Carl Horn (organ builder)

Carl (Karl) Horn (born September 25, 1859 in Hundsangen , † October 15, 1932 in Limburg an der Lahn ) was a German organ builder of the late Romantic period.

He was based in Limburg an der Lahn from approx. 1897 to 1932 and built between 70 and 80 organs, mainly in Catholic churches of the Limburg diocese - in the Taunus, Rheingau and especially in the Westerwald. He was supported in this by the seminar teacher Karl Walter in Montabaur , who came from Kransberg im Taunus and was appointed organ and bell expert of the diocese in 1899 , who significantly promoted the construction of the "new" organ. While Horn's predecessor in Limburg, the Keller brothers , still felt the transition from the high to the late romantic organ in the late phase, Carl Horn created a "late romantic" type of organ that was based on the achievements of high romanticism in organ construction (its basic principles had described Johann Gottlob Töpfer in a standard work in 1888 - literature that Carl Horn also knew most likely from his training or apprenticeship time), but this was both acoustically (in the form of an even stronger heaviness of the basic voices, a frequent lack of sound crowns, etc. ) as technically (through the introduction of the pneumatic tube action instead of the mechanical).

Life

The master organ builder Carl Horn was born on September 25, 1859 in Hundsangen (Westerburg district) as the son of the carpenter Johann Horn and his wife Anna Maria (née Kalteier) and baptized Catholic. He first completed an apprenticeship as a carpenter (possibly in his father's workshop). When and with whom, however, Carl Horn did his organ builder apprenticeship and “his master” is unfortunately still unclear. There are, however, two indications that his training workshop was the organ building workshop of the Keller brothers in Limburg or that he worked for the Keller brothers or at least took on orders for them: On the one hand, he lived when he was living on January 31, 1887 (his name is still Job title "carpenter") married the servant girl Anna Maria Bendel from Görgeshausen, who lived / worked in Limburg, already in the same street where the Keller brothers had their workshop ("[Im] Schlenkert" No. 20, home and workshop of the Keller brothers were located exactly opposite: “[Im] Schlenkert” No. 11). On the other hand, an inscription on a board of the old organ bellows in St. George's Church in Pfaffenwiesbach (wording: "Carl Horn, Limburg / Lahn, installed on July 30, 1894") shows that Carl Horn - still provided the invoice for the work mentioned always the company Keller - was already working as an organ builder on behalf of the company Keller before he even had his own workshop.

Possibly. Together with the establishment of their own workshop very close to the Keller brothers, the couple already moved to an apartment at Holzheimer Strasse 16, where the organ builder lived until his death. The pensioner Adam Horn, probably a relative of Carl Horn, informed the Limburg registry office on October 17, 1932 that Karl (Carl) Horn, who lived in Limburg (now referred to as "master organ builder"), would be on October 15, 1932 at 6:15 pm Uhr died at the age of 73.

History of the organ building institute

Horn organ in Pfaffenwiesbach (1911) - workshop sign on the console

After the death of the company boss Michael Keller on September 6th, 1894, the organ building workshop of the Keller brothers in Limburg ceased operations in 1895; The Johannes Klais Orgelbau workshop in Bonn took over the remainder . The Carl Horn organ building company began as a successor company in late 1895 or early 1896. Their company address was then published in an address book of the city of Limburg in 1896, according to which the factory premises were conveniently located south of the train station at Holzheimer Straße 10d; probably already before 1926, however, both the company and the associated master organ builder's apartment apparently moved to Holzheimer Strasse 16 (but the address Holzheimer Strasse 10–16 was probably a larger, contiguous building complex that spanned the entire street corner of Holzheimer Strasse - Stephanshügel took). This shift in house numbers could indicate an increase in the size of the workshop over time. In addition, there is the fact that Carl Horn z. For example, on his letterhead published in 1911, his workshop itself referred to as the “organ building establishment”, which obviously referred to something more extensive than a small craft business. By 1911 at the latest, one can assume that Carl Horn's workshop had developed from what was initially a rather small craft business into a quite respectable company that was able to meet the existing demand for new organs not only in terms of quantity but also in terms of quality.

Former Horn organ in Aulhausen (1913) - workshop sign on the remote console

For which church Carl Horn his Op. 1 is insecure; possibly Horn's Op. 1 is not intended for a church either, but rather its “masterpiece”. His Op. 2 ended in 1897 for Welschneudorf , St. John the Baptist (I / P / 7), and was with some certainty his first organ in the territory of the Limburg diocese. The smallest organ that has been documented to date was built in the Old Lutheran Church in Gemünden (Westerwald) in 1903 (I / 4, no pedal), the largest in Frankfurt-Schwanheim , St. Mauritius, in 1907/08 (II / P / 28 ). Sometime between 1905 and 1911, possibly also due to the increasing use of supplier companies, there was a change in the way Carl Horn built his organs: regardless of the introduction of pneumatics, which can be proven at Horn as early as 1900 (e.g. Wernborn), changes e.g. B. the design / construction of the gaming tables; The pipes of the great octave are also increasingly made of zinc. The (previously known) last organ work by Horn was created around 1930 for Lykershausen , St. Johannes (acceptance 1930).

In the meantime it became more and more clear that with the so-called “organ movement” also the late romantic organ both because of its (“factory-like”) production, v. a. but also because of its conception or its sound image will get into a serious crisis. In Germany in the 1930s, protagonists such as Hanns Henny Jahnn, Albert Schweitzer and Karl Straube promoted the early baroque (north German) organ. Even the late romantic (German) type of organ, as Carl Horn had built during his life, increasingly fell into disrepute and was suddenly “out of fashion”. And so one can perhaps see the changes in taste in organ building as one of the reasons that caused the Horn company to cease operations around 1930 (especially since Carl Horn died in 1932). The organ builder Eduard Wagenbach (1903–1986) finally started building the new organ in Niederelbert (II / P / 17) in 1932 - an instrument that was still one foot in the late Romantic period (four stops are 8′- Strings), but also (especially in the Schwellwerk) has neo-baroque extensions - the successor to Carl Horn. However, it is unclear whether Wagenbach simply took over the workshop building of the Carl Horn organ building company or rather moved to “Holzheimer Str. 6”, where his son Peter still built organs until around the turn of the 21st century. In any case, the Wagenbach company took over the Horns files, which were then completely cremated together with the company building during the Second World War by a bomb hit near the Limburg train station, making research into the organ builder Horn and its effectiveness very difficult.

Since November 16, 2016, the sound and functionality of Carl Horn's largest organ, which has been preserved in its substance, but has unfortunately also been partially rebuilt, has been presented in several videos in the St. Annakirche Herschbach (Westerwald) . The organ in St. George's Church in Pfaffenwiesbach - a medium-sized work by the organ builder - will probably be converted into the "Carl Horn Memorial Organ" by 2021 and will then have 20 sounding stops (including nine original stops [o], six reconstructions [ r], two to three replicas [n] and two to three registers from the years 1969/1970 [+]); the instrument should have the following disposition after completion of the construction project:

I Manual C – f 3 Principal 8th' [O] Bourdon 16 ′ [O] Hollow flute 8th' [O] Quintatön 8th' [r] Gamba 8th' [r] octave 4 ′ [O] Cornett II-IV 2 2 / 3 ' [o / n] Melody coupler I / II [O] Manual coupling II / I [O] Superkoppel II / I [O] Tremulant Zimbelstern VI

II Manual C – f 3 Violin principal 8th' [r] Covered 8th' [O] Salicional 8th' [r] Dolce 8th' [r] Aeoline 8th' [O] Vox coelestis (from c °) 8th' [O] Flauto traverso 4 ′ [n] Forest flute 2 ′ [+] Mixture III 1 1 / 3 ' [+] Clarinet 8th' [n] Sub-coupler II / II [n] Superkoppel II / II [n]

Pedal C – d 1 Sub bass 16 ′ [O] Violon bass 8th' [O] Trombone bass 16 ′ [n] Pedal Coupler I [O] Pedal Coupler II [O]

Construction of the instruments

Organ builder Carl Horn: Disposition and cost estimate for the construction of an organ in the Catholic Church in Pfaffenwiesbach (page 1)

Organ sizes

Regarding the organ size, Horn applied the principle of building instruments with up to seven registers with one manual (cf. Gemünden [I / 4]; Sauerthal [I / P / 5]; Winkels [I / P / 6]; Welschneudorf, Eppenrod, Daisbach, Holzhausen and Wirzenborn [each I / P / 7]). Organs with eight or more registers, which statistically predominate in Horn, are two-manual :

• Diez (JVA), Westernohe, Oberahr, Kalbach (both II / P / 8);
• Wernborn, Aulhausen and Niedergladbach (each II / P / 9);
• Ransel, Girod, Wilsenroth, Hundsangen (?) And Sonnenberg (each II / P / 10);
• Lindenholzhausen (II / P / 11);
• Eddersheim, Berod and Wiesbaden / Dreifaltigkeit (each II / P / 12);
• Niederlahnstein (II / P / 14);
• Fischbach, Pfaffenwiesbach and Limburg / St. Anna (each II / P / 15);
• Eckenheim - later Hartenfels (II / P / 16);
• Langendernbach, Eschhofen and Salz (II / P / 18);
• Niederzeuzheim and Limburg / City Church (II / P / 19);
• Erbach (II / P / 22);
• Herschbach (II / P / 26);
• Schwanheim (II / P / 28).

system

As a type of windchest, Carl Horn exclusively built cone chests . The tractor system changed over time:

• In the first years of his activity in particular, he equipped single-manual organs (cf. Sauerthal, Winkels and Kölbingen-Möllingen) with mechanical action, so that the statement that Horn built "consistently cone chests with pneumatic action" is incorrect. This still mechanical instruments then have to avoid complicated Trakturführungen, not freestanding, but a side-mounted to the organ case game table with hinged lid and music stand. The stops are still laid out as manubrias (cf. e.g. Sauerthal); their ornate lettering and spelling (e.g. “ Subbass ”) are still very reminiscent of the register manubria of the organ builder Michael Keller. The mechanical action management is also similar to Keller (see e.g. Sauerthal): The pedal action runs across the gallery floor, then the pull abstracts of the manubriums follow and the manual action runs under the manual wind chest (see picture below). The organ in Wernborn (1900) was already purely pneumatic and the one in Winkels (1904) had - a curiosity - a mixed action: the manual was still mechanical, the pedal pneumatic. There are also gaming tables in Horn's "early phase" (cf. for example the pneumatic organ in Eppenrod [1906]), the details of which indicate a close collaboration with the Weigle company in Echterdingen, which at least for one Part of the pipework applies.

Horn organ in Sauerthal (1903) - mechanical cone shutter action (console side)

Horn organ in Sauerthal (1903) - mechanical cone shutter action

Horn organ in Sauerthal (1903) - console view

Horn organ in Sauerthal (1903) - Manubrien (mechanical)

Horn organ in Eppenrod (1906) - console view

• In later years, Horn built (tube) pneumatic action without exception . So he resorted to a system that had started its triumphant advance around 1890 and that showed greater reliability than z. B. the mechanical cone chests ("hanging action") that Carl Horn's predecessors in Limburg, the Keller brothers, still built and whose functionality is strongly dependent on the weather; this mechanical system sometimes leads to dropouts in summer and howling in winter. With pneumatics "(...) organ building had found a technology that made it possible to come to an end from the organ to the orchestra that could be governed by keys - although many already saw that it would soon end in a dead end." Pneumatics made it easier Although the organs can be played by a long way, it enabled the construction of special playing aids and avoids complicated action guides. B. Various weaknesses in terms of accuracy.

Horn organ in Pfaffenwiesbach (1911) - view under the wind chest of I. Man. (pneumatic cone tray, double relay) with seven registers

Horn organ in Ransel (1912) - view under the wind chest of I. Man. (pneumatic cone box), including magazine bellows stones

Horn organ in Pfaffenwiesbach (1911) - console

Horn organ in Pfaffenwiesbach (1911) - rocker stops of the II. Man. and the pedal (white adhesive labels are not original)

Horn organ in Ransel (1912) - rocker stops with original inscription

The pneumatic system also enabled Horn to deviate from the gaming tables attached to the housing without any problems. Since with the pneumatic cone drawer the connection from the button to the play valve in the wind drawer is made very flexibly by hard lead pipes, he was now able to create free-standing play tables made of knot-free pine wood in the style of the housing (mostly) with a view of the altar (see e.g. Wernborn, Pfaffenwiesbach, Ransel, Aulhausen, Wilsenroth, Oberahr; see however JVA-Kapelle Diez: Here the organist looks at the organ case). While many a console in the early days (see, for example, the one in Girod [1905]) are apparently still self-made and look very similar to the choir organ console of A. Cavaillé-Coll, their appearance changed from 1911 at the latest [cf. . z. B. Pfaffenwiesbach] in principle; Invoices for the organ in Oberahr, built in 1919 (which has since been demolished), have still been received, which show that Horn, in addition to pipework, also obtained these console tables, which all look very similar, from the EF Walcker company in Ludwigsburg. They were equipped as follows:

• The interior is veneered and polished in walnut.
• The gaming tables have rounded side bolsters, a lockable roll cover and a music stand that can be folded up.
• The lower keys of the keyboards are covered with white celluloid, the upper keys with ebony (keyboard range: from C – f ³ ).
• The keyboard cheeks are polished and curved at the top.
• The easily removable pedal keyboard was made from beech (lower keys) and pearwood (upper keys) or from beech and oak wood and is provided with strong steel springs (keyboard range: from C – d ¹ ).
• The stops are lined up above the keyboard (s) in the form of the latest construction of the time, so-called “pressure levers” (toggle switches), whereby the register row of each work (if available) usually begins with a principal voice; their order is always (from left to right): I. Man. (= Main work), II. Man. (= Subsidiary work), pedal; the register switches for the I. Man. are covered with white, those for the II. with pink and those for the pedal with green cover plates; the register names on the toggle switches are laid out in two to three lines (see e.g. Ransel): The upper line (and the middle line for long register names) shows the register name, the middle line for mixture , cornett or similar Indication, the lower the number of feet (with the sound crowns, the number of feet is based on the largest choir); the coupling cables to each work are also designed as toggle switches and follow the stops of the sounding registers of each work (for better orientation they are colored so that you can see at the switch itself which work (upper color) to which work ( lower color) is coupled).

Horn organ in Herschbach (1915) - view of the swell

• Fixed combinations (e.g. p, f, tutti) and trigger (0) are available as push buttons under the keyboard of the I. Man. appropriate.
• Inside the console of many horn organs there is a porcelain company sign with the year of construction (see e.g. Sauerthal), sometimes including an opus number (see e.g. Diez JVA-Kapelle, Pfaffenwiesbach, Ransel, Aulhausen, Wilsenroth ).

The organ bench is made of spruce and has a music holder.

The Horns wind chests are (in most cases) pneumatic cone chests made of pine and oak with hammering cones. The cone valves are raised by leather membranes in the form of a bag. For very humid churches, Horn also offered the option of equipping the membranes with aluminum caps at the ends to prevent the membranes from opening. He then built either single or double relays for the individual works (depending on the size of the works). On the small and medium-sized two-manual instruments, the vocal channel is between the 1st and 2nd manual and the pedal tray is located behind the 2nd manual (see e.g. JVA-Kapelle Diez, Pfaffenwiesbach, Ransel, Wilsenroth, Oberahr), see above that this can also be understood as a kind of “pedal addition”. At the organ of the Diez prison chapel there is a small difference in level between the windchest of the 1st and the 2nd man. or pedals. The order of the registers on the wind chest (s) does not correspond to the register order on the gaming table (see e.g. Pfaffenwiesbach).

