Only certain parts of the organ built for the church in 1870 by Dalstein & Haerpfer of Boulay could be retained. All surviving pipes from the previous historical instrument (about a quarter of the stops) have been faithfully restored or reconstructed and now form the basis of the new organ. The new stops by Thomas have been made to match them in terms of construction, scaling, wind pressure and voicing. By broadening the tonal pallet in an appropriate style, the historical elements have been musically upgraded. In addition to the retention of historical pipework, parts of the winding and the swell box have been extensively restored and reconstructed.
Although the case design of the new organ is basically oriented on the great romantic-symphonic French models, its appearance is decidedly contemporary, exploiting as it does the possibilities of the twenty-first century. By means of delicate transparent strips of artificial resin and LED technique the front is suffused with serene, atmospheric light, whose colour can be varied according to the desired mood. This soft and elevated light source flowingly merges with that of the large rose window behind.
The Diekirch organ is designed to produce a big symphonic sound, and it convinces through its great transparency and capacity to blend, and through the character and beauty of the individual stops. The generous and homogeneous acoustic of the neo-Gothic building (with a reverberation of about 4 seconds), and the volume of this space, offer ideal conditions for a monumental symphonic organ.
Without aiming to be a style copy of a French or German instrument, the success of the Diekirch organ is due to its particular character and its distinct, idiosynchratic personality. It is therefore able to do justice to a wide range of music. Thanks to an inexhaustible supply of expressive possibilities, the organ entices one to inspired music making and intensive listening.
Grand-Orgue (I), C-c''''
Montre 16’
Montre 8’
Flûte harmonique 8’
Violoncelle 8’
Doppelgedackt 8’
Prestant 4’
Flûte douce 4’
Quinte 2 2/3’
Doublette 2’
Plein Jeu IV-VI
Cornet V
Bombarde 16’
Trompette 8’
Clairon 4’
Douçaine 16’ (Pos)
Douçaine 8’ (Pos)
Positif expressif (II), C-c''''
Bourdon 16’
Salicional 8’
Bordun 8’
Fugara 4’
Flûte allemande 4’
Quinte 2 2/3’
Piccolo 2’
Tierce 1 3/5’
Larigot 1 1/3’
Harmonia aetera III
Douçaine 16’
Douçaine 8’
Clarinette 8’
Voix humaine 8’
Trémolo
Recit expressif (III), C-c''''
Quintaton 16’
Diapason 8’
Cor de nuit 8’
Viole de gambe 8’
Voix céleste 8’
Prestant 4’
Flûte octaviante 4’
Nasard 2 2/3’
Octavin 2’
Plein Jeu III-IV
Basson 16’
Trompette harmonique 8’
Basson-Hautbois 8’
Clairon harmonique 4’
Trémolo
Pédale, C-g'
Contrebasse 16’
Montre 16’ (G.O.)
Violonbass 16’
Soubasse 16’
Zartbass 16’
Quinte 10 2/3’
Bourdon 8’
Violoncelle 8’
Flûte 8’
Octave 4’
Bombarde 16’
Douçaine 16’ (Pos)
Douçaine 8’ (Pos)
Trompette 8’ (G.O.)
Clairon 4’ (G.O.)
Accouplements:
POS/GO, REC/GO, REC/POS,
GO/GO 16, REC/GO 16
REC/GO 4, POS/GO 4
Tirasses GO, POS, REC,
GO 4, POS 4, REC 4
Sostenuto, 2 Crescendos, USB,
Combinateur de 30 000 unités
