Like that of his teacher Schütz, Weckmann’s music exhibits an unusually intensive word-tone interrelation (above all in vocal music) and in its contrapuntal complexity with tonal dissonances verges on the limits of harmony. + No use at all was made of the modern electric bellows motor; instead the muscle power of two calcants was used to operate the organ’s historical bellows unit. The flexible wind supply, wind-force factor, and corresponding noises produced by the bellows result in a vivid sound picture meeting the requirements of historical authenticity.
