| builder: | Jehmlich Orgelbau Dresden / Staatliche Porzellan-Manufaktur Meissen |
| construction year: | 2000 (opus 1140) |
| key action: | mechanical |
| stop action: | mechanical |
| system of chest: | slider chest |
specification: |
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| 1. Gedackt |
8'
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| 2. Rohrflöte |
4'
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| 3. Porzellanflöte |
2'
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| 4. Quinte |
1 1/3'
|
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| compass: C bis g3 | ||
| devided slider at a0/b0 | ||
| adjustable frequence: 415Hz / 440Hz / 465Hz | ||
The creation of porcelain pipes
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Largest porcelainpipe of the organ front. Glazed, unpainted hardporcelain, with jubilee-swordicon in blue underglaze painting. hight: 112 cm |  |
Possible design of the flutes by colorful crystal glaze or by handpainting. |
In
1950, the porcelain designer Ludwig Zepner, art director for the development
department at the Meissener manufactory, discovered on the loft of the
manufactory, pieces of organ porcelain pipes. They turned out to be relicts
of dismissed experiments from Kaendler in 1730 and Boerner in 1920, who
tried to build porcelain pipes. Developing the porcelain pipe, the challenging
experiment for the voicer was to determine the position of the lips of
the pipe accurately, in order to enable the windflow to set the air in
the pipecorpus in vibration. Zepner developed the porcelain process by
creating an appropriate ceramic style, which controlls the dwindle of
the porcelain mixture during the drying and fireing process, and which
prevents any deformation of the pipe. For the first time in history, the
Porzellan-Manufaktur Meissen and the Jehmlich Orgelbau Dresden, managed
to bring the acustical requirements of the pipe into line with the technological
features of porcelain. They achieved a new, longed for connection between
procelain and music.