tag:blogger.com,1999:blog-58585526226624783122024-02-19T20:14:02.852-05:00PIPE ORGANSRemarkable and Historical Instruments from around the World, featuring their Histories, Specifications and Sound.
(please press F11 and scroll down)Unknownnoreply@blogger.comBlogger139125tag:blogger.com,1999:blog-5858552622662478312.post-91005904917630083082012-02-12T21:00:00.002-05:002012-02-12T21:00:47.428-05:00The author of this blog passed away in February 2011, 5 years after being diagnosed with ALS, and this blog will no longer be updated.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-7659641094255886652010-11-08T12:21:00.000-05:002010-11-08T12:21:11.620-05:00Alkmaar Holland St.Laurenskerk 1646 Hagebeer / Schnitger Organ<div style="font-weight: bold; text-align: center;"><span style="font-size: 130%;"><span style="color: #660000;"><br />
AD SOLIUS DEI GLORIAM</span><br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlI5xojCAHKcWPQkLA5_xAQ_IhcSBb4rilENQjrXmFV7HGWpeWFjbLa3amupTyzO_zHGEfCnXYrGnWBHasmXTtQrQq3INtF6jGuanVze9pSeFNmS63EJsnMVtbiAefc9mxlrB909DZhY/s1600-h/alkmaar+great+organ.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="640" id="BLOGGER_PHOTO_ID_5315273412343338226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlI5xojCAHKcWPQkLA5_xAQ_IhcSBb4rilENQjrXmFV7HGWpeWFjbLa3amupTyzO_zHGEfCnXYrGnWBHasmXTtQrQq3INtF6jGuanVze9pSeFNmS63EJsnMVtbiAefc9mxlrB909DZhY/s640/alkmaar+great+organ.jpg" style="display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 300px;" width="480" /></a><span style="font-weight: bold;">1545 - 1639</span></div><br />
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Dietrich Buxtehude (1637-1707): Wir danken Dir, Herr Jesu Christ (BuxWV 224) Gabor Soos - organ Alkmaar (NL), Grote Sint Laurenskerk Van Hagerbeer/ Schnitger organ a'=415 Hz Equal temperament<br />
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Jan Pieterszoon Sweelinck (1562-1621) Piet Kee at the Schnitger organ in St. Laurenskerk (Alkmaar)<br />
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J. S. Bach 2 chorales Nun Komm der Heiden Heiland BWV 661 Herr Jesu Christ, dich zu uns BWV 709 Organist: Manuel Tomadin<br />
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Johann Sebastian Bach (1685-1750)<br />
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1. Chorale Prelude "Lobt Gott, ihr Christen, allzugleich" BWV 732<br />
2. Chorale Prelude "Valet will ich dir geben" BWV 736<br />
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Gustav Leonhardt at Jacobus van Hagerbeer/Frans Caspar Schnitger organ of the Laurenskerk in Alkmaar<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj1HvN6CDCBv0jZz41IOTAVTtQ6O0aW_KKr2Nu2y4VzqrkMZPc0EEoojhWSo0eV0chJD7Foz7-6Gywisax_rMr-V0ENlSKIZm7GT3MQvtxZ9S5oFzJtVpgQ4244Dgk-dFJUO_9auEw4uU/s1600-h/vhagebeeralkmaar+rugw+.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5377398843459089266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj1HvN6CDCBv0jZz41IOTAVTtQ6O0aW_KKr2Nu2y4VzqrkMZPc0EEoojhWSo0eV0chJD7Foz7-6Gywisax_rMr-V0ENlSKIZm7GT3MQvtxZ9S5oFzJtVpgQ4244Dgk-dFJUO_9auEw4uU/s400/vhagebeeralkmaar+rugw+.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 300px;" /></a><br />
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<div style="font-weight: bold; text-align: center;"><span style="font-size: 130%;">Summary of the history and description of The Van Hagerbeer-organ St. Laurenskerk, Alkmaar<br />
</span></div><br />
Details of the history of this organ can be found at: <a href="http://www.schnitger.nl/index.php?id=172">http://www.schnitger.nl/index.php?id=172</a><br />
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<span style="font-weight: bold;">1637-1639 / Preparations</span><br />
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A small instrument, built in 1545 by Claes Willemsz. from Haarlem, placed above the south-entrance in the choir of the church, was dismantled in the 17th century. Its pipes were removed around 1640, to be used in a new large organ. On the 25th of October 1638 an agreement was signed with the famous organ-builders Van Hagerbeer. It was decided to construct a new, much larger organ, in which the pipes of the small organ from 1545 could be included.<br />
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<span style="font-weight: bold;">1639-1646 / The building of the Van Hagerbeer-organ</span><br />
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In 1639 the organ-builders started their work at Alkmaar. According to the contract an instrument with three manuals and pedal, supplied with 31 stops should be built. The instrument had cost the enormous amount of 52.095 Dutch guilders, which also included retention of the existing building for the bellows at the west-end of the nave.<br />
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<div style="text-align: left;">Stop list according to organist Gerhardus Havingha (1727) after the completion in 1645(?) by Jacobus van Hagerbeer.</div><br />
<div style="text-align: center;">Bovenwerk(II)</div><br />
Prestant 8’<br />
Bourdon 16’<br />
Holpyp 8’<br />
Quintadena 8’<br />
Octav 4’<br />
Opene Fluyt 4’<br />
Echo Holfluyt 4’(from c)<br />
Super Octav 2’<br />
Nassat 1 ½’<br />
Gemshoorn 1 ½’<br />
Sexquialter II(from c’)<br />
Tertiaan 4/5’<br />
Sifflet 1’<br />
Trompet 8’<br />
Vox Humana 8’(from c)<br />
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<div style="text-align: center;">Rugpositief(I)</div><br />
Prestant 8’<br />
Quintadena 8’<br />
Octav 4’<br />
Fluyt 4’<br />
Super Octav 2’<br />
Fluyt 2’<br />
Nassat 1 ½’<br />
Quintanus 1 ½’<br />
Sifflet 1’<br />
Tertiaan 4/5’<br />
Sexquialter II(from c’)<br />
Mixtuur III-IV<br />
Scherp IV<br />
Trompet 8’<br />
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<div style="text-align: center;">Hoofdwerk(III)</div><br />
Prestant (B/D)24’<br />
Prestant (B/D)12’<br />
Octav 6’(4’?)<br />
Tertiaan [1 3/5’]<br />
Mixtuur (B/D)<br />
Scherp (B/D)IV-VI<br />
Groot Scherp<br />
Trompet 8’<br />
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<div style="text-align: center;">Pedaal</div><br />
Prestant 8’<br />
Octav 4’<br />
Trompet 8’<br />
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Compass Bovenwerk and Rugpositief: C-d’’’<br />
Compass Hoofdwerk: C-d’’’, Prestant 24’ and 12’: FF,GG,AA,BB,HH,C-d’’’<br />
(according to the specification of 1639 all the Hoofdwerk stops could have this extended compass!).<br />
Compass Pedaal: C-f ’ for own stops, attached to Hoofdwerk: FF,GG,AA,BB,HH,C-f<br />
Split keys for d# and a# on all manuals<br />
Transposing mechanism (to play a natural higher)<br />
Tuning: mean-tone temperament<br />
Soundboards: spring-chests<br />
Wind supply by six diagonal bellows<br />
Pipe materials: lead, except for the resonators of the Trumpets which were made from painted iron sheets.<br />
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<span style="font-weight: bold;">1652-1653 saw some large alterations and some additions by Jacobus van Hagerbeer.</span><br />
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The organ-case was designed by the painter/architect Jacob van Campen (1595-1657). The case of the Rugpositief was made in the workshop of Van Hagerbeer in Leiden, but the main case was constructed by Jacob Jansz. Turck at Alkmaar. ’AD SOLIUS DEI GLORIAM’, (‘only God be honoured’) can be read underneath the organ-balcony.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxbiE41ufcuuqPKabHSsNiW7yTM5pPPT1hsTOu7tnL5-2d8Q-O9gxYa5RQcmYSjfQmm5BMYx2g8SImx0Er2HNeJCaYKqUloUneQg_K0n-9-spFyXguLJ_fKzM256g-6q67B3hKb5-mx54/s1600-h/alkmaar+great+organ+3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5315268775135964114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxbiE41ufcuuqPKabHSsNiW7yTM5pPPT1hsTOu7tnL5-2d8Q-O9gxYa5RQcmYSjfQmm5BMYx2g8SImx0Er2HNeJCaYKqUloUneQg_K0n-9-spFyXguLJ_fKzM256g-6q67B3hKb5-mx54/s400/alkmaar+great+organ+3.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 330px;" /></a><br />
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The paintings at the outside of the hinged doors were made by the painter Caesar Boethius van Everdingen (born in Alkmaar around 1617 and buried at the St. Laurenskerk in 1678). It took him about seven months to finish these gigantic paintings with a surface of more than 70 square meters!<br />
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<span style="font-weight: bold;">Renovations between 1646 and 1722</span><br />
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1652-1653 / Large alterations by Jacobus van Hagerbeer<br />
1684-1685 / Restoration by Duytschot<br />
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On the 5th of July 1683 the mayors of Alkmaar decided that the organ had to be repaired: an agreement for the restoration was signed with Johannes Duytschot and his father, Roelof Barentsz. Duytschot, organ-builders from Amsterdam. These very able organ-builders can be seen as continuing the Van Hagerbeer-tradition. They carried out the following work:<br />
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-The supply of six larger bellows<br />
-The keyboards from the Hoofdwerk and Bovenwerk were reversed (Hoofdwerk was III and became II, Bovenwerk was II and became III)<br />
-A new pedal-board was made<br />
-A coupler Rugwerk-Hoofdwerk (probably divided) was added<br />
-The Trumpet 8’ on the Hoofdwerk was changed into a Basuyn 16’ with 30 pipes, corresponding with the three separate Pedal stops: the bass function of the Pedaal was reinforced.(These changes can be related to a new kind of organ-accompaniment during the congregational-singing; because of the large congregations which assembled in the town churches in Holland in the second half of the 17th century, powerful accompanying instruments were required on which a melody (the ‘Voys’) could be brought out as clearly as possible; for this reason many organs were modified and increased in sound volume at the time and couplers - often divided between bass and treble - were added).<br />
-On the Bovenwerk the Bourdon 16’ was replaced by a Baarpijp 8’ (this beautiful stop is still extant), bass pipes were added to the Quintadena 8’ and a new Vox Humana 8’ was made (now the beloved ‘Dutch Trio’, Baarpijp, Quintadena and Vox Humana was complete!)<br />
-Finally wind-leakages were mended and the whole instrument was tuned.<br />
A smaller restoration by Duytschot was carried out in 1704, on which occasion the draw-stops of the Rugpositief were placed in their own case (originally they were placed above the upper keyboard).<br />
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<span style="font-weight: bold;">The repositioning of the wind-chests in 1722</span><br />
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Havingha concludes in his description that anyone with some knowledge about the arrangement of organs, can clearly see how chaotic the structure of the old instrument had been. It seems likely that the changes and additions made by Jacobus van Hagerbeer in 1652-53 meant a considerable increase of the complexity of the instrument.<br />
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<span style="font-weight: bold;">1722 1725 / The rebuilding by Frans Caspar Schnitger</span><br />
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1722 / A new town-organist<br />
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On the 22nd of April 1722 Egbert Enno Veldcamps, town-organist of Alkmaar since 1702, died after a short illness. On the 3rd of September of the same year Gerhardus Havingha (1696-1753), until then organist at Appingedam and son of Petrus Havingha (organist at the Martinikerk, Groningen), was appointed organist. With his arrival a new and important period in the history of the organ of Alkmaar commenced. It was Havingha who introduced the North-German organ-builder Frans Caspar Schnitger (1692-1729) in Alkmaar. Havingha had many complaints about the Van Hagerbeer-organ, for example:<br />
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-The technical layout of the instrument was too complicated<br />
-The wind-supply was insufficient<br />
-The pedal-division was much too small<br />
-The (mean-tone) temperament in which the organ was tuned gave too many restrictions<br />
Moreover, Havingha was familiar with the North-German style of organ-building and -playing, he knew a number of organs built by Frans Caspar’s famous father Arp Schnitger (1648-1719), and, last but not least, he knew the impressive organ at the St. Michaelskerk, Zwolle, begun by Arp Schnitger in 1718 and completed in 1721 by Frans Caspar.<br />
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Proposals for a renovation<br />
In three stages Havingha convinced the municipality of Alkmaar about the necessity of a large renovation.<br />
His first report is called ‘Necessary Reparation’ and the second ‘Necessary and powerful Reinforcement of the large Organ of the city of Alkmaar’. After some days of deliberation by the mayors, Havingha was asked to combine his reports in a new specification, and: he was allowed to ‘summon the builder of the organ at Zwolle’; the introduction of Frans Caspar Schnitger to Holland was a fact!<br />
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<span style="font-weight: bold;">1723-1725 / The rebuilding by F.C. Schnitger</span><br />
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The contract between the town-council and Frans Caspar Schnitger was completed on the 7th of May 1723. The specification had been drawn up by Havingha. Within the existing cases an entirely new instrument should be built, equipped with slider-chests, new tracker action and three additional bellows. Originally the organ should get 52 stops, but finally 56 stops were supplied. Suitable pipes from the old organ could be used again. The pitch had to remain unchanged (‘netto Camer of Houbois thoon’: a’=415 Hz.). Nothing was said about the tuning. Much progress was made with the work and in the summer of 1725 the rebuilding was finished.<br />
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The examination report was dated the 9th of August 1725 and was full of praise, particularly about the stops which were supplied in addition to those specified in the contract. It was also emphasized that Schnitger’s new Vox Humana (Rugpositief) was better than the old one made by Duytschot (Bovenwerk): Schnitger’s superiority to the Dutch organ-builders had to be clear!<br />
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<div style="text-align: center;"><span style="font-weight: bold;">Specification of 1725</span></div><br />
<div style="text-align: center;">Bovenwerk (III)</div><br />
Praestant 8’<br />
Baarpyp 8’<br />
Rohrfluit 8’<br />
Quintadena 8’<br />
Octaav 4’<br />
Fluit Dous 4’<br />
Spitsfluit 3’<br />
Superoctaav 2’<br />
Speelfluit 2’<br />
Sexquialtera II<br />
Scherp IV<br />
Cimbel*) III<br />
Trompet 8’<br />
Hautbois 8’<br />
Vox Humana 8’<br />
Tremulant<br />
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<div style="text-align: center;">Groot Manuaal (II)</div><br />
Praestant 16’<br />
Praestant 8’<br />
Praestantquint 6’<br />
Octaav 4’<br />
Quinta 3’<br />
Octaav 2’<br />
Flachfluit*) 2’<br />
Ruyschpyp II<br />
Tertiaan II<br />
Mixtuur VI<br />
Trompet 16’<br />
Viool di Gamba 8’<br />
Trompet 4’<br />
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<div style="text-align: center;">Rugpositief (I)</div><br />
Praestant 8’ I-II<br />
Quintadena 8’<br />
Octaav 4’<br />
Nasaat 3’<br />
Fluit 4’<br />
Superoctaav 2’<br />
Quintfluit 3’<br />
Waldfluit 2’<br />
Quintanus 1 ½’<br />
Mixtuur V-VI<br />
Sexquialtera II<br />
Cimbel III<br />
Tregter Regaal 8’<br />
Fagot 8’<br />
Vox Humana*) 8’<br />
Tremulant<br />
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<div style="text-align: center;">Pedaal</div><br />
Principaal 22’<br />
Rohrquint 12’<br />
Octaav 8’<br />
Quinta 6’<br />
Octaav 4’<br />
Nachthoorn*) 2’<br />
Ruyschpyp III<br />
Mixtuur VIII<br />
Basuin 16’<br />
Trompet 8’<br />
Trompet 4’<br />
Cornet 2’<br />
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*) stops supplied in addition to those<br />
specified in the contract<br />
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Schnitger’s rebuilding of the Van Hagerbeer-organ meant no less than an earthquake in the Dutch organ-landscape. With the breakthrough of Schnitger in Holland and the death of Johannes Duytschot in 1725 the Dutch school of organ-building, connected with great names as Van Covelens, Niehoff, De Swart, Van Hagerbeer and Duytschot, came more or less to an end. Furthermore, a number of foreign organ-builders (mostly from Germany) arrived and filled the <leo_highlight id="leoHighlights_Underline_0" leohighlights_keywords="gap" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dgap%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dgap%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_0')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_0')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_0')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">gap</leo_highlight>. Among them were Rudolph Garrels, Christian Vater, Jacob François Moreau (from Flanders), Christian Müller, Albertus Anthoni Hinsz and Johann Heinrich Hartmann Bätz. In their instruments they reached a synthesis between their own native traditions and the style and aesthetics of the Dutch school. One of the most famous examples of such a synthesis is the Christian Müller-organ (1738) at the St. Bavokerk, Haarlem, at its completion examined among others, by Gerhardus Havingha.<br />
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The 18th Century<br />
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In 1729 Frans Caspar Schnitger dies at the early age of 36 years. The maintenance and tuning of the organ were taken over by Nicolaas Willembroek in 1731 and Christian Müller (1690-1769) in 1734, who also carried out repairs in 1734 and 1751. In 1753 Gerhardus Havingha dies at the age of 56 years, after an engagement of more than 30 years as town-organist and carillonneur of Alkmaar.<br />
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<span style="font-weight: bold;">1779-1780 / Preparations for a restoration</span><br />
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Town-organist Michael Körnlein complains about several items of the instrument which were not in a satisfactory condition and for which he partly blamed Pieter Müller (son and successor of Christian Müller), who was at that time responsible for the maintenance of the instrument. Several organ-builders were consulted, but finally a contract was signed with Johannes Strumphler on the 5th of June 1781.<br />
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<span style="font-weight: bold;">1781-1782 / Restoration by Johannes Strumphler</span><br />
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The 19th century / Restorations by Van Gruisen, Ypma, Naber and Witte<br />
After some smaller repairs in 1794 by J.M. Gerstenhauer and J.C. Deijtenbach (a former assistant of Strumphler) in 1804, a restoration was carried out by Albertus van Gruisen & Son from Leeuwarden in 1823-24. Only scarce information about this restoration is available, but probably Van Gruisen changed the Quintanus 1 ½’ (Rugwerk) into a Flageolet 1’ and added a pedal coupler.<br />
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<span style="font-weight: bold;">1843-1844 / Restoration by Dirk Sjoerds Ypma</span><br />
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<span style="font-weight: bold;">1851-1853 / Possession of the organ is handed over to the church</span><br />
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After an argument in the town-council about the future cost of repairs of the organ, a committee was founded. Much to their surprise it was discovered that, according to a law of 1798(!), the possession of the organ should have been handed over to the church long ago. The town-council agreed on the 23rd of February 1853 with the change of ownership.<br />
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<span style="font-weight: bold;">1854 / Restoration by C.F.A. Naber</span><br />
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<span style="font-weight: bold;">1897-1898 / Restoration by Johan Frederik Witte</span><br />
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<span style="font-weight: bold;">The 20th century: Restoration 1947-1949 / Restoration 1982-1986</span><br />
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The organ in danger<br />
In 1899 the maintenance of the organ was appointed to Ypma but also requests from other organ-builders were taken into consideration (e.g. from the organ-builders Spanjaard and Pels from Alkmaar).<br />
In 1921 an electric blower was installed. In the meantime the condition of the building deteriorated. The situation soon became dangerous. In 1923 a restoration was started, but in 1927 further work was stopped. The restoration resumed in 1940 on a much larger scale.In this period there was also a lot of discussion about the organ, even a large restoration was considered.<br />
<br />
-In 1929 Hendrik Wicher Flentrop (Zaandam) asked to be invited to do the restoration and regular maintenance. The churchwardens decided, however, to wait until the restoration of the church was finished.<br />
-H.W. Flentrop was given the contract for the maintenance of the organs of the St. Laurenskerk and Kapelkerk in 1935.<br />
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In 1939 he restored the Van Covelens-organ. In 1940 Hendrik Wicher Flentrop retired and was succeeded by his son Dirk Andries.<br />
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<span style="font-weight: bold;">1939-1946 / Preparations for a restoration.<br />
<br />
</span>In 1939 there was contact between the architect Van der Kloot Meyburg and Flentrop about the large organ. At the time the architect was only discussing a dismounting and remounting of the organ. Flentrop, on the other hand, preferred an entire restoration. In his first offer from 1939 Flentrop mentiones an amount of 9600 guilders for dismounting and remounting, including a new wind-supply. In 1941 Flentrop made a proposal for a restoration in which he also gives some historical information about the instrument. Flentrop wanted to re-establish more or less <leo_highlight id="leoHighlights_Underline_1" leohighlights_keywords="the%20original" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_1')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_1')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_1')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">the original</leo_highlight> specification and restore the instrument. The cancelled stops should be placed on a separate cone-chest. The total cost was to be 15.000 Guilders.<br />
<br />
