Organ and Piano Building

The history of organ building in the Tyrol is of significance far beyond the borders of the land. A organ builder from Innichen is said to have been called to Rome as early as towards the end of the 9th century. The first substantiated information about organ builders living in the Tyrol dates from the second half of the 15th century.
Balthasar Streng, who repaired organs in St Jakob’s in Innsbruck (1501/02), Schwaz (1504/05) and Bozen (1508) lived in Pettneu near the Arlberg from 1487 to 1508.[10]
In Innsbruck the organ builder Josua Pock (Joas Peck) worked for the court, the Damenstift, and Schwaz around 1580. In 1597 Georg Gemelich (†1611), possibly from Gunzenheim near Donauwörth, was admitted as a resident. He made repairs in Innsbruck, Bozen, Meran and built new organs in Sterzing and Bruneck. Daniel Herz (1618-1678) of Munich acquired the right to be a resident in Brixen in 1646, where he built three organs for this city alone. He soon had an excellent reputation. In 1656 at the latest he was appointed court organ maker in Innsbruck, after he had already been working for the Innsbruck court from Brixen. Finally, he opened a workshop in Wilten in 1671. Herz is considered one of the most important organ builders of the Tyrol. He usually designed his new organs as smaller instruments, for example in Stilfes and Trens (1656), Toblach (ca.1659), Matrei in the eastern Tyrol (1663), Meran (1671), Wilten Abbey (paid for in 1676), as well as positives such as in Maria Waldrast (1659) and Sterzing (1664). He also delivered abroad, such as to Partenkirchen, Belluno and Jerusalem. His son Anton Franz Herz (*1660) moved as an organ maker to the archbishopric of the Electorate of Mainz.[11]
Johann Hackhofer (1645-1688), who was born in Toblach and probably a journeyman under Daniel Herz, bought the organ maker’s house in Wilten from Herz’s heirs in two parts in 1678 and 1684. Hackhofer’s pupil Johann Caspar Humpel (ca.1669-1728) married the widow of his master and took over the Wilten organ workshop. The city of Innsbruck denied Humpel the right to become “admitted as a burgher,” whereupon he bought himself a house in Meran 1702 and was registered there as a resident and organ maker in the same year. Humpel built organs in Terlan (1697), St Georgenberg (1702), Sand in Taufers (1711), at Sonnenburg Monastery (1714), the Church of St Jakob in Innsbruck (1725) and in Spiss, and elsewhere. His son Caspar Humpel (1695 - after 1732), who took up the name of Josef as a Dominican in Bozen, carried out several organ repairs, for instance in 1732 on the instrument built by his father in Sonnenburg.
Another son, Josef Balthasar Humpel (1701 - after 1732) built the organ in Cavalese in 1732, whereas his brother Franz Blasius Humpel (1703-1756) did no organ building on his own.[12]
In the 18th century, members the Fuchs family of organ builders were residents in Innsbruck. The legal administrator of the market town, Josef (I) Fuchs (1678-1750) lived in Matrei on the Brenner Pass and practiced organ building on the side. He built an organ for Stams Monastery in 1718. His son Anton (I) Fuchs (1711-1794), a teacher and organist, was already living in Innsbruck when he died. His major achievement must have been an organ in the basilica of Wilten built around 1755. Anton (I) Fuchs’s son Johann Anton (II) (1737-1796), the most skilled member of the family, was admitted in Innsbruck in 1769 as an organ and piano builder. He completed new organs in, among other places, Gossensaß (1771), Hall in Tirol (1780/82), Brixen im Thale (about 1783), at the abbey church of Gries near Bozen in 1787/88, and in Kirchbichl (1794). A clavichord by him is signed: Innsbruck 1781. He made pianos based a model by Johann Andreas Stein with a Viennese mechanism. Franz (I) Xaver Fuchs (1739-1803), a brother of Johann Anton (II), worked as a schoolmaster in Gries on the Brenner Pass and as an organist in Vinaders, where he also set up a new instrument. South of the Brenner there are organs by him in Mareit (1758), Dorf Tirol (1789), and Albeins (after 1790). Franz (I) Fuchs had two sons who continued to practice the trade of organ maker: Josef (II) (1766-1843), an organist at St Nikolaus in Innsbruck, ran an organ building workshop in the city from about 1795. He rebuilt the organ of the church of the Servites in Innsbruck and completed one in Huben in the Ötztal in 1820. Franz (II) Fuchs (1776-1831), a teacher and organist in Gries on the Brenner Pass like his father, constructed a small instrument in Vahrn near Brixen.[13]
Josef (II) Fuchs defended himself fiercely, but without success, against establishment of Johann Georg Gröber (1775-1849) of Pettneu in Innsbruck in 1806. Gröber signed a contract with Wilten Abbey in 1837 to build a new organ. The largest instrument he made resounded for the first time at mass in the abbey church in 1839. Besides other organs in Obsteig, Imst, and Biberwier, he manufactured pianos and a terpodion. His second eldest son Johann Franz (1812-1848) and his youngest son Josef Philipp (1817- ca.1921) learned their father’s craft. Josef Philipp Gröber continued to run his father’s business until 1902 and also made a name for himself as a watercolorist.[14]
Antonio Martinelli (1798-1874) built pianos in Caldonazzo that were similar to those by Johann Georg Gröber.[15]
When Josef Morherr (1807-1870), who was from Umhausen and trained in Munich, tried to establish himself in Innsbruck, Johann Georg Gröber would not allow him. Josef Morherr therefore acquired a joinery in Innsbruck, where he was eventually granted a licence as a piano and organ builder after all in 1834. A grand piano by Alois Morherr of Innsbruck was declared to be on a par with a Viennese Streicher grand piano in 1861. Franz Morherr and Engelbert Morherr were still building pianos in Innsbruck up to the beginning of the 20th century.[16]
