Continuation...

At the request of Pierre Palla, a Koppelfluit was placed at the expense of the Saxophone (which has unfortunately disappeared). In the Accompaniment chamber a Jazz Trumpet was added on the advice of Cor Steyn. In the 1950’s Fonteijn brightened the voicing of the instrument and the connection to the church organ was also dispensed with. High and low pressure pipework do not really go well together!

With this AVRO organ, an end came to the developments at Standaart, as unfavourable exchange rates against the British pound meant that huge losses were made on organs supplied to England and the business was no longer viable. Bankruptcy was applied for. After that, a new company by the name of Standaart was set up but was geared predominantly towards tuning, maintaining and relocating existing organs.

After the war, Cor Standaart continued in the business and even managed to get a commission for the very last Standaart organ, for the broadcasting services in Luxembourg. This was to have been a 2/4 but the order was cancelled and so the organ was never delivered. Later, after being enlarged to a 3/6, it was sold in 1954 to a dance hall Houbein in Leeuwarden.
Later still it became the property of Taco Tiemersma and after his death was moved to a restaurant in Oosterwolde where it was assembled by a group of enthusiasts. An interesting detail is that the last Standaart theatre organ and the earliest surviving Standaart (theatre) organ (the organ in a church in Veenhuizen) are now hardly 10 kilometres apart!

In conclusion
As can be understood from the story above, the AVRO concert organ is a unique instrument: based on a Wurlitzer specification; consisting of first class American Gottfried reeds and Standaart fluework; with excellent percussion by Compton and Deagan;and operated by reliable Compton technology. Oh yes, the Jazz Trompet added later is by the German firm of Laukhuff and the Koppelfluit by Stinkens (Utrecht). You can truly call this an international instrument.
It was always well-maintained by André Fonteijn, among others, and later by Paul Hartog — right up to the end it was in perfect condition.

Sadly neither of the organs are in the studio anymore. Behind the scenes a small committee (with among others Cor Doesburg and Paul Hartog) is working to find good homes for both instruments to preserve them for future generations. A new location has been found for the church organ and the assembly is underway. A location for the theatre organ has not been found yet.

_{Source: NOFiteiten 2006 nr.1}