Only for the organ in Herschbach is currently definitely known (because it is still preserved) that the horn is the II. Man. planned and built as a swell with blinds. Since the old prospectus by Schöler was also reused here, the arrangement of the three works is somewhat peculiar: the registers of the I. Man are in the old case. - Distributed on two levels one above the other (the lower pipe prospect is mute), behind it is - on the left side and arranged in an elevated position - the swell (where the pipes are arranged chromatically for reasons of space) and - on the right side - the pedal mechanism (initially at ground level the pipes of the great octave and - then much higher - the rest of the pipes of the pedal with a vocal line in front of it).

Disposition, pipework and mood

According to the taste of the time, Carl Horn arranged his works in a late romantic fashion . With regard to the disposition of Carl Horn's organs, his smallest (Gemünden) and his largest (Schwanheim) should be cited here:

Gemünden:

I Manual C – f 3 Violin principal 8th' Covered 8th' Salicional 8th' Gemshorn 4 ′

Schwanheim:

I Manual C – f 3 Bourdon 16 ′ Principal 8th' Covered 8th' Hollow flute 8th' Gamba 8th' Gemshorn 8th' Dolce 8th' octave 4 ′ Reed flute 4 ′ Forest flute 2 ′ Mixture IV 2 2 / 3 ' Cornett II-IV Trumpet 8th'

II Manual C – f 3 Violin principal 8th' Lovely covered 8th' Flauto amabile 8th' Quintatön 8th' Salicional 8th' Aeoline 8th' Vox coelestis (from c °) 8th' Flauto traverso 4 ′ Sesquialtera I-II

Pedal C – d 1 Principal bass 16 ′ Sub bass 16 ′ Salicetbass 16 ′ Violon bass 8th' Flute bass 8th' Trombone bass 16 ′

If one uses the Schwanheimer disposition in the I. Manual (see e.g. Langendernbach) or in the II. Man. (see e.g. Oberahr) about a Gemshorn 4 ′ , in the II. Man. a Flauto dolce 4 ′ (see e.g. Limburg / Stadtkirche), a portunal flute 4 ′ (see e.g. Limburg / St. Anna), a flute 4 ′ (see e.g. Girod), a Fugara 4 ′ (originally Herschbach) or a Harmonia aetherea triple or a clarinet 8 ′ (see Herschbach) as well as a violon bass 16 ′ (see, e.g. Limburg / Stadtkirche), a Dolce bass 16 ′ in the pedal or a principal bass 8 ′ (see e.g. Herschbach), you get the maximum register fund of 37 or 38 registers, from which Carl Horn can arrange each of his instruments as in a modular system, depending on the size of the church or customer requirements put together.

On the whole, Horn arranged its organs in the same way as the larger / large organ building companies (Walcker / Ludwigsburg, Klais / Bonn, Weigle / Echterdingen, Link / Giengen and many others) and like other regional organ builders of his time (see e.g. his Predecessors in Limburg, the Keller brothers or the organ builders Gustav Rassmann in Möttau and Friedrich Voigt in Igstadt in their later phase, the Bernhard brothers in Gambach, the Förster company in Lich or the Heinrich Vogt company in Biebrich) "late romantic". He also built on the stylistic guidelines of high romanticism, which can already be traced back to the organ builder Georg Friedrich Steinmeyer (1819–1901), for example:

• The principal basis is deepened (even with the smallest number of registers) from the 4 'to the 8'. Carl Horn not only makes sure that in the manual (or in the first manual) at least one of each register family (principals, flutes, strings) is available in the 8 'position; thereby z. B. also for small instruments with 4 registers a principal 8 ' before (then with horn but violin principal 8' ; see Gemünden and Sauerthal).
• The principal mixture not repeats and stands on 2 ² / ₃ 'basis; a third can be added to achieve more fullness of sound, so that a "mixture cornet" or a "cornet mixture" is created as a mixed form. Carl Horn, the mixture is generally only in the first manual, even comes with larger instruments before and can also by a Cornett or their mixed form Mixturcornett be represented.
• The style change that began after 1870 (renouncing the independent octave 2 ′ in favor of new timbres such as the aeoline in conjunction with the vox coelestis ; priority of the gamba over the sound crown) is common practice with horn.
• Each register, each with a specific timbre, is both a solo register and part of an ensemble.
• Carl Horn no longer builds the resounding tongues that were already lost in High Romanticism. In the extremely rare cases in which he even dispose of reed voices (probably also based on the experience that there was often nobody available to retune them, there are no more than three in his largest instruments) opening tongues.
• The "work characteristic" (I. Man. = Tone strength and fullness, II. Man. = Independent accompanying manual and III. Man. = Colored swell), which has been common since the High Romantic period, is also represented by Horn, although there is no three-manual organ and he is in the only one , previously known case in which he built a swell (Herschbach), the characteristics of II. and III. in the II. Man. connected.

When Fischer writes that for high romanticism the richness of variety in the timbres, the gradual registering from the quietest voice to full work with abundance and flowing sound, was the ideal of the time, then this also applies to horn, although this also applies to his, The now “late romantic” organ type exacerbate the stylistic developments of the high romanticism to the extreme: The basic voices (“equallage”) outweigh by far, which creates a very fundamental sound, and displace smaller footings almost entirely (the organ in Pfaffenwiesbach [1911] e . with 15 registers only had a 4 ′ and a mixture ); medium-sized instruments received in the I. Man. a Bourdon 16 ′ as a base. Especially with the two-manual organs, a whole range of string parts in the 8 'position serves as a "swell substitute" in the second manual, whereby as many shades of sound and volume as possible are represented in relatively small instruments; At the same time, however, the coincidence of many registers in the II. Man. mostly no noticeable difference.

The following peculiarities, which (also) show up at Carl Horn in the planning area, should also be pointed out:

• With one-manual organs with up to six registers, only one principal representative (flute or strings) is built for horn in the 4 'position, and an octave 4' is always built from seven registers .
• On the principal choir (8 'and 4') always follows the same with horn with a corresponding organ size, a mixture ( noise fifth ), a Cornett or its mixed form Mixturcornett . Horn's “small” mixture (two to three times) in the I. Man. (see e.g. Ransel, formerly also Girod and Pfaffenwiesbach) does not repeat and has a 4 'choir from c °. The construction of this “small” mixture also forms the “basic stock” or “basic structure” for its “medium” or “large” mixture repeated on c ° and c ² (three to fourfold: e.g. Herschbach or fourfold . eg Erbach, Schwanheim), which are thus built with increasing ceilings: For three- to four-fold occupation occurs by Ch ¹ another 1 ¹ / ₃ '-Chor, from c ² add even a 8'-choir. In the case of Vierchörigkeit (no more copy available) is to be assumed that horn (at the area of the large octave CH mixture 2 ² / ₃ '3-4 fold is only these three times) has supplemented a 1'-Chor. For the cast of the Mixturcornett cf. the table below.
• Registers like Quintatön 8 ′ (Limburg / Stadtkirche, Schwanheim [in the II. Man.!], Eschhofen, Pfaffenwiesbach, Salz and Herschbach), Gemshorn 8 ′ in the I. Man. (cf. Schwanheim, Erbach and Herschbach), reed flute 4 ′ (cf. Limburg / Stadtkirche, Schwanheim, Erbach and Herschbach) and forest flute 2 ′ (cf. Schwanheim and Herschbach) in the I. Man. as well as Flaut amabile 8 ′ (cf. Schwanheim, Erbach, Salz and Herschbach) and the Dolce 8 ′ (cf. Fischbach, Eckenheim [?], Eschhofen, Pfaffenwiesbach, Salz [?] and Herschbach) were built by Horn less often; Register as well as a weakening of the sub-bass 16 ' imaginary Covered Bass 16' (see FIG. Eschhofen) that Portunalflöte 4 ' (Limburg / St. Anna, there maybe an acquired by Kohler register), the Dolce Bass 16' (see FIG. Herschbach) , the Salicetbass 16 ′ (cf. Schwanheim), the Harmonia aetherea triple and the clarinet 8 ′ (for both cf. Herschbach) are only recorded once in Horn.
• The Flauto traverso 4 ' scheduled Horn exception only in II. Man .; This register already occurs in organs with 9 registers (e.g. Wernborn); in its dispositions it is the most frequently built 4 'register in the II. Man. and is only represented in very few exceptions either by a flute 4 ′ (cf. Girod) or a Gemshorn 4 ′ (cf. Wiesbaden / Dreifaltigkeit, Oberahr); in the latter case, however, in the II. Man. always a (hollow) flute 8 ' and a covered 8' (if necessary) in the I. Man. scheduled.
• Horn only builds the string floating Vox coelestis 8 ′ (cf. Limburg / Stadtkirche, Schwanheim, Eckenheim [?], Erbach, Eschhofen, Pfaffenwiesbach, Herschbach and earlier also in Wilsenroth) if an Aeoline 8 ′ is also available .
• On the larger Horn organs, the violon bass (16 'or 8' position) can represent a principal bass in the pedal , also because it draws more strongly.
• Horn most often uses the 8 ′ trumpet (Langendernbach, Eddersheim, Schwanheim, Eckenheim [?], Erbach, Herschbach), more rarely the 16 ′ trombone (Langendernbach, Schwanheim, Herschbach) - and only if there is a trumpet 8 ′ in the I. Man. - and once (Herschbach) only one clarinet 8 ′ .

The assignment of certain registers to certain works, which was widespread at the time for two-piece instruments, can also be found in Carl Horn: Principals (apart from the violin principal 8 ′ ) only appear in the first manual (main work) or in the pedal; Hollow flute 8 ' (exception for horn: Niedergladbach, possibly also Aulhausen, Wilsenroth, Oberahr), gamba 8' and trumpet 8 ' are z. B. typical registers of the I. Man., Covered 8 ' (exception for Horn: Niedergladbach, Aulhausen, Oberahr) or v. a. Salicional 8 ′ typical registers of the II. Man.

The individual registers in particular have a much-admired sound characteristic , although the contemporaries at that time v. a. The orchestral sound effects of the instruments, the amalgamation of all voices into a round, closed tone mass as well as the powerful and noble sound without protruding sharpness praised. The following table uses three example organs to show the construction, the scale lengths of Horn (for the C tone) and a sound description of the respective register, as Horn built or described it itself (the additions to the pipe design are from expert reports on the organs in taken from JVA-Kapelle Diez, in Pfaffenwiesbach and in Herschbach):

register	image	Pfaffenwiesbach / Herschbach design	Scale Limburg / City Church (1904)	Erbach scale length (1909)	Scale length Pfaffenwiesbach (1910)	Sound description
Principal 8 ′		C – E spruce with roll beards and tuning slides, F – dis 1 zinc-aluminum (prospectus), e 1 –f 3 tin (75%), prospectus pipes with attached round rags, side and tw. with curly beards; in Eppenrod (1906) CH Spruce with roll beards and tuning caps.	95 × 125 mm	100 × 125 mm	112 × 125 mm	full, pithy sound (room-filling sound)
Principal bass 8 ′		Spruce	116 × 147 mm	124 × 158 mm	-
Octave 4 ′		C – H zinc, c – f 3 tin (75%), cold cuts	85 mm	85 mm	85 mm	similar to Principal 8 ′ (only slightly milder)
Sesquialtera I-II 2 2 / 3 '		2 2 / 3 ', 1 3 / 5 (?)'; Tin (75%).	-	-	-	"Filling and without sharpness", amplifies the 8 'tone;
Cornett II-III 2 2 / 3 '		2 2 / 3 ', 2', 1 3 / 5 '(from c ° c or 1 ); Tin (75%)	-	-	-
Cornett III 2 2 / 3 '		2 2 / 3 ', 2', 1 3 / 5 '; Tin (75%)	-	-	-
Cornett II-IV 2 2 / 3 '		2 2 / 3 ', 2', 4 '(ab c ° or c 2 ), 1 3 / 5 ' (from c ° c or 1 ); Tin (75%); very wide length.	-	-	-
Cornett IV 4 ′		4'', 2 2 / 3 ', 2', 1 3 / 5 '; Tin (75%)	-	-	-
Mixturcornett III-IV 2 2 / 3 '		CH 2 2 / 3 ', 2', 1 1 / 3 '; c -h ° °: 4 ', 2 2 / 3 ', 2 '(1 3 / 5 '); c from 1 : 4 ', 2 2 / 3 ', 2 ', 1 3 / 5 '; Repetition at c °; Tin (75%)	?	-	-
Mixturcornett IV 2 2 / 3 '		CH 2 2 / 3 ', 2', 1 3 / 5 ', 1 1 / 3 '; c ° -f 3 : 4 ', 2 2 / 3 ', 2 ', 1 3 / 5 '; Repetition at c °; Tin (75%)	-	-	-
Mixtur II-III 2 2 / 3 '		2 2 / 3 ', 2', 4 '(ab c °); no repetition; Tin (75%)	-	-	64 mm	moderately strong intonation, "with a pleasantly fresh tone without sharpness"
Mixtur III 2 2 / 3 '		CH 2 2 / 3 ', 2', 1 1 / 3 '; ab c °: 4 ', 2 2 / 3 ', 2 '; repeating to c ° (rising ceiling); Tin (75%)	-	-	-	moderately strong intonation
Mixtur III-IV 2 2 / 3 '		CH 2 2 / 3 ', 2', 1 1 / 3 '; c h ° 1 4 ', 2 2 / 3 ', 2 ', 1 1 / 3 '; c from 2 : 8 ', 4', 2 2 / 3 ', 2'; repeating to c ° and c 2 (increasing ceiling); Tin (75%)	-	-	-	moderately strong intonation
Mixtur IV 2 2 / 3 '		CH 2 2 / 3 ', 2', 1 1 / 3 ', 1'; c h ° 1 4 ', 2 2 / 3 ', 2 ', 1 1 / 3 '; c from 2 : 8 ', 4', 2 2 / 3 ', 2'; repeating to c ° and c 2 (rising ceiling); Tin (75%); medium length.	-	?	-	moderately strong intonation
Subbass 16 ′		C – d 1 spruce, straight cuts	146 × 185 mm	145 × 180 mm	145 × 180 mm	(moderately) strong, full tone
Bourdon 16 ′		C-h 1 spruce; c 2 –f 3 tin (60%), rounded cold cuts	120 × 140 mm	120 × 150 mm	120 × 140 mm	moderately strong tone (more mildly intonated than a sub-bass 16 ′ )
Covered 8 ′ (older design)		C-h 1 wood; c 2 –f 3 tin (60%) with inserted wooden stamps (see organ builder Michael Keller)	-	-	-
Covered 8 ′ (younger construction)		C – h 1 spruce (sides) and oak (lid, base), straight cuts; c 2 –c 4 tin (60%), from a 2 open, straight cuts ;; Eppenrod (1906): Execution in wood (Cf 3 ) and tin (60%, fis 3 –c 4 ).	-	76 × 95 mm	75 × 95 mm	strong / powerful, full tone
Lovely covered 8 ′			75 × 95 mm	70 × 95 mm	-
Quintatones 8 ′		C – H zinc, box beards; c – f 3 tin (75%), round labia, box beards	80 mm	-	91 mm	moderately strong tone
Hollow flute 8 ′		C – h 1 spruce and pear tree (cherry), straight or rounded cuts; c 2 –f 3 tin (60%), straight cold cuts, no beards	100 × 115 mm	100 × 115 mm	100 × 115 mm	soft, full tone
Flauto amabile 8 ′		C – h 1 spruce and pear tree, c 2 –f 3 : tin (60%), open	-	90 × 112 mm	-
Reed flute 4 ′		Cc ° zinc, remainder tin (75%), from f 2 cylindrical open	70 mm	70 mm	-
Flute 4´ (hollow flute)		C – h ° spruce and pear tree (cherry), straight or rounded cold cuts; c 1 –f 3 tin (60%), straight cold cuts, no beards	-	-	-
Flauto dolce 4 ′			60/70 mm	-	-
Flauto traverso 4 ′		Ch ° spruce and pear tree, open; from c 1 tin (75%), side whiskers	-	?	-	moderately strong tone, overblowing from c 1
Forest flute 2 ′		Tin, conical	-	-	-
Violon bass 16 ′		Spruce, open, inside labi, the deepest pipes with roll beards; Possibly also built as an "acoustic" 16 ′ with piggyback whistles in the Limburg city church.	145 × 185 mm	134 × 170 mm	-
Violon bass 8 ′		C-d 1 zinc	-	-	100 mm	strong, full sound (very haunting sound)
Violin principal 8 ′		C – H spruce, c – c 4 tin (75%), cold cuts	92 × 118 mm	90 × 112 mm	90 × 115 mm	moderately strong stroking tone
Gamba 8 ′		C – H zinc, c – f 3 tin (75%)	78 mm	78 mm	80 mm	strongly stroking clay (strongly drawing), in Eppenrod (1906) strongly "sawing" (cf. Fa. Weigle)
Gemshorn 8 ′		Ch ° zinc, from c 1 tin, side whiskers	-	126 mm	-
Gemshorn 4 ′			50/75 mm	-	-
Salicet bass 16´			-	125 mm	-
Salicional 8 ′ (younger construction with keyhole expressions)		C – H zinc, c – c 4 tin (75%), cylindrical design, with keyhole expressions (Weigle)	?	?	-	gently stroking tone
Salicional 8 ′ (younger style)		C – H zinc, c – c 4 tin (75%), cylindrical design	78 mm	83 mm	82 mm	soft or strong stroking tone
Dolcebass 16´		Zinc, open	-	-	-
Dolce 8 ′		C – H zinc, c – c 4 tin (75%), box beards, funnel-shaped design	78/78 mm	70/115 mm	75/115 mm	soft tone without line; Horn's softest string voice
Aeoline 8 ′		C-H zinc; c – c 4 tin (75%), round labia, wooden mustaches	65 mm	65 mm	65 mm	very gentle tone
Vox coelestis 8 ′		from c °, tin (75%), round labia	40 mm	42 mm	42 mm	moderately strong, very sweeping tone
Harmonia aetherea 2 2 / 3 '		three times repetitively (Ch ° ?: 2 2 / 3 ', 2', 1 1 / 3 '; c from 1 : 4', 2 2 / 3 ', 2'), tin (75%)	-	-	-
Trumpet 8 ′		Cg ° cup made of zinc, from gis ° tin (70%)	-	-	-
Trumpet 16 ′		CD wooden bell, from E bell made of zinc and with a turned wooden head (see center of picture for tone d 1 )	-	-	-
Clarinet 8 ′		on top, CH zinc, from c ° tin (75%)	-	-	-

