The Broechem organ combines the work of talented representatives of different organ building traditions :
Detail of the "Forceville" Great Organ
According to himself, Jean-Baptist Forceville was born in St Omaars , the Artesian town at the border of the county of Flanders. He is supposed to have been born in 1660. Although nowadays this region has been completely become French, in the 17th century St Omaars was situated at the border of the French and Dutch cultural region, where both Flemish and French artists were at work. This resulted in an interesting artistic
Cross-fertilisation, especially in the field of organ art. Doubtlessly there must have been a French-Flemish trend which was to influence French organ-building deeply and which was to start a strong revival of organ art in the Southern Netherlands during the 18th century. Jean-Baptiste Forceville was to play a prominent role in this movement.
It is not known with certainty where exactly Forceville learned the trade. A violin maker J.B. Forceville is known to have been at work in St Omaars in 1673. A Jean Forcheville repaired the bellows of the organ of the Onze-Lieve-Vrouwe-kathedraal in St Omaars in 1676. The latter also worked on the gallery later on. If our Jean-Baptiste Forceville was the son or next of kin of this Jean Forcheville , we can imagine where he learned the tricks of the trade.
In this native region Forceville could have been introduced to the work of the important Ieper organ building family Langhedul, who was to lead the Flemish renascence of organ building in France and even in Spain. Charles Waghers (1515)and Jean Crignon (1564) were also active in St Omaars. As a youngster Jean-Baptiste Forceville must have personally known François Van Isacker(1627-1682) from Veurne, when the latter was working on the organ of the St Omaars cathedral. Van Isacker also worked with Nicolaes van Haeghen on the splendid organ of the Antwerp Dominican church (1654-1658), which was to be renovated by Forceville himself later on. In this way Forceville was able to profit by the prosperity and influence of South Flanders organ art and he had become an expert when he emigrated to the North.
In Belgian archives the name of Jean-Baptiste Forceville is mentioned in 1680 for the first time. In that time he was carrying out vast repairs at the organ of Boekhoute in West-Flanders. Two years later he is signalled in the cathedral of Ghent.
The Antwerp period
In 1683 Forceville signed a contract for the building of the organ at Loenhout (Northern Kempen). The contract of 15 September 1683 mentions that the parts had to be collected in Antwerp. So we can assume Forceville already disposed of his own workshop in Antwerp in 1683. In the same archives ‘Mr.Joan Baptista Forcivil, orgelmaecker binnen Antwerpen’ is mentioned. From this we can infer he settled in Antwerp at about this time at the latest.
Why Forceville exactly chose the town at the Schelde as his dwelling place, is explained by himself. As an organ builder he was looking for employment, which he found in Antwerp. Apparently he arrived at the exact moment, as there was no second organ builder available to keep the instruments in a good state of repair in the various churches and chapels of the town. Consequently he had the support of organ-players and representatives of Antwerp convents and monasteries.
At that moment Forceville did not possess his own house yet. In 1686 for instance he was living at the house of tailor Jan Hendrickx. From 1 October 1687 onwards he rented the house St Joris in the Huidevetterstraat. Some time later he married Maria Magdalena Cannaerts, a woman from a fairly well-to-do family with some possessions in the Brussels region. The couple had at least four children. Soon the Forcevilles moved to the
house “De Librarije” on the Meir. The youngest son, Joannes Thomas Forceville was born on 5 July 1996. He was to continue his father’s organ firm. After the birth of her fourth child Maria Cannaerts fell ill and she died the following year.
Meanwhile the organ builder Forceville had not been idle, even though his early activities seemed to be rather slow. At Loenhout the organ was not delivered until 12 years after it had been ordered. And it remains doubtful whether the instrument ordered by Michiel Dierckx, priest of the Antwerp beguinage, was ever finished. In spite of this, Forceville was granted the honour of building a new organ for the Cisterzienzer Abbey in Hemiksem in 1690. In 1691 he became a member of the St Lucas guild of Antwerp as ‘handelaer ende konstvervcooper’ . From this time onward he received orders on a regular basis:
Haasdonk(1692), Kruibeke(1696), Stabroek(1699), Bevel(1699), Aalst Sint-Martinus(1703), en Gent H.Kerst(1705). Forceville’s fame was spreading far beyond Antwerp.