<span style="font-weight: bold;">1941-1943 / The loss of <leo_highlight id="leoHighlights_Underline_2" leohighlights_keywords="the%20original" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_2')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_2')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_2')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">the original</leo_highlight> wind-supply</span><br />
<br />
According to the plans of the architect the 17th century building for the bellows had to be demolished: in his view it didn’t belong to <leo_highlight id="leoHighlights_Underline_3" leohighlights_keywords="the%20original" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_3')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_3')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_3')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">the original</leo_highlight> gothic building and so it had to disappear. As nobody seemed to regret the loss of the authentic wind-supply, the nine old bellows (six by Duytschot and three by Schnitger!) were sawn into pieces in November 1941, and so a very important historical part of the organ disappeared.<br />
<br />
<span style="font-weight: bold;">1944-1946 / Dismounting</span><br />
<br />
In January 1944 the organ was dismantled on the request of the restorers of the church. All parts were packed in chests and stored in the southern part of the transept. It is a well-known fact that many organs of historical importance have survived the 19th and early 20th centuries due to a lack of money. This certainly applies to the organ at Alkmaar; it escaped entire renewal or demolishing in 1854, 1898 and around 1930.<br />
However, in 1944/1945 the instrument was in danger again. Organist Dr.P. Brommer of the St. Laurens- kerk proposed in 1944 to give the mixtures and reeds electric action. Later on, after having visited the Gonzalez-organ in the cathedral of Notre Dame at Reims in 1945, Brommer developed a plan for a practically new organ with four keyboards in which the old pipework would be placed in the old case.<br />
<br />
<span style="font-weight: bold;">1947-1949 / Restoration by D.A. Flentrop</span><br />
<br />
Immediately after Easter 1947 Flentrop started the restoration of the instrument. Shortly before it had been discovered that many parts of the organ (especially the wind-chests) had been seriously damaged by melting water. In the autumn of 1947 Anton van der Horst was appointed as advisor. The cooperation between Flentrop and Van der Horst became of very great importance. In November 1947 they made a proposal aimed at a return into <leo_highlight id="leoHighlights_Underline_4" leohighlights_keywords="the%20original" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_4')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_4')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_4')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">the original</leo_highlight> state as much as possible, without additions. A new modern wind-supply was also included. The pipework of the stops that were not returned to the disposition were stored in the bellows room. No decision had been taken about the Quint 6’ and 3’ on the Hoofdwerk (no pipes were placed at that moment) and the Principaal 32’/24’(Pedaal). On the 20th of September 1949 the church and the organ were taken into use again. It is most remarkable that finally, after so many disgraceful plans, the restoration was completed in such a relatively simple way. However, some serious losses have to be regretted:<br />
-The loss of the entire wind-supply.<br />
-The removal of the plastering from the walls of the church, which resulted in a considerable deterioration of the acoustical circumstances in the church.<br />
-The rather rough way (even though with the best intentions) in which the pipework was treated.<br />
<br />
<span style="font-weight: bold;">1974-1982 / Preparations for a new restoration</span><br />
<br />
From 1960 on a gradually increasing number of defects were found in the organ, especially the condition of the wind-chests worsened. The tuning of the instrument gave many problems and was unreliable. This manifested itself at the most in the wind-chests of the Pedaal; the tuning of the four reed stops became almost impossible. The organ-committee of the Reformed Church was asked for advice. This resulted in a report dated the 18th of July 1974. As proposed, advisors were appointed soon: Klaas Bolt and Jan Jongepier. The church- wardens added the organist of the church: Piet Kee.<br />
A.C.M. Luteijn writes October 1980: ‘In spite of all the defects the sound of the organ is still majestic’. The organ recitals could therefore be continued.<br />
<br />
At first a restoration in phases was considered, starting with the wind-chests of the Pedaal, but soon it was realized that a better solution was to tackle the restoration of the whole instrument completely.<br />
After much deliberation and investigation the first offer for the complete restoration of the instrument by Flentrop Orgelbouw was presented on the 8th of February 1978.<br />
It was decided to return, with a few exceptions, to the situation of 1725. The modern wind-supply would be replaced by a reconstruction of the old system. A committee with the name ‘ORGEL 78’ was founded to raise money for the tremendous cost (around 3.000.000 guilders) of the restoration. In 1978-79 the instrument and the archives were inspected thoroughly by the advisors and in 1980 a full historical report was published, combined with proposals for a restoration of the instrument. A new offer from Flentrop Orgelbouw followed on the 1st of September 1980. The order was given to Flentrop on a festive meeting on the 29th of March 1982.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOnBdqi_vn6b6A-jIx03HC4xQPyHjPEgTcSAYqgUK6RbxiSu6QzWo_sB4MGMt8FNDPRNfgVaFk6P8pBMaquXHCSF91Hrp1G2A2ELo_rIqP7tN-5Mse6rSSl8R7LoHoBTbrcgf8gUydypM/s1600-h/alkmaar+great+organ+2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5315087726372255730" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOnBdqi_vn6b6A-jIx03HC4xQPyHjPEgTcSAYqgUK6RbxiSu6QzWo_sB4MGMt8FNDPRNfgVaFk6P8pBMaquXHCSF91Hrp1G2A2ELo_rIqP7tN-5Mse6rSSl8R7LoHoBTbrcgf8gUydypM/s320/alkmaar+great+organ+2.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a><br />
<br />
<span style="font-weight: bold;">1982-1986 / Restoration by Flentrop Orgelbouw</span><br />
<br />
The dismounting of the instrument started in the autumn of 1982. The research of the pipework was started in January 1983. As a result <leo_highlight id="leoHighlights_Underline_5" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_5')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_5')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_5')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">the original</leo_highlight> places and functions of all the pipes could be ascertained. Further it was realized that the sound character had been spoiled by the continuous curtailing of the pipes in the course of time (in order to increase the pitch to a’=440 Hz.). It was decided to return to <leo_highlight id="leoHighlights_Underline_6" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_6')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_6')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_6')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">the original</leo_highlight> low pitch (i.e. the so-called ‘Camer of Houbois thoon’, a’=415 Hz. =half a tone below normal pitch).<br />
The remounting of the instrument started in June 1984. The revoicing of the pipes could start on the 3rd of June 1985. This delicate work lasted, with an interruption during wintertime, more than a year.<br />
<br />
The following stops were repaired or reconstructed:<br />
<br />
Rugpositief<br />
<br />
Quintadena 8’ Corrections to the cut-up of the pipes<br />
Quintfluit 3’ Reconstructed (partly with <leo_highlight id="leoHighlights_Underline_7" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_7')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_7')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_7')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">the original</leo_highlight> pipes)<br />
Quintanus 1 ½’ Moved back to <leo_highlight id="leoHighlights_Underline_8" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_8')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_8')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_8')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">the original</leo_highlight> place<br />
Sexquialter II Made 5 1/3’-3 1/5’ again in the treble (with original pipes)<br />
Cimbel III Reconstructed into <leo_highlight id="leoHighlights_Underline_9" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_9')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_9')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_9')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">the original</leo_highlight> composition<br />
<br />
Hoofdwerk<br />
<br />
Quintpraestant 6’ Reconstructed from <leo_highlight id="leoHighlights_Underline_10" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_10')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_10')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_10')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">the original</leo_highlight> pipes<br />
Quint 3’ New, made in the style of van Hagerbeer<br />
Tertiaan II Made 5 1/3’-3 1/5’ again in the treble (with original pipes)<br />
Mixtuur VI New, in style and composition of 1725<br />
Viool di Gamba 8’ Placed back to original place<br />
Trompet 4’ Place changed with Viool di gamba, 12 highest pipes renewed<br />
<br />
Bovenwerk<br />
<br />
Sexquialter II Made 5 1/3’-3 1/5’ again (with original pipes)<br />
Cimbel II Reconstructed into original composition<br />
<br />
Pedaal<br />
<br />
Principaal 22’ Situation of 1725 reconstructed (sounds as a Quint 21 1/3’)<br />
Rohrquint 12’ C-E new, the other pipes refashioned and placed back on original places<br />
Octaaf 8’ Change of place with Rohrquint 12’<br />
Quinta 6’ Refashioned, pipes placed back on original places<br />
Mixtuur VIII Was made VI, original composition reconstructed<br />
<br />
General repairs to the pipework<br />
<br />
The pitch of the instrument was slightly increased at each restoration. Moreover, modern tuning arrangements had been made. <leo_highlight id="leoHighlights_Underline_11" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_11')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_11')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_11')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">The original</leo_highlight> low pitch (a’=415 Hz.) was reconstructed by restoring all the pipes to their original lenghts.<br />
The wind pressure was established at 76mm water pressure: after several experiments and discussions this appeared to give the best results. During the revoicing the changes which had been made during the restorations of 1897-98 and 1947-49 to the foot openings, the languids and the positions of the upper lips were corrected.<br />
<br />
<br />
<br />
<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">The present specification</span></span></div><br />
Specification since 1986 with dates of the pipework<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvX0yhVf4wFkFm_CRe7GPjGhmnLOzAxS4LZhorSDqmsK3AQ3sgjtDfwIKp82s08dSRBs6uIKRbe3BM14Q1_UNTZJ6DhWLnZ-X0hIq0SX3rL6BzmU8j9BB4LH4jPLYyW3wSEOeS_fgz8Rg/s1600-h/vhagebeeralkmaar+cons+.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5377398646897761250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvX0yhVf4wFkFm_CRe7GPjGhmnLOzAxS4LZhorSDqmsK3AQ3sgjtDfwIKp82s08dSRBs6uIKRbe3BM14Q1_UNTZJ6DhWLnZ-X0hIq0SX3rL6BzmU8j9BB4LH4jPLYyW3wSEOeS_fgz8Rg/s400/vhagebeeralkmaar+cons+.jpg" style="cursor: pointer; display: block; height: 273px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<br />
<br />
<div style="text-align: center;">Rugpositief (I)</div><br />
Praestant 8’ (Tr.II) 1782 (front)/1646/1725<br />
Quintadena 8’ 1646 (1782/1949/1986)<br />
Octaav 4’ 1725<br />
Nasaat 3’ 1725<br />
Fluit 4’ (1545/1646)1725<br />
Superoctaav 2’ 1725<br />
Quintfluit 3’ 1646/1986<br />
Waldfluit 2’ 1646/1725/1986<br />
Quintanus 1 ½’ 1725/1986<br />
Mixtuur V-VI 1725<br />
Sexquialtera II 1725<br />
Cimbel III 1725<br />
Fagot 8’ 1725<br />
Vox Humana 8’ 1725<br />
Tremulant<br />
<br />
<div style="text-align: center;">Groot Manuaal (II)</div><br />
Praestant 16’ (1545)1646<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCBKscJyvxeMiIIE2CuQGhy9g3KJmZvdxYA_PvjZviUbOZpRANiMP-KrFbtAyiiWhff3w8PrSwBP4pmqh0qln947QRiRjDPa_C8ybvy55pyIHIkuVylMCVJ6h0lt_RYX11eX5fBhTgO8/s1600-h/vhagebeeralkmaar+cons+2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5377398360308161890" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCBKscJyvxeMiIIE2CuQGhy9g3KJmZvdxYA_PvjZviUbOZpRANiMP-KrFbtAyiiWhff3w8PrSwBP4pmqh0qln947QRiRjDPa_C8ybvy55pyIHIkuVylMCVJ6h0lt_RYX11eX5fBhTgO8/s200/vhagebeeralkmaar+cons+2.jpg" style="cursor: pointer; float: right; height: 134px; margin: 0pt 0pt 10px 10px; width: 200px;" /></a><br />
Praestant 8’ 1646<br />
Praestantquint 6’ 1646(1782/1986)<br />
Octaav 4’ 1646<br />
Quinta 3’ 1986<br />
Octaav 2’ 1646<br />
Flachfluit 2’ 1646/1725<br />
Ruyschpyp II 1646/1725<br />
Tertiaan II 1725<br />
Mixtuur VI 1986<br />
Trompet 16’ 1725<br />
Viool di Gamba 8’ 1725<br />
<br />
<br />
<div style="text-align: center;">Bovenwerk (III)</div><br />
Praestant 8’ 1646<br />
Baarpyp 8’ 1685<br />
Rohrfluit 8’ 1725<br />
Quintadena 8’ (1646)1725<br />
Octaav 4’ (1646)1725<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxpUDjTHBuaS0s1aF19UWOiAvc2b8cNXaK2hG1wPF6FdfDZ8l5GRpY6WqfPr-im8dwv1eHBFRU-10VMiFS7Pf_Iknqa8pn4S5z-icRNo859SaS2raxESjFyLuUgHDZt5iVe0ZhEg_-Nk/s1600-h/vhagebeeralkmaar+cons+1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5377398078292562578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxpUDjTHBuaS0s1aF19UWOiAvc2b8cNXaK2hG1wPF6FdfDZ8l5GRpY6WqfPr-im8dwv1eHBFRU-10VMiFS7Pf_Iknqa8pn4S5z-icRNo859SaS2raxESjFyLuUgHDZt5iVe0ZhEg_-Nk/s200/vhagebeeralkmaar+cons+1.jpg" style="cursor: pointer; float: right; height: 134px; margin: 0pt 0pt 10px 10px; width: 200px;" /></a><br />
Fluit Dous 4’ (1646)1725<br />
Spitsfluit 3’ 1725<br />
Superoctaav 2’ 1646<br />
Speelfluit 2’ 1725<br />
Sexquialtera II 1725<br />
Scherp IV 1725<br />
Cimbel III 1725<br />
Hautbois 8’ 1725<br />
Vox Humana 8’ 1725<br />
Tremulant<br />
<br />
<br />
<div style="text-align: center;">Pedaal</div><br />
Principaal 22’ 1646<br />
Praestant 16’ 1646<br />
Rohrquint 12’ (1545/1644)1725(1782/1949/1986)<br />
Octaav 8’ 1646<br />
Quinta 6’ (1646)1725(1986)<br />
Octaav 4’ 1646<br />
Nachthoorn 2’ 1725<br />
Ruyschpyp III 1725<br />
Mixtuur VIII 1725(1986)<br />
Basuin 16’ 1725<br />
Trompet 8’ 1725<br />
Trompet 4’ 1725<br />
<br />
Compass Manuals: C-d'''<br />
Compass Pedal: C-d'<br />
Manual couplers: Rp+GM, Rp+Bw, GM+Bw<br />
Pedal couplers: P+Rp, P+GM (added to the specification of 1725)<br />
Four cut-out valves<br />
Pitch: a'=415 Hz<br />
Equal temperament<br />
Wind pressure: 76 mm<br />
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<div style="text-align: center;"><span style="font-weight: bold;">Dates and makers of the pipework</span></div><br />
1545: Claes Willemsz. (reused material from the former small choir-organ)<br />
1646: Galtus, Germer and Jacobus van Hagerbeer<br />
1685: Roelof Barentsz. and Johannes Duytschot<br />
1725: Frans Caspar Schnitger<br />
1782: Johannes Strumphler<br />
1949: D.A. Flentrop<br />
1986: Flentrop Orgelbouw<br />
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For a very interesting <span style="font-style: italic; font-weight: bold;">detailed</span> history of this instrument written by Frank van Wijk, Bergen NH, we refer you to: <a href="http://www.schnitger.nl/index.php?id=172">http://www.schnitger.nl/index.php?id=172</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqpi3Iij74bk_NqIwvaqIF9nCcg6ogBUVUI_StOMmy9152P3nFjKWdlJrqHaMG6EL2ZMSdnGSZR3lvuKwV9mfciTu2Pj7NmjcOCcuzXU4FZP395N9GmYQYJtZPY2O5EUL0u6_eVnXA1DQ/s1600-h/alkmaar+great+organ+4.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5315270827908139346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqpi3Iij74bk_NqIwvaqIF9nCcg6ogBUVUI_StOMmy9152P3nFjKWdlJrqHaMG6EL2ZMSdnGSZR3lvuKwV9mfciTu2Pj7NmjcOCcuzXU4FZP395N9GmYQYJtZPY2O5EUL0u6_eVnXA1DQ/s400/alkmaar+great+organ+4.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 321px;" /></a><br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:</span></span><br />
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<a href="http://www.youtube.com/watch?v=38xryn9yyHA">Bux 229 Alkmaar St. Laurens Gabor Soos plays Vater unser im Himmelreich (BuxWV 229)</a><br />
<a href="http://www.youtube.com/watch?v=UyMsXzIHogk">Bux 148 Alkmaar St. Laurens Gabor Soos plays Praeludium in g (BuxWV 148)</a><br />
<a href="http://www.youtube.com/watch?v=UyMsXzIHogk"></a><a href="http://www.youtube.com/watch?v=J0lk2dcHG-w&feature=channel">BWV contrapuntus 18- Helmut Walcha Alkmaar</a><br />
<a href="http://www.youtube.com/watch?v=zvLBFdNoWrQ">JS Bach: Toccata, Adagio & Fugue in c major (H. Walcha ...</a><br />
<a href="http://www.youtube.com/watch?v=JhLyCq5T8JQ">Canon alla Ottava, alla Decima, alla Duodecima (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=m6e1lN1BWVE">Die Kunst der Fuge: Contrapuncuts XIV (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=f3RQkfnKU0A">Die Kunst der Fuge: Contrapuncuts XII (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=3gutCIPZBs0">Die Kunst der Fuge: Contrapuncuts XI (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=3gutCIPZBs0">Die Kunst der Fuge: Contrapuncuts XI (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=GXpQivnlvrU">Die Kunst der Fuge: Contrapuncuts X (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=X6JDSLC_T90">Die Kunst der Fuge: Contrapuncuts XIII (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=xP9sC0dLgS4">Die Kunst der Fuge: Contrapuncuts VIII, IX (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=gWuge2GAUd8">Die Kunst der Fuge: Contrapuncuts VI, VII (H. Walcha)</a><br />
<a href="http://www.youtube.com/watch?v=rCvWkHv4tcw&feature=related">Die Kunst der Fuge: Contrapuncuts I, II, III (H...</a><br />
<a href="http://www.youtube.com/watch?v=1fDqMV3Vf10">JS Bach: Prelude and Fugue in E minor BWV 533</a><br />
<a href="http://www.youtube.com/watch?v=ukCEGEfIatI">Bux 223 D. Buxtehude: Wie schön leuchtet der Morgenstern (P. Kee)</a><br />
<a href="http://www.youtube.com/watch?v=q8b4EO_iYY0">Bux 137 Alkmaar St. Laurens Piet Kee</a><br />
<a href="http://www.youtube.com/watch?v=cwx5oYleM08">JP Sweelinck: Echo Fantasia (Piet Kee)</a><br />
<a href="http://www.youtube.com/watch?v=01ZeMQoyQfc">Bux 153 Alkmaar St. Laurens Piet Kee und Buxtehude</a><br />
<a href="http://www.youtube.com/watch?v=jfu6s7VS0Ow">Bux 192 D. Buxtehude: "Herr Christ, der einig Gottes Sohn" BuxWV 192</a><br />
<a href="http://www.youtube.com/watch?v=JGPz2R97eSQ">Bach Praeludium et Fuga e-moll - Leonhardt - Schnitger organ</a><br />
<a href="http://ca.youtube.com/watch?v=Y098flcBIAk&feature=related">Bux 159 Alkmaar St. Laurens</a><br />
<a href="http://www.youtube.com/watch?v=PSBftZdGpi0&feature=related">Bux 143 Alkmaar St. Laurens</a><br />
<a href="http://ca.youtube.com/watch?v=NIw2D9r3sIM">Bach Toccata d-moll - Leonhardt - Schnitger</a><br />
<a href="http://www.youtube.com/watch?v=BWGTfKnAnn8"></a><a href="http://www.youtube.com/watch?v=BWGTfKnAnn8&feature=related">BWV 661 - BWV 709 - Alkmaar organ Manuel Tomadin</a><br />
<a href="http://www.youtube.com/watch?v=Sy6j4LMXlmk">JP Sweelinck: Engelsche Fortuyn (P. Kee)</a><br />
<a href="http://www.youtube.com/watch?v=Veol28tkhk0&feature=related">Bux 149 Alkmaar St. Laurens</a><br />
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<div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-80140062887260364642010-10-30T12:04:00.003-04:002010-10-30T13:35:32.360-04:00Crystal Cathedral Organ Garden Grove, CA<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT8XACuKs-p6dbY65B50fbd6BeP6rosB4TxHcsfnrIOeetFwOE2jx81Q-q3RO3k1gI0hPWUz-KT8u0ss5gxtWO1hGmPsWVlH-xB6-pa5ooo9aj4S5-yfWItJN6JLQQS35VeWcZRsUoxLM/s1600-h/crystal_cathinterior.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT8XACuKs-p6dbY65B50fbd6BeP6rosB4TxHcsfnrIOeetFwOE2jx81Q-q3RO3k1gI0hPWUz-KT8u0ss5gxtWO1hGmPsWVlH-xB6-pa5ooo9aj4S5-yfWItJN6JLQQS35VeWcZRsUoxLM/s320/crystal_cathinterior.jpg" width="320" /></a></div><br />
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The Cathedral pipe organ, made possible by a gift from the late Hazel Wright of Chicago, is the third largest church pipe organ in the world. Conceived by famed organ virtuoso Virgil Fox, the organ unites the Aeolian-Skinner organ from Avery Fisher Hall of Lincoln Center in New York City with the Ruffatti organ built for the former sanctuary in 1977.<br />
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There have been numerous additions and refinements by noted organ builders. There are 287 ranks of pipes and over 16,000 individual pipes, all playable from two five-manual consoles. White oak cases hold the nearly 11,000 pipes in the chancel area. Included there is a rank of forty-four 32-foot pedal pipes, originally in the organ at Bovard Auditorium at the University of Southern California-a gift of the Mt. Olive Lutheran Church of La Crescenta. The South Balcony divisions of the organ contain 5,000 pipes, and in the East and West Balconies are 549 horizontal trumpet pipes-the largest collection of such pipes in the world. <br />
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The church's 273 rank, five manual pipe organ is one of the largest in the world.[7] Constructed by Fratelli Ruffatti and based on specifications by Virgil Fox and expanded by Frederick Swann, the instrument incorporates the large Aeolian-Skinner pipe organ built in 1962 for New York's Avery Fisher Hall, and the Ruffatti organ which had been installed in the church's previous sanctuary. Swann was organist at the Crystal Cathedral between 1982–1998.<br />
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DISPOSITION: <a href="http://en.wikipedia.org/wiki/Crystal_Cathedral_organ#Stoplist">Click here</a><br />
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Ray Ash - Great Is Thy Faithfulness Played on the Hazel Wright Organ at the Crystal Cathedral, Garden Grove, CA <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4pXaxXV2WNOkOJ9yeGjapqA2BETZkx5Hr2CnyzWZbuVfRyLjexifVJ5QTRhEz4qzhS3WnWr2oE4xC6HNV7iapQ2W63XZJyoFs0D9PUgRAnaFzZRjVNLxSTYcO5SUyVUWb3mywOQ_uyI8/s1600-h/Crystal_Cathedral_organ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4pXaxXV2WNOkOJ9yeGjapqA2BETZkx5Hr2CnyzWZbuVfRyLjexifVJ5QTRhEz4qzhS3WnWr2oE4xC6HNV7iapQ2W63XZJyoFs0D9PUgRAnaFzZRjVNLxSTYcO5SUyVUWb3mywOQ_uyI8/s400/Crystal_Cathedral_organ.jpg" /></a></div><input id="gwProxy" type="hidden" /><input id="jsProxy" onclick="if(typeof(jsCall)=='function'){jsCall();}else{setTimeout('jsCall()',500);}" type="hidden" /><br />