The following abnormalities during the construction of the pipe factory at Carl Horn can be demonstrated using the example of the organ in Pfaffenwiesbach:

Horn organ in Pfaffenwiesbach (1911) - pipes of a covered 8 ′ with tapering upper labia and stamped pipe names

• Probably for reasons of economy, he builds the lowest octave of manual registers from zinc and the three lowest octaves from wood; Pedal registers (such as the violon bass 8 ′ ) consist only of zinc pipes. JGTöpfer referred to this common practice as early as 1888, but his largest pipes were still made of wood without exception.
• Used for its wooden pipes Horn "[...] depending on the musical determination [...]" different, but only native wood types (v a spruce, but [for the.. Decked ] also oak or [for Bourdon ] Birnbaum); the open wooden pipes are extra long for a small second and have tuning slides or covers, the covered ones have leather-covered stoppers; He unscrewed proposals made of hardwood; all feet and cores are made of hard wood.
• Most of the metal pipes in the organ have pointed labia (exceptions: Quintatön , Aeoline , Vox coelestis ), but in the prospectus they are rounded (other rounded labia in the organ could indicate that horn is used here [such as the Gamba 8 ′ in Herschbach] most likely [possibly used pipe material [the predecessor organ] that he himself built earlier or older)).
• Up to the high registers, all metal pipes have extra length for a small second and (for practical reasons) expression slots with tuning rollers; the large pipes often have rolling beards, the Quintatön pipes 8 ′ box beards ("[...] to develop the desired musical effect [...]"); the tin pipes are polished and given thick walls to match the vibrations; the zinc pipes are covered with aluminum bronze, voice expressions as well as upper and lower labia are made of tin; only in the highest registers are the pipes cut directly to length; the covered 8 ' is built open in the highest position (from a ² ); the pipes of the Dolce 8 ′ are slightly funnel-shaped; The name of the register, the pitch (also partly on the pipe base) and the associated work (I. Man. or II. Man.) are stamped on all metal pipes above the upper labium (abbreviated).

Horn organ in Herschbach (1915) - turned wooden head of a pipe of the trombone bass 16 ′

• Reeds such as the trombone bass 16 ′ were supplied by horn with turned wooden heads and zinc beakers (only the three lowest pipes were made of spruce). With the trumpet 8 ′ , the pipes from g sharp ° were made in tin (70%) (Cg ° had zinc bell); the clarinet 8 ′ (available in Herschbach, but no longer preserved there) was executed with the impact, the low octave was made of zinc, the continuation of 75% tin.

However, there is the possibility that Horn did not build the reed parts (all of them) himself, but rather obtained them from Giesecke; However, it would also be possible for the linguals (like other parts of the organ; see below) to be made by EFWalcker & Cie. originate, for which (cf. the only reed pipe in the Herschbacher organ and the description of the design of the three reeds in the associated cost estimate) the similarities in the construction speak.

The new technology (pneumatics) enabled the Carl Horn company not only to build normal couplings (manual couplers, pedal couplers), but also to set them up

• a melody coupler I / II (in the melody part of the II. manual the pulled stops of the I. man. can be played and when the super coupler II / I is pulled at the same time, an octave coupling results in the I. manual),
• a super coupling II / I (the registers of the II. manual are coupled one octave higher into the I. manual, which is why Horn then expanded the II. manual to c ⁴ ),
• a sub-coupler II / I (the registers of the second manual are coupled one octave lower into the first manual; cf. the organ in Girod),
• a super coupling I (the registers of the first manual are coupled one octave higher into the first manual, which is why Horn then continues the first manual up to c ⁴ [cf. ev. Eppenrod church, JVA-Kapelle Diez] or even up to f ⁴ [see Herschbach] expanded),
• some pneumatic devices like piano pedal or pipe work storage as well
• some fixed combinations such as piano (P), forte (F) or also tutti (all registers), which Horn created in the construction of additive connection. Smaller organs - especially those with a mechanical cone chest (see e.g. Sauerthal), but also pneumatic ones (see JVA-Kapelle Diez, Wilsenroth, Oberahr) - often have only one tutti button and one trigger (O).

The example of the organ in Ransel (1912) also shows that Horn occasionally built transmissions to save costs (in Ransel the gamba 8 ′ from the I. Man. Is transmitted into the pedal as violon bass 8 ′ ).

Overall, the result is a typically late-romantic, dark sound image of the instruments, which many later contemporaries often labeled as "dull" or "queasy". In the pneumatic action and v. a. The late romantic disposition of the instruments are often the reasons why today, from the well over 60 organs that according to the opus information came from the Horn organ workshop (the last surviving opus number is No. 60 [Herschbach]) or Only a few of the 45 original instruments documented so far have survived. Most of the organs were either "neo-Baroque" (= lightened in sound) as early as 1930 in accordance with the changing taste of the time, or they were rebuilt or even completely broken off because of their system.

The tuning of the organs is 435 Hz (435 double vibrations per second) at + 15 ° C depending on the average temperature (for the tone a ¹ = normal pitch ). Carl Horn thus retained the tuning for the A-tuning that was set at an international congress in Vienna in 1886, while it had risen steadily since the 17th century, in Berlin in 1833 (according to Scheibler) still at 441.62 Hz, in Vienna in the same year (according to Scheibler) it was even at 444.87 Hz and finally in Stuttgart in 1834 by resolution of the natural scientists' meeting it was set to 440 Hz. Töpfer describes this pitch in 1888 as the "now generally accepted".

For certain organ parts, Horn turned to suppliers in southern Germany such as B. (in the early phase) to the company Weigle in Echterdingen (for gaming table equipment and labial pipes) or (later, from around 1910) to the company EF Walcker & Cie. in Ludwigsburg (for gaming tables, windchests and pipework [see the organ in Oberahr, Holzhausen ü.A.], possibly even for the creation of brochures such as in the prison chapel in Diez) or also to the company August Laukhuff in Weikersheim (for pipes [cf. the organ repair in Wehen in 1925]).

Wind turbine

The wind turbine consists of a Horn organ

• from a large magazine bellows , which is made with inward and outward folds, the folds of which are connected with horse tendons and double (and triple at the corners) leather and on the long sides of which there are four iron regulating scissors ("double fold magazine bellows"); heavy stones lie on the bellows to keep the play wind constant or to allow the wind to vent; a wind indicator is positioned next to the lime scale step (s) (see e.g. Oberahr);
• from one (cf. Sauerthal, Oberahr) or two (cf. Ransel) scoop bellows , to which (each) a limestone lever is attached, with Horn using the pedal system either on the right (e.g. Oberahr, Ransel) or on the left ( e.g. JVA-Kapelle Diez). In Ransel the two bellows extend over the entire width of the magazine bellows; the two limestone steps are connected to one another by a rope that runs over a wooden roller, so that filling one of the scooping bellows automatically empties the other.

The bellows are covered with white sheepskin. The wind turbine works silently and is calculated in such a way that it delivers sufficient and even play wind. It can either be built into the organ under the windchest (see e.g. Oberahr, JVA-Kapelle Diez, Ransel), positioned behind the musical mechanism (e.g. Sauerthal) or outside (e.g. Pfaffenwiesbach) be set up. The solid wind tunnels are made of fir wood and have a corresponding width. If the Kalkanten lever (s) were set up for treading, Horn also supplied a step board for the bellows treadle.

Horn organ in Ransel (1912) - magazine bellows

Horn organ in Oberahr (1919) - Kalkantentritt

Horn organ in Ransel (1912) - limestone steps in the ground

Horn organ in Ransel (1912) - right calcareous step and raised bellows

Horn organ in Ransel (1912) - wooden pulley with limestone steps

Brochure and case

Former Horn organ in Wernborn (1900, demolished in 1967) - prospectus view

Horn took over existing brochures as far as possible (for example in Limburg / Stadtkirche, Eppenrod, Fischbach, Hundsangen, Ransel, Aulhausen [?], Herschbach, Limburg / Hospitalkirche and Kölbingen-Möllingen). In only one previously documented case (Schwanheim), other carpenters had made the front view of the organ; in another (Pfaffenwiesbach), the prospectus proposed by Horn had to be revised again by an architect at the insistence of the pastor or the episcopal ordinariate, because he had the Responsible as too "clumsy" appeared. The organ fronts built by Carl Horn are based on the dominant architectural style of the location. This is how neo-Romanesque (e.g. in Sauerthal, Girod, Pfaffenwiesbach, Oberahr) and neo-Gothic (e.g. in Wernborn), but also neo-baroque (e.g. in Diez JVA) prospectuses emerged. Even the few fronts known to date by Carl Horn (= still preserved or still documented photographically) show that the architectural principle is multilayered . In his neo-Gothic and neo-Romanesque prospectuses, the three- or five-axis design predominates, all of which have an elevated central link: we find a three-axis prospectus design, for example. B. in Lindenholzhausen, Sauerthal, Girod, Pfaffenwiesbach and Oberahr, a five-axis (by an otherwise rarely found doubling of the outer fields) z. B. in Wernborn and a five-axis (due to the frequent insertion of small intermediate fields) z. B. in Sonnenberg. The flat design of the front sides (still typical of the 19th century) can also be found in Horn, although this was done in the course of the 20th century. this is somewhat softened that z. B. the raised midfield protrudes a little (cf. e.g. Pfaffenwiesbach). Furthermore, at least with his early organs, Horn mostly adhered to the customary custom of that time of placing all the front pipes on the same level (cf. e.g. Wernborn); accordingly, the labia of the prospectus pipes are also at the same height, so that a continuous labia line over the entire width of the prospectus results; However, the organs in Pfaffenwiesbach (1911, slightly elevated prospect pipes in the middle) and v. a. in Oberahr (1919, slightly raised prospect pipes in the side panels, downward curved labia line), so that here, too, one can see a softening of the then customary in the course of the 20th century. can speak. The prospect pipes at least in the middle field (often also in the side fields, however, see, however, e.g. Wernborn) are set up symmetrically ("third position"), with the largest pipe in the middle. The symmetry principle also applies (at least insofar as the pipes are designed for full visibility, see e.g. Pfaffenwiesbach [?]) For the length of the prospect pipes, which means working with so-called "excess lengths" and the attachment of (for the German- romantic organ building) necessitates expression slots on the back of the pipe. At least in the case of the organ in Pfaffenwiesbach, the prospect pipes are not made of tin, but of a zinc-aluminum alloy, which saved them from being expanded for use for war purposes during the Second World War.

Horn organ in Sauerthal (1903) - prospectus view

Horn organ in Girod (1905) - prospectus

The (still preserved) neo-baroque prospectus in the Diez prison chapel - provided that it also comes from Horn and was not also supplied by the Walcker / Ludwigsburg company - has a five-axis structure, indicated round towers on the sides and a raised round tower in the In the middle (here no two-dimensional design of the prospectus), in the intermediate axes double (superimposed) flat fields with 24 silent pipes. When it comes to ornamentation , Horn's brochures are rather reserved. The (no longer preserved) neo-Gothic prospectus in Wernborn (1900) z. B. only has a (round) quatrefoil in the gable field of the eyelash of the elevated central area with a pointed arch, on the eyelash there are crabs and a large flower; Over the five (flat closed) side panels there is first a frieze of (round) quatrefoils and finally a small balustrade of palmettes; four over-high pinnacles, each closed with a flower, divide the actually five-axis into a three-axis prospect and continue down to a circumferential (very simple) ledge halfway up the housing in buttresses. The neo-Romanesque prospectuses of the organs in Sauerthal (1903) and Girod (1905) (still originally preserved and similar to one another ), as well as the neo-Gothic prospectus in Wernborn, have a frieze of round quatrefoils above the two side panels (just closed above the prospectus pipes), whereby then a large ledge closes the side panels at the top (without balustrades made of palmettes or the like); the lateral and upper inner edges of the side panels in front of the prospectus pipes are provided with corner profiles; the middle field closes with a three-pass arch, over which a (round) three-pass is integrated on the left and right; The upper end of the middle field is formed by a round arch arcade with small round columns and (above, as with the side fields) a large ledge; Since the prospect pipes of these organs were obviously designed from the beginning to be invisible in their entire length, Horn dispenses with the symmetry of the pipe lengths that he would otherwise find (excessive lengths in the prospectus were therefore not necessary). The very symmetry of the pipe lengths in the reconstruction of the "more neo-Romanesque" organ in Pfaffenwiesbach (2018) was more in favor of keeping the prospect pipes as fully visible as possible, which is why a round-arched arcade solution was chosen for the upper part of the prospectus can also be found elsewhere in the church as the upper end of the wall surfaces. That the prospectus was already in the 2nd decade of the 20th century. You can also see from the fact that the eleven prospect pipes are slightly elevated in the slightly protruding middle section, which is why only the pipe labia of the side sections are in one line and those of the middle section are slightly above. Since all of Horn's original brochures have finials in the upper frieze, a decision was made again in Pfaffenwiesbach; the three eyelashes in front of the pipes (pre-fades) - probably part of the “handwriting” of the architect who originally changed Horn's plan - were reconstructed based on the prospectus in Wernborn and the three formerly neo-Gothic altars of the Pfaffenwiesbach church " neo-Gothic ”with pointed arches and triple or quadruple passes above.