The organ maker Nikolaus Harter (†1654) from Alsace settled in Hall in 1636. His pupil Sebastian Achamer (1623-1694) took over the workshop and found plenty to do in North and South Tyrol as well as in Bavaria. Johann Evangelist Feyrstein was domiciled in Hall temporarily around 1765. Josef Wohlfartstetter, who was born in Hall in 1865, moved his workshop originally in Hall first to Mühlau, then to the Glurnhör property near St Lorenzen. In 1887/88 he carried out a repair in the Hall parish church, in South Tyrol he distinguished himself with the new organs he built in St Lorenzen (1891), Niederolang (1892) and Sexten (1895).[17]
Josef Aigner (1809-1887) of Gasteig near Sterzing established his trade in Schwaz around 1840 and employed several journeymen but also traveled to all parts of the land to build and set up his organs. They belonged in both quantity and quality to the leading productions of Tyrolean organ building art of the 19th century.[18]
In his home town of Kapfing (Fügen township) the organ builder Andreas Mauracher (1758-1824) worked for the South Tyrol, the Upper Inn Valley and Graubünden (the Grisons). His son Karl Mauracher (1789-1844) helped him, while also building on his own even during his father’s lifetime. Mathias Mauracher (1788-1857) belonged to another line of this family of organ builders from the Zillertal. He was self-taught and had his enterprise in Oberbichl near Zell at the Ziller. Albert Mauracher (1858-1917) and Matthäus Mauracher (1859-1939) suppied the South Tyrol from Salzburg. Georg Hochmuth (1800-1885) built organs in his native town of Bruck at the Ziller, for example for the parish churches of Ranggen and Unterlangkampfen.
Mathias Weber (1777-1848) in Oberperfuß had been remarkably successful at organ and piano building. His son Franz Weber (1825-1914) succeeded in managing a respected organ building workshop with several co-workers, including his brother Alois Weber (1813-1889). The largest organ he built was in Bruneck.[19]
Josef Reinisch (1776-1848), born in Gries on the Brenner Pass, learned the craft of joinery and was introduced to organ building by Franz (I) Fuchs. In 1823 he assisted Franz (II) Fuchs in the construction of an organ in Vahrn. His sons Franz (I) Xaver Reinisch (1801-1888), Johann Benedikt Reinisch (1803-1880), Andreas Reinisch (1804-1836) and Thomas Reinisch (1805-1837) pursued the crafts of joinery and organ building in their turn. Franz (I) Reinisch set up his own workshop in Steinachon theBrenner Pass in 1833 and developed the unmistakable types of front-pipe layout (three to eight axes with a central dip) that are typical for his work. His instruments were much in demand in the Eisack and Puster Valleys, in Gröden, in the Bozen region and in the Vinschgau. His son Franz (II) Reinisch (1840-1921), in order to remain competitive and to meet organists’ higher demands, began to manufacture cone-chest organs. He also already equipped the organ of Maria Weißenstein (1900, “opus 70”) with a pneumatic device for registration.[20]
Martin Bauer (1720-1769) of Schattwald built a new organ for the Tannheim parish church around 1760.[21]
Burkhard Dinstlinger (Distlinger, Tischinger) created several artistically perfect new organs in the Tyrol around 1480. His organ of 1490 in Sterzing was examined and approved by Paul Hofhaimer. Dinstlinger ran a large-scale enterprise with a number of journeymen and apprentices that was also very busy in Bavaria, Vienna and Saxony. Kaspar Zimmermann (†ca.1539) came to Brixen from Murnau and completed the large cathedral organ there in 1531. From 1532 to 1536 he built a much-lauded instrument with two manuals in Santa Maria Maggiore in Trent. Georg Friedrich Händel is also said to have played it. The Brixen cathedral organist and canon Andreas Andre“Casletanus” died in 1592 while he was working on the construction of an organ for the bishop. In 1580 he had made a harpsichord (clavicembalo) for Archduke Ferdinand II. Jakob Köck (Keck) (1630-1673) of Sillian worked around 1650 with Daniel Herz in Brixen and Innsbruck. He acquired resident’s rights in
Brixen in 1660 and opened a workshop there himself. Through his marriage to the widow of Jakob Köck, Ursus Neinlist (†1702), who came from Switzerland and had learned organ building in Salzburg, became the stepfather and organ-building master of her children Franz Anton Köck (1661-1719) and Johannes Köck (1666-1721). Franz Anton Köck took down the old organ in the presbytery of the Hall parish church and finished building a new one on the organ loft in the chancel in 1692. He set up other organs in Kaltern (Franciscan church, 1683), Vahrn (entry into the contract 1685), St Andrä near Brixen (1698), as well as positives in Bruneck (1704), Klausen and Sterzing. Johannes Köck went down in organ building history under his Franciscan name Marinus (profession in Schwaz 1686). He worked not least for Franciscan churches in the province of the order, such as in Innichen and Waldsee. Helping him build a new organ at the Franciscan church in Reutte (1714/15) was his nephew Hans Jakob. Hans Jakob Köck (1691-1744) also became well known as an organ maker under his monastic name Gaudentius. He was a son of Franz Anton Köck and made his profession at the Franciscan monastery in Reutte in 1717. Gaudentius Köck, a lay brother like his uncle Marinus Köck, made a name for himself particularly with the organ in the Schwaz parish church as well as his work in Telfs and Neustift. The convent of the Poor Clares in Brixen and the Franciscan monastery in Innichen purchased clavichords from him.[22]
