Today, the quality of a restoration is judged by the restorer’s ability to preserve the instrument. This is an enormous responsibility that requires the restorer to be on par with the instrument he is asked to restore and to possess the necessary experience, carry out research and act with all due prudence and respect.
An instrument’s musicality, it original spirit, is very, very fragile; that’s why undertaking a task of this nature is such a delicate matter.
Builder: Cavaillé-Coll- Mutin 1905
When the church’s altarpiece was burnt, it also badly damaged this important instrument that was an important centre for concert series, given its uniqueness in Burgos. Since the instrument was built in Cavaillé-Coll’s prestigious Paris-based workshop, its restoration required the utmost care. The sad state in which we found the instrument made its restoration quite a challenge.
Builder: Francisco Rodríguez 1802
Francisco Rodríguez is one of the most representative figures of a group of Andalucian organ builders who carried on the traditions begun by J. Bosch at the end of the 18th century while he was working at the Cathedral in Seville. The organ in San Juan de Marchena is the largest instrument built by Francisco Rodriguez, as well as his most ambitious one. This can be seen in the third wind box which we added in accordance with the builder’s original plans, thus guaranteeing enough air for all the stops, including the 16´ Principal (Flautado) on the rear façade ― something that never materialized in the builder’s lifetime but which we have now completed.
All features pertaining to the instrument’s structure, technical and mechanical matters as well as sound-related factors have been kept absolutely intact, even including those intangible parameters dealing with the voicing of each pipe ― the true essence of any historical instrument, though very seldom preserved.
Builder. Joan Ximenez in 1469, ..., Pedro Roqués 1856
This instrument lets us study the evolution of organ building over a period of six centuries from an aesthetic and technical point of view as well as soundwise. Work on all aspects of the instrument were necessary and involved several restoration teams: organ builders, cabinet makers, experts in polychromy. Each team insisted on respecting and preserving this unique evolution. Polychromy, dating from the15th - 18th centuries but which had been hidden from view for the last 150 years, was restored and brought to light.
Builder: Walcker 1908
This instrument is emblematic, not only because of the fantastic Art Nouveau Concert Hall it was built in (UNESCO designated this a World Heritage Site) but also because it is one of the few symphonic organs still in existence from that period. Even though it has undergone substantial changes over the years, we feel we have been able to recover the original spirit of the instrument.
Builder: Gilles Brebós? 1580
This is the only remaining example we have of the Brebós family’s work in the Escorial. Understanding this is of the utmost importance if we want to fully comprehend 16th century Iberian organ building. After detailed study and research, the instrument was restored and the pipework was rebuilt as it was originally. Pure tin was used for the principals and tin plate for the reeds.
This small organ known as a "Regal" or "Regalia" belongs to Lisbon’s "Academia das Ciências". It was built by Arsacyus Geyer in 1591.
The instrument’s tiny size (42 x 12 x 10 cm.), its age and decorative elements made out of mother-of-pearl, ebony and engraved bone, as well as rarity of instruments of this sort - very few are extant - make this particular instrument a truly genuine treasure of incalculable worth.
The restoration consisted of carefully cleaning the instrument and, then, reconstructing the few decorative elements which had disappeared over time. It was unnecessary to replace any of the pipework, but we did opt for rebuilding new bellows, while also preserving the original ones with their luxurious construction and ornamentation.
Builder: Aquilino Amezua 1903
In 1888 the vault caved in and destroyed the organs of J. Bosch and V. Verdalonga. The Cathedral Chapter decided to commission Aquilino Amezua to build an impressive new instrument. Amezua was, at that time, a prominent figure in Spanish organ building.
The present instrument is an example of a large romantic-symphonic organ, although later it reworked and became somewhat more Neobaroque in style.
Builders: Leonardo Fernández Dávila (†) Jorge Bosch 1778
This organ is extraordinarily well organized, careful elaborated up to the smallest detail and is another example of Jordi Bosch’s enormous capabilities. It is full of surprises both technically speaking and musically. For instance, the double wind box, double length trumpets, tuning expressions, complete manuals inside the swell box, etc. It is one of the best preserved organs in Europe.
Builder: Robert Delauney 1683, Joseph Cavaillé, J.B. Micot 1783
Refurbishing this emblematic instrument built in the 17th century French Classical style meant that a great deal of effort was spent studying original period techniques and then applying them to the organ.
Builder: Jordi Bosch (1765)
This is the first instrument which Bosch built in his mature period. Bosch was a masterful builder; he was only 24 years old when he completed this instrument. Here we see how he broke with tradition and started on a new path full of important innovations: double pallet boxes, XXV rank mixtures, tuning expressions, etc.
Francisco Ortiguez (1748 - 1755)
The Junta de Andalucía has entrusted us with the restoration of this organ, along with a number of other instruments, in an ambitious plan which is meant to help in the preservation and dissemination of its organ heritage.
This instrument was built by Francisco Ortiguez between the years 1748-1755, and while it seems to be a rather unpretentious instrument on the outside, a genuine treasure awaits us on the inside: its pipework, the quality of its sound, in short, its music.