Horn organ in Pfaffenwiesbach (1911) - view of the prospectus after the reconstruction in 2018

The neo-baroque organ in the Diez prison chapel (1911) is also greatly simplified: apart from a flower ornament on the top of the central tower, there are no other ornaments or veil boards. Obviously, Horn has restricted the decoration of the prospectus to the bare minimum - perhaps also to let the large shape appear; Veil work and an ornamentation of the arched reveal (s) have not yet been proven with him; the same applies to more elaborate friezes, pilasters, rosettes or also to the cross (which was even more common in the 19th century) as the top of the case. That is why one could perhaps already speak of a “modernization” of the prospectus forms that were still common at the time. The prospectus of the organ in Pfaffenwiesbach , which is "[...] more neo-Romanesque style of the church [...]" (Rev. Loreth, 1910) shows as new elements a zigzag frieze ("zigzag band") running around the front and sides from other sample prospectuses (especially those of the "Byzantine" or "Romanesque" design) knows, and square fittings below and above on the side pilaster strips of the three prospect fields, which is more familiar from neo-Renaissance prospectuses; Also noteworthy are the corner profiles on the inside in the side panels (cf. e.g. in Sauerthal), which, like all other corner profiles, were contrasted in color from the rest of the brochure in order to make them clearly visible from a distance.

The housing have at the base, (if any) at the gaming table walls and on the lateral sides accessible mostly cassettes outline on (see. On the other hand, however. Eg the organ in Oberahr with patch panels), sometimes side doors (see. JVA Chapel Diez , Pfaffenwiesbach) or removable panels (see JVA-Kapelle Diez); they were (cf. for example the organ in Pfaffenwiesbach) built by horn from spruce wood (which was approx. 20% cheaper than casings made of oak), oiled once and the top is open. There was also an opening to the rear, when the (wooden) pipes of a pedal register (such as subbass 16 ′ ) themselves form the back wall. The fact that the prospectus is often much higher than the side panels is also striking, so that the pipework is at least partially visible from both sides (cf. minimally e.g. Pfaffenwiesbach, but above all [in the extreme] Oberahr; on the other hand cf. but Wernborn, JVA-Kapelle Diez); it seems that Horn, the further the 20th century progressed, built the side parts lower and lower ... - a development that was then finally incorporated into the free pipe prospectuses (cf. e.g. Wilsenroth [new prospectus construction by E. Wagenbach / Limburg] ) opens. The wind chests in Horns organ work stand on wooden scaffolding and are suspended from the case by means of iron brackets.

Delivery and installation

The convenient location of the Horn workshop south of the Limburg train station made it possible to transport the organ parts by train. The transport from the train station to the respective church and the return transport of the empty boxes had to be carried out by the respective parish (and was therefore not included in the cost estimates); The same applied to help with lifting heavy parts and the provision of a bellows treadmill for voicing and tuning the organ. The scope of delivery also included a ladder to get inside the organ. Horn's delivery times were 3 to 6 months for smaller organs, 6 to 12 months and more for larger organs; In one work, with two manuals and 15 registers, three employees of the company had 2 ¹ / ₂ to do weeks until the work was finished for acceptance; for a smaller work such as B. the one in Ransel (two manuals, 9 [10] registers) was calculated with 6 days of installation time for two fitters.

Works

Dated new organs

Of the more than 60 organ structures, 45 have been verified so far; the following 37 instruments with (at least approximate) year of construction:

year	place	building	image	Manuals	register	opus	Remarks
1896	Eckenheim	Sacred Heart of Jesus	-	?	?	1	Replaced in 1908 (?).
1897	Welschneudorf	St. John the Baptist	-	I / P	7th	2	canceled after 1975 ; Organ work was sold years ago; most likely Horn's first organ in the Limburg diocese.
1898	Lindenholzhausen	St. James	-	II / P	11	?	Canceled in 1980 ; New building in 1980 by Wagenbach / Limburg; the prospectus (three-axis, neo-Gothic, with an eyelash in the middle) is still in a private garage.
1899	Langendernbach	St. Matthias	-	II / P	18th	?	Canceled in 1978 ; 1899 (Easter) consecration; New building in 1978 by the Mayer / Heusweiler company.
1900	Wernborn	St. Pancras		II / P	9	?	Canceled in 1967 ; pneumatic cone tray, free-standing gaming table; Replaced in 1967 by a used electropneumatic plant from Späth / Ennetach.
1900	Eddersheim	St. Martin	-	II / P	12	?	Canceled in 1983 ; pneumatic cone tray; 1935 by E. Wagenbach / Limburg, repaired ("well made from perfect material"), new building in 1983 by Hoffmann / Ostheim.
1900	Sonnenberg	Sacred Heart of Jesus	see "Comments"	II / P	10	?	Canceled in 1991 ; 1943 Installation of an electric fan, new construction in 1991 by the Mayer / Heusweiler company, reusing the prospectus and three registers. Brochure view accessed on August 13, 2015.
1901	Niederzeuzheim	St. Peter	-	II / P	19th	?	Canceled in 2000 ; neo-Gothic housing; 1948/49 transfer of the work and expansion to 26 parts by E. Wagenbach / Limburg, 2000 new building by Hardt-Orgelbau / Möttau, reusing fewer registers.
1901	Berod	St. Aegidius	-	II / P	12	?	Canceled in 1978 ; Reconstruction of an organ built by the Keller brothers in 1893 (behind the prospectus of the previous organ?), Extension by C. Horn in 1922, inoperative in 1964, in "bad" condition in 1975, rebuilt in 1978 by Peter Wagenbach / Limburg using five stops by Horn .
1903	Niederlahnstein	St. Barbara (1883–1937 / 38)	-	II / P	14th	?	Demolished in 1937/38 as part of the new church building; Cost: 4,400 M, acceptance on August 3, 1903, Horn's 9th or 10th organ in the Diocese of Limburg.
1903	Sauerthal	St. Anna		I / P	5	?	original preserved ; mechanical cone chest, prospectus made of neo-Romanesque and neo-Gothic style elements (cf. Girod), Horn's 9th or 10th organ in the diocese of Limburg and Horn's only known instrument with a mechanical cone chest; a report from February 18, 1977 (Giez, Grossmann) appreciates the organ, but suggests a sound modification (which was ultimately not carried out).
1903	Gemünden (Westerwald)	Old Lutheran Church (today: [SELK])	-	I.	4th	?	canceled before 1950 ; pneumatic cone tray; Horn's smallest organ documented so far; before 1950 replaced by a pneumatic plant by E. Wagenbach; 1986 New building by Andreas Andresen (Neumünster).
1904	Limburg	City Church of St. Sebastian		II / P	19th	?	Canceled in 1970/71 ; pneumatic cone chest, baroque prospectus by Father A. Öhninger and his assistants (1686); Construction began in 1901 (?), But the work was not accepted until December 29, 1904; New building in 1970/71 (consecrated on January 14, 1972) behind the historical prospectus by the Klais / Bonn company.
1904/05	Angle	Mariae birth	-	I / P	6th	?	canceled around 1947 ; mechanical cone tray (Man.), pneumatic cone tray (Ped.); New building (probably in connection with the church expansion in 1947) by C. Euler / Hofgeismar.
1905	Girod	St. James		II / P	10 (today 12)	?	received ; pneumatic cone chest, neo-Romanesque prospectus (cf. Sauerthal), free-standing console (originally facing the altar directly in front of the prospectus), so far the only known Horn organ with a sub-coupler II / I ; around 1960 conversion by E. Wagenbach / Limburg (including expansion by two registers in the 1st man. by widening the case [clearly visible on the now asymmetrical side prospectus]), after 1975 further rearrangement in the 2nd man. (possibly in connection with the renovation by the Mayer / Heusweiler company in 1990).
1905	Fischbach	Holy Trinity		II / P	15th	?	Canceled in 1964 ; Baroque prospectus by JA Mahr / Wiesbaden (1781/82); New building in 1964 behind the historic prospect by Klais / Bonn.
1906	Eppenrod	Protestant church		I / P	7th	?	original preserved ; pneumatic cone chest, baroque prospectus most likely by A. Scheld or F. Wang, Hadamar, from the year 1752/53, side wall organ in the choir room (console with a view of the prospectus on the right), costs: 2,100 M; after the First World War replacement of the delivered prospect pipes; 1975 Cleaning out and membrane renewal by Förster & Nicolaus / Lich. The console equipment, the design of some pipes (e.g. keyhole expressions) and the “sawing” sound of the Gamba 8 ′ speak for a close cooperation between Horn and the Weigle company, Echterdingen, in the construction of this organ.
1907/08	Schwanheim	St. Mauritius		II / P	28	?	Canceled in 1986 ; pneumatic cone drawer, magnificent, neo-Gothic prospectus by Franz Gastell with a crowning figure of Cecilia; pneumatic cone tray; 1942 repair; 1949 new electric wind turbine (previously electromechanical bellows); 1968 Conversion (Voigt / Frankfurt / M.-Höchst) and rebuilding and expansion in 1986 to III / P / 49 using used parts (Fischer & Krämer / Endingen).
1908	Eckenheim	Sacred Heart of Jesus	-	II / P	16	?	Canceled in 1960 ; pneumatic cone tray; 1953 relocation by E. Wagenbach / Limburg; 1960 transfer to Hartenfels, St. Antonius; there, however, after 12 years, the organ was demolished and rebuilt in 1972 by E. Wagenbach / Limburg without reusing old parts.
1909	Daisbach	St. Joseph	-	I / P	7th	?	Canceled in 1963 ; Originally reconstruction (repair and extension) of a previous organ (1860–64); 1928 renewal possibly still by Horn; New building in 1963 by Chr. Gerhardt & Sons / Boppard.
1909	Erbach	St. Mark		II / P	22nd	?	Canceled in 1981 ; Baroque prospectus by J. Kohlhaas the Elder Ä. / Mainz (1723), contract of May 16, 1909, acceptance on August 6, 1909; New building in 1981 by Förster & Nicolaus / Lich.
1910	Western ear	St. Matthew	-	II / P	8th	?	canceled after 1975 ; after 1958 (new church building) prospectus change, installation of a 4-way mixture and an electric blower possibly by E. Wagenbach / Limburg; no new building (electronic organ).
1910	Eschhofen	St. Anthony	-	II / P	18th	49 (?)	Canceled in 1965 ; pneumatic cone drawer, game table (made of oak); Acceptance on September 5, 1910; New building in 1965 by Weigle / Echterdingen.
1911	Diez (Freiendiez)	Chapel of the prison		II / P	8th	50	received ; Pneumatic cone chest, neo-baroque prospect (upper prospect pipes in the upper side harp fields are mute); 1975 still playable, then shut down for many years, unplayable since 2008/09, future uncertain; It is assumed that the work including the prospectus largely comes from the company EF Walcker / Ludwigsburg (also appears there in the opus list) and was only assembled by Horn.
1911	Pfaffenwiesbach	St. George		II / P	15 (soon to be 20)	52	received ; pneumatic cone drawer, neo-Romanesque prospectus (demolished after 1960 by sawing it to size), free-standing console, original wind system still from Michael Keller / Limburg (1894), costs: 4,484 M, Horn's second largest organ still in existence; 1912 (January) installation, 1923 replacement of 154 stolen tin pipes by horn, 1929 installation of an electric wind machine (Horn?), 1969–1971 general overhaul (especially new wind system - installation of so-called "float bellows") and sound modification (9 registers remain original) the company Günter Hardt / Möttau, 2012–2014 technical renewal and partial sound removal, 2018 prospectus reconstruction by the company Hardt-Orgelbau / Möttau; Complete dismantling of the sound and expansion of the organ are planned for the years 2019 to 2021.
1911	Dog chants	St. Goar (Horn's Baptistery)		II / P	10 or 11	53 (?)	received ; pneumatic cone chest, baroque brochure (acquired in Oestrich / Rheingau in 1834) 1974 remodeling (including an electric action), 1992 general overhaul, rescheduling and expansion (both by Peter Wagenbach / Limburg), in 2003 another rescheduling by Hardt-Orgelbau / Möttau.
1912	Ransel	St. Catherine		II / P	10	54	original preserved ; pneumatic cone drawer, free-standing console, costs: 3,545 M, organ consecration date unknown; 1954 Relocation of the instrument to the gallery (pipe crank, change of the prospectus) and in the 1960s installation of an electric blower by the company Wagenbach / Limburg. Neither the organ as a whole nor the 8 'prospectus of the organ in particular come from the Ripple company in Mainz; the previous organ was given to the organ builder Horn in 1912 for a price of 52.20 m.
1913	salt	St. Adelphus	-	II / P	18th	55	Canceled in 1969 ; New building in 1969 by Gebr. Oberlinger / Windesheim.
1913	Niedergladbach	St. Aegidius	-	II / P	9	56	Canceled in 1976 ; New building in 1976 by Peter Wagenbach / Limburg.
1913	Wiesbaden	Trinity		II / P	13	57	Canceled in 1976 ; pneumatic cone drawer, free-standing gaming table with a view of the altar, five-axis (neo-Gothic?) prospect, the pipes of which were made of a zinc-aluminum alloy; Construction contracted to Carl Horn before October 1, 1913; 1934 and / or 1960 (presumably) rearrangement (especially installation of an 8 ′ trumpet in the 2nd man.) And conversion of the prospectus into a free pipe prospectus (E. Wagenbach / Limburg?), The organ was the only one to survive the bombing of the Second World War undamaged (the instruments of the other Catholic inner city churches were destroyed), new building in 1975/76 by H. Mayer / Heusweiler.
1913	Aulhausen	St. Petronilla		II / P	9	58	(mostly) preserved , but unplayable; Relocation and revision of an organ by Engers / Waldlaubersheim (1838), from which horn also 5 (covered , octave, flute 8 ′ [sic!], Subbass, octavebass ) took over a total of 9 registers; pneumatic cone drawer, free-standing gaming table (currently stored in the church basement, including pedal and bench); around 1964 reconstruction of the organ (possibly by E. Wagenbach / Limburg) in the course of the church expansion (removal of the case, the pipes and the old wind chests are on a raised concrete slab, new free pipe prospectus, sound modification); an electronium has been used for 20-25 years.
1915	Wilsenroth	St. Bartholomew		II / P	10 (12)	59	received ; pneumatic cone drawer, free-standing gaming table, cost: 3,800 M; 1960 Reconstruction of the organ in the new church using the old pneumatics, wind chests, the console and a large part of the pipework by E. Wagenbach / Limburg, after a general overhaul, rearrangement or expansion by 3 stops and creation of a new (very simple) one Free pipe prospectus without any side panels; In 2004 another general overhaul, rearrangement and re-intoning by Fischer & Krämer / Endingen.
1915	Herschbach	St. Anna		II / P	26th	60	received ; pneumatic cone chest, prospectus by JW Schöler / Bad Ems (1772/73), originally free-standing console (on the right of the case with a view of the wall), Horn's second largest organ and its largest preserved organ. 1968 and 1980/81 (E. or P. Wagenbach / Limburg) and 2004 (Mayer / Heusweiler) General overhauls: u. a. Conversion to electropneumatics (1980/81) and exchange of the reeds (1980/81, 2004).
1918	Limburg	St. Anna (Hospital Church)	see "Comments"	II / P	15th	?	Canceled in 1952 ; Prospectus by J. Chr. Köhler / Frankfurt (1749) (?), Possibly re-use of some Koehler registers by Horn in the II. Man .; 1952 new building by Wagenbach-Kemper; 2005 New building by Andreas J. Schiegnitz / Absheim-Grünstadt. Brochure view : thannheimer-orgelpfeifenbau.de accessed on August 13, 2015.
1919	Oberahr	St. Blaise		II / P	8th	?	canceled in the 1990s ; neo-Romanesque prospectus, free-standing (in the end quite battered) gaming table (unfortunately in the end without a workshop sign), erected August / September 1919; no new building (probably since then electronic organ).
1921	Holzhausen over Aar	Protestant church		I / P	7th	?	received ; Pneumatic cone chest, baroque case (1708 or 1718) - allegedly taken over from Braubach in 1819, side wall organ.
1921	Steeden	Old Lutheran Zion Church (today: SELK)	-	I.	5	?	Canceled in 1958 ; pneumatic cone tray; 1958 New building by the Weißenborn / Braunschweig company.
around 1930	Lykershausen	St. John	-	?	?	?	not received ; Acceptance took place in 1930; a Yamaha electronium is currently in use.