Johann Götz (1734-1797) from Lower Franconia established himself in Toblach around 1765. He rebuilt several organs: in St Lorenzen (1769), Ehrenburg, and Maria Luggau. He built new ones for his home parish (about 1770) and Matrei in eastern Tyrol (1782).[23] The organ builders of the Volgger family were domiciled in Arnbach a bit farther upriver on the Drau. As the first of this clan, Peter Volgger the Elder is documented as a “wood joiner and organarius” in 1783. Johann Volgger (*1791) built organs in the vicinity, for example in Anras and Abfaltersbach. His sons Peter Volgger the Younger, Johann [II] Volgger, and Josef took up their father’s trade. Peter Volgger the Younger was the most successful, especially in his area in the eastern Tyrol (e.g. Sillian, Innervillgraten, Strassen, Kartitsch, Obertilliach).[24] The organ builder Alois Hörbiger (1810-1876) settled in Lienz in 1830. A farmer’s son from Thierbach/Wildschönau, he had helped the organ maker Josef Mitterer (ca.1767-1844) in St Gertraudi/Reith in the Alpbachtal at work for two weeks as a nineteen-year-old and worked on Italian organ building from that time on. He was still living in Lienz with his brother Bartlmä Hörbiger (1813-1860) in 1836, from where both of them undertook organ repairs and rebuilding in South Tyrol until Alois Hörbiger moved to Atzgersdorf near Vienna and built important organs for Vienna and Graz. In 1890 Alois Fuetsch (1860-1935), who was born in Mitteldorf/Virgen, came to Lienz after his apprenticeship with Franz (II) Reinisch. In almost five decades he rebuilt and built about 80 organs and was able to make technical progress in pneumatics. The organ builders Hermann Eiter in Jenbach and Johann Platzgummer (1874-1968) in Naturns (from 1907) were trained by him.[25]
Martin Junkhans (1648-1728) was able to establish himself in Bozen in 1673 by building, among others, an instrument for the Bozen parish church. When he built the organ in Sarnthein he was assisted by his son Josef Antoni Junkhans (1675-1718). Also working in Bozen were Franz Ehinger (†1740) and Josef Antoni Aichholzer (1697-1763), who also built in Innsbruck. Ignaz Franz Wörle (1710-1778) of Vils became a resident in Bozen in 1743 and ran a sizeable workshop there. He is the leading exponent of Tyrolen organ building around the mid-18th century. His organ in Maria Weißenstein (1754) was set up with donations from Empress Maria Theresia. He undertook several repairs in Sonnenburg Monastery in 1772, with recommendations from “the gentlemen at Neustift” and the Bozen organist Felix Stainer, with his journeyman Josef Wernle, “both of them decent, quiet and hardworking people.” Dominikus Wörle (1748-1781) and Simon Wörle (1753-1809) were nowhere near having the skillfulness of their father Ignaz Franz. The organ maker Johann Conrad Wörle (1701-1777), another native of Vils, was very successful at his craft in Rome from about 1730 on under his italianized name Giovanni Corrado Verlé. Several instruments in the Bozner Unterland around 1850 made by Josef Sies (Siess, Süß) (1818-1886) of Schnann had turned out well. Perhaps that is why he decided to stay in Bozen in 1855 and later in Völs by the Schlern. He carried on his trade in North, South and Italian Tyrol (Welschtirol) and in the Grisons (Graubünden).[26]
The master organ builder Carlo Prati (ca.1617-1700) of Trent was called to work up in the north of the Tyrol as far away as Innsbruck and Stams. He had particularly close ties with Marienberg Monastery, for which he had fabricated a magnificent instrument. In Trent the Silesian Eugen Casparini (1623-1706), after a longer sojourn in Italy, had rebuilt the organ of Santa Maria Maggiore in 1686. He settled in St Pauls/Eppan around 1687 and in Brixen around 1690.[27]
Besides the local organ builders, masters from abroad were repeatedly given commissions in the Tyrol. Primarily Hans Schwarzenbach of Füssen stood out in South Tyrol around 1600 for organs in Marienberg (1595), Schlanders (1597), Tramin (1598), St Pauls/Eppan (1599), and Kaltern (1603), among others. Francesco Doria (1716-1758) of Desenzano and his son Giovanni Antonio Doria (1717-1792) were working in the Trentino in the 18th century.[28]
A few musicians who were talented in both artistry and craftsmanship made organs themselves for their own use. Canon Florian Zoller, in the Neustift Monastery of Augustinian Canons since 1723 and Father Martin Ritsch OSB (1802-1859) of Marienberg Monastery built small instruments. A “Sagschneider” (owner of a sawmill) in Eggen, who was also able to play the organ, Peter Eisath (†1899), constructed a few organs for domestic use. The teacher and organist of Wiesen, Franz Sailer (1814-1868), repaired the organ by Ignaz Franz Wörle in Wolfsthurn Castle in 1842. The organist and sexton Franz Überbacher (1795-1853) in Lengmoos helped his brother Peter Überbacher (1789-1852), who was a self-taught organ builder, with his work.[29]
Another self-taught instrument maker was Robert Lechleitner (1840-1920) of Stanzach, who worked in his native town and later in Vienna as a mechanic. He invented the Pansymphonion, a combination of piano, harmonium (reed organ) and organ, which was awarded a prize at the World’s Fair in Vienna in 1873, and the Triphonium, a zither that sounded like a combination of zither, harmonium and flute.[30] Father Peter Singer OFM (1810-1882) was born in Häselgehr and his activities in the Tyrol included working as an organist in Bozen and Innsbruck, writing over 300 compositions of church music, and working as a music pedagogue. Towards the turn of the century, he also taught Father Hartmann (Paul) von An der Lan-Hochbrunn OFM (1863-1914) of Salurn, a church musician and composer of sacred oratorios inspired by Liszt and Wagner and who was a great succes for some time in both Europe and America. Singer had also tinkered with further developing the harmonium while still in the Tyrol, and he constructed a Pansymphonikon at the Franciscan Monastery in Salzburg in 1845. His father Josef Alois Singer (†1833), a miller by trade, had worked as a bell founder, flute and clarinet maker on the side.[31] Besides farming, Siegfried Pfennig, the director of music of the Ehrwald orchestra (Musikkapelle) from 1830 to 1857, engaged in the manufacture of harmoniums with his brother Johann Michael Pfennig.[32] Father Viktrizius Nestl OFMCap (1869-1910) was awarded an honorable mention for a piano he built “according to his own system” at a trade fair in Sterzing in 1907.[33]