According to some authors Forceville travelled to the Norhern Netherlands at about the turn of the century. If that is true, the contact with Holland organ building, which was closely related to the German tradition, must have inspired him for the great new projects Forceville would embark on afterwards.
The Brussels period
In the period 1702-1706 Jean Baptiste Forceville moved to Brussels. It is generally thought economic motives Court. On 11 February 1706 he rented a house in Brussels. We may suppose he took a permanent residence in this town at that time. This is proved by his contacts for the building of organs and also later on he would remain living within Brussels.
In the same year Forceville managed to carry off the order of building a large order for the church of St. Goedele in Brussels. For this he elaborated a revolutionary concept: the pipework was not placed in one case, but divided among three organ cases that were placed next to each other on the gallery. But this daring renewal suffered from technical shortages, so that Forceville was obliged to rebuild the instrument completely in 1714.
This failure, however, did not decrease his prestige nor did it stop him from receiving more orders:
Ukkel(1710), Sint Joost ten Node(1710), Wilrijk St. bavo(1710), Lokeren(1710-1715),Ekeren(1711-1713), Mechelen Sint-Petrus en Paulus (1712-1713), Edegem(1716) en Lier Begijnhofkerk (1719-1723).
Forceville had become a famous man by this time and was at the height of his profession. As the authority in the Southern Netherlands he was consulted by and came into contact with the other great organ builders of his time: Jacobus Van Eynde from Ieper, who was active in West- and French-Flanders and the German Christiaan Penceler, who had a strong influence on organ building in the Kempen.
Inside the city of Antwerp Jean-Baptiste Forceville once more developed an intense activity, so that he can be said to have known a second Antwerp period. It is doubtful, however, whether he had a workshop in Antwerp during these years. Yet Forceville’s most famous and best preserved works were delivered in this town: the choir screen organ for the Predikherenkerk in 1720(?) (his Silver Organ, which is in Broechem at the moment),
The “opus dubium” for St Carolus Borromeus (1720), and the unique choir screen organ for the church of St. Jacob.(1726-1728). The monumental organ in the abbey church of Ninove is dated in this period (1728). A few years later (1730-1732) Forceville was active again with the Antwerp Dominicans for the renovation and enlargement of the well-known Van Haeghen organ, dating from 1654.
During his Brussels period Jean-Baptiste remarried twice. In 1720 he was married to Anne le Tordeur and on 15 September 1729 he married the Antwerp Catharina Gansacker, a well-to-do lady. From 1731 onwards Forceville was a member of the musicians of the Royal Court as “Maitre d’orgue”. He remained in this function until his death.
A large number of apprentices was formed in the Forceville workshop, which proves the master was truly influential. Amongst the apprentices we mention his son Jean Thomas Forceville (1696-1750), Egidius le Blas (1701-1786), Jean-Baptiste Barnabé Goyaut (1725-1780), Jean Joseph Vanderhaeghe, and of course the famous Pieter Van Peteghem (1708-1787), through whose offspring of organ builders the Forceville style would remain alive for a long time.
Jean-Baptiste Forceville was buried in the Minderbroeders church in Brussels on 29 June 1739.
Features of the Forceville style
When young Forceville decided to settle in Antwerp he was not a novice at all as far as his profession was concerned. That is strongly suggested by his successful start as a foreign organ builder. Moreover Forceville was able to adapt to the taste of organ building in Brabant, which was deeply influenced by German organ builders such as Goltfuss and Bremser. For someone coming from the far St Omaars this was not self-evident.
Striking examples of this flexibility are a.o. the use of the “Duytse fluyt” (Loenhout, St.Goedele) and of the “Quint 3’ “ as diapason. Also as far as the structure of the case is concerned, Forceville preferred to follow the tradition: a great organ with the console at the front side and behind the back of the organ player a positive interrupting the gallery. Remember the still remaining organ cases at Stabroek and Wilrijk.
After the turn of the century we get to know a master Forceville who goes his own way. He also installed registers that had a southern touch , such as the French “Tiercé”. In this way he developed a type of organ that brought French, Brabant (German) and Flemish tradition to a synthesis. After a long mediocre period in Flemish organ building, finally a typical Southern Netherlands organ type was born again. It meant the breakthrough of high(?) baroque in regional organ building. At the same time Forceville started the playful organ rococo style, which would reach a summit with his Flemish apprentice Pieter Van Peteghem..
