Contrary to new
constructions, we take a completely different approach with restorations. In
order to restore a historical work, our own views must take a backseat
because the preservation or restoration of a technical and/or tonal
historical legacy is our obligation to posterity.
Working on historical
instruments, regardless whether mechanical or pneumatic, cone-valve,
slider or pallet – gives us the opportunity to learn a
little more with every project. You do not always have to have the same opinion as the old
master, but you must respect it.
And where technical
weaknesses in historical instruments cannot be solved through a
restoration/reconstruction, pragmatic solutions must be found in agreement
with all parties concerned (organ expert, cultural heritage preservation,
community), which do not endanger the substance of the instrument (reversibility).
For even with restorations, the first premise for us is that the instrument
must stand the test of time.
It is also exciting for us to
work with historical production techniques. Profound knowledge in
using animal glue, shellac, oils, waxes or colours are indispensable for a
professional restoration. Leaf gilding is also done in our company.
For a few years now, we have
specialised in the restoration of Anglo-American instruments. What
helps us here is our vast business connections and good relationships with many English
and American fellow organ-builders.
Each restoration project is
rounded off with restoration documentation, which not only records
the work performed, but rather also the results of our research on the