Fussnote

[10] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 17, 40;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 9ff;
Erich EGG, “Schwaz vom Anfang bis 1850,” Stadtbuch Schwaz. Natur - Bergbau - Geschichte, ed. Erich Egg et al., Schwaz 1986, p. 148.
 
[11] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 161ff, 337f;
D. [sic], “Orgelbauer Jos. Peckh,” Der Sammler 2 (1908) p. 175f.;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 9ff;
Peter KUKELKA, “Die Restaurierung eines Claviorganums des Josua Pock von 1591 aus Innsbruck,” Orgel und Orgelspiel im 16. Jahrhundert, ed. Walter Salmen (Innsbrucker Beiträge zur Musikwissenschaft 2), Neu-Rum 1978, p. 153ff;
Hans HÖRTNAGL, “Das Drama im Hause des Orgelmachers Georg Gemelich,” Tiroler Heimatblätter 3 (1925) p. 3;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 17, 49;
Franz WALDNER, “Daniel Herz, ein tirolischer Orgelbauer des XVII. Jahrhunderts,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 59 (1915) p. 143ff;
Niccolò RASMO, “Nuovi contributi ad una biografia dell’organaro Daniele Herz,” Archivio per l’Alto Adige 33 (1938) p. 323ff;
Hildegard HERRMANN-SCHNEIDER, “Vom Musikleben im Stift Wilten,” Kirchenmusikalisches Jahrbuch 72 (1988) p. 96, 98;
Anton DAWIDOWICZ, Orgelbaumeister und Orgeln in Osttirol, typescript, PhD Vienna 1949, p. 13 ff;
Hans BRUNER, “Von tirolischen Instrumentenbauern,” Tiroler Heimatblätter 13 (1935) p. 360;
Karl MAISTER, “Kirchenmusik zu Matrei i[n] O[sttirol] in alter Zeit,” Osttiroler Heimatblätter 1, no. 14 (1924) p. 4;
Ludwig SCHÖNACH, “Brixen im Bilde kunstgewerblicher und künstlerischer Betätigung seiner Ahnen (XVI.-XIX. Jahrhundert) nach den kanonischen Büchern des Dekanalarchivs Brixen,” Der Sammler 3 (1909) p. 27;
Hermann FISCHER and Theodor WOHNHAAS, Lexikon süddeutscher Orgelbauer (Taschenbücher zur Musikwissenschaft 116), Wilhelmshaven 1994, p. .
 