<div id="refHTML"></div><input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="if(typeof(jsCall)=='function'){jsCall();}else{setTimeout('jsCall()',500);}" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-12857494156878401082010-10-20T09:34:00.000-04:002010-10-20T09:34:07.065-04:00Albi Cathedral FRANCE 1736 Christophe Moucherel<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdy0W4RpgybSoBd1kIx3ZDnvE6RQsqjNYpgZ2Nf9L1pZqDdSZB8w0ary7qEghkv3mqVUpdjCoobQuFAyOl_um1EP2sKr0PqJhe6EK1cddaYxXaU8VfzEGEv0dvWis0ikcjL5-ZQZ0jERs/s1600-h/albi+cathedral+france.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5291695037310001506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdy0W4RpgybSoBd1kIx3ZDnvE6RQsqjNYpgZ2Nf9L1pZqDdSZB8w0ary7qEghkv3mqVUpdjCoobQuFAyOl_um1EP2sKr0PqJhe6EK1cddaYxXaU8VfzEGEv0dvWis0ikcjL5-ZQZ0jERs/s400/albi+cathedral+france.JPG" style="cursor: pointer; display: block; height: 266px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
The Gothic Cathédrale Ste-Cécile of Albi, built in the 13th century in the heart of Cathar country, is the largest brick building in the world. Perched high on a hill above the River Tarn, it looks more like a fortress than a cathedral - and that's no accident.<br />
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<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/NFaUeqYZDT8?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/NFaUeqYZDT8?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object> <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJNKxT2PCRubjs2CCnRe5CLAVfOLD0myFc1gcTs4fL2UAF4Y8EmuftFX-Fz2yd2vlj91Imwt9HzknXeAHMPhWXnrtnB6UjuYIvjGGFDKX5QCWxrDnYaAoAo6AYxZhLfZhKvXT8XjAsimY/s1600-h/800px-Orgues_Cathedrale_Albi.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5308284198329825682" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJNKxT2PCRubjs2CCnRe5CLAVfOLD0myFc1gcTs4fL2UAF4Y8EmuftFX-Fz2yd2vlj91Imwt9HzknXeAHMPhWXnrtnB6UjuYIvjGGFDKX5QCWxrDnYaAoAo6AYxZhLfZhKvXT8XjAsimY/s320/800px-Orgues_Cathedrale_Albi.jpg" style="cursor: pointer; display: block; height: 213px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
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<object height="265" width="320"><param name="movie" value="http://www.youtube.com/v/zE2RoRr2V1I&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/zE2RoRr2V1I&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="265"></embed></object><br />
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History<br />
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Construction on the Cathedral of St. Cecilia began in 1282 under the direction of Bernard de Castanet (1277-1307), who was Bishop of Albi and Chief Inquisitor. It was built as a defensive fortress and statement of strength after the Albigensian Crusade (1209-1229), a holy war waged by the Catholic Church against the heretical Cathars and the count of Toulouse. Construction was mostly done by 1383, but the cathedral was not fully complete until 1492.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAfX-_W8ucf6PHZvmRA88ciskycV9BSYxNoQ03lLzXK6mMAQa5418a000OR7A6rr-_4g3CsUADR5MLQlXbEFi3McetB3FvB_Bpx2ICoXnZMpGC07kECDfwMxg_QBAxvcoIfa8O194VlMk/s1600-h/800px-Albi_cathedral_-_organ.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5291704056495240930" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAfX-_W8ucf6PHZvmRA88ciskycV9BSYxNoQ03lLzXK6mMAQa5418a000OR7A6rr-_4g3CsUADR5MLQlXbEFi3McetB3FvB_Bpx2ICoXnZMpGC07kECDfwMxg_QBAxvcoIfa8O194VlMk/s400/800px-Albi_cathedral_-_organ.jpg" style="cursor: pointer; display: block; height: 268px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Watch this video to view the cathedral inside and out:<br />
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<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/JEUMC5Hvd-o&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/JEUMC5Hvd-o&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/2Bix-_RlXqs&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/2Bix-_RlXqs&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
Mary Prat-Molinier plays the Grand Jeu by Jean-Jacques Beauvarlet-Charpentier on Albi Cathedral organ.<br />
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The fantastic Bombarde stops are perhaps the most shockingly brilliant I've ever heard.<br />
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With 19 ranks of reeds, Albi cathedral has an incomparable selection of Trompette variations for the organist to choose from. The sound is as orchestral as a Baroque organ can be .This sounds like Mozart and is the Quartetto by the French composer Jean-Jacques Beauvarlet-Charpentier played by the resident organist since 1968, Mary Prat-Molinier.<br />
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<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/V5FL5sq6pE8&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/V5FL5sq6pE8&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
The origin of the classic organ whose actual case remains, is attributed to Christophe Moucherel (1736). This gigantic organ (width : 16.2 m) has been restored by Francois & Jean-Francois Lepine (1747), Joseph Isnard (1779), Antoine Peyroulous (1824).<br />
It was then transformed into a romantic organ by Claude brothers (1840), Thibault Maucourt (1865), Puget Co. (1904).<br />
After the study of the Historic Organ Committee in 1960s, they confirmed a restauration to a classic instrument by Schwenkedel in 1971 and by Bartholomeo Formentelli in 1977 who restored it in 1981.<br />
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Specification<br />
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<div style="text-align: center;"><span style="font-weight: bold;">I Positif dorsal (C1, D1-D5)</span></div><br />
Montre 8'<br />
Bourdon 8'<br />
Prestant 4'<br />
Flute a cheminee 4'<br />
Nazard 2' 2/3<br />
Doublette 2'<br />
Tierce 1' 3/5<br />
Larigot 1' 1/3<br />
Cornet V ranks (C3-D5)<br />
Fourniture VI ranks NB1<br />
Trompette 8'<br />
Cromorne 8'<br />
Clairon 4'<br />
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<div style="text-align: center;"><span style="font-weight: bold;">II Grand orgue (C1, D1-D5)</span></div><br />
Montre 16'<br />
Bourdon 16'<br />
Montre 8'<br />
Bourdon 8'<br />
Prestant 4'<br />
Flute a cheminee 4'<br />
Grosse tierce 3' 1/5<br />
Nazard 2' 2/3<br />
Doublette 2'<br />
Quarte de nazard 2'<br />
Tierce 1' 3/5<br />
Cornet V ranks (C3-D5)<br />
Fourniture V ranks (2' 2/3)<br />
Cymbale V ranks (1')<br />
Bombarde 16'<br />
Premiere trompette 8'<br />
Deuxieme trompette 8'<br />
Clairon 4'<br />
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<div style="text-align: center;"><span style="font-weight: bold;">III Bombarde (C1, D1-D5)</span></div><br />
Cornet V ranks (C3-D5)<br />
Bombarde 16'<br />
Premiere trompette 8'<br />
Deuxieme trompette 8'<br />
Trompette 8' (C3-D5) NB3<br />
Voix humaine 8'<br />
Clairon 4'<br />
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<div style="text-align: center;"><span style="font-weight: bold;">IV Recit (C3-D5)</span></div><br />
Flute 8'<br />
Cornet V ranks<br />
Trompette 8'<br />
Hautbois 8'<br />
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<div style="text-align: center;"><span style="font-weight: bold;">V Echo (C2-D5)</span></div><br />
Bourdon 8'<br />
Prestant 4'<br />
Nazard 2' 2/3<br />
Quarte de nazard 2'<br />
Tierce 1' 3/5<br />
Fourniture III NB2<br />
Cromorne 8'<br />
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<div style="font-weight: bold; text-align: center;">Pedale (C1, A0, D1-F3) NB4</div><br />
Flute 16' (A0)<br />
Flute 8' (A0)<br />
Flute 4' (A0)<br />
Bombarde 16'<br />
Trompette 8'<br />
Clairon 4'<br />
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Accouplement Pos/G.O. sur Grand Orgue<br />
Accouplement G.O/Bom sur Bombarde<br />
Tirasse Bombarde<br />
Tremblant doux<br />
Tremblant fort<br />
Rossignol<br />
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NB1 : = Fourniture III (1' 1/3) + Cymbale III (1/2')<br />
NB2 : = Cymbale III (1/2')<br />
NB3 : = Trompette en chamade 8' (C3-D5)<br />
NB4 : C#1 key sounds A0 only for reed stops<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THE ALBI ORGAN BY CLICKING ON THE LINK BELOW:<br />
<span style="color: red;">TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.</span></span></span><br />
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<a href="http://www.youtube.com/watch?v=2Bix-_RlXqs&feature=related">Albi cathedral organ Beauvarlet-Charpentier</a><br />
<a href="http://www.youtube.com/watch?v=fgS7Y_H6aKg&feature=related">Recital on 5 manual Baroque organ at Albi Cathedral</a><br />
<a href="http://www.youtube.com/watch?v=prTkREeegEU&eurl=http://mypipeorganhobby.blogspot.com/">Organ Francis Chapelet improvise à Albi</a><br />
<a href="http://www.youtube.com/watch?v=FroZ85ZNd1U&feature=related">André Isoir joue Marchand à Albi</a><br />
<a href="http://ca.youtube.com/watch?v=0aypXkxowQc&feature=related">André Isoir joue Dandrieu à Albi</a><br />
<a href="http://www.youtube.com/watch?v=JEUMC5Hvd-o&feature=related"> ALBI = Les orgues</a><br />
<input id="gwProxy" type="hidden" /><input id="jsProxy" onclick="if(typeof(jsCall)=='function'){jsCall();}else{setTimeout('jsCall()',500);}" type="hidden" /><br />
<div id="refHTML"></div><input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="if(typeof(jsCall)=='function'){jsCall();}else{setTimeout('jsCall()',500);}" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-3078106146598686552010-10-17T09:22:00.000-04:002010-10-17T09:22:32.163-04:00Hertogenbosch St. Jan Cathedral Heyeman 1621 organ using older pipes<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifSSFQHGTPRUOK9L8kUUo99pvoL_Cf2_mF4MxeYmqI2korNmKieKx6zHeLtjDq06YgXoMxt74uO2f1xYrjXBL_sCGGQbIhlNcyc2BDrwyP1Qi-hzKv2BEwzh43ESRkGiTKeJjCdFFWlBYN/s1600/Organ+Den+_Bosch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifSSFQHGTPRUOK9L8kUUo99pvoL_Cf2_mF4MxeYmqI2korNmKieKx6zHeLtjDq06YgXoMxt74uO2f1xYrjXBL_sCGGQbIhlNcyc2BDrwyP1Qi-hzKv2BEwzh43ESRkGiTKeJjCdFFWlBYN/s400/Organ+Den+_Bosch.jpg" /></a></div><br />
<div class="MsoNormal" style="text-align: center;"><b>The great organ</b> </div><div class="MsoNormal" style="text-align: center;"><br />
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<div style="text-align: center;"><span style="font-size: large;"><b>HISTORY</b></span></div><div style="text-align: center;"><span style="font-size: large;"><b> </b></span></div><div style="text-align: center;"><span style="font-size: large;"><b> </b></span></div><br />
<div class="MsoNormal"><span style="font-size: small;">The archives of the "Illustre Lieve Vrouwe Broederschap" (Illustrious Lady Brotherhood) show that already in the 14th century there is mention of an organ in the Cathedral of St. John 's-Hertogenbosch. </span></div><div class="MsoNormal"><span style="font-size: small;"><o:p></o:p></span></div><div class="MsoNormal"><span style="font-size: small;">It is known that in 1533 Henry Niehoff built an organ that was destroyed by the tower fire in 1584. During the Twelve Years' Truce the current major organ was built at the west wall. It is one of the jewels of St. John's Cathedral. <br />
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The case, made in the years 1617-1620, is considered one of the most impressive in the world. The monumental architectural design is of an unparalleled majestic beauty. Exceptionally rich are the sculptures and carvings. The whole arsenal of the Dutch renaissance ornamentation designs are displayed there. Artists Frans Simonsz, carpenter, and sculptor Georg Schysler have made this artwork. </span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvOJ6apF6S8-kyM0_5l_1EC1ib2BLhE4rYxUT0ZnAgp3AgQVJP14n1zHSF2Vx8_-yISTFkkcFI7YGPnH8jD0rghbVEMr8Mk9jOCiG9hL_6Xjbv_WCtk6zuAR3UeZ9Ldeh17JkpZNutowW2/s1600/HertogenboschOrgel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvOJ6apF6S8-kyM0_5l_1EC1ib2BLhE4rYxUT0ZnAgp3AgQVJP14n1zHSF2Vx8_-yISTFkkcFI7YGPnH8jD0rghbVEMr8Mk9jOCiG9hL_6Xjbv_WCtk6zuAR3UeZ9Ldeh17JkpZNutowW2/s640/HertogenboschOrgel.jpg" /></a></div><span style="font-size: small;"><br />
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<span style="font-size: small;"> The sonorous part of the instrument has a turbulent history.</span></div><div class="MsoNormal"><span style="font-size: small;">Florentius Hoque from Grave was the first builder. His work was not found adequate and was twelve years later enhanced by father and son Hagerbeer (1634) and was praised by the judges who said: "our organ excels all organs in the Netherlands". </span></div><div class="MsoNormal"><span style="font-size: small;"><br />
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In the beginning of the </span><span style="font-size: small;">l8th </span><span style="font-size: small;">century the organ was restored and enriched with some stops by Cornelis Hoornbeeck and Christian Müller. In the seventies the instrument became disfunctional. The young German builder from Nijmegen, A G F Heyneman, built </span><span style="font-size: small;">a new instrument </span><span style="font-size: small;">in the years 1784-1787 in the style of early-and late-rococo classicism, using the old pipes. </span></div><div class="MsoNormal"><span style="font-size: small;"></span> </div><div class="MsoNormal"><span style="font-size: small;">In 1902 a total conversion took place to the taste of that time by the brothers Franssen. The mechanical system was replaced by pneumatics, the Swell was emptied and many stops were added. The instrument had 72 stops and was the largest in the Netherlands. It received slider chests and electro pneumatic action. The result was unsatisfactory. <br />
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Since 1961 the church has been under restoration and when the pulpit, the choir stalls and altar were restored, it was also decided to restore the organ to the state of 1787. There was sufficient historical knowledge about the instrument and many ranks of old pipes and were still present. <br />
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<div style="text-align: center;"><b><span style="font-size: small;"> Flentrop</span></b></div><span style="font-size: small;"> <br />
A new mechanical Tracker action was built, the pipes were extended to the old historical pitch, and missing pipes were created in the old style and some new stops were added. <br />
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When the Flentrop firm completed this work in 1984 the instrument, although significantly smaller than after 1953, has become far more eloquent and restored to its former glory. Between September 2003 and January 2004, all pipes were stripped of oxidation, grime and dirt. The scaffolding, required to tune the front pipes, has been used to also clean and wax the entire organ case. <br />
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</span> </div><div class="MsoNormal"><span style="font-size: small;">The historic pipes of Hoque (1622), Hagerbeer (1634), Hoornbeeck (1718), Müller (1722), Heyneman (1787), Vollebregt (1870) and the new pipes of Flentrop now (again) offer a combined exquisite beauty of sound, which will impress guests and visiting organists. </span></div><div class="MsoNormal"><span style="font-size: small;"><a href="http://www.orgelconcerten-hendrik-niehoff.nl/nl/orgels/geschiedenis.lp#top">source</a><br />
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Bach Praeludium 548, Koopman, St. Jan Cathedral organ in Hertogenbosch with most of the pipes and case dating back from 1550 till 1650.<br />
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Bach Fuga 548, Koopman, St. Jan Cathedral organ in Hertogenbosch with most of the pipes and case dating back from 1550 till 1650.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhquZUiuVQ9f3FT1XIzDVvJTjsTdo9CGzIwkDbYi5Lh_8nugS9pGrZGZqQ98vhF6so2czGUm3MDzxk7EQ6yn-LQs0Em4TdX3qfrJ-JvkNrDW_BrId2yrh1e0WvBpWasz05OKVewx-Ha6ko/s1600/St+Jan+cathedral+Den+Bosch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhquZUiuVQ9f3FT1XIzDVvJTjsTdo9CGzIwkDbYi5Lh_8nugS9pGrZGZqQ98vhF6so2czGUm3MDzxk7EQ6yn-LQs0Em4TdX3qfrJ-JvkNrDW_BrId2yrh1e0WvBpWasz05OKVewx-Ha6ko/s400/St+Jan+cathedral+Den+Bosch.jpg" /></a></div><br />
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Slghtly unequal following Sorge 1760 temperament.<br />
La = 415 Hz.<br />
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Bach 547, Koopman, St. Jan Cathedral organ in Hertogenbosch with most of the pipes and case dating back from 1550 till 1650. <br />
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Bach BWV 533, Koopman, St. Jan Cathedral organ in Hertogenbosch with most of the pipes and case dating back from 1550 till 1650. <br />
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<div style="text-align: center;"><span style="font-size: large;"><b><span style="font-size: small;">HISTORICAL SUMMARY</span> </b></span><br />
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</div>The organ is the product of various builders from 1550 till about 1760. It contains some of the most strange and unique pipes ever heard from the early Renaissance. All the pipes and stops are original from 1550 till 1760. The case is obviously original, all in dark wood with incredible sculptures and details more in the Gothic style than the Barque one. <br />
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The organbuilder is <i>Hendrik Niehoff</i>, the famous Organbuilder from Brabant who completed the organ in the St. Jans Cathedral in 's-Hertogenbosch in 1543.<br />
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<i>Since the 1530s Hendrik Niehoff lived in </i>'s-Hertogenbosch <i>and worked at the following: </i> <br />
<ul><li>'s-Hertogenbosch, <a href="http://nl.wikipedia.org/wiki/Sint-Janskathedraal_%28%27s-Hertogenbosch%29" title="Sint-Janskathedraal ('s-Hertogenbosch)">Sint Jan</a> (1533/1540, 1545 organ sold to Friesland )</li>
<li>'s-Hertogenbosch, Sint Jan, Towerorgel (1540, 1584 destroyed by fire)</li>
<li>'s-Hertogenbosch, Sint Jan (1548)</li>
<li>'s-Hertogenbosch, Sint Jan, Doxaalorgel (1566, 1584 destroyed by fire)</li>
</ul>source: <a href="http://nl.wikipedia.org/wiki/Hendrik_Niehoff#Hendrik_Niehoff">http://nl.wikipedia.org/wiki/Hendrik_Niehoff#Hendrik_Niehoff</a><br />
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In 1543 on the South-West wall opposite the in 1525 erected chappel a for that time large organ was built. This instrument is still the basis for the present organ. <br />
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The main project of the current organ was built by Heyeman between 1617 and 1621 using older pipes, since then many others repaired and modified it. Among the mysterious co-re-builders are probably Mueller and maybe also Garrels, F.C. Schnitger and maybe even Hinsz. But the pipes come from much older era and it has a very ancient sound. <br />
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<i>Organ</i> rebuild by <span style="font-size: small;">Flentrop</span> (1984) it was brought back to its original Baroque condition.<br />
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's-Hertogenbosch, St.-Jan,<br />
Hocque, 1618,<br />
case Hagerbeer, 1635,<br />
case Heyneman, 1787,<br />
restored 1980-1984 <span style="font-size: small;">Flentrop</span> <br />
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<div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION</b></span></div><div style="text-align: center;"><br />
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<div style="text-align: center;">I Rugpositief C–f3</div>Praestant 8′<br />
Bourdon 8′<br />
Quintadena 8′<br />
Fluyttravers 8′<br />
Octaaf 4′<br />
Fluyt dous 4′<br />
Super Octaaf 2′<br />
Flageolet 1′<br />
Mixtuur V <br />
Sexquialter II <br />
Trompet 8′<br />
Dulciaan 8′<br />
Tremulant<br />
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<div style="text-align: center;">II Hoofdwerk C–f3</div>Praestant 16′<br />
Bourdon 16′<br />
Praestant 8′<br />
Holpyp 8′<br />
Octaaf 4′<br />
Teriaan 31/5′<br />
Quint 3′<br />
Super Octaaf 2′<br />
Mixtuur VII <br />
Trompet 16′<br />
Trompet 8′<br />
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<div style="text-align: center;">III Bovenwerk C–f3</div>Quintadena 16′<br />
Praestant 8′<br />
Roerfluyt 8′<br />
Viola di Gamba 8′<br />
Octaaf 4′<br />
Open fluyt 4′<br />
Quintfluyt 3′<br />
Open fluyt 2′<br />
Super Octaaf 2′<br />
Sexquialter II <br />
Carillon III <br />
Cornet V <br />
Trompet 8′<br />
Vox Humana 8′<br />
Hautbois 8′<br />
Tremulant<br />
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<div style="text-align: center;">Pedaal C–f1</div>Praestant 32′<br />
Praestant 16′<br />
Bourdon 16′<br />
Octaaf 8′<br />
Gedekt 8′<br />
Octaaf 4′<br />
Bazuyn 16′<br />
Trompet 8′<br />
Clairon 4′<br />
Cornet 2′<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjONlih8TN5P_tsHMv4W6CGru7LFRj_LFrUBsjliHjoMYaGX_8lre8VBJ2k7pXFxSVEak35eHtpZd2KFoPjlBV2QMagz-4qp7dqwRQFW4Bl2UrBKYNBS5cAx3sofBUCub74dchNPxCndFaB/s1600/St-Jan_exterieur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjONlih8TN5P_tsHMv4W6CGru7LFRj_LFrUBsjliHjoMYaGX_8lre8VBJ2k7pXFxSVEak35eHtpZd2KFoPjlBV2QMagz-4qp7dqwRQFW4Bl2UrBKYNBS5cAx3sofBUCub74dchNPxCndFaB/s640/St-Jan_exterieur.jpg" /></a></div><br />
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</div><div class="separator" style="clear: both; text-align: left;">A Romanesque church used to stand on the spot where the St. John now resides. Its construction is thought to have started in 1220 and was finished in 1340. Around 1340, building began to extend the church, from which its current gothic style came. The transept and choir were finished in 1450. In 1505, the romanesque church was largely demolished, leaving only its tower. Construction of the gothic St. John was finished about the year 1525.</div><input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="if(typeof(jsCall)=='function'){jsCall();}else{setTimeout('jsCall()',500);}" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-12661259037207759092010-10-03T18:50:00.000-04:002010-10-03T18:50:31.298-04:00San Domenico Benedictine of Rieti the great Formentelli 2009 organ Dom-Bedos<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/M7bn97ngJ4c&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/M7bn97ngJ4c&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br />
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Occasional Oratorio <br />
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Organo Dom Bedos-Roubo di Rieti - improvvisazione su tema in stile barocco, nel gusto di J.F. Handel <br />
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Piccolo divertimento fatto sul grande Organo Formentelli Dom-Bedos di Rieti<br />
San Domenico Formentelli Benedictine Dom Bedos<br />
Little fun on the great Formentelli organ Dom-Bedos of Rieti<br />
Rieti San Domenico Formentelli baroque Benedictine Dom Bedos Luca di Donato<br />
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<div style="text-align: center;"><span style="font-size: large;"><b>Introduction</b></span></div><br />