Based on a list by the Limburg organ expert Carl (Karl) Walter about new organs in the diocese of Limburg from 1897 to 1903 inclusive, it can be safely assumed that Carl Horn had ten organs for catholic churches in the diocese of Limburg and (inclusive) by 1903 ( proven so far) built an organ for an old Lutheran church (Gemünden / Ww.). Many of the aborted years mentioned could be confirmed by a (unfortunately not completely complete) list of new organs or rebuilding of the diocese of Limburg for the years 1948 to 1991 or In some cases it can also be corrected against sources to the contrary.

New organs that were previously undated

The following organs by Carl Horn cannot be assigned to any year of construction (alphabetical order):

year	place	building	image	Manuals	register	opus	Remarks
?	Diez	Sacred Heart of Jesus					Canceled in 1965 ; 1965 New building by E. Wagenbach, Limburg. Brochure view : kath-diez.de accessed on March 15, 2015.
?	Kalbach	St. Laurence	-	II / P	8th		Canceled in 1979 ; 1967 Reorganization by Förster & Nikolaus / Lich, with only four Horns registers remaining in the original; New building in 1979 by Peter Wagenbach / Limburg.
?	Koelbingen-Möllingen	cath. Church on the Schönberg		I / P	11	?	received ; mechanical cone chest, older baroque prospectus (18th century, Frankfurt area?), side wall organ (play cabinet left); 2013 renovation of the organ by Hardt-Orgelbau / Möttau.
?	Kroppach	cath. chapel		?	?	?	Canceled in 1936 .
between 1910 and 1913	Frankfurt / M.	St. Gallus		?	?	?	Destroyed in 1944 (?); 1956/57 Installation of an organ originally intended for the Leonhardskirche, but reduced in size when transferred from the Walcker / Ludwigsburg company (op. 3501).
after 1915 (?)	Marienhausen	former monastery church of the Cistercian women	-	?	?	?	not received (?).
possibly between 1904 and 1911	Wirzenborn	Pilgrimage Church "Our Lady"		I / P	7th	?	received ; pneumatic cone tray; 1959 Reorganization and conversion to mechanical action (probably using a used slider box) and construction of a symmetrical free pipe prospectus consisting of 27 pipes (probably by E. Wagenbach / Limburg).

Organ repairs, voting contracts, etc. a.

The following repairs carried out by the Carl Horn organ building workshop, voting agreements concluded with it, etc. have been identified so far:

• 1894 (July 30th) (sic!): Installation of the new bellows system, supplied by the Keller company, on the old organ in St. George's Church in Pfaffenwiesbach;
• 1896: addition of a gamba 8 ′ to the organ in the Marienstatt Abbey;
• 1900/01: Repair of the Schöler organ damaged by lightning on July 3rd in Herschbach and installation of a new 8 ′ gamba ;
• 1901, 1902: Repair (bellows) and tuning of the Voigt organ in Oberreifenberg;
• 1904: Repair and tuning of the Voigt organ in Oberreifenberg;
• 1911 (January 27th): Repair of the organ in Dörnberg;
• 1917 (July 10): Removal, measurement and sketching of the 29 prospect pipes (47 kg tin) on the organ of the Keller brothers (1876) in Kransberg for delivery for war purposes;
• 1919: Negotiations about a new organ for Hattersheim (which ultimately did not materialize);
• 1923 (May 28): Repair and tuning of the organ in Kransberg for 20,080 M;
• 1924 (November 8th): tuning and repair of the organ Wehen;
• 1925 (July 8th to September 30th): Addition of missing prospect pipes on the Wehen organ due to the war;
• 1926 (invoice dated April 21): Replacement of 54 pipes stolen in 1923 from the organ in Pfaffenwiesbach;
• 1927 (or not until 1929?): Reinstallation of the prospect pipes (zinc-aluminum alloy) on the organ in Kransberg;
• 1927: Repair (mechanics) and tuning of the Voigt organ in Oberreifenberg;
• 1928 (January 9th): tuning and repair of the organ in labor;
• 1929: Changes to the bellows, repairs (mechanics) and tuning of the Voigt organ in Oberreifenberg;
• 1929 (shortly before Christmas): Repair and installation of an electric fan in the Pfaffenwiesbach organ for 700 RM (attribution to Horn uncertain, however, as there is no longer an invoice);
• (undated): Voting contract for the organ in Niederwalluf.

literature

• Franz Bösken : Sources and research on the organ history of the Middle Rhine. Vol. 2: The area of ​​the former administrative district Wiesbaden (=  contributions to the Middle Rhine music history 7.1 . Part 1 (A – K)). Schott, Mainz 1975, ISBN 3-7957-1307-2 .
• Franz Bösken : Sources and research on the organ history of the Middle Rhine. Vol. 2: The area of ​​the former government district Wiesbaden (=  contributions to the Middle Rhine music history 7.2 . Part 2 (L – Z)). Schott, Mainz 1975, ISBN 3-7957-1370-6 .
• Bernhard Hemmerle : Organ building in the Limburg - Weilburg district . In: Yearbook 2004 of the Limburg-Weilburg district . Rekom, Limburg 2003, ISBN 3-87822-109-6 , pp. 251–260 ( kirchenmusik.bistumlimburg.de [PDF; 29 kB ] Contributions to Hessian history 12).
• Carl Horn: Disposition and cost estimate for the construction of a new organ for the Catholic Church in Pfaffenwiesbach. 1910.
• Kath. Frauengruppe Kransberg (Ed.): 110 years of St. John the Baptist. 1985.
• Catholic parish St. Georg Pfaffenwiesbach (Ed.) Sub> 3: Station on the way - not the end of the line. Festschrift for the anniversary year of the cath. Parish of Sankt Georg Pfaffenwiesbach. 2012, pp. 54–61 (“Our Horn Organ”).
• Hans Klotz : The book of the organ . 10th edition. Bärenreiter, Kassel 1988, ISBN 3-7618-0080-0 .
• Theodor Peine, Organ building in Frankfurt am Main and the surrounding area from the beginning to the present , Frankfurt / M. 1956, 175ff.
• Department for church music in the diocese of Limburg (ed.), 25 years of church music in the diocese of Limburg 1966–1991 , Frankfurt 1991, pp. 54–65 (list of new organs in the diocese of Limburg from 1948 to 1991).
• Alfred Reichling (Ed.): The sample brochures from the Aug. Laukhuff company (=  Acta Organologica . Volume 19 ). Merseburger, Berlin / Kassel 1986, ISBN 3-87537-227-1 .
• Klaus Storck: The organ in Ransel is celebrating its 100th birthday. 2012. - with pictures by Mr. Volker Rohrbach.
• Johann Gottlob Töpfer : The organ, its parts, its construction and its materials (reprint) . saxoniabuch, Dresden 2014, ISBN 978-3-95770-141-1 .
• Johann Gottlob Töpfer , Max Allihn (ed.): The theory and practice of organ building. Second completely revised edition of the textbook on organ building. For the use of organ builders, organ auditors, organists and architects (= Society of Artists, Technical Writers and Specialists [Ed.]: New arena for the arts and crafts with consideration of the latest inventions . Volume 208 ). Bernhard Friedrich Voigt, Weimar 1888 (with many illustrations).
• Georg Türk: Curriculum vitae of the "Horn Organ" in Wilsenroth. 2005.
• Various reports on the organs in Herschbach (2002) and in the prison chapel in Diez (2008, 2009, 2010).
• Hermann Fischer: 100 years of the Association of German Organ Builders 1891–1991 . Ed .: Association of German Organ Builders. Organ building specialist publisher, Laufen 1991, ISBN 3-921848-18-0 .
• Paul de Wit (Ed.): Zeitschrift für Instrumentenbau (ZfI) . tape 1-63 . Paul de Wit, Leipzig (1880-1943).
• Hermann Fischer, Theodor Wohnhaas: Lexicon of southern German organ builders (=  pocket books on musicology . Volume 116 ). Noetzel, Wilhelmshaven 1994, ISBN 3-7959-0598-2 .

