbert Huybens
Jean-Pierre Felix 70 jaar
p. 36. 
Het gerestaureerde Bremser-orgel (1646) in de Onze-Lieve-Vrouwkerk te Aarschot 
p. 38. Peter Maus
Een 19de-eeuws Engels orgel in de Sint-Salvatorkerk te Harelbeke 
p. 42. 
De restauratie van het orgel in de Sint-Lambertuskerk te Beverlo  
p. 44. Joost Vermeiren
Orgelkunst feest in de Gentse Sint-Baafskathedraal 

Inhalt

* Jan Van Mol: The rood screen

In the Western church, the partitioning of the choir served a multiple function. The Scripture readings were taken from here, hence names like pulpitum, ambone, jubé, perhaps doksaal. Following the Lateran Council (1215) the function was shifted more towards protecting the Sacrament (screen).According to the Council of Trent (1545-1563), the altar with tabernacle had to be visible in the whole church, and the pulpit replaced the rood loft for preaching. Thus many rood screens disappeared.In addition, many rood screens were destroyed in the 19th century. The ideas about Gothic style, such as those of Viollet-Leduc, also played a role. In England the organ loft remained a part of most cathedrals, as well as the choir loft where Evensongs, e.g., were performed. In France, at least some jubés were saved. Saint Bertrand de Comminges still has a complete ensemble of choir stalls - rood loft - organ. The screens of Albi and La Chaise Dieu, to name two, are well-known. The Brou rood screen was made by Brabant artists. The Renaissance-rood screen of Arques la Bataille houses a new organ now.

In Protestant countries the screens were less affected by the Iconoclasm. Well-known examples are the cathedrals of Naumburg, Magdeburg and Halberstadt. In the Predigerkirche of Basel, a copy of a medieval organ was built in the loft. In Belgium however, some late Gothic screens were kept in Aarschot, Leuven,Tessenderlo, Lier and Walcourt. They all stem from the first half of the 16th century, a period of prosperity under Charles V and a time prior to religious turmoil. The screens of Aarschot and Tessenderlo are of topical interest because the organs have been restored lately. Here, two options were proposed. In Aarschot, the Bremser-organ (1646) was brought back to its original position, whereas for Tessenderlo a non-historic location was chosen.

Even after the Counter Reformation, screens were still being built. The white limestone of the Gothic screens gave way to white and black marble. The cathedrals of Tournai and the Church of Soignies are preserved examples of the Renaissance style. It is regrettable that in Soignies the Lachapelle organ from 1711 was lost during the intense restoration of the church. Part of the rich musical history of this church is the organist of this organ, Coquiel, whose organ book is the only resource for the work of Abraham van den Kerckhoven.

Baroque screens were built in places such as Mechelen, Antwerp and Bruges. In Bruges there are still three intact ensembles with rood loft and organ: St. Anne, Our Lady, St. Jacob. The screen of St Salvator Cathedral was radically transformed. In Antwerp, where all city churches had rood screens,only the St. James rood loft with an intact ensemble and organ has been retained.

* Victor Timmer & Ton van Eck: Concerning a personal note - About contact between Léon de Limminghe, Aristide Cavaillé-Coll and Charles Philbert.

A strong case for the work of Aristide Cavaillé-Coll was built in 1876 by the publication of a book on the new organ in the Amsterdam Palace of Industry written by Charles Philbert. One of the first copies of the book was sent to Count Léon de Limminghe by the author himself on behalf of the Parisian organ builder, immediately following publication, moreover accompanied with a personal note (see Orgelkunst 34/3, p. 131). This led to further contact between the Count and Cavaillé-Coll, extending far beyond the construction of the two organs in Gesves, and with Charles Philbert.

Additionally, Philbert and De Limminghe proved to have known each other previously, albeit under different circumstances: about 30 years prior, they were educated together at the then-famous Jesuit boarding school in Fribourgh, Switzerland. Expressing art through word and deed was an important part of the curriculum, especially musically where both young men were active in several ensembles together. Plans around 1875 for the construction of a new conservatory organ in Brussels by Cavaillé-Coll were undoubtedly the reason that a select number of Belgians (including the Count) received the book by Philbert directly following its publication, undoubtedly to obtain stronger support for the project. The realization of this and perhaps also the manuscript in the book may have led to renewed contact between the two 'retirees', though there is still nothing known here with certainty.

*Gilbert Huybens: Jean-Pierre Felix 70 jaar

*Joost Vermeiren: Orgelkunst feest in de Gentse Sint-Baafskathedraal

actualia

Het Bremserorgel (1646) van de Onze-Lieve-Vrouwkerk te Aarschot
Het Forster en Andrews-orgel uit 1865 in de Sint-Salvatorkerk te Harelbeke
Het orgel van de Sint-Lambertuskerk te Beverlo

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