[12] Niccolò RASMO, “Nuovi contributi ad una biografia dell’organaro Daniele Herz,” Archivio per l’Alto Adige 33 (1938) p. 324;
Hans BRUNER, “Von tirolischen Instrumentenbauern,” Tiroler Heimatblätter 13 (1935) p. 360f;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 14;
Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 161ff, 338f;
Rudolf HUMBERDROTZ, ed., Die Chronik des Klosters Sonnenburg (Pustertal), vol. 1 (Schlern-Schriften 226), Innsbruck 1963, p. 119f, 224;
Philipp MAYER, “Musik und Volksmusik in Tirol und Vorarlberg,” Die österreichisch-ungarische Monarchie in Wort und Bild, vol.: Tirol und Vorarlberg, Vienna 1893, p. 373;
Alois BAURSCHAFTER, “Von der Musikalität im Burggrafenamt,” Meraner Jahrbuch 7 (1948) p. 52;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 106;
Maurus KRAMER, “Zur Musikgeschichte der Benediktinerabtei St. Georgenberg-Fiecht im späten Mittelalter bis zum Barock mit Einschluß der Aigner-Orgel von 1870,” 850 Jahre Benediktinerabtei St. Georgenberg-Fiecht 1138-1988 (Studien und Mitteilungen zur Geschichte des Benediktiner-Ordens und seiner Zweige, suppl. vol. 31), St. Ottilien 1988, p. 296;
Reinhard JAUD, “275 Jahre Orgelgeschichte zu St. Jakob in Innsbruck,” Domorgel St. Jakob/Innsbruck, Festschrift zur Orgelweihe 1725 [...] 2000, ed. Gotthard Egger, Innsbruck 2000, p. 14ff.
[13] Walter SENN, “Zur Geschichte der Tiroler Orgelbauerfamilien Fuchs und Reinisch,” Tiroler Heimatblätter 54 (1979), p. 10ff (also published in: Mundus Organorum, Festschrift Walter Supper zum 70. Geburtstage, Berlin 1978, p. 304ff);
Nikolaus GRASS, “Die Orgelbauer aus der Familie Fuchs,” Marie Grass-Cornet, Aus der Geschichte der Nordtiroler Bürgerkultur, dargestellt an der sechshundertjährigen Geschichte der Familie Fuchs, Innsbruck, Munich 1970, p. 125ff, 129f;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 442;
Albert KOFLER, “Die Kirchenmusik in Kaltern nach der Errichtung der neuen Pfarrkirche im Jahre 1792,” Der Schlern 52 (1978) p. 561f;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 17;
Alfred REICHLING, “Tiroler Orgelbauer in der ersten Hälfte des 19. Jahrhunderts,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 78 (1998) p. 229f.
 
[14] Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 137;
Hans BRUNER, “Von tirolischen Instrumentenbauern,” Tiroler Heimatblätter 13 (1935) p. 361;
Hildegard HERRMANN-SCHNEIDER, “Vom Musikleben im Stift Wilten (Innsbruck),” Kirchenmusikalisches Jahrbuch 72 (1988) p. 99f;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 442;
Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 136;
Maria Elisabeth NUSSBAUMER-EIBENSTEINER, Johann Georg Gröber: Tiroler Klavier- und Orgelbauer 1775-1849, diploma thesis Hochschule Mozarteum Salzburg / Abt. X Musikerziehung in Innsbruck, Innsbruck 1992.
Alfred REICHLING, “Tiroler Orgelbauer in der ersten Hälfte des 19. Jahrhunderts,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 78 (1998) p. 238ff.
 