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After the extraordinary undertaking the restoration of the church of San Dominic and its reopening to the church, the Committee St. Domenico, led by the pastor of the church, Monsignor Luigi Hinny, has decided to equip the great basilica with an organ as prestigious as that which accompanied in the past.<br />
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<b>The Church of San Domenico: The dark years: the ruins of St. Dominic.</b><br />
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In 1810 the French government seizes the entire complex, ousting the religious who are to leave the convent. In 1862 The religious community is suppressed and the new structure receives ownership of land. The convent is used as a military barracks while the church is used as a stable. Don Mariano Pandolf draws up, in those years a timely and heartfelt chronicle of the vicissitudes suffered by the church, later taken over by his nephew Don Vincent Woods. From its chronicles how the church was reduced at the mercy of everyone: the reed organ, famous because of special twisted pipes, is disassembled by the boys who played in the street as fifes. Fourteen altars are all destroyed, stolen marble, the library sacked, bells sold to a stranger claiming to recast.<br />
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Piccola Toccata Improvvisata sul Grande Organo Dom-Bedos della Basilica di San Domenico in Rieti. <br />
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From 1924 to 1940 the church was used as a sawmill. In 1966 Dr Luisa Mortari, director of the Museo Civico di Rieti, performs a partial restoration and the posting of the few paintings remaining today kept partly in the Museum and the Diocesan Museum. In 1979, due to the earthquake and neglect, the roof collapsed and the building is overgrown.<br />
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Improvisation on the theme of "La Majesta" by Telemann.<br />
Performed on the monumental organ Formentelli Sun-Bedos the Church of San Domenico in Rieti. The trumpets are placed on an Chamade wrestplank left to right in during the recording because of the place of the recovery came sharp and clear just sounds right.<br />
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<div style="text-align: center;"><span style="font-size: large;"><b>Recovery</b></span></div><br />
<b>Dominic lives</b><br />
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On 8 June 1994 the Municipality of Rieti, who had San Dominic, entrusted it to Bishop Luigi Bardotti, pastor of Saint Lucia, for return to worship. The church is in complete state of abandonment, but Don Louis did not lose heart and starts the Committee for the recovery of the building. Within a short time work starts: it reconstructed roof trusses wood beams and cleaned the walls, the floors redone brickwork and relocated five new bells. At last On December 18 1999 the church of San Domenico is reopened for worship and becomes part of the churches of the great Jubilee of the third millennium.<br />
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<b>Recovery: San Domenico relives</b><br />
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The meeting with Bartholomew Formentelli: why the organ of St. Dominic is called Dom Bedos -Roubo<br />
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The idea of building a Dom Bedos Organ dates from April 2000, when some members of the Committee, participating in the blessing of the largest organ of the Jubilee in Santa Maria degli Angeli in Rome, know the craftsman of the instrument, Bartholomew Formentelli, organ builder in Pedemonte Verona. <br />
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Filippo Tigli Improvvisazione sul Te Deum di Charpentier<br />
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Formentelli has a reputation for exquisite work, following the ancient rules of the organ art. He brought back new life to the great (1735) Moucherel organ in Albi. Formentelli builds and restores getting impressive, warm and atavism sounds. At an encounter with the organ builder the idea was born or make an organ by following the directions of two treaties of the eighteenth century: <br />
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<i>"L'art du Facteur d'Orgues "of the Benedictine Dom François Bedos de Celles</i> and<br />
<i>"L'Art du Menuisier Carrosier" Monsieur Le Fils Roubo. </i><br />
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First <br />
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explicated in detail the entire process of building an organ,starting from its construction up to the choice of construction materials,<br />
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shows a drawing of "Buffet du Grand Orgue" ideal. <br />
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In the Dom Bedos each step is meticulously described, by merging pipes up to the rules of maintenance and choice of stops during execution. This is a rigorous publication of reference for builders. <br />
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"L'Art du Menuisier Carrosier" Monsieur Roubo Le Fils, dating back to 1768, is a treatise on carpentry and sculpture wood on which it based the design of the "dress" external case which plays the aesthetic role, but also has a key role in the sound quality, as is the case for any musical instrument.<br />
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On 15 January 2004 the contract was signed between the organ-building workshop for Bartholomew Formentelli and the committee San Domenico. Immediately after the commencement of work that can be said to be essentially complete with inauguration given on 8 December 2008 by SE Cardinal Tarcisio Bertone, Vatican secretary of state. The organ was completed in all its registers in November 2009.<br />
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Great French Offertory on a Theme by Delalande. Performed on the monumental Formentelli organ of the Church of San Domenico in Rieti. the organ is still under construction, is not complete with all the registers and the tuning is not definitive. the organ looks great, it is bright in sound, vigorous in the reeds, warm in foundations and brilliant as a starry sky in ripieni. the mechanics are elegant and precise. A real round of applause to the Master organ builder Formentelli who has built a real piece of history! God bless this work. Formentelli put this in vivo Dom Bedos had only dreamed of.<br />
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Interludi al Dixit Dominus, eseguiti sul monumentale organo Formentelli Dom-Bedos della basilica di San Domenico in Rieti <br />
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Papal Dom Bedos organ - Roubo Benedict<br />
The organ-Dom Bedos Roubo called "Papal" why and state donated to His Holiness Benedict XVI. <br />
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It's a classic French organ, with five keyboards and pedal 30 keys, It has 57 registers and 4054 pipes, It has a console that matches the great historical organs of France and Northern Europe. The "French" pedal of the Dom Bedos-Roubo, was conceived according to the French music of the eighteenth century and therefore ill-suited to perform music or nineteenth polyphonic pieces on the pedal. For this reason, it was considered necessary to provide the Dom Bedos-Roubo with with a "German" second pedal, it undoubtedly extends the musical literature executable. The two pedals are interchangeable depending on the music you will have to perform.<br />
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The monumental walnut case (13.5 meters) is waxed and decorated with wooden carvings depicting flowers and cherubs, by Sergio dall'intagliatore Bellani. <br />
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Some reed pipes are placed horizontally (En Chamade), typical of the southern tradition of France and Spain. In the facade the register Montre 32 foot dominates. The pipes are tin (Montre, Plein Jeux and Ance 35%) and lead, hammered and planed by hand. The reeds are made of brass reeds "laiton Graitè" (hammered obtained more layers) according to the age-old practice of France and Europe<br />
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The GRAND'ORGUE (II clavier Montre de 32') of the large organ is based on a 32 foot. The console is behind the Positive Tergal. In Europe there are only two other "brother" organs to Rieti with five keyboards with the third "En Chamade" the Moucherel organ of Albi and the Dom Bedos organ of Bordeaux.<br />
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Organo Dom Bedos-Roubo Rieti - Filippo Tigli: Improvvisazione nel gusto nord germanico<br />
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Console five keyboards Dom Bedos Organ-Roubo<br />
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<div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION</b></span></div><br />
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<div style="text-align: center;">GRAND'ORGUE (II clavier, 53t) </div><br />
1) Montre de 32 '<br />
2) Montre de l6 '<br />
3) de Montre 8 '<br />
4) de Bourdon 16 '<br />
5) de Bourdon 8 '<br />
6) Flute de 8 '<br />
7) Prestant<br />
8) Doublette<br />
9) Gros Nazard<br />
10) Grosse Fourniture 3 rgs<br />
11) Fourniture 5 rgs<br />
12) Cymballe 6 rgs<br />
13) Grosse Tierce<br />
14) Nazard<br />
15) Tierce<br />
16) Grand Cornet<br />
17) Trompctte 8 '<br />
18) Clairon 4 '<br />
19) Voix Humaine 8 '<br />
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<div style="text-align: center;">POSITIF DE DOS (I clavier53t)</div><br />
1) de Montre 8 '<br />
2) à Chemineè de Bourdon 8 '<br />
3) Prestant 4 '<br />
4) Doublette<br />
5) Fourniture 4 rgs<br />
6) Cymballe 3 rgs<br />
7) Flute de 4 a Bottle '<br />
8) Nazard<br />
9) Quart de Nazard<br />
10) Tierce<br />
11) Larigot<br />
12) Cromorne 8 '<br />
13) Trompette 8 '<br />
14) Clairon 4 '<br />
15) by Cornet 5 rgs Do3<br />
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<div style="text-align: center;">RESONANCE (III clavier) 53 t </div><br />
20) Bombarde 16 '<br />
21) Bataille Trompette en Chamade<br />
22) Clairon 4 'en Chamade<br />
23) Cornet 5 rgs<br />
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<div style="text-align: center;">RECIT (IV clavier) 35 touches</div><br />
1) Flutes de 8 '<br />
2) Cornet de5 rgs<br />
3) Hautbois 8 '<br />
4) Trompette 8 '<br />
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<div style="text-align: center;">PEDAL - 29 touches </div><br />
1) Flute de 16 '<br />
2) Flute de 8 '<br />
3) Flute de 4 '<br />
4) Bombarde 16 '<br />
5) ière Trompette 8 '<br />
6) IIere Trompette 8P '<br />
7) Clairon 4 '<br />
8) Gros Cormorne 4 '<br />
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<div style="text-align: center;">ECHO (V clavier) - 42 touches</div><br />
Avec touts les ANCES LA-1 sur le Do1 #<br />
1) de Bourdon 8 '<br />
2) Prestant 4 '<br />
3) Doublette<br />
4) Fourniture 3 rgs<br />
5) Nazard<br />
6) Tierce<br />
7) Musette<br />
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ACCESSORIES<br />
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Rossignol en Amour (10 pipes, immergées dans l'eau)<br />
Tremblant doux to G.O. Positif Récit<br />
Accoupplement -G.O. on POS - Accoupplement Res sur GO - GO Accouplement sur le<br />
Pedalboard - pulled IIIeme du clavier sur le Pedal - Diapason: 415 Hz at 20 ° C<br />
Pedals 29 pedal Francaise (CF) - Allemande 28 Pedal pedal (CE)<br />
Temperament: inequities, 4 just major thirds (do-mi, fa-la, sol-si, re-fa #), 2<br />
scenes of the Wolf "(B major and C # major)<br />
TOTAL PIPES = 4054<br />
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The choice of temperament and 'was a compromise must be compared to<br />
medium tone desired by Dom Bedos. It would limit very much<br />
music performed. Therefore, after consultations with the Maestro and Colamarino<br />
Hadrien Jourdan, Formentelli proposed and implemented a temperament<br />
Inequities, at 415 <leo_highlight id="leoHighlights_Underline_0" leohighlights_keywords="hertz" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dhertz%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dhertz%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_0')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_0')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_0')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">Hertz</leo_highlight> with just four major thirds (do-mi, fa-la, I resolved<br />
; Re-fa #). Even the literature of J.S. Bach is executable. Some agreements<br />
(B major and C # major) have the effect of "fifth of the wolf."<br />
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<br />
<div style="text-align: center;">ARCHETTURA the Dom Bedos-Rouba</div><br />
<a href="http://www.organosandomenicorieti.it/dombedos1.htm"> source</a><br />
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<br />
1) Socket: contains 2 of the 4 bellows el'elettroventilatore.<br />
2) Singer: It is accessible from behind the organ by means of a scale that<br />
"The guillotine" because it measures the scale of the scaffold. Ironic<br />
metaphor for the Organ, going up the "guillotine", is preparing to undergo the opinion of the public. 5 keyboards (console) are placed between the Tergal positive and the great organ and are not visible from the nave.<br />
3) Positive Tergal is inserted into a wooden railing and in itself capable of playing alone or together throughout the instrument, it is' triggered from the keyboard.<br />
4) Great Organ: Beyond the Great Organ (II keyboard), this part also contains the pedal placed in the two side towers and Recitative (IV keyboard). Inside the base are two bellows with their electric <br />
5) Echo Organ, operated by the fifth console keyboard. Located behind the Positive Tergal that prevents the public to see the organist<br />
6) side towers, are the pipes of the pedal, that are driven by pedals<br />
7) the main tower where the pipes are bigger. The central tower, corresponding to "LA", is about 7 meters high.<br />
8) Console, hidden by Positive Tergal, has 5 keyboards, 57 registers.<br />
Pedalboard "French" interchangeably with "German".<br />
9) Organ of recitative, hidden in the central tower, is driven from the IV keyboard in the console: the echo, using his right hand to perform singable or actual response <br />
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<br />
PIPE ORGANS: San Domenico Formentelli Benedictine Dom Bedos<br />
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<br />
Francis Chapelet improvisation at the Dom Bedos/Barthelemy Formentelli organ in San Domenico Church (Rieti, Italy)<br />
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<br />
Filippo Tigli la marsigliese.avi<br />
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<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/mBJazbTLvUM&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/mBJazbTLvUM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
Filippo Tigli Improv in stile ottocentesco su tema di Smetana<br />
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Filippo Tigli impr su tema di J S Bach BWV1060<br />
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<input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="if(typeof(jsCall)=='function'){jsCall();}else{setTimeout('jsCall()',500);}" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-43374914644044620572010-09-09T09:26:00.000-04:002010-09-09T09:26:12.977-04:00Grote Sint-Michaëlskerk Zwolle 1721 Schnitger Organ<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicrQ3w8VanljyVfUbsl-JDtsRCfY6c_pljWV7hBlwGE2MweNnRbA5PmS_lTyx5oqIr-GAPlbC688CD5mz5Toyr3QKWoG1q2U4vht-l33qfDveTnMM8hMgLbiwGDUVA7gFg7PLLzLDl8wo/s1600-h/Zwolle+schnittger_zwolle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicrQ3w8VanljyVfUbsl-JDtsRCfY6c_pljWV7hBlwGE2MweNnRbA5PmS_lTyx5oqIr-GAPlbC688CD5mz5Toyr3QKWoG1q2U4vht-l33qfDveTnMM8hMgLbiwGDUVA7gFg7PLLzLDl8wo/s400/Zwolle+schnittger_zwolle.jpg" width="322" /></a></div><br />
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<div style="text-align: center;">Builders Frans Caspar and Johann Georg Schnitger<br />
Completed 30 September 1721</div><br />
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<div style="text-align: center;"><span style="font-size: large;"><b>HISTORY</b></span></div><br />
The first organ<br />
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The first indication of the presence of an organ in Great or St. Michael’s Church is from 1505. It is not clear who 'Johan meister' (master Johan) was, who was responsible for that instrument. He could have been any of the following: Johan at Damme; Johan Jacobsz. of Bilstein, Jan Graurock or Jan van Covelens.<br />
The organ had three manuals with Pedal: a Blokwerk (no separate stops; 32-34 ranks) playable as the Hoofdwerk (main manual; 24-foot); a Bovenwerk (upper manual) with 4 or 5 stops and a Rugpositief (back positive) with four voices.<br />
In 1641 it was felt the time had come to modernise the organ. The organ builder Jan Morlet III from Arnhem was instructed to provide a scheme for the conversion. He found an inventive way to make the lowest two ranks from the Blokwerk independent and playable on the pedals. The Blokwerk was left as it had been. The work was completed in 1643.<br />
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Johann Sebastian Bach (1685-1750) Passacaglia et thema fugatum in C minor BWV 582<br />
1. Passacaglia<br />
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Wouter van den Broek at the Schnitger organ of the Michaelskerk in Zwolle<br />
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Johann Sebastian Bach (1685-1750) Passacaglia et thema fugatum in C minor BWV 582<br />
2. Thema fugatum<br />
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Wouter van den Broek at the Schnitger organ of the Michaelskerk in Zwolle<br />
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When the tower collapsed in 1682 the old organ was damaged irreparably. There was evidently no money available for the repair and rebuilding of the organ nor for the construction of a new organ, because the instrument was dismantled and put into storage in anticipation of better times.<br />
The church was thus deprived of a main organ for many years, until in 1718 Bernard Huet, a Zwolle burgomaster and doctor, made a generous donation for the construction of a new organ. His brother Thomas then added a further contribution for the organ.<br />
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<div style="text-align: center;">Got in der Hohe sei Ehr performed by Klaas Jan Mulder</div><br />
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Schnitger<br />
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Contact was made with Arp Schnitger through a Zwolle merchant, who invited him to visit Zwolle, and on the advice of the Amsterdam organist and carrillonneur, Evert Haverkamp, he was the one chosen, on 23 December 1718, to build a new organ in the Great Church. After drawing up a draft contract, Arp Schnitger travelled back to Hamburg. Later on his son Frans Caspar Schnitger agreed to some additions to this scheme, and a contract was signed on January 3rd, 1719.<br />
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The sum of f 11.000 was assigned to build the instrument, excluding the case. Schnitger was to build an organ with 46 voices — using a portion of the old pipe material — consisting of a Ober (Over) Manual (16-foot), Unter (Under) Manual (8-foot), Rückpositiv (8-foot) and a Pedal (16-foot). All the necessary stone, wood and iron was to be supplied by the city. Workspace was made available in the Church of Our Lady (Onze Lieve Vrouwekerk) for the casting of the new pipes and in April 1719 Arp’s sons Frans Caspar and Johann Georg began the building. Their father, Arp, did not live to see the completed instrument as he died in his hometown, Neuenfelde, where he was buried on July 28, 1719, at the age of 71.<br />
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Dietrich Buxtehude - Komm, Heiliger Geist, Herre Gott <br />
Dick Sanderman - Schnitger Organ Zwolle<br />
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The final version of the contract was made on 30 april 1720 in order to enlarge the instrument with one more manual — a Borstwerk (Breast division) with 11 stops. The organ was built with a total of 63 stops, according to the ‘Werkenprinzip’, meaning that each werk or division is equally balanced and completely independent.<br />
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In September 1721 the organ was inspected by three renowned organists from that time, namely, Evert Havercamp, Nicholas Woordhouder and Aeneas Egbertus Veldcamps. Their report was full of praise for the work of the North German organ builder, but it also included some critical observations and even suggested a few modifications. The Schnitger brothers took no notice of these criticisms. The organ remained unchanged.<br />
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</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsDdBPxwA6F110E4T7jcxpZzj39QEsSzkN-inCWxKoEvsYIaVeL_xkmaFSeyEYXQtJT31wh2Tk2j6eTo2TRkVruduF8lHDmk3dxBju_TV7rwcipsM67GS1FoUKve9m7wg4HqrnFxFxiOU/s1600-h/zwolle+below.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsDdBPxwA6F110E4T7jcxpZzj39QEsSzkN-inCWxKoEvsYIaVeL_xkmaFSeyEYXQtJT31wh2Tk2j6eTo2TRkVruduF8lHDmk3dxBju_TV7rwcipsM67GS1FoUKve9m7wg4HqrnFxFxiOU/s400/zwolle+below.jpg" /></a><br />
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<div style="text-align: center;">The organ case</div><br />
The case of the organ is also very impressive, both in its design and for its baroque style onamentation.<br />
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<div style="text-align: center;">Maintenance and modifications</div><br />
Over the centuries the organ was regularly maintained, but it was subject to changes in fashion and at certain times some rather far reaching alterations were made.<br />
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<div style="text-align: center;">Flentrop</div><br />
After the Second World War it became obvious that a major restoration was necessary. The organ was entrusted to the care of Flentrop, the organ builder from Zaandam, and during 1953-1955 it was restored as far as was possible back to its original state.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgj9EFJ0Uh7dyt_2S0GSWq3NfIhNybSiLtEwlUzfqh4CCZ2o0p-jMCbDc8qBJ5DqU17UKWmPpO0HQAdTTr5wVXq2NHeMAFOBP59yJwPOn9DBphXoFN_JBwqyU4Ytkg_iabLb0SbRqdtZs/s1600-h/zwolle+orgel420.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5357292046195500050" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgj9EFJ0Uh7dyt_2S0GSWq3NfIhNybSiLtEwlUzfqh4CCZ2o0p-jMCbDc8qBJ5DqU17UKWmPpO0HQAdTTr5wVXq2NHeMAFOBP59yJwPOn9DBphXoFN_JBwqyU4Ytkg_iabLb0SbRqdtZs/s400/zwolle+orgel420.jpg" style="display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 218px;" /></a><br />
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<div style="text-align: center;">Recent maintenance and restoration</div><br />
