Krone Krone

Muri, ehem. Klosterkirche, Hauptorgel und zwei Chororgeln


Muri, Klosterkirche, Hauptorgel

Thomas Schott 1619-1624, enlarged in 1744 by Victor Ferdinand Bossart

State of preservation: Enlarged in several steps in 1662 and 1744; minor repairs 1778 and 1832;, in 1833/34 the gallery was enlarged and the parapet positive placed between the main towers. Romantic modernisations in 1852 and 1920 ; restored in 1970 by Metzler. 

The main organ of Muri shows how 18th century organ making proceeded on the paths of previous generations. The rich palette of manual 8’ and 4’ stops is enhanced by higher flute stops. The strong mixtures in HW and P contrast with only a high reduced Zimbel in the "delicate" RP. These contrasts of "gravity" vs. "delicacy" are also represented in both reed stops of the organ, the strong Posaune 16' fundament and the touching Vox humana 8’. Astonishingly the organ lacks the almost omnipresent French elements of the time like the Kornett or a single thirds rank. Also untypical is a flute stop of 2' in the pedal, a sound element usually common only in protestant northern and central Germany as a useful means of melody play in the pedal.

J. S. Bach (1685-1750): Liebster Jesu, wir sind hier BWV 754
played by Albert Bolliger

Specification Hauptorgel (1744)

 II+P/33; manual C-f3, pedal C-f1



Bourdon                                 16’

Principal                                  8’

Rohrflöte                                  8’

Bourdon                                   8’

Spielflöte                                  8’

Octava                                       4’

Spitzflöte                                  4’

Kleingedackt                            4’

Quintflöte                                  3’

Sesquialter                               22/3’ 2f.

Superoctav                                2’

Waldflöte                                   2’

Quinte                                        11/3

Mixtur 4-5f.


Flautomajor                         8’

Bourdon                                8’

Principal                               4’

Flaute                                    4’

Quintadena                           4’

Octava                                    2’

Sesquialter  2f.

Cimbel 2f.

Vox humana                            8’


Principalbas                         16’

Holzprincipal                        16’

Subbaß                                   16’

Octavbas                                   8’

Basflöte                                    8’

Quintadenbas                           8’

Bascopel                                   4’

Bauernflöte                              2’

Großmixtur 12f.

Trompete                                  16’




Choir organs


Joseph Bossart, nach 1744

State of preservation: Until the monastery was dissolved both choir organs were cared for by the Bossart family. The Gospel organ remained unchanged, in the Epistle organ two stops were renovated in 1840. So both choir organs were kept almost unchanged including the original pipe tunings.

Muri still possesses the baroque triad of organs. The integral supplement of church architecture by a carefully designed sound sculpture of three organs by the Bossart family is an experience hardly possible to encounter anywhere else in its original state since in most abbey churches after the dissolution of monasteries any organs of no further immediate use were sold, scrapped, left to rot or to be redesigned following later tastes.


Specification Choir organs

Gospel organ:



Principale                   8’
Coppel                         8’
Octava                          4’
Flutten                         4’
Superoctava                2’
Sexquialtera               11/3’+4/5’ (rep. from c1: 22/3’+13/5’)
Mixtur                          2’+1’+2/3’ (rep. from c1: 4’+2’+11/3’)

Subbass                    16’

Epistle organ:



Principale                   8’
Coppel                         8’
Gamba                         8’
Corno                           8’ 5f. (from c1)
Octava                          4’
Flutte dous                  4’
Nasard                         22/3
Superoctava                2’
Terz                               13/5
Sesquialtera                11/3’+4/5’ (rep. ab c1: 22/3’+13/5’)
Mixtur                           2’+1’+2/3’ (rep. ab c1: 4’+2’+11/3’)
Trompe                         8’ (new)
Cleron                           4’ (new)

Subbass                      16’
Octavbass                     8’
Fagottbass                    8’


© Greifenberger Institut für Musikinstrumentenkunde |