Web links

Commons : Carl Horn  - Collection of pictures, videos and audio files

Individual evidence

1. ^ Fischer, Wohnhaas: p. 171. Fischer: 100 years of the Bund Deutscher Organbaumeister . P. 211.
2. ↑ ^{a b} Hemmerle, p. 4; see. To Karl Walter the announcement about his appointment in the ecclesiastical gazette of the diocese of Limburg, year 1899, p. 64 (Ad NOE 5322) and his express recommendation in the ecclesiastical gazette of the diocese of Limburg, year 1900, p. 7f. (Ad NOE 899); Carl Horn also mentions his name in his “General Conditions for New Organ Buildings of the Carl Horn Company in Limburg ad Lahn” (Horn: p. 13 f., Here: p. 14 [§ 5]), along with other information on the mode of payment, assurance solid work, guarantee and delivery times. A photo of Carl Walter and further information on his life and work can be found in the magazine "Kirchenmusik im Bistum Limburg", issue 1/1997, p. 65ff .; it can be obtained from the Department for Church Music in Hadamar.
3. ↑ Cf. on high and late romantic stylistics in organ building, e.g. B. Fischer: 100 years of the Association of German Organ Builders . Pp. 125-128, v. a. P. 125 and 127f .: The hallmarks of high romanticism (1840–1890) in terms of sound are the expansion of the fundamental and the orchestral sound, the development of the technical prerequisites necessary for these tonal changes and the economic development of the small organ-building workshop into a factory . With the period of late romanticism (1890–1930) the triumphant advance of the pneumatic cone drawer from 1890 (electropneumatics was used occasionally at the end of the 19th century, but only became increasingly popular in the 1920s), the expansion of the wealth of game aids as well as the development of high pressure and seraphone or labial reed voices.
4. ↑ Cf. on this Johann Gottlob Töpfer, Max Allihn (ed.): The theory and practice of organ building . Second completely revised edition of the textbook on organ building. For use by organ builders, organ auditors, organists and architects, Weimar 1888.
5. ^ Message from the Limburg City Archives of March 18, 2015 according to the relevant civil status register (cf. the entry with the signature StA Limburg II / 655).
6. ↑ This, however, rules out the accidental identification of Carl Horn with the organ builder Horn who worked as an organ builder in Wroclaw from 1865–1893 (that is, possibly "before" his time in Limburg) (Fischer: 100 years of the Bund Deutscher Orgelbaumeister , p. 97, 330).
7. ^ Communication from the Limburg City Archives of March 18, 2015 according to the relevant civil status register (cf. the entry with the signature StA Limburg II / 759); the statement in Fischer / Wohnhaas, p. 171, that Horn passed away on March 16, 1932, seems to be wrong.
8. ↑ Bösken: S. 719f; see. also the message from the Limburg Diocesan Archives with the signature Lim K 20, 1894, No. 63 -Tod-, dated March 18, 2015; see. also Fischer / Wohnhaas: pp. 171,190; Fischer: 100 Years of the Association of German Organ Builders , p. 221.
9. ↑ Fischer / Wohnhaas: p. 171 and 190 and Fischer: 100 years of the Bund Deutscher Orgelbaumeister , p. 211.
10. ↑ ^{a b} Lt. Communication from the Limburg City Archives (January 2007).
11. ↑ See the address on an invoice from Horn from 1926 in the Pfaffenwiesbach organ file (PWORG 14).
12. ↑ See the information in the Limburg civil status register with the signature StA II-759 (death notification no.149) - a message from the Limburg City Archives dated March 18, 2015.
13. ↑ See Fischer: 100 Years of the Bund Deutscher Orgelbaumeister , p. 125 f.
14. ↑ The organ in Thalheim, St. Stephanus (II / P / 19), ascribed to Carl Horn in Bösken: p. 770, and in Hemmerle: p. 4, does not come from Carl according to the information provided by the parish office in Thalheim (5/2014) Horn, but also from the Keller brothers, which also fits better with the date this organ was built (1889); Fischer / Wohnhaas: p. 171 mention a horn organ in the newly built Herz-Jesu-Kirche in Eckenheim in 1896, but this is rather unlikely for various reasons (see below).
15. ^ Bösken: p. 816; Fischer / Wohnhaas: p. 171.
16. ↑ Zeitschrift für Instrumentenbau (ZfI), 25th year 1904–1905, pp. 301, 303.
17. ^ Bösken: pp. 368 and 327.
18. ↑ According to the organ pipe (accessed on August 15, 2015), from around the middle of the 19th to the middle of the 20th Organ pipes made of zinc - often as a replacement for pipes expropriated for war purposes.
19. ↑ ^{a b} Bösken: p. 601.
20. ↑ See also: Organ (accessed on June 22, 2014); see. also Fischer: 100 Years of the Bund Deutscher Organbaumeister , pp. 128–131.
21. ↑ However, because organs were never manufactured as “mass-produced goods” and every time they build instruments that correspond to their “spirit”, the criticism that arose in the first third of the late Romantic organ as an “inferior factory organ” and the late Romantic era as a “general decay” or “Decadence” of organ building is inappropriate and still needs to be corrected - cf. Fischer: 100 Years of the Association of German Organ Builders , pp. 125, 128.
22. ↑ ^{a b} See: Fischer / Wohlhaas, p. 439, Fischer: 100 years of the Bund Deutscher Orgelbaumeister , p. 330.
23. ↑ See Bösken: p. 651; see. also Fischer / Wohnhaas: p. 171 and v. a. 439; Fischer: 100 Years of the Association of German Organ Builders , p. 211.
24. ↑ See cylex.de , accessed on August 30, 2015.
25. ↑ See e.g. B. What can an organ do? or How do you register an organ? , accessed on January 10, 2018 and January 20, 2019.
26. ↑ See the following v. a. Bösken: p. 919 (Carl Horn).
27. ↑ An exception is the one-manual organ in the Catholic. Cemetery church in Kölbingen-Möllingen with 11 registers; However, this was probably just an (expanding) rebuilding / renovation of a previous organ, from which Horn also took over the prospectus.
28. ^ Bösken: pp. 740, 896, 514; The information on the system of the Kölbingen-Möllingen organ comes from Hardt Orgelbau-Möttau (5/2014).
29. ↑ For the mechanical cone drawer cf. z. B. Klotz: p. 24 ff.
30. ↑ Fischer: 100 Years of the Association of German Organ Builders , p. 211.
31. ^ Note from the EKHN organ expert, Mr. Thomas Wilhelm, from June 24, 2016; see. in addition, the design of the rocker registers, keyboard cheeks, the pedal keyboard, the keyhole expressions in the Salicional 8 ′ and the normal expressions in the more intense string part Gamba 8 ′ .
32. ↑ See for the pneumatic cone drawer z. B. Klotz: p. 30ff. Horn writes (see also: p. 10): “Instead of the complicated mechanical action that was used in the past, the now common tube action (also for the stops) is used. It is not influenced by temperature changes, humidity and dryness. "
33. ↑ Communication from the parish office of Niederahr 6/2014.
34. ↑ Cf. on this and the following Horn: p. 4 ff.
35. ↑ This almost standard choice of color was also used by other regional organ builders such as B. Wilhelm Rassmann - Möttau (cf. Bösken: p. 925 [Wilhelm Rassmann] or the organ expanded by Rassmann in today's Christian Wirth School in Usingen).
36. ↑ Disposition and cost estimate for the construction of a new organ for the Catholic Church in Pfaffenwiesbach [1910], p. 3.
37. ↑ See on the pneumatic cone drawer with relay Klotz: p. 31f .; see. also Horn: pp. 3, 8.
38. ↑ A similar organ system with main work - vocal line - rear work - pedal work can be found e.g. B. also at Förster / Lich 1895: cf. in addition the proposal for the new organ in Munzenberg (Bösken, 3 M – Z , p. 652).
39. ^ "Small organ recording" JVA-Kapelle Diez (2010).
40. ↑ See the following v. a. Bösken: p. 368.
41. ↑ ^{a b} cf. to the following v. a. Bösken: p. 327.
42. ↑ Cf. Peine: p. 176. Deviating from the disposition given by Bösken, Peine mentions in I. Man. only one Cornett II (actually II-III) with a very strange Cast (CH: 2 ² / ₃ ', 2'; c h ° °: 4 ', 2 ² / ₃ ', 2 '; c ¹ to f ³ : 5 ¹ / ₃ ', 4', 2 ² / ₃ , but probably is) is not original, and could be due to a transformation from 1942 if necessary.
43. ↑ The Portunalflöte could Horn - as it is singular with him - have taken over from the local predecessor organ.
44. ↑ Horn apparently had this register first in Herschbach in the II. Man. planned, but then realized a Harmonia aetherea on “Determination” by K. Walters (cf. also the “inventory” of the organ in Herschbach by the company Oberlinger [2002], p. 5, in the archive of the RKM Hadamar); it is otherwise not proven in any of his known dispositions.
45. ↑ Cf. on the latter, e.g. B. the organ in the Protestant church Wehen: taunussteiner-kantorei.de (accessed on May 8, 2014).
46. ↑ On the disposition method of the companies Förster, Vogt, Bernhard, Weigle, Walcker and Link cf. z. B. the disposition proposals for a new organ in Munzenberg [Wetterau] in 1895: Bösken, 3 M – Z , p. 653 f.
47. ↑ See the following: Fischer: 100 years of the Bund Deutscher Orgelbaumeister , p. 126 f.
48. ↑ An exception is the organ in one-manual organ in Daisbach (I / P / 7) from 1909, which is based on a principal 4 ', although it is not clear whether a predecessor organ was revised by horn or the original one Horn's organ, which was arranged differently, was rebuilt at a later date.
49. ↑ Especially in its first years (cf. Welschneudorf, 1897, possibly also Wirzenborn, n.d.) Horn seems to have only built a cornett into its organ as a sound crown.
50. ↑ Fischer: 100 Years of the Association of German Organ Builders , p. 127.
51. ↑ Cf. on this Bösken: p. 919.
52. ↑ See Horn, p. 1 ff.
53. ↑ If an independent Quinte 2 ² / ₃ ' or even an octave 2' found in his organs were taken either from previous instruments, or go back to later sound conversion.
54. ↑ See Horn: p. 2; this conception of the mixture is somewhat reminiscent of the so-called "progressive mixtures" that A. Cavaillé-Coll built into his organs in order to increase the pitch of the trumpet choir and to avoid the equalizing effect of the repeating mixtures in pitch. According to Töpfer / Allihn, pp. 79f., Mixtures that exceed the highest notes of octave 2 ′ have to be repeated because above this limit “... there is no longer any clarity ...” and “... because from then on the tone turns into an indefinable hissing. ”That is why even a triple mixture has to be repeated again - on the c ² (Töpfer / Allihn, p. 81). To avoid the problem of repetition and to amplify the 8 'tone, Carl Horn (also) built his "small" mixtures so that they do not exceed the 2' choir, which makes one a 4 'choir extended fourth , smoky fifth resp. Rauschpfeife (cf. Töpfer / Allihn, pp. 83, 265) results.
55. ↑ See also the “inventory” of the organ in Herschbach by the Oberlinger company (2002), p. 5, in the archive of the RKM Hadamar; the layout of the "string mix " Harmonia aetherea , which (even if it was rebuilt) was only preserved in Herschbach, should have been designed in a similar way.
56. ↑ For Horn, this applies to the 16 ′ location for Langendernbach, Limburg / Stadtkirche, Eckenheim, Erbach, Salz, Herschbach and Limburg / St. Anna and regarding the 8 ′ position for Berod, Gerod, Schwanheim, Eschhofen, Pfaffenwiesbach, Ransel, Wiesbaden / Hl. Trinity and Kölbingen-Möllingen (Bösken: p. 514 names a 16 ′ violon bass for Kölbingen-Möllingen , according to the Hardt-Orgelbau company (Möttau) 5/2014, but 8 ′ violonbass is correct).
57. ↑ Zeitschrift für Instrumentenbau , Volume 35, 1914-15, p. 329, as a response to the consecration of the organ in Herschbach.
58. ↑ See on this Horn: p. 1ff. as well as the description of the organs in Erbach (1909) and in Limburg / Stadtkirche (1904) near Bösken, pp. 176, 593.
59. ↑ Cf. Peine: p. 176, who also reports for the organ in Schwanheim that the third chorus in the Sesquialtera is only introduced from g ° (the exact register designation should therefore be Sesquialtera I-II ); Peine writes unlike Bösken later not Sesquialter II but Sesquialtera 2 ² / ₃ '+ 1 ³ / ₅ ' .
60. ↑ See Töpfer / Allihn, p. 83.
61. ↑ . Cf. Peine: S. 176. The odd indication of the occupation of this register in schwanheim with him (CH: 2 ² / ₃ ', 2'; c h ° °: 4 ', 2 ² / ₃ ' , 2 '; c ¹ to f ³ : 5 ¹ / ₃ ', 4 ', 2 ² / ₃ ; of a Coornett important and necessary Terzchor missing) speaks for an amendment of this register for the repair of the organ in 1942!.
62. ↑ ^{a b} See cost estimate for Ransel 1912.
63. ↑ See Peine: p. 176 on this register at the organ in Frankfurt-Schwanheim, where, by the way, the second repetition at c ² is also omitted (as in the Cornett II-IV a line-up change from 1942 or original line-up?).
64. ↑ Here Horn does not follow Potter's textbook, where it still said: "But if a dumped voice is to consist of wooden and dumped pipes, then it will be useful to start the latter at c ^1. " Cf. Töpfer / Allihn, P. 77.
65. ↑ The tone characteristics of Töpfer / Allihn (cf. Töpfer / Allihn, p. 244) is very good for Horn: “The tone should have as much fullness, softness and power as possible because it is essentially the gravity and the dignity of the organ sound. "
66. ↑ While Töpfer only counted the Salicional under the conical shape in 1834 (see Töpfer, p. 120, and e.g. the Salicional by the organ builder Michael Keller in Kransberg), which means that the fine sound of the register is a little more covered, the register becomes built conical or cylindrical as early as 1888 (cf. Töpfer / Allihn, pp. 77, 84, 299).
67. ↑ While Töpfer only counted the Salicional under the conical shape in 1834 (see Töpfer, p. 120, and e.g. the Salicional by the organ builder Michael Keller in Kransberg), which means that the fine sound of the register is a little more covered, the register becomes built conical or cylindrical as early as 1888 (cf. Töpfer / Allihn, pp. 77, 84, 299).
68. ↑ So in the cost estimate for Ransel 1912.
69. ↑ In Herschbach the deepest pipes were cranked; see. in addition the “inventory” of the organ in Herschbach by the company Oberlinger (2002), p. 5, in the archive of the RKM Hadamar.
70. ↑ The explanation for this construction method was provided by JGTöpfer as early as 1888: “This voice [...] should give a very soft, lovely, but somewhat bright tone; Therefore, these pipes obtained above, a greater width than at Labio be only ¹ / ₅ of the lower periphery labiiert and cut curved. "See. thereto potter / Allihn, p.230.
71. ↑ Obviously this register was changed in Herschbach 1980, it is now on a 2 'basis and repeated at c ° and c ¹ . See the “inventory” of the organ in Herschbach by Oberlinger (2002), p. 5, in the archive of the RKM Hadamar.
72. ↑ Peine: p. 176 describes the register of the same name in Frankfurt-Schwanheim as ″ very screaming ″.
73. ↑ Peine: p. 176 describes the register of the same name in Frankfurt-Schwanheim as "unpleasantly rumbling".
74. ↑ See Horn: p. 1 ff.
75. ^ Töpfer / Allihn, p. 759.
76. ↑ ^{a b} See v. a. Horn: p. 9.
77. ↑ See the report by Oberlinger (2002): p. 3.
78. ↑ Only in Herschbach has an original reed pipe (the d ^{1 of} the trombone bass 16 ′ ) been preserved. See the “inventory” of the organ in Herschbach by Oberlinger (2002), p. 5, in the archive of the RKM Hadamar.
79. ↑ See also the “inventory” of the organ in Herschbach by the company Oberlinger (2002), p. 5, in the archive of the RKM Hadamar.
80. ^ According to the Zeitschrift für Instrumentenbau (ZfI), vol. 25, 1904-05, pp. 833f., V. a. 892, four models of such a paddock are said to have been constructed by the organ builder William Davis as early as 1864; the renowned Walcker company had allegedly equipped 70 of their organs with a coupling designed and patented for a single-flow system by 1904/05; ZfI, 23rd year, 1902-03, p. 56, describes the patent with the number 138958 of the organ builder Eduard Seiffert from Cologne-Manfeld from February 7th, 1902.
81. ↑ More and more registers are added in the various volume levels; once switched on, no register can be removed at a later volume level; all registers sound in the tutti.
82. ^ Bösken, p. 434.
83. ↑ ^{a b c d} See Horn: p. 11.
84. ↑ Töpfer, p. 883. This pitch has the consequence that the pitch of the organ is only at a room temperature of approx. 20 ° C (at least according to theoretical calculation) at about 440 Hz, which is now common again (see Töpfer / Allihn , P. 884).
85. ↑ See the communication from the EKHN organ expert from June 24, 2016, Mr. Thomas Wilhelm.
86. ↑ On the Catholic side, there is the first mention of a cooperation between Horn and EFWalcker & Cie. in connection with the new building of the Limburg cathedral organ (1911f.). Horst Hodick, Johannes Klais (1852–1925) - A Rhenish organ builder and his work, Volume II (catalog raisonné), Munich / Salzburg: 2001, p. 362: “The Limburg organ builder Carl Horn delivered a cost estimate without being asked. This probably came from Walcker, for whom Horn was supposed to work on commission ”; the last from 1919 in connection with the new construction of the organ in Oberahr (cf. the invoices from Walcker to Karl Horn from 1919 in the Niederahr parish archives according to the communication from the local parish archives 6/2014). On the evangelical side, we have similar references to the organs in the Diez prison (1911) and those in Holzhausen ü.A. (1921?) - cf. in addition the announcements of the organ expert of the EKHN from March 11th 2015. A cooperation between Horns and the company EFWalcker & Cie. can thus be demonstrably assumed for the period between 1911 and 1921.