During the major cleaning operation in 2000-2001 it was seen that this splendid instrument still had many years of life left of first rate performance, but work would be needed to improve its condition. A scheme of work to restore the organ back to its best began in 2007, the work being implemented in phases<br />
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<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/V_8YHlCvkUw&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/V_8YHlCvkUw&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br />
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<div style="text-align: center;">Fantasie en Toccata on Hymn 432 Wat God doet dat is welgedaan by Klaas Jan Mulder</div><br />
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<div style="text-align: center;"><span style="font-size: 180%;">Disposition </span><br />
Schnitger-organ Grote or Sint-Michaëlskerk</div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQwneQobsOTAhJVAQzwwsIbQ6wXCLSdVgXhGDZobI1PyJsKwfBCeJFefXtAiuyL1hpND7kpA2svJwQfR4LD1MpXuP-6HAo6wBsDLsSCvOUKVsF_HFysnsi42loK1AAViBO03z0rxM-8B0/s1600-h/zwolle3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQwneQobsOTAhJVAQzwwsIbQ6wXCLSdVgXhGDZobI1PyJsKwfBCeJFefXtAiuyL1hpND7kpA2svJwQfR4LD1MpXuP-6HAo6wBsDLsSCvOUKVsF_HFysnsi42loK1AAViBO03z0rxM-8B0/s400/zwolle3.jpg" /></a></div><br />
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<div style="text-align: center;">Hoofdwerk</div><br />
Praestant 16'<br />
Quintadena 16'<br />
Octaaf 8'<br />
Roerfluit 8'<br />
Octaaf 4'<br />
Speelfluit 4'<br />
Nasaard 3'<br />
Octaaf 2'<br />
Ruispijp II st<br />
Mixtuur VI st<br />
Cimbel III st<br />
Trompet 16'<br />
Trompet 8'<br />
Vox Humana 8'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZoWJhmXvkC6ePb8G1XFuC_9NT__yGWE1JNtIOopnPgyZ1G4sO2bf4eAAQ6JC9K56kc_YRZmJtc83wajBtcf5yh4egS_WxkxxJXYg04fAd9Ojhf14Wyo3zzewATCimEGHwdki5-gn8Fmg/s1600-h/zwolle2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5357984122679003730" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZoWJhmXvkC6ePb8G1XFuC_9NT__yGWE1JNtIOopnPgyZ1G4sO2bf4eAAQ6JC9K56kc_YRZmJtc83wajBtcf5yh4egS_WxkxxJXYg04fAd9Ojhf14Wyo3zzewATCimEGHwdki5-gn8Fmg/s400/zwolle2.jpg" style="display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 274px;" /></a><br />
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<div style="text-align: center;">Bovenpositief</div><br />
Praestant 8'<br />
Holpijp 8'<br />
Quinta 6'<br />
Octaaf 4'<br />
Holpijp 4'<br />
Quint 3'<br />
Octaaf 2'<br />
Woudfluit 2'<br />
Sifflet 1 1/2'<br />
Tertiaan II st<br />
Scherp V st<br />
Viola di Gamba 8'<br />
Trompet 4'<br />
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<div style="text-align: center;">Rugwerk</div><br />
Praestant 8'<br />
Quintadena 8'<br />
Flûte douce 8'<br />
Octaaf 4'<br />
Fluit 4'<br />
Quintfluit 3'<br />
Octaaf 2'<br />
Sexquialter II<br />
Scherp IV<br />
Cimbel III<br />
Fagot 16'<br />
Schalmey 8'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mZwDRmn1UruYzq2ivT6OgslSN8m2xTiya3gTL29igvPtsZu9r5isLGLfj53NN6Nq1VsFVCnwVHvTl4UjUkRm6Dz366S3nvY4XqeXa_vt4ZHj6IgAX8p3aipJSyQHdWDb9cvxbxweogs/s1600-h/zwolle+3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiboc-LbCUYCdsFHVSgWZ2UpABqASPRdXENWNK0UPWsYrzl92M6KOWDCWbn-Pi1QmNNi_P4ZlaCvy6q5bjog0IL1vnEhM9wNzw6aOcP3eN54ruR7B_-no-wptqpztv188JqSgQYFTGSOnQ/s1600-h/zwolle+manuals+GroteKerk.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiboc-LbCUYCdsFHVSgWZ2UpABqASPRdXENWNK0UPWsYrzl92M6KOWDCWbn-Pi1QmNNi_P4ZlaCvy6q5bjog0IL1vnEhM9wNzw6aOcP3eN54ruR7B_-no-wptqpztv188JqSgQYFTGSOnQ/s200/zwolle+manuals+GroteKerk.jpg" /></a></div><br />
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<div style="text-align: center;"><br />
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Borstwerk</div><br />
Fluit gedekt 8'<br />
Praestant 4'<br />
Roerfluit 4'<br />
Spitsfluit 3'<br />
Octaaf 2'<br />
Woudfluit 2'<br />
Quintanus 1 1/2'<br />
Nachthoorn 1'<br />
Sexquialter II st<br />
Mixtuur IV st<br />
Dulciaan 8'<br />
Regaal 8'<br />
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<div style="text-align: center;">Pedaal</div><br />
Praestant 16'<br />
Subbas 16'<br />
Octaaf 8'<br />
Holpijp 8'<br />
Octaaf 4'<br />
Vlakfluit 2'<br />
Mixtuur VIII st<br />
Fagot 32'<br />
Bazuin 16'<br />
Trompet 8'<br />
Trompet 4'<br />
Cornet 2'<br />
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Couplers<br />
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Hoofdwerk-Rugw.<br />
Hoofdwerk-Bovenpos.<br />
Hoofdwerk-Borstwerk<br />
Bovenpos.-Borstwerk (sliding coupler)<br />
Pedaal-Hoofdwerk<br />
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6 afsluiters<br />
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12 spaanbalgen, waarvan 4 in werking<br />
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Tremulant HW-BP-BW<br />
Tremulant RW<br />
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<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/iXOpsgA2YVo&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/iXOpsgA2YVo&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br />
<div style="text-align: center;"><br />
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Postludium by Marius Monnikendam performed by Feike Asma </div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWXjVOXZNf9-O6rUbOS8rzd4j79KS7sNRYvhCh4ABfcO2nrZnCe2hOD2XDsPEGETg99L9TY92K5Fy80e-xepHnT5608mFeyfNGS_P-gq8oDwZwVPp1IpHWxPnWwpJpLXJPlZbIJaWKdO8/s1600-h/Zwolle+side.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWXjVOXZNf9-O6rUbOS8rzd4j79KS7sNRYvhCh4ABfcO2nrZnCe2hOD2XDsPEGETg99L9TY92K5Fy80e-xepHnT5608mFeyfNGS_P-gq8oDwZwVPp1IpHWxPnWwpJpLXJPlZbIJaWKdO8/s400/Zwolle+side.jpg" /></a></div><div style="text-align: left;"></div><input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="jsCall();" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-74590230528186912712010-07-24T09:57:00.002-04:002010-07-25T11:05:51.727-04:00Organs Of the St. Laurens, Rotterdam, Holland. Four Organs<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNt4-otV9WwBLc28ALuk0XcufIPnojEgxSFRGC37mrScNJa7HprWMfyhcEhlQVFxpAcSgxu2l1yZXXHzeSRlGIUF21LR4LIBMHQcjy7KdvxFzJa6fTf8fsd-_p3QRFFyWvK-BNbA7tYW_6/s1600-h/Rotterdam+IMG_0284.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNt4-otV9WwBLc28ALuk0XcufIPnojEgxSFRGC37mrScNJa7HprWMfyhcEhlQVFxpAcSgxu2l1yZXXHzeSRlGIUF21LR4LIBMHQcjy7KdvxFzJa6fTf8fsd-_p3QRFFyWvK-BNbA7tYW_6/s400/Rotterdam+IMG_0284.JPG" width="300" /></a></div><br />
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<span style="font-size: 78%;">click picture to enlarge</span><br />
St. Laurens Church in Rotterdam was completed in 1525, and only the walls and tower remained after a German air raid in 1940. The church was rebuilt 1947-1968.<br />
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The church has four organs:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjuGG68q3xfjRlaMzCJ5vtwrxvl2Hboived9vdJC7K6g3Jq1U0NzjfInLhq9kaZhSmYhlOEus7krjMmCcXnK9iWchWfaq9_G_T-fliQCf8fFlMnmPqLSMGjxF6IQ1gjuEVqfGsSJRwuYo/s1600-h/IMG_0284.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="400" id="BLOGGER_PHOTO_ID_5310562437513219074" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjuGG68q3xfjRlaMzCJ5vtwrxvl2Hboived9vdJC7K6g3Jq1U0NzjfInLhq9kaZhSmYhlOEus7krjMmCcXnK9iWchWfaq9_G_T-fliQCf8fFlMnmPqLSMGjxF6IQ1gjuEVqfGsSJRwuYo/s400/IMG_0284.JPG" style="display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" width="300" /></a> <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4iJnbBAoDudmC-VkOXt0NLq1Fw8VEtRj4XskzB6S8IpopzQv5fq7OpVqpn2-38tadfbrCp2CtrBcJUr9hofnTRxPl61bfgwsHPHCppUoV88RnGYvvngZg_8Csgp7Mgyr0dE9IfkGi-tQ/s1600-h/rotterdam-laurens-kapel1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310598600887255650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4iJnbBAoDudmC-VkOXt0NLq1Fw8VEtRj4XskzB6S8IpopzQv5fq7OpVqpn2-38tadfbrCp2CtrBcJUr9hofnTRxPl61bfgwsHPHCppUoV88RnGYvvngZg_8Csgp7Mgyr0dE9IfkGi-tQ/s320/rotterdam-laurens-kapel1.jpg" style="cursor: pointer; display: block; height: 287px; margin: 0px auto 10px; text-align: center; width: 194px;" /></a><br />
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<span style="font-size: 78%;">click picture to enlarge</span><br />
the Chapel organ,<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_EDb6DzD5GH11xedF0YWqkGuUvbGqoi8hApaH-6IqXatkX-6thjHXKU-0P2ERDBD9-lhraASihAYsQQzbFP6zIFF-bxF2xZRVq4mHzG6YvdtVIIcBJUvagKOKJV1bwYQH2TdS1aQpjVY/s1600-h/IMG_0276.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310562675346251346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_EDb6DzD5GH11xedF0YWqkGuUvbGqoi8hApaH-6IqXatkX-6thjHXKU-0P2ERDBD9-lhraASihAYsQQzbFP6zIFF-bxF2xZRVq4mHzG6YvdtVIIcBJUvagKOKJV1bwYQH2TdS1aQpjVY/s320/IMG_0276.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
Choir organ*, <span style="font-size: 78%;">(on lh side of choir, click picture to enlarge)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEb7KABHoABcxO9qdWbDTb5VNQvT6q98rRdbhX3xSqvL8Sv3NGqmjg0GvcENS9JDw16GIOixoo_RrVwrPXO-OEOwQvEPYoTAXr0d0cQxWLv6c1tX1-eV0kZ27ZB4wJJ73WnAUtM9Ehorg/s1600-h/IMG_0277.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310558708790879378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEb7KABHoABcxO9qdWbDTb5VNQvT6q98rRdbhX3xSqvL8Sv3NGqmjg0GvcENS9JDw16GIOixoo_RrVwrPXO-OEOwQvEPYoTAXr0d0cQxWLv6c1tX1-eV0kZ27ZB4wJJ73WnAUtM9Ehorg/s320/IMG_0277.JPG" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a> <span style="font-size: 78%;">click picture to enlarge</span><br />
Transept organ* 3 manuals, 44 ranks.<br />
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and the main organ*:<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfoPQA5QKiP0quiF1eWo9Z2KTvef0-BkYSDPWLeDghyphenhyphenmhkgvOnbmksIO1HldSWRC02GsE9U-iGJi1gZJ08uOwr0x_8CLtdavPitKEtYniJGvz6fqgk5v8bNs7T6jBQk_XJ0PYmYDRKWuw/s1600-h/IMG_0274.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310559110270680738" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfoPQA5QKiP0quiF1eWo9Z2KTvef0-BkYSDPWLeDghyphenhyphenmhkgvOnbmksIO1HldSWRC02GsE9U-iGJi1gZJ08uOwr0x_8CLtdavPitKEtYniJGvz6fqgk5v8bNs7T6jBQk_XJ0PYmYDRKWuw/s320/IMG_0274.JPG" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a><span style="font-size: 78%;">click picture to enlarge</span><br />
the Hoofd Orgel* (1973) of 85 stops and 7600 pipes. It is the largest organ in the <leo_highlight id="leoHighlights_Underline_0" leohighlights_keywords="netherlands" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsBottom.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsTop.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_0')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_0')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_0')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">Netherlands</leo_highlight>.<br />
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Improvistation psalm 54 Marcussen & Søn organ of the St. Laurens in Rotterdam. The biggest organ of the <leo_highlight id="leoHighlights_Underline_1" leohighlights_keywords="netherlands" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsBottom.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsTop.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_1')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_1')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_1')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">Netherlands</leo_highlight> and also the biggest full mechanical organ in Europe <br />
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<div style="text-align: center;">Improvisatie over gezang 380 Lvk laurenskerk Rotterdam Mei 2008 </div><br />
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Three* new mechanical (tracker) organs were built by Danish builders Marcussen & Son and by Sybrand and Jürgen Zachariassen.<br />
Entering Grote Kerk or St Laurenskerk by the main doorway under the tower, visitors are struck by the lightness and beauty of the interior. In the reconstruction most of the windows were glazed with brightly colored glass. The church is a cruciform basilica in the Late Gothic style of the <leo_highlight id="leoHighlights_Underline_2" leohighlights_keywords="netherlands" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsBottom.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsTop.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_2')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_2')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_2')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">Netherlands</leo_highlight>, with high, wide aisles and painted wooden barrel vaulting.<br />
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The principal organ stands on a marble base on the inside wall of the tower. There is another organ in the south transept and a smaller organ on the north side of the choir.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-xltJP7jLVmNg50URwdX3U1J4xQIKNkD-GSlO4gEHArJpnnwigMiIrHc0pSiftFK838LIaXypBJGqd46TXszwVGohJOBJ5OlUC8AXlgNP-VNB2R4xCVtCWtHJUfFZtpl2Z5i5Gi7Qmi8/s1600-h/ROTTERDAM+St.+Laurens.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310536714657176498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-xltJP7jLVmNg50URwdX3U1J4xQIKNkD-GSlO4gEHArJpnnwigMiIrHc0pSiftFK838LIaXypBJGqd46TXszwVGohJOBJ5OlUC8AXlgNP-VNB2R4xCVtCWtHJUfFZtpl2Z5i5Gi7Qmi8/s320/ROTTERDAM+St.+Laurens.jpg" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><span style="font-size: 78%;">click picture to enlarge</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQl6Af2XcoLnAck0ifDhlJDTJdjsU_-qprqcPiyrYmYF9zk9YxY61OfmCLgJh0eqfELw3P9S82-fP0AkibNZyr1iD5218IXTVvBWfwVYqtg4itZQmdzr0ZYftgnewMP16df2XSsOxAxoU/s1600-h/ROTTERDAM+St.+Laurens+rugwerk.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310536893589711234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQl6Af2XcoLnAck0ifDhlJDTJdjsU_-qprqcPiyrYmYF9zk9YxY61OfmCLgJh0eqfELw3P9S82-fP0AkibNZyr1iD5218IXTVvBWfwVYqtg4itZQmdzr0ZYftgnewMP16df2XSsOxAxoU/s320/ROTTERDAM+St.+Laurens+rugwerk.jpg" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a></span></span><span style="font-size: 78%;">click picture to enlarge</span><br />
<span style="font-size: 130%;"><span style="font-weight: bold;">YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:<br />
<span style="color: red;">TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.</span></span></span><br />
<a href="http://www.youtube.com/watch?v=pmPYSlolSVw&feature=related">Improvisation Organ Laurenskerk Rotterdam, Netherlands</a> <a href="http://www.youtube.com/watch?v=3sux45V3xx0&feature=related"> </a><br />
<a href="http://www.youtube.com/watch?v=3sux45V3xx0&feature=related">André de Jager - Toccata from Suite Gothique (L. Boellmann)</a><br />
<a href="http://www.youtube.com/watch?v=tJ-RqTogxVc">Feike Asma - Fantasie over de Avondzang</a><br />
<a href="http://www.youtube.com/watch?v=ziz7YfjBhO4&feature=related">Widor - Symphony Gotique (played by Feike Asma)</a><br />
<a href="http://www.youtube.com/watch?v=xJOVuN5EyVg&feature=related">Feike Asma plays Jan Zwart (organ)</a><br />
<a href="http://www.youtube.com/watch?v=MV1dA4h19gQ&feature=related"> vers 10 en 16</a><br />
<a href="http://www.youtube.com/watch?v=0xUI3ABVc2I&feature=related">, Laurenskerk te Rotterdam Wim Velthoven</a><br />
<a href="http://www.youtube.com/watch?v=arEuLEq_RTo">psalm 42</a><br />
<a href="http://www.youtube.com/watch?v=WS4vh7tbmG4&feature=related">Organ improvisation </a><br />
<a href="http://www.youtube.com/watch?v=pmPYSlolSVw&feature=user">Organ Laurenskerk Rotterdam, Netherlands YouTube - Improv</a><br />
<a href="http://www.youtube.com/watch?v=w4QQXCobw40&NR=1">YouTube - The Holy City</a><a href="http://www.youtube.com/watch?v=arEuLEq_RTo">psalm 42</a><br />
<a href="http://www.youtube.com/watch?v=z1njNoel-cc">Laurenskerk Rotterdam - Stanley - Trumpet Vol. (J.Garbacz)</a><br />
<a href="http://www.youtube.com/watch?v=9wvZ_rj7Z5g">Laurenskerk Rotterdam - Bach - Fuga a (fragm.) - J.Garbacz</a><br />
<a href="http://www.youtube.com/watch?v=rrmAcb6tO6U">Vierne Choral</a><br />
<span style="text-decoration: underline;"></span><a href="http://www.youtube.com/watch?v=RG7UvBYv420">Fuga g moll Bach</a><br />
<a href="http://www.youtube.com/watch?v=lAWr9rK2fsM">Four hand organ improvisation Mike Garson&Willem Tanke</a><br />
<a href="http://www.youtube.com/watch?v=dPjn8Km0Qdk">Things to come-Willem Tanke, organ</a><br />
<a href="http://www.youtube.com/watch?v=NNcjEEiqSA0">Queen of the sky - Willem Tanke </a><a href="http://www.youtube.com/watch?v=NNcjEEiqSA0">organ</a><br />
<a href="http://www.youtube.com/watch?v=aZZaMr_DNF0">Visions - Willem Tanke. organ</a><br />
<a href="http://www.youtube.com/watch?v=zehzjThpISg">Tu Es Petra/ Solo for the pedals-Willem Tanke,organ</a><br />
<a href="http://www.youtube.com/watch?v=lZfkUgazCtM">The Word-Olivier Messiaen/Willem Tanke, organ</a><br />
<a href="http://www.youtube.com/watch?v=rbNKxRims1s">The Eyes in the Wheels-Olivier Messiaen/Willem Tanke, organ</a><br />
<a href="http://www.youtube.com/watch?v=rN4_2sFzylE">Entrée/Olivier Messiaen/WillemTanke/counting version</a><br />
<a href="http://www.youtube.com/watch?v=4i24Po07TtM">combat de la mort et de la vie pt 2, Messiaen</a><br />
<a href="http://www.youtube.com/watch?v=4i9WVZxygNs">Marco den Toom - Laurenskerk Rotterdam, TOCCATA CALLAERTS</a><br />
<a href="http://www.youtube.com/watch?v=pmPYSlolSVw&feature=related"></a><a href="http://www.youtube.com/watch?v=0xUI3ABVc2I&feature=related"></a><a href="http://www.youtube.com/watch?v=MV1dA4h19gQ&NR=1"></a><a href="http://www.youtube.com/watch?v=WS4vh7tbmG4&feature=related"></a><a href="http://www.youtube.com/watch?v=24GTfVtE0MM&NR=1">Improvisatie gezang 380 LVK</a><br />
<a href="http://www.youtube.com/watch?v=h1g1uRrlzkU">Martin Mans 'De Slag bij Waterloo'</a><br />
<a href="http://www.youtube.com/watch?v=j2eyCCjO3XI">Martin Mans 'Rondo in G'</a><br />
<a href="http://www.youtube.com/watch?v=WPGMwAakBOw">Martin Mans</a> <span style="text-decoration: underline;"><br />
</span><a href="http://www.youtube.com/watch?v=oaY3ORoX6Vw&NR=1">Improvisation Holy, Holy, Holy You Tube</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4-EH_F3nFjZegLwOUs8DpH69l8cV1vBVGeIoPW0UEWifF9b1AGleA6AQ58uNburkuwCP3beDKBgR_m1Rvhhmm8BJsIAXo53iC1yOhyphenhyphenosdfRuv7ksxQlCVXhs1uulEbiahhOB0jAad-TU/s1600-h/ROTTERDAM+St.+Laurens+speeltafel.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310537000373143666" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4-EH_F3nFjZegLwOUs8DpH69l8cV1vBVGeIoPW0UEWifF9b1AGleA6AQ58uNburkuwCP3beDKBgR_m1Rvhhmm8BJsIAXo53iC1yOhyphenhyphenosdfRuv7ksxQlCVXhs1uulEbiahhOB0jAad-TU/s320/ROTTERDAM+St.+Laurens+speeltafel.jpg" style="cursor: pointer; display: block; height: 212px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
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<span style="font-size: 180%; font-weight: bold;"><br />
DISPOSITION</span><br />
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<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Hoofdwerk: (C-g3)</span></span></div><br />
Prestant 16<br />
Octaaf 8<br />
Open fluit 8<br />
Quint 5 1/3<br />
Octaaf 4<br />
Spitsfluit 4<br />
Octaaf 2<br />
Mixtuur 8-10 st.<br />
Scherp 6-8 st.<br />
Ruispijp 3-4 st.<br />
Cornet 5 st. (a0)<br />
Trompet 16<br />
Trompet 8<br />
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<div style="font-weight: bold; text-align: center;"><span style="font-size: 130%;">Rugwerk: (C-g3)<br />
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Quintadeen 16<br />
Prestant 8<br />
Holpijp 8<br />
Quintadeen 8<br />
Octaaf 4<br />
Roerfluit 4<br />
Quint 2 2/3<br />
Octaaf 2<br />
Woudfluit 2<br />
<div style="text-align: left;">Sifflet 1 1/3</div>Mixtuur 6-8 st.<br />
Scherp 4-6 st.<br />
Sesquialter 2-4 st.<br />
Dulciaan 16<br />
Trompet 8<br />
Kromhoorn 8<br />
Tremulant<br />
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<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Zwelwerk: (C-g3)</span></span></div><br />
Gedekt 16<br />
Prestant 8<br />
Baarpijp 8<br />
Roerfluit 8<br />
Viola di Gamba 8<br />
Viola di Gamba 8 (zwevend)<br />
Octaaf 4<br />
Open fluit 4<br />
Terts 3 1/5<br />
Roerquint 2 2/3<br />
Nachthoorn 2<br />
Terts 1 3/5<br />
Mixtuur 5-7 st.<br />
Cimbel 3 st.<br />
Bombarde 16<br />
Trompette 8<br />
Voix humaine 8<br />
Clairon 4<br />
Tremulant<br />
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<div style="font-weight: bold; text-align: center;"><span style="font-size: 130%;">Borstwerk: (C-g3)<br />
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Gedekt 8<br />
Prestant 4<br />
Blokfluit 4<br />
Nasard 2 2/3<br />
Octaaf 2<br />
Gedekte fluit 2<br />
Octaaf 1<br />
Scherp 4-5 st.<br />
Tertiaan 2 st.<br />
Regaal 16<br />
Kromhoorn 8<br />
Regaal 8<br />
Tremulant<br />
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</div><div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Chamadewerk:</span></span></div><br />
Trompeta magna 16 D<br />
Trompeta brillante 8 B/D<br />
Trompeta de batalla 8 B/D<br />
Orlos 8 B/D<br />
Clarin fuerte 4 B/D<br />
Clarin 2 B<br />
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<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Pedaal: (C-f1)</span></span></div><br />
Prestant 32<br />
Octaaf 16<br />
Open Subbas 16<br />
Gedekte Quint 10 2/3<br />
Octaaf 8<br />
Gemshoorn 8<br />
Roerquint 5 1/3<br />
Octaaf 4<br />
Koppelfluit 4<br />
Nachthoorn 2<br />
Dwarsfluit 1<br />
Mixtuur 10 st.<br />
Ruispijp 5 st.<br />
Cornet 3 st.<br />
Bazuin 32<br />
Bazuin 16<br />
Fagot 16<br />
Trompet 8<br />
Trompet 4<br />
Zink 2<br />
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<div style="font-weight: bold; text-align: center;"><span style="font-size: 180%;">TRANSEPT ORGAN<br />
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HISTORY<br />
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At the start of the reconstruction of the transept of the church, the possibility of placing an organ in this space is considered. One of the advisors, Dr. Vente was aware of the presence of an organ case of the Bartholomew Church in Schoonhoven in the <leo_highlight id="leoHighlights_Underline_3" leohighlights_keywords="furniture" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsBottom.jsp?keywords%3Dfurniture%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsTop.jsp?keywords%3Dfurniture%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_3')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_3')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_3')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">furniture</leo_highlight> factory of van den Ende there. This beautiful organ case was an excellent housing for the new transept organ, because of its size and antiquity. The case corresponds to the organ that is depicted in the painting of Lorne (1657).<br />
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Left was the question whether such a small case could house a large 44 rank organ. Together with the company Marcussen & Søn of Aabenraa, Denmark, who were to build the organ, a plan was developed. It was necessary to add a Rugpositief to the existing organ case and in a niche in the wall behind the organ, use space to place the subbas 16 '. Also the pedaal and hoofdwerk chests were combined to save space.<br />