According to Antoon Fauconnier, Forceville’s instruments sounded more mild and round than sharp and forceful. Generally speaking his pipework corresponded to the traditional norms of metal thickness and strength. The mixtures (fourniture and cymbals) sounded sharp and broke through the baroque closedness(?) of the plenum .The reeds were build by Forceville in such a way that they were suited for polyphonic use, still in the baroque tradition. Next follows a quotation from Forceville’s contract for the Brussels St. Goedele organ, in which we read about “.. bourdon double d’une nouvelle invention du facteur, et fera l’effet d’un unison, sera de size pds”and about “positive pour l’accompagnement de la musique et qui par un secret a moij conneu servira aussi pour l’echo“. Apparently Forceville was not only a real artist, but also a commercially successful craftsman. As for the bourdon pipes mentioned above, they consist of two mouths instead of one.
It is remarkable that Forceville only seldom provided a full pedal stoplist, whereas that was an acquisition in Germany and the Netherlands and it was also applied in France as a cantus-firmus pedalboard. Moreover the Van Haeghen organ in the Antwerp Predikheren kerk was equipped with an independent pedal, and so was the Goltfuss organ at the Norbertines(?) in Tongerlo. As Forceville was well-informed, it may be assumed he endeavoured to introduce the independent pedal in our country too. In important projects for that matter he provided an independent pedal disposition. That is the case of St. Goedele (1706) in Brussels where he is clearly on the same wavelength as the best Dutch tradition. But it seems that such an independent pedal was not popular in the Southern Netherlands Apparently the local composers were not inspired by it. Maybe because they had been trained as harpsichord players rather than as organ players.
Another striking new feature of Forceville is to be found In the revolutionary organisation of the case. Whereas up to that time organ cases dominated church screens sturdily, Forceville preferred an elegant construction width-ways. The first draft for the choir screen in the Brussels St. Goedele contained three independently erected organ cases. At the right and the left the cases for the big pipes of the pedal organ climbed up the big crossing pillars. In between and apart stood a lower case for the other pipes. As mentioned earlier, this organ suffered from serious problems of wind provision, so that Forceville had to reshape his work in 1714. This failure, however, did not convince him to return to the classical construction for great organ and positive.
The graceful baroque architecture and sculpture stimulated the inventive Forceville to pursuit elegant constructions for the cases and a graceful division of the pipe fields in the organ front. A clear illustration of this is the splendid choir screen organ in the St. Jacobskerk in Antwerp. The playful division of the organ front seems to be a variation of “ het Zilveren Orgel”, built for the adjacent church of the Dominicans a few years earlier. It was generally considered to be a masterpiece of the “famosus organarius”.
Work list of Jean-Baptiste Forceville
1680
Boekhoute: extensive repair
1682
Gent, kathedraal: Repair
1683
Loenhout: new organ
1686
Antwerpen: approbation of a bell
1687-90
Antwerpen, begijnhof: new organ
1690
Hemiksem, Sint-Bernardusabdij: new organ
1691-92
Antwerpen, kathedraal: repair
1691
Breda, rooms-katholieke kerk in de Brugstraat: repair
1692
Haasdonk: new organ
1694 tot 1739
Brussel, Sint-Catharina: extensive repair in 1707
1696
Kruibeke: new organ
1699
Stabroek, Sint-Catharina: new organ
1699
Bevel, Onze-Lieve-Vrouw: new organ
1699
Salonorgel (In de Temple du Musée te Brussel bevindt zich nog een leeg orgelkastje met een gesculpteerd opschrift “Forcevil - 1699”: het betreft waarschijnlijk een voormalig salonorgeltje van de orgelmaker zelf)
1700
Bergen-op-Zoom, Sint-Gertrudis: repair
1703
Aalst, Sint-Martinus: new organ
1703
Affligem, abdij: repair
1703
Antwerp, kathedraal, kapel van het H. Sacrament: maintenance
1705
Gent, H. Kerst: new organ,
1705
Gent, Sint-Michiel: overeenkomst (Forceville daagt echter pas in 1710 terug op, maar toen was het werk reeds door een andere orgelmaker uitgevoerd)
1705-20
Antwerpen, kathedraal: onderhoud
1706
Brussel, Sint-Goedele: nieuw orgel, eerste project werd een mislukking en na een proces was Forceville verplicht een nieuw orgel te leveren.