[15] Renato LUNELLI, Strumenti musicali nel Trentino, Trento 1968, p. 53ff;
Clemente LUNELLI, Dizionario dei Costruttori di Strumenti musicali nel Trentino, Trento 1994, p. 124f.
[16] Egon KRAUSS, Die Orgeln Innsbrucks (Innsbrucker Beiträge zur Musikwissenschaft 1), Innsbruck 1977, p. 10;
BOTHE für Tirol und Vorarlberg (5 June 1861) p. 5454;
Erich Egg, Wolfgang Pfaundler and Meinrad Pizzinini, Von allerley Werkleuten und Gewerben, Innsbruck, etc. 1976, p. 252;
Alfred REICHLING, “Tiroler Orgelbauer in der ersten Hälfte des 19. Jahrhunderts,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 78 (1998) p. 246.
 
[17] Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert, Innsbruck etc. 1938, p. 449ff;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 442;
Walter SENN, “Ein Orgelbau Eugen Casparinis. Zur Geschichte der Orgel in der Pfarrkirche Untermais/Meran,” Kirchenmusikalisches Jahrbuch 43 (1959) p. 73;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 50, 109;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 25;

[18] Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 20f;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 138f;
Erich EGG, “Das kirchliche Musikleben im alten Schwaz,” Tiroler Heimatblätter 37 (1962) p. 48;
Erich EGG, “Schwaz vom Anfang bis 1850,” Stadtbuch Schwaz: Natur - Bergbau - Geschichte, ed. Erich Egg et al., Schwaz 1986, p. 203;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 442;
Josef JOOS, “Kirchenmusik in Marienberg,” Singende Kirche 14 (1967) p. 177;
Norbert PRANTL, Heimat Zirl: Ein Heimatbuch (Schlern-Schriften 212), Innsbruck 1960, p. 209;
Maurus KRAMER, “Zur Musikgeschichte der Benediktinerabtei St. Georgenberg-Fiecht im späten Mittelalter bis zum Barock mit Einschluß der Aigner-Orgel von 1870,” 850 Jahre Benediktinerabtei St. Georgenberg-Fiecht 1138-1988 (Studien und Mitteilungen zur Geschichte des Benediktiner-Ordens und seiner Zweige, suppl. vol. 31), St. Ottilien 1988, p. 298f;
Thomas NAUPP OSB, “Die Pflege der Musik in St. Georgenberg-Fiecht vom Spätbarock bis ins 20. Jahrhundert,” 850 Jahre Benediktinerabtei St. Georgenberg-Fiecht 1138-1988 (Studien und Mitteilungen zur Geschichte des Benediktiner-Ordens und seiner Zweige, suppl. vol. 31), St. Ottilien 1988, p. 326ff;
Alfred REICHLING, “Tiroler Orgelbauer in der ersten Hälfte des 19. Jahrhunderts,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 78 (1998) p. 242ff. -
Cf. Alfred REICHLING, “Orgelbauer – Organisten – Orgelsachverständige: Anmerkungen zur Tiroler Orgelkultur im 19. Jahrhundert,” Die Orgel als sakrales Kunstwerk,vol. 3: Orgelbau und Orgelspiel in ihren Beziehungen zur Liturgie und zur Architektur der Kirche, ed. Friedrich W[ilhelm] Riedel (Neues Jahrbuch für das Bistum Mainz, special issue 1994/1995), Mainz 1995, p. 183ff.
 
[19] Alfred REICHLING, “Zur Orgelgeschichte von Ranggen (Tirol),” Acta Organologica 23 (1993) p. 151ff;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 19, 24f;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 135ff;
Hans BRUNER, “Von tirolischen Instrumentenbauern,” Tiroler Heimatblätter 13 (1935) p. 361;
Karl Franz ZANI, 150 Jahre Musikkapelle Girlan, Festschrift, Girlan 1983, p. 18;
Eduard LIPPOTT, “Kufsteiner Chronik (788-1918),” Kufsteiner Buch, ed. Franz Biasi (Schlern-Schriften 157/2), Innsbruck 1958, p. 46;
Walter THALER, “Musikpflege [und] Volksschauspiele,” Telfer Buch (Schlern-Schriften 112), Innsbruck 1955, p. 296;
Hans KRAMER, “Beiträge zu einer Chronik von Sterzing und Umgebung 1814 bis 1914,” Veröffentlichungen des Museum[s] Ferdinandeum 31 (1951) p. 461;
Alfred REICHLING, Die Orgelbauer Mathias und Franz Weber: Die Orgelbauerfamilie Weber aus Oberperfuss, Igls, Vill [after 1982];
Alfred REICHLING, “Zur Orgelgeschichte von Ranggen (Tirol),” Acta Organologica 24 (1993) p. 151ff;
Alfred REICHLING, “Tiroler Orgelbauer in der ersten Hälfte des 19. Jahrhunderts,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 78 (1998) p. 234ff.
 