Thanks to an extremely compact construction, the present transept organ was created.<br />
The case for the rugpositief was made by cabinet maker Van den Ende from period wood, to match the remainder of the case.<br />
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The transept organ enjoys international renown for its beautiful voicing. It is regarded as the last work of Sybrand Zachariassen, which is voiced by himself. It is interesting to mention that the intonation has remained the same since 1959, the year the organ was completed, although since then the choir and the main nave have been restored and added to the transept, hugely increasing the size of the room. The sound has become more beautiful in the enlarged area, which is evidence of the foresight and genius of Sybrand Zachariassen.<br />
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The organ was a gift from the German cities of Hamburg, Bremen, Cologne, Düsseldorf and Duisburg at the instigation of the Rotary of West Germany. Under the rugpositief you will find the coats of arms of the cities of Hamburg, Bremen, Cologne, Düsseldorf and Duisburg.<br />
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<span style="font-size: 180%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwlz_7z7x1Eoafia6FFwBAGc7-3UiprH0ubAO8qrrtOuSiFSoeYEix_fGx7xY7zMIv0lIZwoGKAZZYY6vr2cbAc_7J2eM3MzHHerSxisSH7ltPTCwIpLFGWO6gM0urMKh4PzE6afX4v_o/s1600-h/rotterdam-laurens-transept2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310581161578343506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwlz_7z7x1Eoafia6FFwBAGc7-3UiprH0ubAO8qrrtOuSiFSoeYEix_fGx7xY7zMIv0lIZwoGKAZZYY6vr2cbAc_7J2eM3MzHHerSxisSH7ltPTCwIpLFGWO6gM0urMKh4PzE6afX4v_o/s320/rotterdam-laurens-transept2.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 200px;" /></a></span><br />
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<span style="font-size: 180%; font-weight: bold;">DISPOSITION</span><br />
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<div style="font-weight: bold; text-align: center;"><span style="font-size: 130%;"><br />
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<div style="text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjTG2uc65CV99nJ6peoQY24xZUyYIJW6BFse3SpYNOa1Vx5hQSZx-KDSPqq_ijnNeGcrcsWpAxHK8e94xjMlh4IyOatsFO4o0ef_iqd7rCTiT20i426sNtK-aPwJQuSQT2wspOlII9H7U/s1600-h/rotterdam-laurens-transept5.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310599585385397282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjTG2uc65CV99nJ6peoQY24xZUyYIJW6BFse3SpYNOa1Vx5hQSZx-KDSPqq_ijnNeGcrcsWpAxHK8e94xjMlh4IyOatsFO4o0ef_iqd7rCTiT20i426sNtK-aPwJQuSQT2wspOlII9H7U/s320/rotterdam-laurens-transept5.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 203px;" /></a><br />
<span style="font-size: 130%; font-weight: bold;">Hoofdwerk</span></div>Prestant 8’<br />
Roerfluit 8’<br />
Octaaf 4’<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsluDLbedQ3Vf9weEwFGljCUfbthGNujm6gsEgTgm4iIZgd8Tx4xyeJKHvMyGxDWRB9rOL8WTAYO0K3n3bQA9JlKBb5eg8ghyYmTJjuA4_TCjKqnoYXOBn6h8EvQea5q4xQAi2qYwIkwY/s1600-h/rotterdam-laurens-transept4.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310624134382064866" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsluDLbedQ3Vf9weEwFGljCUfbthGNujm6gsEgTgm4iIZgd8Tx4xyeJKHvMyGxDWRB9rOL8WTAYO0K3n3bQA9JlKBb5eg8ghyYmTJjuA4_TCjKqnoYXOBn6h8EvQea5q4xQAi2qYwIkwY/s200/rotterdam-laurens-transept4.jpg" style="cursor: pointer; float: right; height: 135px; margin: 0pt 0pt 10px 10px; width: 224px;" /></a><br />
Spitsfluit 4’<br />
Octaaf 2’<br />
Mixtuur 5-7-st<br />
Cymbel 8’<br />
Trompet 8'<br />
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<div style="font-weight: bold; text-align: left;"><span style="font-size: 130%;"><br />
</span><br />
<div style="text-align: center;"><span style="font-size: 130%;">Rugwerk</span></div></div><br />
Holpijp 8’<br />
Prestant 4’<br />
Roerfluit 4’<br />
Woudfluit 2’<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrrrNrLqprDb9mR8m9EtobjQbM3yFuwtOY59SkK2krjsvNVtULvS1JnSnwAh_uqbQpIAM-2tc0HwEGAWYCb_HmJm5TVHSWTQ8y83RndAxo4BLHuDu-UaI-YWBzXKb1GscPqf6TD9u_uQE/s1600-h/Rotterdam+transept3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5325440964504096722" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrrrNrLqprDb9mR8m9EtobjQbM3yFuwtOY59SkK2krjsvNVtULvS1JnSnwAh_uqbQpIAM-2tc0HwEGAWYCb_HmJm5TVHSWTQ8y83RndAxo4BLHuDu-UaI-YWBzXKb1GscPqf6TD9u_uQE/s200/Rotterdam+transept3.jpg" style="cursor: pointer; float: right; height: 200px; margin: 0pt 0pt 10px 10px; width: 90px;" /></a><br />
Quint 1 1/3’<br />
Sexquialter 2-st<br />
Scherp 4-st<br />
Dulciaan 8’<br />
<br />
<div style="font-weight: bold; text-align: center;"><span style="font-size: 130%;">Borstwerk<br />
</span></div><br />
Gedekt 8’<br />
Quintadena 4’<br />
Koppelfluit 4’<br />
Prestant 2’<br />
Blokfluit 2’<br />
Sifflet 1’<br />
Cymbel 2-st<br />
Regaal 16’<br />
<br />
<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Pedaal </span></span></div><br />
Spitsgedekt 16’<br />
Prestant 8’ transm<br />
Spitsgedekt 8’ transm<br />
Octaaf 4’<br />
Mixtuur 6-st<br />
Fagot 16’<br />
Schalmei 4’<br />
<br />
Manuaalkoppels<br />
HW+ RW<br />
HW+ BW<br />
<br />
Pedaalkoppels<br />
Ped+ HW<br />
Ped+ RW<br />
Ped+ BW<br />
<br />
Tremulanten op het Rugwerk en het Borstwerk.<br />
Tractuur: Mechanisch.<br />
<br />
<div style="font-weight: bold; text-align: center;"><span style="font-size: 130%;">CHOIR ORGAN<br />
</span></div><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDkjQugqN8soMyjN2rl7-3R_q1omxz9QA9dYEG5yXT1HrXXu7o3UyRz28L-hbUEbUHLVAVI846PNmwGEqZHGQ0xUTMhNyf4JUwz0f3ky0Avkhy-APXsC4jPafyBcajCIslkwyaBEF3LZI/s1600-h/rotterdam-laurens-koor4.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310579253299551426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDkjQugqN8soMyjN2rl7-3R_q1omxz9QA9dYEG5yXT1HrXXu7o3UyRz28L-hbUEbUHLVAVI846PNmwGEqZHGQ0xUTMhNyf4JUwz0f3ky0Avkhy-APXsC4jPafyBcajCIslkwyaBEF3LZI/s320/rotterdam-laurens-koor4.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 203px;" /></a><br />
<br />
<br />
DISPOSITION<br />
<br />
<br />
manual<br />
Gedekt 8’<br />
Quintadeen 8’<br />
Prestant 4’<br />
Roerfluit 4’<br />
Octaaf 2’<br />
Fluit gedekt 2’<br />
Mixtuur 4-st<br />
Dulciaan 8’<br />
Tremulant<br />
<br />
Tractuur: Mechanisch<br />
Pedaal : Aangehangen.<br />
Koppelingen: Pedaalkoppel<br />
<br />
<div style="font-weight: bold; text-align: center;"><span style="font-size: 130%;">CHAPEL ORGAN<br />
</span></div><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4iJnbBAoDudmC-VkOXt0NLq1Fw8VEtRj4XskzB6S8IpopzQv5fq7OpVqpn2-38tadfbrCp2CtrBcJUr9hofnTRxPl61bfgwsHPHCppUoV88RnGYvvngZg_8Csgp7Mgyr0dE9IfkGi-tQ/s1600-h/rotterdam-laurens-kapel1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310598600887255650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4iJnbBAoDudmC-VkOXt0NLq1Fw8VEtRj4XskzB6S8IpopzQv5fq7OpVqpn2-38tadfbrCp2CtrBcJUr9hofnTRxPl61bfgwsHPHCppUoV88RnGYvvngZg_8Csgp7Mgyr0dE9IfkGi-tQ/s320/rotterdam-laurens-kapel1.jpg" style="cursor: pointer; display: block; height: 287px; margin: 0px auto 10px; text-align: center; width: 194px;" /></a><br />
<br />
<br />
DISPOSITION<br />
<br />
<br />
Holpijp 8’ B/D<br />
Roerfluit 4’B/D<br />
Prestant 2’<br />
Sifflet 1’<br />
Sexquialter 2-st.<br />
<br />
<br />
<br />
<br />
<br />
<div style="text-align: center;">THE PRE-WAR ORGAN BELOW</div><br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhW7CUQ9hkQewNzcOoWB-xyqTtVMUPJ8QUEfM-I1ki3hWX_-29WVa0lEMfkE0kbHKaumMG1oRZiGTUR-zi7F4nVYtpji_9guyF-mnHV8Xy7oJfxTU5A8VXwV5gmHGXyaJT1s2WROL_IM/s1600-h/rotterdam-laurens-Prev+pre+war.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310626777704583202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhW7CUQ9hkQewNzcOoWB-xyqTtVMUPJ8QUEfM-I1ki3hWX_-29WVa0lEMfkE0kbHKaumMG1oRZiGTUR-zi7F4nVYtpji_9guyF-mnHV8Xy7oJfxTU5A8VXwV5gmHGXyaJT1s2WROL_IM/s320/rotterdam-laurens-Prev+pre+war.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 188px;" /></a></div><br />
<div style="text-align: center;">HET ORGEL IN DE GROOTE OF ST. LAURENSKERK TE ROTTERDAM. </div><div style="text-align: center;">Rotterdam, 1885</div><div style="text-align: center;">Het orgel bezit bijna 5000 pijpen. Het heeft 49 Labiaalstemmen, 9 Vulstemmen en 14 tong werken. <br />
<br />
</div><br />
<br />
<br />
Rotterdam bezit vele merkwaardigheden op allerlei gebied. Voor <br />
den vreemdeling trekt onder meer ook de Groote of St. Laurenskerk <br />
de aandacht. <br />
<br />
Dit gebouw wordt dan ook zeer veel bezocht en is voorzeker <br />
een bezoek overwaard. Eenige jaren geleden is het met groote kosten <br />
weer tot zijn vroegeren staat teruggebracht ; het fraaie koor met zijne <br />
antieke banken, marmeren ingang en koperen hek, wekt algemeen <br />
bewondering ; de reusachtige pilaren, ontdaan van de kalklagen, des- <br />
tijds er opgebracht, de geschilderde glazen en dan, hetgeen wel het <br />
voornaamste zal zijn, het prachtige oxaal en het heerlijk orgel dat <br />
daarop rust. <br />
<br />
Dit instrument, het grootste van ons land en een der grootsten <br />
zelfs van Europa, verdient wel meerdere bekendheid en eene eenig- <br />
zins uitvoerige beschrijving. <br />
<br />
In een oud werk van J. Hess , Organist en Klokkenist te Gouda, <br />
en in 1772 aldaar uitgegeven, staat de dispositie van het orgel, <br />
waarvoor dit in de plaats gekomen is, aldus opgegeven : <br />
<br />
Het orgel in de Groote Kerk te Rotterdam met drie Hand- <br />
clavieren en een vrij Pedaal, heeft 44 stemmen. <br />
<br />
<div style="text-align: center;">THE EARLIER ORGAN BELOW</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiktl9d8pdHLmjatmoZcTJpd6HLChTR5EEnFYatvZIqxkBqqAi_rBFwdD64ply8gLyKRzNLtbEhry5VGzeUsvCHmScp6n_JZYsG7HESEczc9RD1m-GDiQaNr75de4gHSsAw9cSnfTZeU0s/s1600-h/rotterdam-laurens-old.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5310627065577452226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiktl9d8pdHLmjatmoZcTJpd6HLChTR5EEnFYatvZIqxkBqqAi_rBFwdD64ply8gLyKRzNLtbEhry5VGzeUsvCHmScp6n_JZYsG7HESEczc9RD1m-GDiQaNr75de4gHSsAw9cSnfTZeU0s/s320/rotterdam-laurens-old.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 222px;" /></a><br />
<br />
ONDER-MANUAAL. <br />
9 Stemmen. <br />
BOVEN-MANUAAL. <br />
15 Stemmen. <br />
RUGPOSITIEF. <br />
15 Stemmen. <br />
PEDAAL. <br />
5 Stemmen. <br />
<br />
<br />
Dit werk was dus lang niet gering te schatten, wat overvloed <br />
van stemmen betrof. <br />
<br />
In 1792 is men begonnen een nieuw orgel daar te stellen ; de <br />
orgelmaker aan wien dit toevertrouwd was, moet echter niet be- <br />
kwaam genoeg geweest zijn, want toen in 1798 het rugpositief <br />
alleen af was, bleek het zoo slecht gewerkt te zijn, dat men den <br />
orgelmaker noodzaakte het werk af te staan aan H. H. Freytag te <br />
Jroningen. Die bekwame man overleed echter kort na de overgave <br />
en daarna bleef de zaak hangende tot 1821, toen de Heeren <br />
A. Meere & Zoon uit Utrecht de moeilijke taak op zich namen, <br />
het reeds gemaakte verbeterden en in 1828 het werk met drie <br />
klavieren en vrij pedaal afleverden. Toen reeds was het een schoon <br />
instrument geworden dat zich gerust met anderen meten kon; maar <br />
nadat in 1845 de beroemde firma Batz & Co. er nog een klavier <br />
bij vervaardigd hadden (het zoogenaamde echowerk) en het overige <br />
gedeelte vergroot en zóo noodig verbeterd, is het prachtige werk <br />
van dien tijd af als geheel voltooid te beschouwen. <br />
<br />
Het Kerkbestuur heeft steeds zorgvuldig er voor gewaakt dat <br />
het werk in goeden staat bleef en er, zoo noodig, geen kosten voor <br />
ontzien. <br />
<br />
De ingang voor het orgel is de groote torendeur, waarna men <br />
langs een breede trap van 32 treden het orgel bereikt. Ook van <br />
uit de kerk leiden twee groote deuren onder het oxaal naar het <br />
orgel. Op den achtergrond zijn 16 treden voor de blaasbalgen die <br />
het werk van de noodigen wind moeten voorzien. Vier, minstens <br />
drie man zijn daarvóór benoodigd. Links is een vertrek ten gebruike <br />
der balgentreders , rechts eene nette kamer voor den organist. Kasten <br />
en verdere gemakken bevinden zich eveneens aldaar. Rechts door- <br />
gaande komt men op het eigenlijke orgel, waartoe twee enorm <br />
zware en dikke deuren toegang verleenen. Het is voor een Organist <br />
een waar genot zulk een kolossaal werk te zien en te bespelen. <br />
Vier klavieren (manualen) boven elkander, bijna 4 octaaf, loopende <br />
van C— F, en een pedaal van bijna 2 octaaf, eveneens van C— F. <br />
<br />
Alles speelt tamelijk licht, en zelfs wanneer men èn het pedaal <br />
èn de klavieren te zamen koppelen, kan een geoefend speler er <br />
betrekkelijk gemakkelijk op voortkomen. <br />
<br />
Aan weerszijden treft men 45 registerknoppen aan, het Werk <br />
heeft 90 registers, waarvan 72 sprekende stemmen. <br />
<br />
Wanneer de Organist voor zijn instrument zich plaatst, heeft <br />
hij het positief achter zich. Niettegenstaande het rugwerk het eerst <br />
vervaardigd is, bevindt het positief zich nog in een zeer goeden <br />
staat, hetgeen wel voor een groot gedeelte te danken is aan de <br />
firma Batz & Co., aan wien de jaarlijksche stemming en het onder- <br />
houd van het orgel steeds is opgedragen. <br />
<br />
De beste stemmen van het rugwerk zijn : Fluit Dolce 8 voet, <br />
Fluit Travers (discant) 8 voet. Bourdon 16 voet. Trompet 8 voet, <br />
Cornet 6 sterk, de eigenaardige klank der Hobo 8 voet, en het <br />
onderste gedeelte der Fagot 16 voet. Verscheidene deuren maken <br />
den toegang tot het pijpwerk gemakkelijk. <br />
<br />
Achter de klavieren op het portaal vindt men de deur No. I, <br />
waarin het regeerwerk der drie bovenste manualen, van het pedaal <br />
en registers zich bevindt. Het regeerwerk van het rugpositief gaat <br />
natuurlijk onder den vloer van het orgel door naar de windlade van <br />
het rugwerk. <br />
<br />
Om het pijpwerk van hoofdmanuaal en pedaal te bereiken, moet <br />
men een 28 treden hooge trap beklimmen, in het midden afgesloten <br />
door een deur, waarbij weder toegang tot het regeerwerk, waarna <br />
men door deur No. II de C-lade der Bazuin 32 voet, No. IV <br />
de Cis-lade der Bazuin 32 voet, en door middel van deur No. III <br />
het pijpwerk van hoofdmanuaal en pedaal bereikt. Alles is zoo <br />
geplaatst dat de verschillende pijpen goed te bereiken zijn. <br />
<br />
De 16 en 8 voets labiaalstemmen van het hoofdklavier klinken <br />
bijzonder fraai, het geluid der 8 voeten is sterk en liefelijk, der <br />
16 voeten deftig en vullend. Ook de andere stemmen zijn zonder <br />
onderscheid zeer goed van geluid. Trompet 16, Dulciaan 16 en <br />
Trompet 8 voet zijn heerlijke tongwerken. Hun geluid is, zou haast <br />
kunnen gezegd worden, onverbeterlijk. Het onderste octaaf der <br />
Trompet 16 voet, is van hout <br />
<br />
De reusachtige pijpen der Prestant 32 voet , in het front staande, <br />
moeten wel terstond ieders aandacht trekken. De grootste dier <br />
pijpen weegt 500 pond. Het is daarom wel te verklaren dat de <br />
geheele kast waarop het pijpwerk rust van het zwaarste hout, zoo <br />
dik en soliede mogelijk vervaardigd is. De Subbas 32 voet (even <br />
als Prestant 32) in het pedaal heeft niet minder kolossale pijpen; <br />
deze zijn echter van hout. De groote C is 10 Meter lang. Bazuin <br />
32 voet doet in lengte en zwaarte voor de twee andere 32 voeten <br />
niet onder. Deze stem (van Engelsch Tin) even als Prestant en Subbas <br />
32 voet, op tijd gebruikt, maakt een overweldigende indruk. Het <br />
geluid der Bazuin 16 voet, is zeldzaam schoon en kernachtig vol; <br />
ook de andere stemmen van het pedaal, vooral de drie 16 voets <br />
Labiaalstemmen klinken zeer goed. Trompet 4 en 2 - voet onder- <br />
scheiden zich door vlugge aanspraak en helder geluid. <br />
<br />
Om het derde klavier van binnen te zien, moet men weer <br />
hooger klimmen. Eerst 18 treden en men komt aan deur No. V, <br />
de kast waarin het regeerwerk voor het derde en vierde klavier <br />
zich bevindt, alsmede de bovenste gedeelten der 32 voets pijpen; <br />
daarna verleent deur No. VI toegang langs een 13 treden hooge <br />
trap aan het derde klavier-pijpwerk, afgesloten door deur No. VII; <br />
aan weerszijden van de kast ziet men de toppen der 32 voets pijpen. <br />
<br />
Heerlijke stemmen vindt men op het derde klavier. In de <br />
eerste plaats een Vox-Humana 8 voet, die zeer schoon is en in de <br />
kerk een prachtig effect maakt, de Schalmei 8 voet, Viola di Gamba <br />
8 voet, Quintadeen 16 voet, Prestant en Holpijp 8 voet, allen fraai <br />
van geluid en een goede uitwerking doende in de kerk ; octaaf 4 <br />
en 2 voet zijn zeer helder, Openfluit 4 voet, zeer geschikt voor Solo, <br />
en het Carillon, schoon pijpwerk zijnde, bootst het klokkenspel be- <br />
driegelijk na. Nog 18 treden hooger en men staat voor de kast <br />
(deur No. VIII) waarin zich het prachtig Echowerk bevindt. <br />
<br />
Dit werk staat bijna aan den zolder der kerk en is bijna geheel <br />
ingesloten door een dichten houten kast. De verschillende geluiden <br />
die men er aantreft zijn heerlijk. Viola di Gamba, Bourdon, Sali- <br />
cionaal of Holpijp 8 voet, allen klinken zeldzaam schoon en de Vox <br />
Angelica spant hierin wel de kroon. Het geheele Echowerk maakt <br />
een heerlijk effect. Dit orgel is ook het eenige in ons land dat in <br />
het bezit is van een zoodanig Echowerk. <br />
<br />
Het geheele werk maakt op den toehoorder een indruk die <br />
niet spoedig verloren gaat, en wanneer één orgel in ons land ge- <br />
schikt is om bij den toehoorder de meest verschillende gewaarwor- <br />
dingen op te wekken, dan is het voorwaar wel het orgel der <br />
Groote of St. Laurenskerk te Rotterdam. <br />
<br />
Het orgel bezit bijna 5000 pijpen. Het heeft 49 Labiaalstemmen, <br />
9 Vulstemmen en 14 tong werken. <br />
<br />
De Prestanten en Bazuinen zijn allen van zuiver Engelsch Tin. <br />
Het orgel heeft ongeveer ƒ 120.000, het oxaal daarenboven ƒ 90.000 <br />
gekost. <br />
<br />
Het front maakt een zeer grootschen indruk en het beeld- <br />
houwwerk wordt door kenners zeer geroemd. De groote Engel, <br />
met een bazuin in de hand , die het kunstwerk bekroont , is <br />
5 Meter hoog. <br />
<br />
Het oxaal waarop het orgel rust verdient niet minder bewondering; <br />
het bestaat uit 12 marmeren pilaren waarachter weder wit mar- <br />
meren pilasters staan ; onder het orgel bevinden zich nog aan weers- <br />
zijden marmeren borden met de namen der Kerkmeesteren, die het <br />
orgel lieten bouwen ; in 't Nederlandsch en in 't Latijn. Alles is <br />
met hekwerk afgesloten. <br />
<br />
Dat èn oxaal (de marmeren pilaren toch zijn uit Italië naar <br />
Rotterdam vervoerd) èn orgel schatten gekost hebben, en steeds <br />
kostbaar zijn wat onderhoud betreft, zal ieder licht begrijpen. Ge- <br />
lukkig dat H.H. Kerkvoogden er niet voor terugdeinzen, wanneer <br />
het noodig is, reparaties aan een en ander te laten geschieden. <br />
In 1885 (October) wordt het geheele werk uit elkaar genomen, <br />
schoongemaakt en zoo noodig verbeterd door de firma Bütz & Co. <br />
De dispositie zal echter dezelfde blijven. <br />
<br />
M. H. VAN 'T KRUIJS. <br />
Rotterdam, Januari 1885. <br />
<br />
<br />
VERZAMELING VAN Disposities van verschillende Orgels <br />
IN NEDERLAND, BENEVENS EENE KORTE BESCHRIJVING VAN HET ORGEL <br />
IN DE Groote Kerk te Rotterdam DOOR M. H. VAN 'T KRÜIJS, <br />
Organist der Groote of St. Laurenskerk te ROTTERDAM. <br />
<br />
<br />
<br />
Rotterdam, 1885 <br />
<br />
<br />
<br />
<br />
VOORREDE. <br />
<br />
<br />
<br />
Steeds vond ik een eigenaardig genoegen in het <br />
zien en bespelen van voor mij vreemde orgels, en reeds <br />
sedert eenige jaren verzamelde ik voor mijzelf de <br />
disposities der orgels van eenigen omvang. Het was <br />
mij natuurlijk slechts doenlijk een betrekkelijk klein <br />
getal orgels te zien, en daardoor had mijne eigene <br />
verzameling alleen voor mij waarde. Eenigen tijd <br />
geleden echter trof ik den Uitgever dezes, en die, <br />
zelf organist zijnde, had reeds eenigen tijd geleden het <br />
plan opgevat een dusdanig werkje het licht te doen <br />
zien. Ziedaar in een paar woorden de aanleiding tot <br />
de uitgave van dit boek. Ik stond den Uitgever <br />
gaarne ter zijde, heb de verschillende disposities ge- <br />
rangschikt, mijne eigene verzameling er bij ingelascht <br />
en eene korte beschrijving van het orgel, dat ik thans <br />
bespeel, er aan toegevoegd. <br />
<br />
Dat dit werk zeer onvolledig is, ik zal de eerste <br />
zijn die het beken; dat er in de verschillende opgaven <br />
fouten geslopen zijn, kan ik evenzeer terstond melden, <br />
immers verscheidene door mij ontvangen opgaven <br />
waren zoo onduidelijk gesteld, dat het mij slechts met veel <br />
moeite gelukken kon, uit een en ander wijs te worden^ <br />
<br />
In de eerste plaats wil ik thans langs dezen <br />
weg mijn oprechten dank betuigen aan hen, die mij <br />
blijken van sympathie gaven bij het vernemen van <br />
deze uitgave. <br />
<br />
Hoewel ik vrees dat het werk hun te onvolledig <br />
zal toeschijnen, moet ik verklaren dat het ondoenlijk <br />
was zonder te hooge kosten te maken, meer disposities <br />
te verkrijgen. In de tweede plaats dank ik Heeren <br />
Organisten die terstond bereidwillig waren mij de <br />
opgave toe te zenden. <br />
<br />
Steeds zal het mij welkom zijn op- of aanmer- <br />
kingen te ontvangen, die zullen dan ter harte geno- <br />
men worden in geval er eene tweede druk noodig <br />
mocht zijn. <br />
<br />
Ik heb de disposities naar de grootte gerang- <br />
schikt en de mij toegezondenen, groot en klein zonder <br />
onderscheid, hierin opgenomen. Van kritiek over een <br />
en ander onthield ik mij ; de ervaren orgelkenner zal <br />
terstond kunnen zien welke disposities al of niet goed <br />
gesteld zijn. Enkele aanmerkingen door Organisten bij <br />
de opgave gevoegd, liet ik onveranderd. <br />
<br />
Of dit werkje eenig nut zal stichten? Ik zou <br />
het gaarne wenschen. In elk geval meen ik niet te <br />
veel te zeggen , wanneer ik hoop dat menig Organist <br />
deze uitgave niet onwelkom zal wezen , en dat het <br />
ook het zijne (als is 't nog zoo weinig) er toe moge <br />
bijdragen tot die kennis, die ieder degelijk Organist <br />
van zijn instrument moet bezitten. <br />
<br />
De orgeldisposities waarbij de namen der Orga- <br />
nisten staan, heb ik bijna allen van genoemde Heeren <br />
persoonlijk ontvangen. Anderen daarentegen, waarbij <br />
de Organist niet vermeld wordt, nam ik over uit <br />
Seidel's „Het Orgel en deszelfs samenstel," vertaald door <br />
