The organ is a reconstruction of the instrument functioning at the presbyterium choir in the turn of 16th and 17th century, according to the conceptual project of Dr. hab. Krzysztof Urbaniak. Built by SLJ Budowa Organów, completed in 2024.
The reconstructive restoration of the Renaissance organ located in the presbytery of the Benedictine Abbey Church in Tyniec was made possible, among other things, thanks to a preserved photograph from 1929. The instrument is shown in the photograph in a form altered from the original, which is why the carving of the present organ refers to the stylistic idiom of the early 17th century. The purpose of the reconstructive work was to restore the organ to its state prior to the alterations carried out by Jan Głowiński, who, at the end of the 17th century, transformed the instrument in the Baroque style. The reference objects for the reconstruction were the organs of the Church of St John the Baptist in Złoty Potok, the organs of St Anne’s Church in Marynowy, and the organs of the cathedral in Innsbruck.
Materials appropriate to Renaissance organ building were used in the reconstruction. The pipework corresponds— in structure, material and workmanship— to that found in the reference instruments.
The organ is equipped with two slider windchests with pallet action, made of solid oak with drilled channels (modelled after the Złoty Potok instrument), one windchest for the manual and one for the pedal. The wind system consists of a set of three wedge bellows with six folds each, fitted with devices for the calcants and connected to an electric blower. The scales of the flue stops are based on the documented pipe mensuration of the organs from Złoty Potok. The façade is decorated with pipe shades. Between the tin façade pipes of the Principal rank are placed the pipes of the Regal, fitted with brass resonators.
The console is situated in its historical location—in the front wall of the organ case. Both the key action and the stop action are purely mechanical. The diatonic keys of the manual keyboard are made of boxwood, the chromatic ones of black oak, while the pedalboard and the bench are made of oak. The stop knobs are arranged alternately, forged by a master blacksmith, and above them, directly on the organ case, the stop names are handwritten in white ink. The case is made of hand-planed, radially cut oak. On the façade wings, crafted using the same technique as the main case, the forged hinges—visible when the wings are closed—are mounted onto the raw wood, their ornamentation corresponding to the design of the stop knobs.