[20] Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 20, 116;
Walter SENN, “Zur Geschichte der Tiroler Orgelbauerfamilien Fuchs und Reinisch,” Tiroler Heimatblätter 54 (1979), p. 13ff (also published in: Mundus Organorum, Festschrift Walter Supper zum 70. Geburtstage, Berlin 1978, p. 304ff);
Karl Franz ZANI, 150 Jahre Musikkapelle Girlan. Festschrift, Girlan 1983, p. 18;
Hans SIMMERLE, Kleine Musikgeschichte. Deutschnofen-Eggen-Petersberg, Auer [1975], p. 61f;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 140;
Reinhard JAUD, “275 Jahre Orgelgeschichte zu St. Jakob in Innsbruck,” Domorgel St. Jakob/Innsbruck, Festschrift zur Orgelweihe 1725 [...] 2000, Innsbruck 2000, p. 46ff.
Alfred REICHLING, “Tiroler Orgelbauer in der ersten Hälfte des 19. Jahrhunderts,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 78 (1998) p. 231ff.
 
[21] A[nton?] Anranter, “Aus der volkswirtschaftlichen Vergangenheit im Tannheimertale,” Tiroler Heimatblätter 17 (1939) p. 80.
[22] Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 8f, 13f;
Konrad FISCHNALER, “Beiträge zur Geschichte der Pfarre Sterzing und des Pfarrkirchenbaues,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 28 (1884) p. 136;
Erich EGG, “Der Orgelbauer Maximus von Dubrau in Brixen,” Der Schlern 27 (1953) p. 281;
Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 164f;
Walter SENN, “Richtigstellungen”, Der Schlern 23 (1949) p. 105;
Ludwig SCHÖNACH, “Brixen im Bilde kunstgewerblicher und künstlerischer Betätigung seiner Ahnen (XVI.-XIX. Jahrhundert) nach den kanonischen Büchern des Dekanalarchivs Brixen,” Der Sammler 3 (1909) p. 28f, 54;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 442;
Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert, Innsbruck etc. 1938, p. 440ff;
Walter SENN, “Der Orgelmeister Kaspar Zimmermann und seine Vorgänger in Brixen,” Organa Austriaca 1 (1976) p. 160ff;
Erich EGG, “Schwaz vom Anfang bis 1850,” Stadtbuch Schwaz: Natur - Bergbau - Geschichte, ed. Erich Egg et al., Schwaz 1986, p. 182.
Erich EGG, “Das kirchliche Musikleben im alten Schwaz,” Tiroler Heimatblätter 37 (1962) p. 43;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 13, 49, 105.
 
[23] Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 17;
Karl MAISTER, “Kirchenmusik zu Matrei i[n] O[sttirol] in alter Zeit,” Osttiroler Heimatblätter 1, no. 15 (1924) p. 3;
Anton DAWIDOWICZ, Orgelbaumeister und Orgeln in Osttirol, typescript, PhD Vienna 1949, p. 34 ff.
 
[24] Anton DAWIDOWICZ, Orgelbaumeister und Orgeln in Osttirol, typescript, PhD Vienna 1949, p. 38 ff.
 
[25] Anton DAWIDOWICZ, Orgelbaumeister und Orgeln in Osttirol, typescript, PhD Vienna 1949, p. 44, 53 ff, 62;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 24, 27f;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 140;
Richard ZANGERL OFM, “Alois Fuetsch, ein tirolischer Orgelbaumeister,” Tiroler Heimatblätter 14 (1936) p. 165ff.
Alfred REICHLING, “Tiroler Orgelbauer in der ersten Hälfte des 19. Jahrhunderts,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 78 (1998) p. 245f. -
Cf. Alfred REICHLING, “Orgelbauer – Organisten – Orgelsachverständige: Anmerkungen zur Tiroler Orgelkultur im 19. Jahrhundert,” Die Orgel als sakrales Kunstwerk,vol. 3: Orgelbau und Orgelspiel in ihren Beziehungen zur Liturgie und zur Architektur der Kirche, ed. Friedrich W[ilhelm] Riedel (Neues Jahrbuch für das Bistum Mainz, special issue 1994/1995), Mainz 1995, p. 183ff.
 
[26] Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 12f, 17, 22;
Alfred REICHLING, “Die Orgel der Schloßkapelle Wolfsthurn,” Der Schlern 53 (1979) p. 534ff;
Hans SIMMERLE, Kleine Musikgeschichte: Deutschnofen-Eggen-Petersberg, Auer [1975], p. 11;
Rudolf HUMBERDROTZ, ed., Die Chronik des Klosters Sonnenburg (Pustertal), vol. 2 (Schlern-Schriften 226), Innsbruck 1963, p. 319;
Karl Franz ZANI, 150 Jahre Musikkapelle Girlan, Festschrift, Girlan 1983, p. 18;
Hans HEIDEGGER, “Orgeln und Orgelbauer in Margreid,” Der Schlern 47 (1973) p. 643f;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 139f;
Alfred REICHLING, “Der Orgelbauer Josef Sies,” Völs am Schlern, ed. Josef Nössing, Völs am Schlern 1988, p. 508ff.
Alfred REICHLING, “Orgeln in Vils - Orgelbauer aus Vils,” Durch Jahrhunderte getragen: 600 Jahre Pfarrgemeinde Vils, ed. Rupert Bader, Vils 1994, p. 200f;
Reinhard JAUD, “275 Jahre Orgelgeschichte zu St. Jakob in Innsbruck,” Domorgel St. Jakob/Innsbruck Festschrift zur Orgelweihe 1725 [...] 2000, Innsbruck 2000, p. 26ff.
 