<leo_highlight id="leoHighlights_Underline_4" leohighlights_keywords="meijer" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsBottom.jsp?keywords%3Dmeijer%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsTop.jsp?keywords%3Dmeijer%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_4')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_4')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_4')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">Meijer</leo_highlight> (Groningen 1845) of uit mijne eigene verza- <br />
meling; diegene welke ik niet meer nauwkeurig wist <br />
of mondeling ontving, heb ik van een f voorzien. <br />
<br />
Achter het werk is een bladwijzer gevoegd. Het <br />
woord discant achter cornet liet ik als overtollig weg. <br />
Dat ik van het grootste orgel van Nederland eene <br />
kleine beschrijving gaf, zal mij niemand ten kwade <br />
duiden, hoop ik; het uitmuntende werk verdient wel <br />
eenige meerdere bekendheid dan het tot dusver te <br />
beurt viel. <br />
<br />
M. H. VAN 'T KRUIJS. <br />
Rotterdam, Januari 1885. <br />
<br />
<br />
<br />
TOtLICHTING BIJ DE HERDRUK <br />
<br />
<br />
<br />
Manus Hendrik van 't Kruys (1861-1919) behoort tot de negentiende-eeuwse organisten- generatie, die zich in de Nederlandse orgelgeschiedenis een blijvende plaats heeft verworven. <br />
Na zijn studies aan de Koninklijke Muziekschool te 's-Gravenhage — o.a. bij W. F. G. Nicolaï — te hebben voltooid, werd Van 't Kruys in 1884 tot organist aan de Grote- of St. Laurenskerk te Rotterdam benoemd, als opvolger van Samuel de Lange Sr. Het vergelijkend examen werd afgenomen door Richard Hol, W. F. G. Nicolaï en L. F. Brandts Buys. <br />
In 1897 vertrok Van 't Kruys naar Groningen, waar hij tot 1905 als "Directeur van de Muziekschool, het Orkest en de Zangvereeniging" werkzaam was; de organist Hendrik de Vries werd tot zijn opvolger in Rotterdam benoemd. <br />
<br />
Tot de collegae-tijdgenoten, die door de vermaardheid van hun spel of door publicaties op de voorgrond zijn getreden, behoren o.a. J. Worp, H. P. Steenhuis, J. B. C. de Pauw, Joh. Wagenaar, Willem Petri, Wülem de Vries en Jan Zwart. Ook de publicist en orgel- historicus J. W. Enschedé was een tijdgenoot van Van 't Kruys. <br />
<br />
Als componist (koor- en orgelwerken, opera's, symfonieën en kamermuziek) is Van 't Kruys vrijwel onbekend gebleven. Zijn betekenis voor het Nederlandse muziekleven ligt voornamelijk in hetgeen hij op orgel-organisatorisch terrein tot stand heeft gebracht en wel gedurende zijn Rotterdamse ambtsperiode. Verschenen de "Disposities" in 1885, in 1886 volgde de uitgave van het tijdschrift "Het Orgel", sinds 1904 het maandblad van de Nederlandse Organisten Vereniging (N.O.V.) Het initiatief tot de oprichting van de N.O.V. werd in 1889 genomen door Jos. A. Verheijen, J. B. Litzau, M. Boltes en Van 't Kruys, die eveneens deel uitmaakte van het voorlopige bestuur, dat in 1890 werd gekozen. <br />
De dispositieverzameling van Van 't Kruys is te beschouwen als een poging het Nederlandse orgelbezit te inventariseren; de uitgave hiervan sloot een periode af van ruim honderd jaar, waarin belangrijke dispositieverzamelingen het licht zagen of in handschrift bewaard gebleven zijn, b.v. Hess 1774 (heruitgave 1945»), Knock 1788 (heruitgave 1959), Hess 1907 (naar het handschrift van phn. 1815), G. W. Lohman plm. 1830 (handschrift*), <br />
<leo_highlight id="leoHighlights_Underline_5" leohighlights_keywords="meijer" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsBottom.jsp?keywords%3Dmeijer%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_2/tbh_highlightsTop.jsp?keywords%3Dmeijer%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_5')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_5')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_5')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">Meijer</leo_highlight> 1845 en het handschrift van G. W. Broekhuyzen. <br />
<br />
Om de aktualiteit van dit werk te verhogen, werd in de "Bladwijzer" (pag. 169-174) een codering aangebracht (zie pag. 175); de tekst van de disposities, de voorrede en het orgelhistorisch overzicht bleef ongewijzigd. De weinig fraaie afbeelding van het orgel in de Grote- of St. Laurenskerk te Rotterdam is komen te vervallen. <br />
<br />
AMSTERDAM, ZOMER 1962 HERM. S. J. ZANDT <br />
<br />
<br />
<br />
1. ƒ. H. Besselaar, Het Orgel in de Groote Kerk te Rotterdam, Rotterdam, 1931, pag. 19 en 23. <br />
<br />
2. Gedenkboek van het Congres der N.O.V. gehouden 3-5 September 1931 te Amsterdam t.g.v. haar veertig-jarig bestaan. Steenwijk, 1932, pag. 181 ev. <br />
<br />
3. Herm. S. J. Zandt, Joachim Hess, "Kunstrijk en beroemd Orgel- en Klokken-Speeler" en zijn broer, de orgelmaker Hendrik Hermanus, in "Het Orgel", 58e jaargang na. 1 jan. 1962, pag. 1-10. , <br />
<br />
4. Dr. Gustav Fock, Een tweetal aanvullingen op Hess' Dispositiën uit 1774, in Het Orgel", lubileumnummer J890-V'>6n. pag. 47-61.<br />
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</script> </span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-61912370885388403912010-07-17T16:36:00.000-04:002010-07-17T16:36:17.692-04:00Waltershausen 1741 Trost Organ Germany<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbxisxC484BpGMcXCfJrr8SgZpGv-KpCqdZWDDIYBIrNayvvQRATRqnWYlMwENmYkjPOrS72_gj7r3p3Jv61glGbX081Lq6k_cQcuNcGlqcjuqg7ioeWtETlue3McFoCdN_cvPMhTGwL8/s1600-h/waltershausensk2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5333981867633047986" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbxisxC484BpGMcXCfJrr8SgZpGv-KpCqdZWDDIYBIrNayvvQRATRqnWYlMwENmYkjPOrS72_gj7r3p3Jv61glGbX081Lq6k_cQcuNcGlqcjuqg7ioeWtETlue3McFoCdN_cvPMhTGwL8/s400/waltershausensk2.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 329px;" /></a><br />
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<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">HISTORY</span></span></div><br />
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After building a big, splendid baroque-styled round church, it was natural to complete it with an adequate organ, and Heinrich Gottfried Trost (1681-1759) received the contract, although the city fathers initially favoured another master. The Court Architect of the Duchy, Johann Eberhardt Strasburger, was brought to Waltershausen to define the architectural shape of the organ case. The well known organ expert of the time, Jacob Aldung, wrote about this organ: « The town has obtained the materials. The work is very beautiful… ».<br />
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On another page is written that Trost, after spending 20 years making the organ in Waltershausen, probably left it unfinished and left the city fathers annoyed as well. Various reasons for this can be suggested: poor scheduling of his workshop operations, financial problems, etc. On the other hand, the maintenance and care work required by the Duke in connection with his privilege as court organ maker, which Trost had to give priority to, hindered the punctual completion of new works. Thus he became hopelessly indebted. The disputes in Waltershausen during the building process peaked to such a level that one of his tradesmen exaggeratedly said: « Trost is cheating the city fathers. One should place him under arrest and hang him on the gallows ».<br />
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Trost’s first design for the organ in Waltershausen is dated February 8, 1722. The dedication of the completed organ is not precisely documented; it was probably in May 1741. Furthermore, it is not clear whether Trost or another organ maker completed the work. The presence of Trost in Waltershausen is documented for the last time in the year 1730 although it is unthinkable that the organ was finished by this date. These historical facts seem very strange when one considers what a significant organ project is involved. In the case of similarly placed organ, such as Zacharias Hildebrandt’s organ in the St. Wenzelskirche in Namburg (also a city organ project), there was a crowning completion ceremony with famous examiners (such as Bach and Silbermann) and an opulent feast of organ music. No report of anything of this kind has been handed down to us about Waltershausen.<br />
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J.S.Bach Toccata, Adagio & Fugue in C dur - Toccata<br />
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J.S.Bach Toccata, Adagio & Fugue in C dur- Fugue<br />
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Why is this organ in Waltershausen nevertheless famous? Regarding this we should cite first of all Trost’s outstanding concept. Although the organ was made in the first third of the 18th century, it nevertheless has all the traits and delicateness of the gallant style. Trost enriched the organ making of his time enormously with new instrumental features which are also to be found in this organ. Furthermore, it has all of the features that marked organ building in Thuringia at this time: emphasis of the fundamental tonality and at the same time of solemnity, a great supply of labial eight foot voices in the manuals, transmission stops from the great organ to the pedals, mixtures with thirds, unusual stop designs such as Unda maris and Doppelflöte. It also has, however, typical long-established voices such as one expects to find in Thuringia: Violonbass, Viola di gamba, Flaute douce, Sesquialter, Cymbelstern. Naturally the sonorous lingual voices are there too, as Adling especially emphasised: « The work is very beautiful, especially the reeds pipes. » In general, Trost placed high value on the interior and exterior beauty of his organs as an expression of the aesthetics of the Age of Enlightenment.<br />
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This can be experienced in Waltershausen if one not only looks at the magnificent organ case, of which the beauty is unfortunately obscured by columns in front of it, but also by discovering the interior of the organ. There one finds, for example, turned supports of the framework or the wonderfully shaped wooden pipes.<br />
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Organ music and organ playing were determining elements of the Lutheran liturgically influenced church services in Thuringia. The organ did not just have a high place high up above the pulpit and altar as an embodiment of heavenly music. It was also an active partner in the verbal profession of faith. Aside from its soloistic and choir accompanying functions, it played an important role in florid music and ensemble music with other instruments. This practice received special attention in Thuringia, even in the smallest towns. The Trost organ is especially suitable for the performance of music in the gallant style because of its beautiful flute stops and the enormous variability of the individual voices. Furthermore, this type of Trost organ was definitely highly regarded by Johann Sebastian Bach.<br />
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Brief history summary<br />
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1722 Contract with Trost for a two manual organ<br />
1723 Contract for a three manual organ and start of construction<br />
1735 Departure of Trost from Waltershausen; the organ remains unfinished<br />
1755 Completion of the organ by an unknown organ maker<br />
1835 Repair by Knauff from Grosstabarz<br />
1850 Gilding of the organ carvings donated by <span style="font-family: Verdana; font-size: 100%;">Johann Daniel Kestner</span><br />
1853-55 Modification by Johann Michael Hesse from Dachwig<br />
1896 New bellows by Hugo Böhm from Gotha<br />
1958-59 Modification by Hermann-Eule Orgelbau from Bautzen<br />
1994-98 Restoration by Orgelbau Waltershausen GmbH<br />
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<div style="font-weight: bold; text-align: center;"><span style="font-size: 180%;">DISPOSITION<br />
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<span style="font-weight: bold;">II. Hauptwerk</span><br />
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1Portun-Untersatz 16'<br />
1Gross Quintadena 16'<br />
1Principal 8'<br />
1Gemshorn 8'<br />
1Viol d' Gambe 8'<br />
1Portun 8' 1<br />
1Quintadena 8'<br />
1Unda maris 8'<br />
1Octava 4' 2<br />
1Salicional 4'<br />
2Röht-Flöta 4'<br />
1Celinder-Quinta 3'<br />
1Super-Octava 2'<br />
1Sesquialtera 2 2/3' II<br />
2Mixtura 2' VIII<br />
Fagott 16'<br />
1Trompetta 8'<br />
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<span style="font-weight: bold;">I. Brustwerk</span><br />
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1Gedackt 8'<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguOIShwSdZ9eE5IEpcRjqdNPkbXg9RK7nT9cCIX3mpZm6CElfLoJbhO9H2HLJfTjNaYohT3hc57knJbgJ3SOL8gZf3ne-0QQFuuYcMyqM_7wQAo_EC_fQGMixR2tpJ8TVfTGVLD5-Jwg0/s1600-h/waltershausensk5.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5333995267688039794" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguOIShwSdZ9eE5IEpcRjqdNPkbXg9RK7nT9cCIX3mpZm6CElfLoJbhO9H2HLJfTjNaYohT3hc57knJbgJ3SOL8gZf3ne-0QQFuuYcMyqM_7wQAo_EC_fQGMixR2tpJ8TVfTGVLD5-Jwg0/s200/waltershausensk5.jpg" style="cursor: pointer; float: right; height: 200px; margin: 0pt 0pt 10px 10px; width: 152px;" /></a><br />
1Nachthorn 8'<br />
1Principal 4'<br />
1Flöte douce II 4'<br />
1Nachthorn 4'<br />
1Gemshorn 4'<br />
1Spitz-Quinta 3'<br />
1Nassad-Quinta 3'<br />
2Octava 2'<br />
1Sesquialtera 2 2/3' II<br />
2Mixtura 2' IV<br />
2Hautbous 8'<br />
Tremulant<br />
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<span style="font-weight: bold;">III. Oberwerk</span><br />
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Flöte Dupla 8'<br />
1Vagarr 8'<br />
4Flöte travers 8'<br />
1Lieblich Principal 4'<br />
1Spitzflöte 4'<br />
Gedackt-Quinta 3'<br />
1Wald-Flöte 2'<br />
1Hohl-Flöte 2'<br />
Vox humana 8'<br />
1Geigen-Principal 4'<br />
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<span style="font-weight: bold;">Pedal</span><br />
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2Gross Principal 16'<br />
1Sub-Bass 16'<br />
1Violon-Bass 16'<br />
1Octaven-Bass 8'<br />
2Celinder-Quinta 6'<br />
Posaunen-Bass 32'<br />
1Posaunen-Bass 16'<br />
1Trompetten-Bass 8'<br />
3Quintadenen-Bass 16'<br />
3Viol d' Gamben-Bass 8'<br />
3Portun-Bass 8'<br />
3Super-Octava 4'<br />
3Rohr-Flöten-Bass 4'<br />
3Mixtue-Bass VI<br />
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<span style="font-size: 78%;">Legend:<br />
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1 original pipework<br />
2 partially original pipework<br />
3 by transmission<br />
4 playing 4'<br />
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Other details:<br />
o Cymbelsterne: 2 (C, G)<br />
o Couplers:<br />
by hooks: OW/BW, BW/P <br />
shove coupler: BW/HW<br />
by wind: HW/P Tremulant: HW, OW, BW<br />
o o Modified meantone temperament: a=466.8 HZ @ 15o<br />
o Wind Pressure: 69mm<br />
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BWV 565 J. S. Bach, Toccata and Fugue in d minor, Hans-Andre Stamm OrganUnknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-64880196486609029932010-07-14T09:16:00.000-04:002010-07-14T09:16:07.520-04:00Organ St. Paul London<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv6ApGnQcv-zwDz395zJ7LQlX9upUDSz7iJIS6TdFvo9KtYrOj1Pl2Ablm0mazJ-sba3f5ZjYoTHDSYEt0dVQreiHJaSkBsKU3-FRWAWtBA6bfIMr_ZFTn7eYXYyew82XHqv2fQsdjABs/s1600-h/stpauls1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv6ApGnQcv-zwDz395zJ7LQlX9upUDSz7iJIS6TdFvo9KtYrOj1Pl2Ablm0mazJ-sba3f5ZjYoTHDSYEt0dVQreiHJaSkBsKU3-FRWAWtBA6bfIMr_ZFTn7eYXYyew82XHqv2fQsdjABs/s400/stpauls1.jpg" /></a><br />
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<ul><li>The late Christopher Dearnley (1930-2000) playing Two Trumpet Tunes by Purcell, played in the glorious acoustics of St Paul's cathedral, London in 1967. This recording lets us hear the organ when it was still in the care of Henry Willis III, before it was subject to its major overhaul in the 1970s.</li>
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<ul><li>Christopher Dearnley plays Allegro Marziale by Frank Bridge. The last picture in the video shows a workman from Manders Organs standing in front of the Pedal 32' Bombarde which is mounted horizontally above the 32' Open Wood in the dome! </li>
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<div style="text-align: center;"><ul><li>Christopher Dearnley playing a fanfare by Sir Arthur Bliss. </li>
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On 19 December 1694, a contract was signed with the eminent immigrant organ builder from Germany, Bernard Smith, to supply an organ for the new Cathedral of St Paul's which by then was completed up to the point where the East end of the building could be used. The agreed figure for the new organ was £2,000, at the time quite a substantial sum of money for an organ.<br />
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<div style="text-align: left;"><ul><li>Queen Elizabeth II celebrated her Golden Jubilee in 2002, having acceded to the throne in 1952. The week of celebration culminated in a national service of thanksgiving at St. Paul's Cathedral. </li>
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It would appear that he was prepared, at his own expense, to increase the size of the instrument beyond that for which he was contracted. In particular, he wished to extend the key compass downwards to include manual pipes at 16ft pitch. Wren had however already designed the case into which the organ was to be built, and the extra space (which the enlarged compass required) led to the famous altercation between Wren and Smith, the former terming the organ a "confounded box of whistles".<br />
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The Smith organ was placed on a screen in the Quire as was usual at the time, with both an East and West front. The East facing front had a Chaire case, and the organ had three manuals, the third being a short compass Echo organ, possibly enclosed in a box, but not one that could be opened and closed, of course.<br />
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In spite of its modest size, being only 27 stops, it remained virtually unaltered until 1830 by which time it must have appeared very old fashioned. J C Bishop made several improvements at around this time but the lack of power displayed by the instrument must have become very apparent with the introduction in 1858 of the Sunday evening service, with its emphasis on congregational participation. This new service, together with the effects of the Tractarian movement, led to the re-siting of the organ in 1860 to a new home behind the stalls on the North side of the Quire.<br />
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The famous organ builder, Henry Willis, who had established himself with his organ for the Great Exhibition of 1851, carried out minor modifications in 1863 and then went on to build an essentially new instrument for the Cathedral in 1872. Some 200 pipes of the original Smith organ were retained, a handful of which remain in use to the present day. The original Wren case was sawn in half, modified, and placed against the pillars supporting the dome, where they remain. The organ then had four manuals.<br />
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Father Willis' organ employed the new and ingenious pneumatic action, a system which was to find rapid acceptance and use elsewhere. Clearly, the organ enhanced and confirmed Father Willis' reputation as the pre-eminent organ builder of his time, but he was keen to carry out further enlargements of the organ. In 1897 and 1900, significant additions were made to the organ. The entire Pedal Organ was moved up into the north-east quarter dome, leaving space behind the Choir Stalls for a new and more modest Pedal Organ together with an enlarged Solo division. Two additional Open Diapasons were added to the Great Organ, and a four-stop Altar Organ was built and placed on top of the Choir stalls one bay East of the Pedal and Solo. The tour de force must, however, have been the introduction of a family of Solo Tubas, placed in the quarter dome. None of this would have been possible without the use of electric action, pioneered by Father Willis at Canterbury Cathedral some years earlier.<br />
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In 1925 the instrument fell to the consequences of the discovery that the dome was in danger of collapse. The organ was dismantled and re-erected in the north nave aisle, with the Wren cases once more being modified. The organ was moved back to its usual home in 1930, together with the new console which had been built for it. By now the instrument had electric action throughout, and a few useful additions were made including enlargement of the modest Chancel Pedal section, a third 32ft stop in the pedal and the introduction of the "Willis" Trompette Militaire. This stop was in fact imported from America where it was a common feature in theatre organs.<br />
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During World War II, the organ was dismantled for safe keeping and stored in the Crypt under the North Transept, the very spot where an unexploded bomb came to rest, having crashed through both the roof and Cathedral floor. Significant damage resulted, but thankfully mostly restorable. Soon after the war the organ was re-instated. The astonishing effect of the Dome Tubas and Trompette Militaire had not gone unnoticed, and it was decided to try something similar with a dome chorus. A chorus of Lewis pipework salvaged from a bombed London church was installed in the south-east quarter dome and, unsuited as the pipework was for such a large building, it was effective in offering greater encouragement to congregational singing.<br />
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<div style="text-align: center;">St Paul's Cathedral, Royal Trumpets<br />
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<ul><li>Christopher Dearnley performs his own Fanfare on the Royal Trumpets at the west end of the cathedral. The recording was made in1977, just after a massive 5-year reconstruction of the instument by Noel Mander. Dearnley was cathedral organist from 1968 to 1990. </li>
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The organ received some remedial work in the 1950s and 1960s but the material was fast reaching the point where something more radical was required. In the late 1960s, a committee was formed by Christopher Dearnley, including the then surveyor to the Cathedral, Bernard Fielden, and Cecil Clutton. A number of options were discussed, including the possibility of reinstating the organ onto a restored screen close to its original position. This ambitious scheme was not undertaken but an almost as ambitious re-appraisal of the organ and its strengths and weaknesses was, which resulted in the instrument as it stands today.<br />
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Efforts had been made in the past to increase the effectiveness of the organ in the nave, somewhat to the detriment of the original Willis work. It was now recognised that these attempts were misguided. <br />
