Jehmlich organ in the Paulinum

The Jehmlich organ on the west gallery  was  built  in  the  years  2016 and 2017  and  takes  in  an  innovative  way  on  the  1717  by  Bach  tested baroque organ  Johann  Scheibes  reference, at that time  one  of the  most  modern  organ works  of its  time.  After  1800  it was redesigned several times  in line with Romantic ideas of sound :  beginning  by  Johann  Gottlob  Trampeli (1803)  and  Johann  Gottlob  Mende (1821) through to the new building, also by  Mende  (1846)  and  the  renewed  fundamental  reconstruction  by Friedrich  Ladegast  (1873).  The  new organ  with its 46 stops was designed  for  a  wide  range of repertoire  and  is  particularly  suitable  especially  for  works  by the  great Leipzig  Bach,  Mendelssohn  and  Reger, but also for later music up to the present day.

From "Thoughts on the new organ building in the Paulinum Leipzig by Ralf Jehmlich" (abridged)
The newly built Paulinum in Leipzig, on the site of the university church that existed until 1968, is a living and obvious link between the present and a past rich in tradition. The emotional, highly eventful history is summarized by the Leipzig University management in the mission statement "Crossing borders out of tradition".

The sound stylistic concept is primarily oriented towards German organ music of the 18th century, but also takes into account compositions of later eras through color-differentiated basic voices. The organ is suitable for works by Johann Sebastian Bach, Felix Mendelsohn Bartholdy and Max Reger, as well as for later music up to the present day.

The organ's sound body, which is designed with 46 stops on 3 manuals and pedal and a total of 2951 pipes, was given appropriately wide scales to suit the acoustics of the room.

The organist has both a mechanical and an electric action at his disposal. The key action is a double action (electric and mechanical). The electric stop control is equipped with a stoplist system with a memory capacity for 30,000 combinations and touch-screen operation. In addition to freely programmable stop crescendi, the sound dynamics of the organ can be shaped with two swellable manual stops. The requirements for continuo playing for the interpretation of works from earlier eras were also met by the Brustwerk, which can be transposed up and down by a semitone, and 3 corresponding Pedal stops. The electric action enables a freely programmable interval coupler and coupler system. A MIDI interface, which allows the storage and playback of recorded melodies and improvisations, as well as a note printout and the control of external sound generators, round off the technical possibilities of the organ.

The inner work structure is arranged in 3 levels and takes up a space of 7m wide, 4m deep and 11m high. The swellable Brustwerk is located directly above the console with visible swell shutters in the façade. The Hauptwerk is arranged in the middle as the central movement, with the swellable Oberwerk above it. The large swell shutters of the Oberwerk are not visible from the church interior. This staggered arrangement of the 3 manual divisions allows for equal sound radiation into the room.

The exterior design of the organ was developed in close collaboration with architect Dr. Klausjürgen Schöler and in consultation with architect Erick van Egeraat. The organ case was finished in white lacquer to match the interior architecture. The console was designed in cherry wood. With 56 visible façade pipes of the main voices of the Great Principal 16' and Pedal Trombone 16' stops, the organ façade is vertically divided into 7 slender fields.

Disposition

I. BRUSTWERK HH - b3
1. Holzgedackt 8′
2. Quintadena 8′
3. Salicional 8′
4. Principal 4′
5. Rohrflöte 4′
6. Nasat 2⅔′
7. Octave 2′
8. Terzflöte 1⅗′
9. Larigot 1⅓′
10. Scharf IV 1′
11. Krummhorn
Tremulant 8′

II. MAIN WORK C - a3
12. major principal 16′
13. minor principal 8′
14. flûte allemande 8′
15. gemshorn 8′
16. octave 4′
17. pointed flute 4′
18. fifth 2⅔′
19. Qktava 2′
20. cornet V 8′
21. great mixtur V 2′
22. bassoon 16′
23. trumpet 8′

III. OBERWERK C - a3
24. bourdon 16′
25. principal 8′
26. hollow flute 8′
27. Viola da gamba 8′
28. lamento 8′
29. octave 4′
30. transverse flute 4′
31. fugara 4'
32. philomela 2'
33. piccolo 1′
34. mixtur III-VI 2′
35. Hautbois
Tremulant 8′

PEDAL C - g1
36. Untersatz 32′
37. Great Principal Bass
(Transmission of 12.) 16′
38. Violon 16′
39. Subbass
(Extension of 36.) 16′
40. Octave
(Transmission of 12th) 8′
41. cello
(Extension of 38th) 8'
42. drone
(Extension of 36th) 8′
43. wide octave 4'
44. trombone 16'
45.Trumpet
(Extension of 44.) 8′
46.Trumpet 4′

COPELS AND PLAYING AIDS

Normal couplers: I/II, III/II, III/I, I/P, II/P, III/P (mech. + electric)
Suboctave couplers: III/I, III/II (electric)
Superoctave couplers: III/II, III/P (electric)

Pistons:
Normal couplers I/II, III/II, III/I, I/P, II/P, III/P
General coupler
Manual stop to roll
Couplers from roll
Sequencer (<,>)
Crescendo on
Tutti

Crescendo roll, swell step BW, swell step OW
Voice pitch a1 = 440 Hz at 21°C

Transposing device 415/440/465 Hz
MIDI interface