Stepping into the Klais Orgelbau workshop in Bonn, Germany feels less like entering a modern factory and more like crossing the threshold into a museum of living sound. Founded in 1882 by Johannes Klais, this family-run workshop has spent almost a century and a half crafting some of the world’s most spectacular pipe organs. Inside, the scent of seasoned wood and polished metal fills the air.
It was in this extraordinary atmosphere, surrounded by towering organ pipes and the dedicated artisans who bring them to life, that I met Philipp Klais. Representing the fourth generation of his family to lead this master craft, he welcomed me for an exclusive discussion. From the restoration of the monumental Passau Cathedral organ, which, upon completion, will hold the title of the largest cathedral organ in the world, to the deep historical roots connecting his craft to Greece, Philipp Klais shares his passion, his philosophy, and his vision for keeping this grand art form alive in a rapidly digitizing world.
In my article, I describe the daily life of an organ builder. Having grown up in a family with such a long-standing tradition in this craft, how would you describe the feeling of working alone in a cathedral or a concert hall? How do you feel about carrying the responsibility for the final acoustic result?
Working alone in a cathedral is a dream for every pipe organ builder. We truly feel it is an immense privilege, it almost feels as if, for a brief moment, the cathedral belongs to us.
What is most important to us is the function of the instrument: to support congregational singing. To me, that is the most vital part of our work. The pipe organ helps human beings overcome their natural shyness to sing. Guided by the organist, people sing together, and singing together is one of the strongest expressions of community. That is why we love this craft so much.
As for the responsibility for the sound, I don’t think an organ builder views it as a burden. We don’t see it as a heavy weight, but rather as a wonderful gift. To be granted permission to work in such extraordinary places is something we deeply cherish, and we are immensely grateful for the confidence our clients place in us when they invite us into these fantastic spaces.
The Passau organ is a truly magical and monumental project. What has been the biggest technical or acoustical challenge you have faced there?
The Passau organ was originally designed and built in the 1920s by the Steinmeyer family. For us, the greatest challenge, and our primary goal, is to deeply respect the original work of this fantastic organ-building family and to bring those historic elements back to life.
Over time, every instrument undergoes a series of tunings, modifications, and changes driven by shifting musical tastes and opinions. In Passau, some of the original elements became hidden under subsequent work. Our main focus is to revive the original spirit of the Steinmeyer instrument. Every single day we walk into the cathedral in Passau, our respect for this monumental work grows even deeper.
Speaking of iconic instruments, the organ at the Megaron, the Athens Concert Hall is the largest in Greece, an instrument we truly admire, which was built by your company. What memories do you have from that project? Did you face any unique challenges?
I have so many nice memories of that project! For us, the story of the pipe organ naturally leads back to Greece, as the instrument was invented over 2,300 years ago by Ctesibius in Alexandria, which was part of the Greek world. In a way, the very first organ came from Greece. We were so proud, centuries later, to be trusted with bringing a new instrument back to this fantastic concert hall project.
What was remarkable, and almost funny, was that while we were installing the organ at the Megaron, archaeologists in Thessaloniki discovered parts of an ancient Greek organ dating back to the 1st century AD. As we were building a new instrument in Greece, history was revealing itself at the exact same moment. We found that connection deeply meaningful.
The Athens Concert Hall organ is a fantastic example of how past traditions and visions for the future can meet. It proves that even after so many years, the exact same instrument is still vital for churches and concert halls.
Athens is such a vibrant, vivid city, so close to the sea and steeped in history. It was a dream to work there, and everyone on our team had an incredible time in Greece.
How does your approach differ when you are designing an organ for a concert hall compared to a sacred cathedral space?
In a cathedral, the organ is designed with profound respect for liturgy. It is oriented toward the sacred context of the church and built primarily to accompany congregational singing and sacred music.
In a concert hall, the organ’s task is centered around performance. The instrument must act as a versatile partner to an entire orchestra, as well as accompany choirs and soloists across a vast repertoire. While they are not two completely different instruments, the settings require distinct qualities. For instance, in a concert hall, when listening to an orchestra with enormous crescendo capabilities, the organ needs to match that power, reaching down into the extremely low bass frequencies of the largest orchestral instruments.
Both tasks are vastly different and immensely challenging. We could never choose a favorite between the two; whether we are building an instrument for the Elbphilharmonie, Cologne Cathedral, or Passau, each project presents a unique and fantastic journey.
In a rapidly digitizing world, organ building remains a deeply manual craft. How do you see the future of this art? Is there room for new technology, or is the physical element indispensable?
Organ building has always continuously evolved its outward appearance, incorporating contemporary elements, technical advancements, and new technical possibilities. If you look at a violin, it has looked largely the same for centuries; pipe organs, however, are constantly changing.
Yet, there is one non-negotiable rule: every single sound must be created by an authentic pipe, not a loudspeaker. Otherwise, it loses its soul. A real pipe organ needs real pipes, it cannot be replaced by speakers or recorded sounds.
We live in a digital age that offers incredible possibilities, we can work remotely and connect effortlessly across distances. But as we experienced during the pandemic, human beings deeply need real, physical connection. Digital tools cannot replace being in the same room with others.
This is where the pipe organ plays a crucial role. Music is a universal language, it requires no knowledge of German, English, or Greek. In our increasingly diverse societies, music brings people together. The pipe organ is extraordinary because a single player can fill a space and connect hundreds or thousands of people at once. We must safeguard these shared physical spaces and live musical experiences for future generations. Today, the pipe organ is needed more than ever.
Looking toward the future of pipe organ music, what do you think needs to change so that we can connect with the next generation of listeners?
While some organ recitals struggle with attendance today, venues like Passau or Cologne Cathedral still see hundreds of people queuing daily. I don’t believe we need to change the repertoire. We should continue playing both contemporary organ pieces and the great classical masterpieces.
What we do need to rethink is our approach to formatting. To attract a younger audience, perhaps we shouldn’t always schedule concerts for 7:00 PM or 8:00 PM. Why not host a 20- or 30-minute concert at 11:00 PM? A late-night concert can serve as a fantastic “appetizer” for the younger generation to experience and fall in love with organ music.
There are so many unexplored possibilities, and it is up to all of us to work together, experiment, and ensure this grand tradition connects with the next generation.
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The history of the pipe organ has always been a story of evolution. Α journey that began with the ingenuity of the ancient world and reaches into the great concert halls of our time. With deep respect for this unbroken heritage, Philipp Klais keeps his gaze firmly on the future: transforming tradition into a vibrant experience for younger audiences, and ensuring that this extraordinary instrument will remain a timeless beacon of culture