87. ↑ See the invoices from the EF Walcker & Cie company to Karl Horn from 1919 and the information from the EKHN organ expert of March 11, 2015 on the organs in the Niederahr parish archives according to the communication from the local parish archives 6/2014 JVA Diez (1911) and in Holzhausen ü.A. (1921?).
88. ↑ See the company stamps on organ parts or transport boxes such as B. in the case of the repair of the organ in the Protestant church in Wehen in 1925 (cf. taunussteiner-kantorei.de accessed on May 23, 2004).
89. ↑ For the scoop bellows with magazine cf. Klotz: p. 15.
90. ↑ On the neo-styles in the prospectuses, see the general statements made by Fischer: 100 Years of the Bund Deutscher Orgelbaumeister , pp. 132-134.
91. ↑ Cf. on this and the following: Alfred Reichling (ed.), ACTA ORGANOLOGICA. Volume 19, Berlin-Kassel 1986, p. 265 ff.
92. ↑ See Horn: p. 1; Willem-Alexander van't Padje reports the same in: Katholische Kirchengemeinde Dreifaltigkeit (Ed.), 90 Years of the Catholic Church Trinity. "... like a song of praise made of stone, a song of praise to the Most High". A chronicle by Willem-Alexander van't Padje, Wiesbaden 2002, p. 43, also for the organ in the Dreifaltigkeitskirche in Wiesbaden (1913); according to the ecclesiastical gazette of the diocese of Limburg, born 1917, p. 53f., Ad NOE 2270, served u. a. the use of aluminum coatings to protect against oxidation.
93. ^ In the church gazette of the Diocese of Limburg, year 1917, p. 16 (Ad NOE 589; February 7, 1917), p. 33 (Ad NOE 1190, March 12, 1917) and p. 53f. (Ad NOE 2270, May 8, 1917) the compulsory expropriation of the tin prospectuses is announced, the exceptions for historically or artificially valuable prospectuses are named, the consultation of experts in the removal of the pipes and the creation of prospectus pictures or sketches is recommended, and it is also announced, that an imminent replacement is not to be expected (also with regard to the replacement installation of zinc pipes); P. 60f. (Ad NOE 2287, May 30, 1917) recommends organ builders in the vicinity for the expansion work (Karl Horn in Limburg [Horn is only mentioned in the Limburg official gazette!], Gebhardt in Boppard, Klais in Bonn, Schedel in Fulda, forester in Gießen, Vergolth in Mainz and Franzen in Trier) and defines binding guidelines for the expansion.
94. ↑ ^{a b} See expert opinions from 2008 and 2009 as well as an organ recording from 2010.
95. ↑ Cf. this organ brochure with the very similar one of the predecessor by Carl Horn in Limburg, organ builder Michael Keller, in St. Johannes the Elder. T. Kransberg (1876): File: Keller-Orgel Kransberg (1876) .JPG . One could almost believe that the two organ builders used the same construction plan, especially since Wernborn was a branch of Kransberg at the time ...
96. ↑ See on the whole: ACTA ORGANOLOGICA, Volume 19, pp. 268 ff.
97. ↑ ^{a b} See also ACTA ORGANOLOGIA, Volume 19, p. 269.
98. ↑ Horn: p. 6.
99. ↑ See ACTA ORGANOLOGICA. Volume 19, p. 380.
100. ↑ See Horn: p. 14 (§ 4) and p. 7.
101. ↑ Fischer / Wohnhaas, p. 171, name an organ from Horn in Eckenheim in 1896; Unfortunately, the place does not appear in the Zeitschrift für Instrumentenbau (ZfI), 25th year 1904-05, pp. 301 and 303 (Karl Walters list of new organs in the Diocese of Limburg for the period from 1894 to 1904); if this instrument really existed, it would have been Horns op. 1 and the same organ builder would have either expanded it in 1908 or replaced it with a new work (see below).
102. ↑ Bösken, p. 816; Information from the Oberelbert parish office (5/2014); Zeitschrift für Instrumentenbau (ZfI), Volume 25, 1904-05, p. 303; Fischer / Wohnhaas: p. 171.
103. ^ Bösken, p. 595; Communication from the Lindenholzhausen parish office (5/2014); see. Zeitschrift für Instrumentenbau (ZfI), 25th year 1904-05, p. 301; see. Fischer / Wohnhaas: p. 171 (the organ was probably not - as stated here - one manual, but two manual); Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 61. Disposition probably similar to Hundsangen, only in the I. Man. extended by a mixture cornet .
104. ↑ Bösken, p. 544; st-matthias-langendernbach.de ( Memento of the original from April 12, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed May 5, 2014); see. Zeitschrift für Instrumentenbau (ZfI), 25th year 1904-05, p. 301; see. Fischer / Wohnhaas: p. 171; Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 59. 
105. ↑ Bösken, p. 818; Department for Church Music in the Diocese of Limburg (ed.), 25 years of Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 56. According to the information from the Wernborn organist (7/2014; written down from memory): I : Principal 8 ', the hollow flute 8', Gamba 8 ', octave 4', mixture 2 ² / ₃ (2-3 fold verm.); II: Covered 8 ′, Salicional 8 ′, Flauto traverso 4 ′ ; P: sub bass 16 ′ ; NK, SK, Tutti & Trigger; see. Zeitschrift für Instrumentenbau (ZfI), Volume 25, 1904-05, p. 303.
106. ↑ Bösken, p. 150; see. Zeitschrift für Instrumentenbau (ZfI), 25th year 1904-05, p. 301; see. Fischer / Wohnhaas: p. 171; Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 61.
107. ↑ Bösken, p. 891; st-birgid.de accessed on May 10, 2014, prospectus view : st-birgid.de (accessed on March 15, 2015); Year of construction according to Zeitschrift für Instrumentenbau , 25 vol., 1904–1905, p. 303; Disposition probably similar to that in dog chants.
108. ^ Bösken, p. 676. Hemmerle: p. 4 wrongly names 1898 as the year of construction; Year of construction according to the Zeitschrift für Instrumentenbau (ZfI), 25th year 1904-05, p. 301, clearly; see. Fischer / Wohnhaas: p. 171.
109. ↑ Bösken, p. 76; Survey form of the RKM Hadamar 2014/2015 (according to this source, the registers that are reused are the following: Bourdon 16 ′, Octave 4 ′, Covered 8 ′, Salicional 8 ′ and Subbass 16 ′ ); see. Zeitschrift für Instrumentenbau (ZfI), Volume 25, 1904-05, p. 301.
110. ↑ Bösken, p. 658ff .; see. Zeitschrift für Instrumentenbau (ZfI), Volume 25, 1904-05, p. 303; Fischer / Wohnhaas: p. 171 refer to the disposition.
111. ↑ Bösken, p. 740; Announcement from the organist von Ransel and Sauerthal (5/2014); see. Zeitschrift für Instrumentenbau (ZfI), Volume 25, 1904-05, p. 303; Organ visit on September 11, 2015: The Flute 4 ' is as hollow flute built (bass pipes made of wood with vocal cover of metal, Diskantpfeifen of metal and open), the Covered is in the treble yet (see organ builder Michael Keller.) Of metal pipes with wooden bungs, the The violin principal is voiced almost like a principal , the sub-bass stands between the manual wind chest and the magazine bellows, all pipes including the prospectus pipes have round labia, some of the prospectus pipes are dented; the large magazine bellows including the scoop bellows are located behind the organ, whereby the old calcareous step is still present and works despite the electric fan; the action of the pedal runs on the gallery floor (cf. organ builder Michael Keller), then the abstracts of the 5 stops follow and the manual action hangs on the wind chest below; a "dainty little organ".
112. ↑ Bösken, p. 368; Communication from Gemünden on September 4, 2015 (Wagenbach's work contained used pipes from a former cathedral organ).
113. ↑ Bösken, p. 593; see. Fischer / Wohnhaas: p. 171; Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 59; During a tour of the organ on August 25, 2018, some pipes of the horn organ (violin principal) were still set up on the gallery or stored in boxes (apparently they had been reused - partly reworked to other registers - when Klais was re-used for cost reasons); whether it is even in the past on the left Empor side wooden pipes of an acoustic [!] Violonbasses 16 '[8' 5 ¹ / ₃ is' -Huckepackpfeifen] to pipes of horn, must remain currently open (Horn has such a register in the pedal planned, but probably had to create it acoustically - if all the wind chests were at the same height, so that the pipes did not protrude above the baroque prospectus).
114. ^ Bösken, p. 896.
115. ↑ Bösken, p. 370; see. also the announcements of the organ expert of the diocese of Limburg from March 9th, 2015 and the organ visit on May 5th, 2015: The original disposition of this organ was (after the position on the windchest from right to left): Subbass 16 ′ (P), violonbass 8 ′ (P), flute 4 ′ (II), covered 8 ′ (II), salicional 8 ′ (II), principal 8 ′ (I), hollow flute 8 ′ (I), gamba 8 ′ (I), octave 4 ′ (I) and mixture ² / ₃ ' (I), normal coupling and Subkoppel II / I (original!); are located to the right of voting nor the transition in 1960 from the company. E. Wagenbach / Limburg, supplemented new register for the I. It .: Quinte 2 ² / ₃ ' (Bösken shares mistakenly Quinte 1 ¹ / ₃ ' with) and Trumpet 8 ' (but after the design more of a [decked] Horn 8' ), where might then also in this context mixture 2 ² / ₃ ' was rescheduled so she that today with the occupation Ch °: 2 ² / ₃ '+ 2' + 1 ¹ / ₃ 'and c1-f3: 4' + 2 ² / ₃ '+ 2' (.. d h with a Repetitionspunkt) presented; in the II. Man. a (conical) recorder 2 ' was later installed instead of the flute 4' . The renovation measures in 1990 included, according to the organ life cycle file in the RKM Limburg, the relocation of the console across the organ prospect (so that the organist has a better view of the altar and better contact with the church choir when the church is full), the conversion of the registers (Wagenbach's additions could only be small toggle switches can be switched on and off), the renewal of some ivory keys, the delivery of a new pedal keyboard and some work on the case (including the installation of a case door in the lower part of the brochure in order to be able to get better into the organ that was "heavily built by Wagenbach"). The organ is special in that its case is rotated by 90 ° and Horn has made the far narrower left side wall into the front of the prospectus, presumably in order not to have to obstruct the passage to the attic; the disposition of the previous organ (I / P / 8) and the original of the (new) horn organ are given in: Zeitschrift für Instrumentenbau (ZfI), 25th year 1904-05, p. 1035.
116. ↑ Bösken, p. 184; kelkheim.de  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. (accessed August 13, 2015); see. Fischer / Wohnhaas: p. 171 (wrong number of registers, 15 instead of 16); Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 56. Peine: p. 176 names 1906 as the year of construction and attributes the Baroque prospectus to Horn (both wrongly); he describes the condition of the organ in 1956 as follows: penetrating sound, interference when playing (especially in the second man.) due to the pneumatics; According to his information, the organ has the normal couplings and piano pedal as ancillary trains (the disposition corresponds to that communicated by Bösken).  
117. ↑ Bösken, p. 165. Lt. According to the EKHN organ expert dated March 11, 2015, the organ in the choir room of the church has the following disposition (recording 1997): Manual (Cf ³ , 54 keys, expanded to c ⁴ due to the super octave coupling ): Principal 8 ′, covered 8 ′, Gamba 8 ′, Salicional 8 ′, Octave 4 ′, Flute 4 ′ ; Pedal (25 keys, Cc ¹ ): Subbass 16 ′ ; Pedal coupling and super octave coupling, 4 push buttons (shutter release, p, f, tutti). The information was confirmed during the visit to the organ on June 20, 2016 and the following peculiarities were also found: the wooden pipes of the Principals (CH) have tuning caps and mustaches, the larger pipes of the Salicionals have keyhole expressions, the sub-bass pipes have oval cuts to reinforce the fundamental tone and the flute is as Hollow flute built (cf. Sauerthal); the original wind system on the choir granary is out of order; Organ bench new.
118. ↑ See the communication from the EKHN organ expert, Mr. Thomas Wilhelm, dated June 24, 2016.
119. ↑ Bösken, p. 327; maujoh.bistumlimburg.de ( Memento of the original from June 7, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed May 5, 2014); Announcement from the organ expert LM (6/2014); Report in Zeitschrift für Instrumentenbau , 28th year 1907-08, p. 529; Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966-1991, Frankfurt 1991, p. 65; “Going forward on new paths - 100 years of St. Mauritius Church in Frankfurt am Main Schwanheim”, Frankfurt / M. 2001, pp. 70–71, reports the following about the work in 1968 and 1986: 1968 repair, conversion to electropneumatics, relocation of the console and reduction by one register by Voigt, 1986 rebuilding and expansion of the organ using from registers from the organ builders Horn and Voigt as well as used registers from Niederrad and Elz / Ww., used windchest from Elz / Ww. as well as a gaming table from Rheinstetten (Späth / Ennetach) by Fischer & Krämer / Endingen; The history of the horn organ and the current disposition of the instrument are also communicated. Peine: p. 176 reports on the condition of the organ in 1956 (i.e. after the repair in 1942 and before the renovations): The instrument fills the room with its over-acoustics, but the function (pneumatics) is uncertain; the I. Man. stand on excessive wind pressure, the II. Man. sounds very pleasant; the intonation of the metal pipes is determined by strong core stitches; in the case of the metal pipes, almost only zinc was used (also completely in the prospectus); on the (sometimes somewhat strange) instrumentation of the registers Cornett II (-IV) , Mixtur IV and Sesquialtera I-II as well as on the sound effect of the reeds he describes cf. above (however, the question here is what is still original by Horn and what was changed when the organ was repaired in 1942). 
120. ↑ Bösken, pp. 255,412; Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 59; Peine: On p. 177, in addition to the change of disposition carried out by E. Wagenbach / Limburg in 1953 (corresponds to the disposition information given by Bösken), also the side moves of the organ (normal coupling and three fixed combinations [piano, forte, tutti]) and reports that the action and the prospectus remained untouched during the renovation; Organ visits on August 6, 2014/31. March 2015; that in Fischer / Wohnhaas: p. 171, stated year of construction of the first (?) horn organ in Eckenheim, Herz-Jesu, (1896) is probably (even if the Herz-Jesu-Kirche there was built in 1896 as a “masterpiece of neo-Gothic style” was: cf. franziskus-frankfurt.de [accessed on August 15, 2015]) wrong, because Eckenheim in the Zeitschrift für Instrumentenbau (ZfI), 25th year 1904-05, pp. 301 and 303, as a place for the time is not mentioned from 1894 to 1904; if an organ was built in Eckenheim by Carl Horn in 1896 (and the new organ was forgotten in Carl Walter's list), it would be his op. 1!
121. ↑ Bösken, p. 110; New building is missing in: Department for Church Music in the Diocese of Limburg (ed.), 25 Years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, pp. 54–65.
122. ↑ Bösken: p. 174 ff .; Fischer, Wohnhaas: p. 171; See also Section for Church Music in the Diocese of Limburg (ed.), 25 Years Section for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 61.
123. ^ Bösken: p. 822; Visit to the organ on June 29, 2015 (according to information from Westernohe, the organ was probably to the right of the chancel for a few years after 1958 [on the gallery or at ground level?]).
124. ^ Bösken: p. 181; Communication from the parish office of Eschhofen (3/2010); The copy of the audit report in the organ file in Pfaffenwiesbach under the signature PWORG7b dated September 23, 1910 and an accompanying card Carl (Karl) Walters (signature PWORG7a) shows: date of acceptance, tubular pneumatic system, console made of oak, Dolce 8 ′ im II. Man., Various paddocks; Opus number results from the fact that for the new organ in Pfaffenwiesbach (op.52) the revision report of the last organ built by Horn for the diocese of Limburg was sent to Pfaffenwiesbach and accordingly the instruments op.50 (JVA-Kapelle Diez) and op 51 (unknown) probably stood / stand in Protestant churches; Fischer, Wohnhaas: p. 171; New building is missing in: Department for Church Music in the Diocese of Limburg (ed.), 25 Years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, pp. 54–65.
125. ↑ See two reports from 2008 and 2009, kindly sent by the EKHN organ expert (March / 2015); According to the Zeitschrift für Instrumentenbau (ZfI), volume 32, 1911-12, p. 517, the instrument was checked and approved by seminar teacher Walter / Montabaur on January 24, 1912.
126. ^ The statement in Bösken: p. 714 is wrong; see. St. Georg (Pfaffenwiesbach) ; The organ file with the signature PWORG in the Pfaffenwiesbach parish archive contains extensive correspondence relating to the construction of the organ, but unfortunately neither a sketch nor a picture of the instrument.