1710
Ukkel, Sint-Pieter: nieuw orgel
1710
Sint-Joost-ten-Node: nieuw orgel
1710
Wilrijk, Sint-Bavo: nieuw orgel
1710-15
Lokeren, nieuw orgel
1711
Gent, Sint-Niklaas: herstelling
1711-13
Ekeren, Sint-Lambertus: nieuw orgel
1712-13
Mechelen, Sint-Petrus en Paulus: nieuw orgel, maar onvoltooid (een orgel werd dan gebouwd in 1713 door C. Dillens)
Ong.1715
Antwerpen, kathedraal: voorstel tot modernisering
1715-16
Aalst, belfort: Approbation in Gent of carillon
1716
Edegem: new organ, repair in 1729-30
1718
Asse: repair
1719
Brugge, Sint-Salvator: approbation of new organ by Jacobus Van Eynde
1719-23
Lier, begijnhofkerk: new organ
Ong. 1720
Antwerp, Predikherenkerk (St-Paul: new choir organ (Now in Broechem and known as the Silver Organ)
1720-22
Antwerp, Jezuïetenkerk (Sint-Carolus Boromeüs): new organ (opus dubium).
1722
Baarle-Hertog, Sint-Remigius: new organ
1723
Zandvliet: new organ
1724
Geel, Sint-Amandus: Approbation of new organ by Christiaan Penceler
1725
Berchem: new organ
1725-29
Deurne, Sint-Fredegandus: new organ, repair in 1730
1726-29
Antwerp, Sint-Jacob: new choir organ
1728
Ninove, abdijkerk: new organ
1730-32
Antwerpen, Predikherenkerk (Sint-Paulus), westdoksaal: renovation and enlargement of the Haeghen organ of 1654
1731-39
Brussels, Court Chappel: maintenance
1733
Zaffelare; renovation with his apprentice E. Le Blas
1736
Brussels, College der Jezuïeten: new organ
1738
Brussels, Onze-Lieve-Vrouw van Bijstand: new organ
Theodoor Smet was born in Geel on 1 January 1782. He was introduced to and instructed in organ building in the workshop of Paul Van Overbeek in Mechelen. He was the son of the Zeeland organ builder Jan Van Overbeek who had worked with Jacobus Verbueken in Geel. We met the latter in Broechem between 1763 and 1783 for reparation works at the Goltfuss organ.
Theodoor Smet’s active career as an organ builder is situated from 1805 till 1853. In that period he modelled himself after the works of numerous colleagues and apart from his contemporaries, Theodoor Smet was also confronted with the work of earlier masters, amongst whom Jean –Baptiste Forceville from Antwerp.
The work of Theodoor Smet
In 1822 Theodoor Smet took over the job of his teacher Paul Van Overbeek. He settled as an independent organ builder in Duffel. Both his house and workshop were situated in the Kapelstraat. The house was known as “De rode Leeuw” or “’t Leeuwke”.
Theodor Smet was not unknown in Broechem. He had already carried out the tuning of the old Goltfuss organ. He was allowed in 1832 to transport Forceville’ s Silver Organ from Antwerp to the Onze-Lieve-Vrouwekerk of Broechem. The organ was placed on a lower case by Smet, so that the elaborated instrument fitted in well, both aesthetically and functionally, with the gallery above the entrance door. He adapted the keyboard and extended it to f ’’’ ,so that it contained 54 keys. In order to achieve that he had to make new pipework for the five highest tones of each register and he also had to adapt the soundboards and tracking mechanism.
Meanwhile Theodoor Smet was making a successful career. He remained true to the tradition of the Kempen and Brabant in which he had been formed. He only compromised in adding more romantic registers (e.g. viola da gamba)suited to the taste of the region at that time. As an expert craftsman he was asked to restore or adapt many historical organs.
In 1839 Theodoor Smet is back in Broechem to provide a positive in the lower case he had built earlier. Its stoplist and Forceville’s great organ form a good match.
Smet also built other new organs. Especially the beautiful instrument of the Antwerp Sint-Augustinuskerk, dating from 1839, characterizes Theodoor Smet as the last representative of the baroque and rococo in the art of organ building in the Southern Netherlands. A period that had begun with Jean-Baptiste Forceville and his contemporaries with much vigour and dedication.