[27] Clemente LUNELLI, “L’Organaro Carlo Prati del Seicento,” Studi Trentini di Scienze Storiche 72 (1993) p. 21ff;
Clemente LUNELLI, Dizionario dei Costruttori di strumenti musicali nel Trentino, Trento 1994, p. 35, 152ff.
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 11f;
Josef JOOS, “Kirchenmusik in Marienberg,” Singende Kirche 14 (1967) p. 176;
Walter SENN, “Ein Orgelbau Eugen Casparinis: Zur Geschichte der Orgel in der Pfarrkirche Untermais/Meran,” Kirchenmusikalisches Jahrbuch 43 (1959) p. 75ff;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 109.
 
[28] Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 9f;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 17;
Karl Franz ZANI, 150 Jahre Musikkapelle Girlan, Festschrift, Girlan 1983, p. 10;
ST. PETER in Auer: Hans-Schwarzenbach-Orgel 1599-1986, Festschrift zur Weihe der erneuerten Hans-Schwarzenbach-Orgel zu St. Peter in Auer [...], Auer 1986;
Clemente LUNELLI, “Gli organari Doria del Settecento e i loro lavori nel Trentino,” Civis Studi e Testi 16 (1992) p. 191ff;
Clemente LUNELLI, Dizionario dei Costruttori di strumenti musicali nel Trentino, Trento 1994, p. 35, 86ff.
 
[29] Martin PEINTNER, “Neustift - Pflegestätte der Musikerziehung,” Singende Kirche 14 (1967) p. 173;
Josef JOOS, “Kirchenmusik in Marienberg,” Singende Kirche 14 (1967) p. 177;
Hans SIMMERLE, Kleine Musikgeschichte: Deutschnofen-Eggen-Petersberg, Auer [1975], p. 53;
Alfred REICHLING, “Die Orgel der Schloßkapelle Wolfsthurn,” Der Schlern 53 (1979) p. 538;
Walter SENN, “Ein Orgelbau Eugen Casparinis: Zur Geschichte der Orgel in der Pfarrkirche Untermais/Meran,” Kirchenmusikalisches Jahrbuch 43 (1959) p. 82f;
Hildegard HERRMANN-SCHNEIDER, Die Musikhandschriften des Dominikanerinnenklosters Lienz im Tiroler Landesmuseum Ferdinandeum: Thematischer Katalog (Beiträge zur Musikforschung in Tirol 1), Innsbruck 1984, p. 19;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 24;
Alfred REICHLING, “Tiroler Orgelbauer in der ersten Hälfte des 19. Jahrhunderts,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 78 (1998) p. 246.
 
[30]Hans BRUNER, “Von tirolischen Instrumentenbauern,” Tiroler Heimatblätter 13 (1935) p. 361f.
 
[31] Richard ZANGERL OFM, “P. Peter Singer O.F.M.,” Franzsikanische Studien 13 (1926) p. 205f;
Hartmann von AN DER LAN - HOCHBRUNN OFM, P. Peter Singer: Ein Gedenkblatt zum Hundertsten Geburtstage des Künstlers, Innsbruck 1910;
Manfred SCHNEIDER, “Pater Peter Singer (1810-1882): Ein Außerferner Franziskaner als Salzburger Attraktion,” Künstler, Händler, Handwerker: Tiroler Schwaben in Europa, exh. cat. Tiroler Landesausstellung Reutte - Breitenwang 1989, [Innsbruck 1989], p. 335ff;
Wolfgang Maria HOFFMANN, Pater Peter Singer OFM (1810-1882): Ein Beitrag zur franziskanischen Musiktheorie und Kompositionspraxis im 19. Jahrhundert im Raum Salzburg - Tirol [with catalog of works] (Musikwissenschaftliche Schriften 24), Munich, Salzburg 1990.
 
[32] Otto HAUDEK, “140 Jahre ‘Bürgerkapelle’ Ehrwald,” Festschrift 140 Jahre Bürgerkapelle Ehrwald, Ehrwald 1948, p. 10.
 
[33] Agapit HOHENEGGER OFMCap and Peter Baptist ZIERLER OFMCap, Geschichte der Tirolischen Kapuziner-Ordensprovinz (1593-1893), vol. 2, Innsbruck 1915, p. 667.