127. ^ Bösken, p. 152ff .; orgeldatenbank.com (accessed May 10, 2014); Notification of the organ expert dated March 4, 2015 according to the documents in the RKM; see. also hundsangen.de  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. ml # kirchspiel_und_pfarrei (accessed on March 5, 2015); Organ visit on May 5, 2015: The original disposition of the organ should have roughly corresponded to that in Ransel (1912), due to the rather small case depth it was probably no more than 11; Original pipes of horn can still be found in the registers Principal 8 ' (inner pipe), Gamba 8' , Octave 4 ' , Covered 8' and (possibly) Sesquialtera II (= possibly upgraded old mix 2 ² / ₃ ' ) and ( possibly) in the two pedal registers Subbass 16 ' and Violonbass 8' , which were probably the only pedal registers of the organ before the expansion by Wagenbach; see. Fischer / Wohnhaas: p. 171 (the number of registers mentioned here - 19 - is wrong!).  
128. ↑ Bösken, p. 717; Announcement from the organist von Ransel and Sauerthal (5/2014); see. Fischer / Wohnhaas: p. 171; Organ visit on September 11th, 2015: The original wind turbine (a large magazine bellows and two scoop bellows that extend under the entire magazine bellows) together with the (decommissioned) calcareous step device has been preserved; The two steps are connected by a rope that runs over a wooden roller, so that opening one of the bellows causes the other to be emptied. In the prospectus , not only were the upper parts removed (here, too, the beginnings of the middle field run into the void), but the side fields towards the middle field were also expanded, so that four new (currently silent) prospectus pipes (two of them with a pointed ridge) had to be inserted there which results in the labia line sloping towards the midfield; In order to close the middle wooden pipe gap above the middle field, a board was nailed in front of the wooden pipes; the pilaster strips on the side panels still show profiles inside. The arrangement of the organ - including the "small mixture" of horns - is unchanged, as is the free-standing console (view of the altar) with its fittings, which was probably made by Walcker (cf. Diez, Pfaffenwiesbach, Aulhausen and above all Oberahr).
129. ↑ This claims: Wolfgang Krammes u. a. (Ed.), Michael Imhof, Die Kirchen im Mittelrheintal, Petersberg 2008, p. 114.
130. ↑ See the cost estimate Ransel 1912 (last page on the back).
131. ↑ Bösken, p. 738; Opus information according to the order mentioned in the Zeitschrift für Instrumentenbau , 34th year 1913-14, p. 31; Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 56.
132. ↑ Bösken, p. 652ff .; see. Announcement from the organ expert of the Diocese of Limburg (6/2014); Opus information according to the order mentioned in the Zeitschrift für Instrumentenbau , 34th year 1913-14, p. 31; New building is missing in: Department for Church Music in the Diocese of Limburg (ed.), 25 Years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, pp. 54–65.
133. ↑ See on this Section for Church Music in the Diocese of Limburg (ed.), 25 years of Section Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 59; see. also: Zeitschrift für Instrumentenbau , 34th year 1913-14: p. 31 (this also includes the works delivered to Frankfurt / M. (St. Gallus, Herz Jesu in Eckenheim) and the works delivered to Salz and Niedergladbach (order ?!) mentioned)
134. ↑ Rev. Dr. Hüfner, Die Dreifaltigkeitskirche zu Wiesbaden, Wiesbaden 1937 (photograph of the organ with a front console with a view of the altar, free pipe prospect and a five-axis housing substructure, which also has an originally existing five-axis prospect adapted to the architectural style of the church (i.e. in this case: neo-Gothic) suggests)
135. ↑ Bösken: p. 862 reports the unusual disposition of this organ, which is atypical for horn, shortly before the demolition (one flute each 8 ′ in the 1st and 2nd man., Trumpet 8 ′ in the 2nd man. [Sic!], The with the Aeoline 8 ' always combined Vox coelestis 8' missing - probably in 1934 (or 1960) in the second Man.. Covered 8 ' in flute 8' and Vox coelestis 8 ' in Trumpet 8' swapped)
136. ↑ Katholische Kirchengemeinde Dreifaltigkeit (Ed.), 90 Years Katholische Kirche Dreifaltigkeit. "... like a song of praise made of stone, a song of praise to the Most High" . A chronicle by Willem-Alexander van't Padje, Wiesbaden 2002: p. 43 (Prospektpfeifen), p. 60 (Second World War), p. 79 (here van't Padje describes the instrument as a “house organ”, which from the start is not It was intended for a church, with reference to the award notification in ZfI (see above); he also reports there that in 1934 and 1960 - in the run-up to the organ anniversaries - the congregation made musical (late romantic and for the size of the church rather modest disposition!) and technical (pneumatics!) reasons, a new building was "seriously examined" until a third discursive attempt was made at the beginning of the 1970s, which finally led to the new building by H. Mayer).
137. ↑ Bösken, p. 37; Information from the parish office of Aulhausen / Assmannshausen (6/2014), information from Mr. Klaus Storck (August 10, 2015), photographs by Mr. Oliver Faust (August 15, 2015), organ visit on September 11, 2015: In the course of the sound conversion, however to a glued change of Fußangabe when at the game table violin Principal no traces left behind, which was violin Principal moved by one octave at 4 ', the Diskantpfeifen of Salicional by whistling a Dolce replaced and the original (for horn otherwise not usual) noise fifth 2 ² / _{3 changed} to 4-fold cast; the flute (Gedacktflöte) in the II. Man. would have to be from Engers (because it is an unusual design for horn) (cf. Bösken, p. 37); On the wind chests some pipes are crooked, some treble pipes are missing, the two organ speakers are on the vocal line, which is also here between the 1st and 2nd man./pedal; the attic stairway is in the (!) organ work; the instrument is very dirty.
138. ↑ The new register were 1,960 mixture 5x 1 ¹ / ₃ ' to I. Man., Reed pipe 4' into II. Man. and octave bass 8 ' into the pedal, whereby the two pedal registers can be switched on and off via small manubruses on the right side of the console; Salicional moved to the site of Gamba , the violin Principal 'was moved at 4 Aeoline and Vox coelestis to very sharp voiced Principal 2' and fifth 1 ¹ / ₃ ' rebuilt; a new (?) Aeoline came to the 2nd man .; 2004, it moved the mixture of 2'-base and built instead of the fifth 1 ¹ / ₃ ' a Sesquialtera 2 times a; the re-use of the windchest explains the peculiar arrangement of the individual works (auxiliary work and sub-bass 16 ' on the left side of the brochure, octave bass 8' in the middle of the brochure, main work on the right side of the brochure); the Aeoline 8 ′ in the auxiliary work - renewed according to the "Orgellebenslauf" by Wagenbach - is at least still original from Horn, judging by the pipe material of the major octave, but is - since the old wind chest of the II. Man. not enough here for this register - a little higher and on a probably new supplementary drawer; the octave bass 8 ′ consists of copper pipes with a pointed labium, while the other prospect pipes (as is usual with horn) have round labia; the Horns company sign on the gaming table names 1915 as the year of construction (see, on the other hand, Bösken 2 / II p. 894, which reports a list of the work from April 21 to May 6 and an organ consecration on May 9, 1914); the (reconstructed) original disposition of the organ reads: I. Man. (Cf ³ ): Principal 8 ′, Covered 8 ′ (sic!), Gamba 8 ′, Octave 4 ′ ; II. Man. (Cf ³ , expansion to c ⁴ ): violin principal 8 ′, hollow flute 8 ′ (sic!), Salicional 8 ′, aeoline 8 ′, vox coelestis 8 ′ ; Pedal (Cd ¹ ): Subbass 16 ' ; Normal coupling and super coupling II / I; Tutti and shutter release (push buttons); Bösken's indication of the number of registers (cf. Bösken: p. 894: 15!) Would thus have to be reduced to 10, which is also in line with the “Organ Life Course” sent to us. Cf. on the whole: Bösken: p. 894, communication from the Wilsenroth rectory (5/2014; sending of an “Organ Life Run”), organ visit on June 29, 2015.
139. ↑ Bösken, p 434; herschbach.de ( Memento of the original from August 11, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on May 6, 2014) 
140. ↑ The brochure on the history of the organ in the Catholic parish church of St. Anna zu Herschbach , Herschbach 2004: p. 13 ff., Provides the following information: 1968 general cleaning and 1980/81 introduction of electropneumatics, renewal of wind turbine and rocker mechanism, installation of a new gaming table on the right gallery side, installation of a pneumatic pressure tremulant in the II. Man. and exchange of all three reeds ( trumpet , trombone , Hautbois - the latter instead of Horn's clarinet ); 2004 General cleaning and overhaul of the organ (instead of a financially illusory reconstruction of the Schöler organ) with renewal of the technology and the wind system, a re-intonation of all registers and the delivery of a new French oboe 8 ′ for the 2nd man. The original workshop sign from the Horn company on the new console is still there (see organ visit on August 6, 2014 / March 31, 2015)
141. ↑ Fischer / Wohnhaas: p. 171 (the number of registers mentioned here - 32 - is wrong!)
142. ↑ Fischer: 100 years of the Bund Deutscher Orgelbaumeister , p. 211 (the organ in Herschbach was installed in 1915 and not in 1916)
143. ↑ Die Zeitschrift für Instrumentenbau (ZfI), 35th year 1914/15, p. 329 reports enthusiastically about the organ: “What we liked best (at the inauguration concert on April 25, 1915) was the rich orchestral sound effects of the organ. In the full work, all voices merge with one another to form a round, self-contained mass of clay, powerful and noble, without protruding sharpness. The sound effect of the second manual with a louvre swell is of perfect beauty and deserves the predicate 'excellent'. "
144. ↑ See Bösken, p. 593; voceumana.de (accessed on August 13, 2015)
145. ^ Fischer, Wohnhaas: p. 171.
146. ↑ Bösken, p. 678 (the indication of 9 registers there is to be reduced to 8 registers in accordance with HBLg56 [cf. with ibid. Footnote 37 and evidence photography from the Niederahr parish archive], a later assumed expansion to 16 or even 20 registers is unlikely) ; Communication from the Niederahr pastor's office (6/2014; 2 photos, invoices received from July 1919): The side parts of the case are already kept very low, the limestone step was on the right side of the case and the original disposition of the organ was probably (reconstructed from the one on one Photo of the pipes visible in the organ and according to the invoices received): I. Man. Principal 8 ', Covered 8' [?], Gamba 8 ', Octave 4' , II. Man .: hollow flute 8 ', Salicional 8', Gemshorn 4 ' , P .: Subbass 16' , Normal coupling, Super coupling II / I, Tutti, trigger; The console and a large part of the pipework come from the company EFWalcker / Ludwigsburg according to the invoices received (see notifications and 2 photos from the Niederahr parish office 6/2014); see. also Oberahr (accessed on June 3, 2015): possibly disposition of the electronic organ (?).
147. ↑ Bösken, p. 450: attribution and year of construction uncertain (the organ could also come entirely from the company EF Walcker / Ludwigsburg [see Diez, JVA-Kapelle], since many components refer to this company [then it could possibly be . were also built in 1913]; an attribution to Horn in 1913 - see also taunussteiner-kantorei.de [accessed on August 8, 2015] - is impossible due to the opus numbers mentioned above and therefore Bösken's information on the year of construction - 1921 - at least more likely); Announcement from the organ expert of the EKHN of March 11, 2015 .; lt. a file note from the Fa. Hardt-organ building (2014), in which also the disposition ( Principal 8 ', viol 8', Salicional 8 ', Covered 8', Octave 4 ', mix 3x 2 ² / ₃ , Subbass 16' , Pedal coupler, tutti, shutter release) and a prospectus picture (a large central tower, two small side towers, each with a harp field in between), the manual keyboard (untypical for horn!) Is expanded to g ³ and the pedal keyboard to f ¹ , what either for a later expansion or again for a building by the company EF Walcker / Ludwigsburg.
148. ↑ Bösken, p. 756; Information from the parish office of Steeden (5/2014)
149. ↑ Visit to the organ on August 20, 2015.
150. ↑ Paul de Wit (Ed.): Zeitschrift für Instrumentenbau , 25. Jg. 1904-05, pp. 301 and 303.
151. ↑ See on this Section for Church Music in the Diocese of Limburg (ed.), 25 Years of Section Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, pp. 54–65.
152. ↑ See kath-diez.de ( Memento of the original from April 2, 2015 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on May 10, 2014); New building is missing in: Department for Church Music in the Diocese of Limburg (ed.), 25 Years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, pp. 54–65. 
153. ↑ Bösken, p. 474; Parish of St. Laurentius (ed.), Laurentius Bote - Extra sheet, August 2015, p. 3; Department for Church Music in the Diocese of Limburg (ed.), 25 years Department for Church Music in the Diocese of Limburg 1966–1991, Frankfurt 1991, p. 61.
154. ↑ Bösken, p. 514; Disposition according to communication from Hardt-Orgelbau / Möttau, which also made the brochure photo available (5/2014): Geigenprincipal 8 ′, Gamba 8 ′, Salicional 8 ′, octave 4 ′, flute 4 ′ (old?) , Octave 2 ′ (old?), Mixture 2–3 times ; P .: subbass 16 ′, violonbass 8 ′ (Bösken: 16 ′ !, is wrong), octave bass 8 ′ (old?), Pedal coupler, collective steps piano and forte .
155. ↑ Bösken, p. 532; According to mudenbach.de (accessed on March 15, 2015), the Catholic chapel in Kroppach was demolished in 2011.
156. ^ Reference to the organ in the Zeitschrift für Instrumentenbau , 34th year 1913-14, p. 31; No mention in Bösken, p. 261, and in stgallus.de ( memento of the original from September 24, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. and stgallus.de ( Memento of the original from September 24, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on August 15, 2015).  
157. ^ Bösken, p. 607.
158. ↑ Cf. Bösken: p. 897 with details of the original disposition: Principal 8 ′, Flute 8 ′, Gamba 8 ′, Salicional 8 ′, Octave 4 ′, Cornett 4-fold, Subbass 16 ′, pedal coupler ; Organ visits on August 20, 2015 and June 20, 2016: zinc prospectus pipes (3 pipes are mute, the two largest were extended - visible from a circumferential weld in the upper third - conspicuous: the gaping gap to the right of the center of the prospectus) and the associated inner pipes with their expressions probably originate from C. Horn; During the renovation in 1959, a new prospectus pipe stick was placed on the old case and the old prospectus was removed; the Gedackt 8 ′ (wooden pipes CH are lacquered, metal pipes are shiny) is more recent; the octave 4 ' (cf. the zinc pipes CH) should also be the original horn, as is the sub-bass 16' ; the original register Gamba 8 ' and Salicional 8' were 1959 probably fifth 2 ² / ₃ ' and octave 2' cut and the Cornett 4-fold to a repetitive mixture 4x converted; the play cabinet on the right side of the case with a manual range of 54 keys and its 8 manubriums was newly installed in 1959 (company sign?); the organ bench with music compartment is attached to the pedal with 4 wood screws; to the right of the play cupboard there are two cabinet doors (the left one still has an ornate keyhole cover), the left leads to the vocal channel between the manual and pedal windchest, the right to an empty space behind the organ (earlier bellows?); Housing color (see Oberahr 1919) probably still original (and "horn-typical"); the pedal circumference suggests that the instrument was made between 1904 (cf. Eppenrod 1906, listing of the instruments built by C. Walter up to and including 1904 in the diocese of Limburg by C. Horn) and 1911 (JVA Diez, 1911).
159. ↑ Evidence photograph with original inscription and invoice from Keller in the St. Georg Pfaffenwiesbach organ file.
160. ^ Bösken, p. 608.
161. ↑ Zeitschrift für Instrumentenbau , Volume 35, Leipzig 1914/15: p. 328f .; Report by Oberlinger (2002): p. 3.
162. ↑ ^{a b c d} Parish council of the parish of St. Georg Oberreifenberg / Taunus [ed.], The parish church of St. Georg zu Oberreifenberg, 1977, p. 76.
163. ↑ Bösken, p. 135.
164. ↑ Cf. Catholic women's group Kransberg: p. 22.
165. ↑ Bösken, p. 420.
166. ↑ Cf. Horn's invoice received in the Kransberg parish archive [file no. 622]; Communication from the Kransberg parish archive from May 30, 2014.
167. ↑ ^{a b c} See. Taunussteiner-kantorei.de (accessed on 8 May 2014).
168. ↑ Catholic parish of St. Georg Pfaffenwiesbach: p. 57.
169. ↑ See the “Registration form for organs” from July 1, 1944; Communication from the parish archive of Kransberg dated May 30, 2014.
170. ↑ Catholic parish of St. Georg Pfaffenwiesbach: p. 58.
171. ↑ Bösken, p. 675