From 1839 onwards the 57-year-old Smet associated with the still fairly young Henri Vermeersch. He must have seen a fitting successor in the talented young man. On 21 November 1853 Theodoor Smet died in Duffel,
Detailed job list of Theodoor Smet
Work list of Theodoor Smet (in DUTCH)
1822
Kontich, Sint-Martinus: onderhoud
1825?
Antwerpen, Sint-Laurentius: overplaatsing van het Forceville-orgel uit Sint-Paulus
1828
Diest, Sint-Sulpitius en Dionysius: nieuw orgel
1828
Tremelo, Onze-Lieve-Vrouw van Bijstand: nieuw orgel
1829
Tildonk, Sint-Jan Baptist: nieuw orgel
1829
Leuven, Dominicanenkerk (Onze-Lieve-Vrouw): nieuw orgel
1829-30
Broechem, Onze-Lieve-Vrouw: stemmen van het Goltfussorgel
1830
Pellenberg, Sint-Pieter: overplaatsing van het orgel van Tremelo naar Pellenberg
1831
Houtem (volgens Grégoir)
1831
Tessenderlo (volgens Grégoir)
1831
Lint, Onze-Lieve-Vrouw: nieuw orgel
1831
Reet, H. Maria Magdalena: verbouwing van het orgel
1832
Antwerpen, Sint-Laurentius: nieuw orgel
1832
Broechem, Onze-Lieve-Vrouw: overbrenging van het zilveren orgel (Forceville) uit de Sint-Laurentiuskerk te Antwerpen naar Broechem.
1832
Mechelen, Klein Seminarie (volgens Grégoir)
1832
Herentals, begijnhofkerk (volgens Grégoir)
1832
Zoerle-Parwijs, Sint-Nicolaas (volgens Grégoir)
1833
Oostmalle, Sint-Laurentius: werken aan de blaasbalg
1834
Schaffen, Sint-Hubertus: nieuw orgel
1835
Geldenaken: nieuw orgel?
1835
Londerzeel, Sint-Kristoffel: uitgebreide verbouwing van het orgel
1835
Diest, Sint-Catharina (begijnhofkerk): transformatie van het Pencelerorgel
1835
Ranst, Sint-Pancratius: nieuw orgel
1836
Molenbeek, Sint-Laurentius: nieuw orgel
1836
Klein-Vorst, Sint-Nicolaas (volgens Grégoir)
1837
Ranst-Millegem, Onze-Lieve-Vrouw: overplaatsing van het orgel van Sint-Pancratius Ranst naar deze bijkerk
1837-39
Antwerpen, Sint-Augustinus: nieuw orgel
1838
Boechout, Sint-Bavo: nieuw positieforgel
1839
Broechem, Onze-Lieve-Vrouw: nieuw positieforgel
1839
Tremelo, Onze-Lieve-Vrouw (volgens Grégoir)
1839
Mechelen, Zwartzusters (volgens Grégoir)
1839-40
Webbekom, Sint-Trudo (Diest): nieuw orgel
1839-41
Schoonbroek, Sint-Job (Retie): nieuw orgel
1839
Blaasveld, Sint-Amandus (Smet & Vermeersch) (volgens Grégoir)
1839
Lummen (Smet & Vermeersch) (volgens Grégoir)
1839
Geel, Sint-Dympna (Smet & Vermeersch) (volgens Grégoir)
1840
Sint-Joris-Winge, Sint-Joris: nieuw orgel (Smet & Vermeersch)
1840
Kontich, Sint-Martinus: totale vernieuwing van het orgel (Smet & Vermeersch)
1840
Antwerpen, Sint-Niklaaskapel: nieuw orgel? (Smet & Vermeersch)
1841
Zandhoven, Sint-Amelberga: nieuw orgel (Smet & Vermeersch)
1842
Loksbergen (Smet & Vermeersch) (volgens Grégoir)
1843-46
Ekeren, Sint-Lambertus: transformatie van het orgel (Smet & Vermeersch)
1843-51
Boechout, Sint-Bavo: onderhoud (Smet & Vermeersch)
1849
Pulle, Sint-Petrus en Paulus: verbouwing van het Verbueckenorgel (Smet & Vermeersch)
1849
Antwerpen, Sint-Jacob: onderhoud koordoksaalorgel (Smet & Vermeersch)
1849
Oostmalle, Sint-Laurentius: nieuw orgel (Smet & Vermeersch)
Verder:
Walem, Pulderbos, Oevel, Oostham, Gestel (Berlaar), Koersel, Beverlo, Antwerpen (Zusters van Liefde) (volgens Grégoir)
Henri Vermeersch was born in Bassevelde in East-Flanders on 10 August 1815. Vermeersch interest in organ craft seems to have been aroused when getting acquainted with the organ builder François Loret. Henri’s sister married François Loret. Henri Vermeersch would follow his brother-in-law to Sint-Niklaas, to apprentice himself to the organ workshop of Loret-Vermeersch, named after the couple, not after him.
