The Church of San José

The City Hall asked us to build these two organs; the local government is making a concerted effort at present to preserve and foster its cultural heritage.

When they asked us to undertake an Organ Project for the Church of San José and the Vera Cruz Hermitage (at present it is being rebuilt and restored), we suggested instruments which would respect the spirit of the age in which each church was built.  The casework was designed and developed in collaboration with the architects Raimundo Estepa and José Miguel Rueda.

The Vera Cruz Hermitage

The City Hall asked us to build these two organs; the local government is making a concerted effort at present to preserve and foster its cultural heritage.

When they asked us to undertake an Organ Project for the Church of San José and the Vera Cruz Hermitage (at present it is being rebuilt and restored), we suggested instruments which would respect the spirit of the age in which each church was built.  The casework was designed and developed in collaboration with the architects Raimundo Estepa and José Miguel Rueda.

Marienkirche (2004)

This instrument is representative of the ambitious cultural project undertaken by the German city of Hanau, near Frankfurt. The technical concepts involved as well as the organ’s aesthetic design are totally avant-garde.

Iglesia de San Juan (2001)

Inside the historical 18th century case you’ll find a very coherent instrument, built in the Iberian Tradition but, a tradition which has evolved so that the performer can play a remarkably wide variety of music.

The Cathedral of St. Michael and St. Gudule (2000)

“L´orgue des milles couleurs «  (Marie-Claire Alain)

The Cathedral’s nave is very narrow. In order to take up the least amount of space possible, the organ had to be divided into three different parts. This required some rather bold technical solutions, such as constructing the pedal action.

“(L’orgue) se distingue par l’originalité et l’audace de sa conception, autant que par le soin et la grande qualité artistique apportés à sa réalisation.” (Jean Ferrard)

CATHEDRAL "LA ALMUDENA" (1999)

This instrument, whose design was inspired by Gothic altarpieces, is impressive not only beacuse of its size but also because of its sound, even in a cathedral of these dimensions. The organ was built with the idea of creating a unique musical instrument with its own personality, that would adequately express the evolution of the organ at the end of the XXth century.

Niigata Performing Arts Centre (Japan 1998)

The instrument’s presence is clearly a determining factor in the Hall’s aesthetics. The organ itself is based on an expanded classical concept, as is the façade’s design. It also has a reenforced inner structure of the highest quality which helps prevent damage from any seismic activity.

Thanks to a very meticulous organization, we were able to mount the instrument in the Hall in only 4 weeks, thereby reducing any inconvenience or expense to a bare minimum.

Conservatoire Supérieur CNR (1996)

"A great organ in a very small hall"

The concervatoire asked us to build an instrument which would be capable of playing music in the Mediterranean tradition and literature. As a result, this instrument is inteneded for the training of future organists; the action is therefore meant to express all the nuances of playing.
This instrument is used for part of the Competition „Concours Prix de la Ville de Paris“.

“...un travail remarquable, tout en finesse, et permettant de varier à l´’infini les couleurs sonores, les “Meslanges” que prônaient nos Maîtres classiques Français.” ( Marie-Claire Alain)

Conservatoire Supérieur CNSM (Lyon 1993)

The distinguished organist, Xavier Darasse, commissioned this organ for a hall which is also a historical monument. This is more like a lecture hall with a capacity for 120 people and, needless to say, it lacks the acoustical properties associated with a church. However, the idea behind the instrument was to create a tool for the training of future organists.

Iglesia de Los Venerables (1991)

Aesthetically, the new case fits in perfectly with the delicate Baroque style church, which also serves as the main offices for the Focus Foundation. The principal organist here, José Enrique Ayarra, organizes numerous concerts involving internationally famous organists. Recordings made here have reached a wide audience as well.

Auditorio Nacional de Música (1990)

In building this important instrument, a large part of the mechanical features and the sound quality which characterize Grenzing’s organs have been fully developed here for the first time.

“...one of the (few) instruments I know, which are located in a hall and still are beautiful and have their own character.” (Michael Radulescu)