Still before François Loret’s was transferred to Mechelen , Henri Vermeersch left his brother-in-law in 1839.
He found a new future in the Theodoor Smet’s flourishing Duffel workshop and associated with him. When Smet died in 1853 Vermeersch took over the firm.
Henri Vermeersch kept working in the traditional way. He did not use factory made pipework but opted for reliable material and his own craftsmanship. But altough Henry Vermeersch remained faithful to traditional workmanship, he detected romanticism, which had renewed organ building by this time..
Vermeersch was lucky to enjoy the confidence of many patrons so that he could build various new instruments. In the Sint-Rombouts kathedraal, Mechelen, he was allowed to rebuild the great Van Peteghem organ, and relocate it from the side aisle to th
e new western gallery. In many churches he succeeded Smet in tuning and maintenance work. That is how he appeared in Broechem where a.o. he renewed the soundboard of the positive in 1872.
Presumably in 1856 Vermeersch engaged the 15 year-old Petrus Stevens from Kapellen-op-den-Bosch as an apprentice.In 1871 the latter married Henri’s eldest daughter, Johanna Angelina Vermeersch.
Petrus Stevens associated with his father-in-law. On 14 April 1886 Henri Vermeersch died in Duffel.
Work list of Henri Vermeersch (in DUTCH)
1850
Erps, Sint-Amandus: transformatie
1853
Wilmarsdonk, Sint-Laurentius; vernieuwing
1853
Kontich, Sint-Martinus: nieuw positief-orgel
1853
Merksem, Sint-Bartholomeüs: nieuw orgel (verwoest in WOII)
Ca. 1855
Wersbeek, Sint-Quirinus: transformatie van het orgel
1855
Steenokkerzeel, Sint-Rumoldus: transformatie van het H. Goltfussorgel
Ca. 1860
Kortenaken, Sint-Amor: vernieuwing van het orgel ?
1864
Perk, Sint-Niklaas: uitbreiding van het orgel
1866
Ranst, Sint-Pancratius: nieuw orgel
1867
Wolvertem, Sint-Laurentius: nieuw orgel
1870
Brasschaat, Sint-Antonius: nieuw orgel
1866-79
Antwerpen, Sint-Andries: onderhoud en stemmen
1872
Antwerpen, Sint-Jacob: onderhoud koordoksaalorgel
1872
Broechem, Onze-Lieve-Vrouw: verbouwing van het orgel
1877-78
Antwerpen, Sint-Carolus-Borromeüs: verbouwing van het orgel
1880
Sint-Pieters-Leeuw, Sint-Pieter: transformatie (Stevens & Vermeersch)
?
Lint, Onze-Lieve-Vrouw: transformatie van Smet-orgel (Stevens & Vermeersch)
?
Stabroek, Sint-Catharina: werken (?) aan het orgel
?
Leuven, Onze-Lieve-Vrouw: nieuw orgel
?
Mechelen, Sint-Romboutskathedraal: verplaatsing en vernieuwing van het groot orgel
Volgens Grégoir levert Vermeersch nog nieuwe orgels, of is hij verder werkzaam in volgende plaatsen:
Heindonk (Sint-Jan-Baptist en Amandus), Luyksgestel, Antwerpen (Zusters van Liefde), Kapellen-op-den-Bos (Sint-Nicolaas), Beringen (Sint-Lambertus), Kruishoutem (Sint-Eligius), Minderhout (Sint-Clemens), Zolder, Sint-Niklaas (Onze-Leve-Vrouwe-instituut), Diest (Kruisherenkerk), Lier (Sint-Gummarus), Koningshooikt (Sint-Jan Evangelist), Boom (Onze-Lieve-Vrouwe-instituut), Brussel (Miniemenkerk), Antwerpen (Recollettenklooster), Floreffe (Seminarie: vernieuwing van het orgel), Heffen (Sint-Amandus), Lier (Kluizenkerk).