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The partial effectiveness of the dome chorus was however noted, and it was decided that a new and more generously scaled dome chorus should be built to cater for the requirements of the congregation under the dome and at the front of the nave, aided by a new west chorus to assist the singing at the back of the nave. This allowed the Chancel organ to concentrate on that at which it excelled, the accompaniment of the choir and for services in the Chancel. <br />
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<ul><li>Andrew Lucas playing a spectacular version of Garth Edmunson's Toccata on Von Himmel Hoch. Here the organ's full might is unleashed for the second half of the piece, it has been said that the dome division contains enough power to send audiences running for cover if the organist is not careful! The west end royal trumpets get an airing here too.</li>
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<ul><li>Andrew Lucas was born in 1958 and studied with John Birch and Herbert Howells at the RCM, after graduation studied with Peter Hurford and later with Piet Kee. he began at St Pauls cathedral in 1980 as a student organist and became sub-organist in 1985, and finally Sub organist and assistant Director of Music in 1990-1998. Since leaving St Pauls, he has gone on to become Master of Music at St Alban's Abbey.</li>
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The Great Organ was reduced to a state closer to its original 1872 specification, with the addition of a quint mixture for use where the Willis tierce mixtures were less suitable. The usefulness of the Great Organ was enhanced by a new north choir section, scaled and voiced to act as a happy extension of the Willis work, releasing the south choir to continue its prime role as an accompanimental division. The north choir occupies the space which up until then had been reserved for the console, and a new console was placed above the south choir stalls. The Swell Organ, as is so often the case in such instruments, had emerged almost entirely unscathed from the vagaries of changing fashion, but a Vox Humana was added for extra colour.<br />
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Those parts of the organ behind the north choir stalls, the Solo and Chancel Pedal, were rearranged to improve egress, and the Chancel Pedal, which had undergone successive changes in an effort to improve its effectiveness, was entirely remodelled and enlarged to provide a more effective and independent Pedal department to complement the rest of the Chancel organ.<br />
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The most visible addition to the organ was the provision of three new west Trumpets on the gallery high above the West door. These were intended for occasional use for special services and royal occasions but have found favour with many recitalists as well. Few are the Celebrity Recitals where they do not receive an airing.<br />
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The rebuilding work started in 1972 and was completed in 1977 in time for HM The Queen's Silver Jubilee. All new soundboards (with exception of that of the dome tubas) were employed, as well as a new console and action and new reservoirs. Throughout the re-building programme, the majority of the organ was in operation. Even the change from the old console to the new was achieved between evensong of one day and the next!<br />
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Minor works have been undertaken on the organ since its 1970s re-build. A multiple-level capture system has been installed, and a new Willis-style Claribel Flute has been re-instated on the Great Organ in the place of the Choir Principal which had been moved to the Great in 1930. <br />
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The south choir has regained its Principal, together with a Bourdon 16, a Flûte Harmonique 4 and a Corno di Bassetto. The organ was cleaned in the 1980s but apart from this there has been little call for any further changes, which has to be a tribute to those primarily involved in the work of the 1970s (Christopher Dearnley, the late Cecil Clutton, Noel Mander and Ian Bell) in the thoughtful search for a solution which would satisfy the musical demands of the Cathedral whilst respecting the historic material of its organ. <br />
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<ul><li>Christopher Herrick recorded Dr. Wills' majestic fanfare in 1969, on the V/107/136 Schmidt/Willis/Mander (well it wasn't Mander until a few years later -- his rebuild was completed in 1977). </li>
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<div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION</b></span><br />
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<div style="text-align: center;">Great 24 (17)<br />
</div>Double Open Diapason 16 <br />
Open Diapason I 8 <br />
Open Diapason II 8 <br />
Stopped Diapason 8 <br />
Claribel Flute 8 <br />
Quint 5 1/3 <br />
Principal I 4 <br />
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</div>Principal II 4 <br />
Flute 4 <br />
Twelfth 2 2/3 <br />
Fifteenth 2 <br />
Mixture III 1 3/5<br />
Fourniture IV 1 1/3<br />
Mixture III 05-Apr<br />
Trombone 16 <br />
Trumpet 8 <br />
Clarion 4 <br />
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<div style="text-align: center;">Swell 15 (13)<br />
</div>Contra Gamba 16 <br />
Open Diapason 8 <br />
Lieblich Gedackt 8 <br />
Salicional 8 <br />
Vox Angelica 8 <br />
Principal 4 <br />
Fifteenth 2 <br />
Cornet III 1 3/5<br />
Contra Posaune 16 <br />
Cornopean 8 <br />
Hautbois 8 <br />
Vox Humana 8 <br />
Clarion 4 <br />
+ Schweller <br />
+ Tremulant <br />
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<div style="text-align: center;">South Choir 14 (13)<br />
</div>Contra Viola 16 <br />
Bourdon 16 <br />
Open Diapason 8 <br />
Claribel Flute 8 <br />
Violoncello 8 <br />
Dulciana 8 <br />
Principal 4 <br />
Flûte Harmonique 4 <br />
Gemshorn 4 <br />
Lieblich Gedackt 4 <br />
Flagolet 2 <br />
Sesquialtera II 2 2/3<br />
Corno di Bassetto 8 <br />
+ Tremulant <br />
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<div style="text-align: center;">North Choir 13 (10)<br />
</div>Chimney Flute 8 <br />
Principal 4 <br />
Nason Flute 4 <br />
Nazard 2 2/3 <br />
Fifteenth 2 <br />
Blockflute 2 <br />
Tierce 1 3/5 <br />
Larigot 1 1/3 <br />
Sharp Mixture IV 03-Feb<br />
Trumpet 8 <br />
+ Tremulant <br />
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<div style="text-align: center;">Pedal 16 (13)<br />
</div>Open Diapason 16 Tr. Great<br />
Open Metal 16 <br />
Bourdon 16 <br />
Viola 16 Tr. Choir<br />
Principal 8 <br />
Flute 8 <br />
Fifteenth 4 <br />
Flute 4 <br />
Mixture IV 2 2/3<br />
Contra Posaune 32 <br />
Ophicleide 16 <br />
Posaune 8 <br />
Clarion 4 <br />
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<div style="text-align: center;">Solo 11 (11)<br />
</div>Open Diapason 8 <br />
Flûte Harmonique 8 <br />
Viola 8 <br />
Viola Celeste 8 <br />
Concert Flute 4 <br />
Piccolo 2 <br />
Tuba 8 17", *<br />
Corno di Bassetto 8 <br />
Cor Anglais 8 <br />
French Horn 8 <br />
Tuba Clarion 4 15", *<br />
+ Schweller (außer *) <br />
+ Tremulant (außer *) <br />
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<div style="text-align: center;">V. Manual 21 (14)<br />
</div>Double Open Diapason 16 <br />
Open Diapason I 8 <br />
Open Diapason II 8 <br />
Octave 4 <br />
Super Octave 2 <br />
Quartane II-III 1 1/3<br />
Mixture IV 1 1/3<br />
Cymbel III 1<br />
Double Tuba 16 25-30"<br />
Contra Posaune 16 <br />
Tuba 8 25-30"<br />
Trompette Militaire 8 25-30"<br />
Trumpet 8 <br />
Clarion 4 <br />
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<div style="text-align: center;">West Section 10 (7)<br />
</div>Open Diapason 8 <br />
Octave 4 <br />
Super Octave 2 <br />
Mixture IV 1 1/3<br />
Royal Trumpet 16 15-25"<br />
Royal Trumpet 8 15-25"<br />
Royal Trumpet 4 15-25"<br />
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<h1 style="text-align: center;"><span style="font-size: large;">Devin Wozencraft - Playing at St. Paul's Cathedral, London</span></h1><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/qt10RWng6Dw&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/qt10RWng6Dw&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
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<ul><li>On June 25th, 2009 I had the rare opportunity to play the famous organ at St. Paul's Cathedral in London, England. I was part of a British Organ Seminar that allowed a small group of us to learn & play some of the most renowned churches & cathedrals in England (like this one). A big "thank you" to Simon Johnson, head organist of St. Paul's for allowing me and our group this amazing opportunity.</li>
</ul>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-59689346424792212242010-07-08T08:14:00.000-04:002010-07-08T08:14:26.252-04:00Abbey Church of Saint-Ouen Organ, Rouen, France<div style="text-align: center;"><br />
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<div style="text-align: center;">Rouen, Abbatiale Saint-Ouen</div><div style="text-align: center;"><br />
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This organ is one of Cavaillé-Coll's most magnificent works and one of the most beautiful from the symphonic period.<br />
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The Abbey Church of Saint-Ouen already had an organ in the 16th century that was destroyed by the Huguenots in 1562. In 1630, a new instrument was built by Crespin Carlier upon plans prepared by Titelouze. It was an 8-ft instrument with two 48-note manuals and a 12-note independent pedal.<br />
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<div style="text-align: center;">Ben Van Oosten plays Widor's Toccata from Symphony No. 5 Op. 42 No. 1</div><div style="text-align: center;">Orgue: Cavaillé Coll, St. Ouen, Rouen</div><div style="text-align: center;"></div><br />
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Ben Van Oosten plays Widor's Allegro from Symphony No. 6 on the great Cavaillé - Coll of St. Ouen, Rouen <br />
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<div style="text-align: center;">Louis Vierne (1870-1937) 24 Pièces de Faintaisie: Suite II (op. 56, 1926) Toccata Ben van Oosten à l'orgue Cavaillé-Coll de Saint-Ouen, Rouen </div><br />
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<div style="text-align: center;">Louis Vierne (1870-1937) 24 Pièces de Faintaisie: Suite III Carillon de Westminster <br />
Ben van Oosten à l'orgue Cavaillé-Coll de Saint-Ouen, Rouen (IV, 64)</div><br />
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This organ was revised and enlarged twenty years later by Thomas Morlet; a dorsal positive was added and the main organ case went from an 8-ft 3-turrets into a 16-ft 5-turrets instrument.<br />
After the 1683 hurricane, the organ was repaired by Jean Brocard and Jacques Cherel. Charles Lefebvre worked on it in 1724. Other important works were carried out by Nicolas Collar in 1733. In 1741, the organ was dismantled by Jean-Baptiste Martin Lefebvre. The date of reassembly is unknown.<br />
In July 1803, it is stated that “only the montre is left, eventhough some pipes are missing, all inside stops, mechanical parts, windchests, wind ducts have been dismantled, sacked and removed, there is nothing left in the organ case”. <br />
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The organ is rebuilt at that period using parts coming from instruments in St. Godard, St. Vigor and St. Jean. Major works were carried out from 1823 to 1839 by Pierre-François and then by Paul-Louis Dallery.<br />
Called upon to examine the instrument, in 1851, Aristide Cavaillé-Coll ranks it among the largest instruments in France. The organ then had 50 stops over 5 manuals and pedal. From 1851 to 1882, repairs and alterations were made : installation of a new blower, removal of the echo manual, and installation of an enclosed récit.<br />
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<div style="text-align: center;">Carillon-Sortie by Henri Mulet (1878-1967) recorded in St Ouen, Rouen by Andreas Meisner. </div><br />
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In 1888, “a fundamental and complete restoration of the mechanical and instrumental sections of the organ” is awarded to Aristide Cavaillé-Coll. The famous organ builder will execute a complete rebuilding of the instrument keeping old stops only if they were in good condition (approximately 20). Inaugurated on April 17, 1890 by Charles-Marie Widor, this magnificent organ (in the « Michelangelo » style, as would say the organist at St. Sulpice) stands today almost intact in spite of the 1941 restoration (Debierre-Gloton) and the one in 1955 (Beuchet- Debierre).<br />
The organ case is listed as “Historical Landmark” as of February 5, 1970 while the instrumental portion is listed as such as of October 20, 1976.<br />
This instrument is the last masterpiece in a long series of organs built since 1840 in St. Denis Basilica and one of the most beautiful from the symphonic period.<br />
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<h1 style="font-weight: normal; text-align: center;"><span style="font-size: small;">Michel Chapuis. St-Ouen. 'Grand Jeu Classique' Improvisation.</span></h1><br />
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The Récit manual, the largest ever built by the organ builder, is an organ by itself with its twenty stops. On the main manual (Grand-Orgue), there are two stops placed en chamade just under the front pipes.<br />
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Prelude #2, op. 99. Recorded in 1973. Pierre Labric, the titulaire at St. Ouen for many years, is organist. <br />
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<div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION</b></span></div><div style="text-align: center;"><br />
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<table cellpadding="0" cellspacing="0" style="width: 400px;"><tbody>
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<center> <span style="font-size: xx-small;"><b>II. Grand-Orgue</b></span><br />
</center></th> <th #fff0f5="" width="90"><span style="font-size: xx-small;"><br />
</span></th> <th colspan="2" width="150"><br />
<br />
<br />
<br />
<br />
<br />
<center> <span style="font-size: xx-small;"><b>I. Positif</b></span><br />
</center></th></tr>
<tr> <td align="left" width="175"><span style="font-size: xx-small;">Montre</span></td> <td align="right" width="50"><span style="font-size: xx-small;">16'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left" width="150"><span style="font-size: xx-small;">Montre</span></td> <td align="right" width="50"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Bourdon</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Bourdon</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Violon-basse</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Gambe</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Montre</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Unda maris</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Diapason</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Dulciane</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Bourdon</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Flûte douce</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Flûte harmonique</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Doublette</span></td> <td align="right"><span style="font-size: xx-small;">2'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Salicional</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Plein-Jeu</span></td> <td align="right"><span style="font-size: xx-small;">V</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Prestant</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Cor anglais</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Trompette en chamade</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Trompette</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Clairon en chamade</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Cromorne</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Clairon</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td></tr>
</tbody></table><br />
<br />
<br />
</center> <br />
<div><br />
<br />
<br />
<br />
<br />
<br />
<dt><center><br />
<br />
<br />
<table cellpadding="0" cellspacing="0" style="width: 400px;"><tbody>
<tr align="middle" valign="center"><th colspan="2" width="150"><br />
<br />
<br />
<br />
<br />
<br />
<center> <span style="font-size: xx-small;"><b>III. Récit<br />
(expressif / <i>enclosed</i>)</b></span><br />
</center></th> <th #fff0f5="" width="90"><span style="font-size: xx-small;"><br />
</span></th> <th colspan="2" width="150"><br />
<br />
<br />
<br />
<br />
<br />
<center> <span style="font-size: xx-small;"><b>IV. Bombarde</b></span><br />
</center></th></tr>
<tr> <td align="left" width="175"><span style="font-size: xx-small;">Quintaton</span></td> <td align="right" width="50"><span style="font-size: xx-small;">16'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left" width="150"><span style="font-size: xx-small;">Grosse Flûte</span></td> <td align="right" width="50"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Corno dolce</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Flûte</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Diapason</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Doublette</span></td> <td align="right"><span style="font-size: xx-small;">2'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Cor de nuit</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Fourniture</span></td> <td align="right"><span style="font-size: xx-small;">V</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Flûte traversière</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Cornet 16' (c1)</span></td> <td align="right"><span style="font-size: xx-small;">V</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Viole de gambe</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Bombarde</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Voix céleste</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Contre-Basson</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Voix éolienne</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Trompette</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Flûte octaviante</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;">Clairon</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Viole d'amour</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Quinte</span></td> <td align="right"><span style="font-size: xx-small;">2 2/3'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Octavin</span></td> <td align="right"><span style="font-size: xx-small;">2'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Carillon</span></td> <td align="right"><span style="font-size: xx-small;">I-III</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Cornet (c1)</span></td> <td align="right"><span style="font-size: xx-small;">V</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Tuba Magna</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Trompette harmonique</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Clarinette</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Basson-Hautbois</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Voix humaine</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Clairon harmonique</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Tremolo</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="left"><span style="font-size: xx-small;"><br />
</span></td> <td align="right"><span style="font-size: xx-small;"><br />
</span></td></tr>
</tbody></table><br />
<br />
<br />
</center> </dt><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<dt><center><br />
<br />
<br />
<table cellpadding="0" cellspacing="0" style="width: 200px;"><tbody>
<tr align="middle" valign="center"><th colspan="2" width="200"><br />
<br />
<br />
<br />
<br />
<br />
<center> <span style="font-size: xx-small;"><b>Pédale</b></span><br />
</center></th></tr>
<tr> <td align="left" width="150"><span style="font-size: xx-small;">Soubasse</span></td> <td align="right" width="50"><span style="font-size: xx-small;">32'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Contre-basse</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Soubasse</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Basse</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Violoncelle</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Bourdon</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Flûte</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Contre-bombarde</span></td> <td align="right"><span style="font-size: xx-small;">32'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Bombarde</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Basson</span></td> <td align="right"><span style="font-size: xx-small;">16'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Trompette</span></td> <td align="right"><span style="font-size: xx-small;">8'</span></td></tr>
<tr> <td align="left"><span style="font-size: xx-small;">Clairon</span></td> <td align="right"><span style="font-size: xx-small;">4'</span></td></tr>
</tbody></table><br />
<br />
<br />
</center> </dt><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
</div></div><div style="text-align: center;"><b> <i>Other details</i>:</b> <br />
<ul><dt><br />
<br />
<br />
<br />
<br />
<br />
<ul><li style="text-align: left;">Console : en fenêtre </li>
<li style="text-align: left;"> <i>Manual compass</i> : 56 notes </li>
<li style="text-align: left;"> <i>Pedal compass</i> : 30 notes </li>
<li style="text-align: left;"> <i>Combination pedals</i>: 19 </li>
<li style="text-align: left;"> <i>Expression pedal</i>: Récit </li>
<li style="text-align: left;"> <i>Pneumatic key action with the help of Barker machines except for the Positif (mechanical key action)</i> </li>
<li style="text-align: left;"> <i>Mechanical stop action except for the reeds on Bombarde which are globally either on or off using a combination pedal (pneumatic system)</i> </li>
<li style="text-align: left;"> <i>Couplers</i> : <dd>BOM/GO 8; REC/GO 16,8 ; POS/GO 8; GO 16 </dd><dd>REC/POS sur REC; BOM/REC, REC 16,4 </dd><dd>POS/PED, GO/PED, REC/PED </dd> </li>
<li style="text-align: left;"> <i>Reeds ON</i> : <dd>POS, BOM, PED </dd> </li>
<li style="text-align: left;"> Fixed combination pedals : <dd>Chamades </dd><dd>Jeux de combinaison (REC) </dd><dd>Trémolo (REC) </dd><dd>Expression (REC) </dd> </li>
<li style="text-align: left;"> <i>The Orage combination pedal has been removed</i>.</li>
<li style="text-align: left;"> </li>
<li><br />
</li>
</ul><br />
<br />
<br />
</dt>
</ul><div style="text-align: left;"></div><br />
<br />
<br />
<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/38pT9oSJbGs&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/38pT9oSJbGs&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
<div style="text-align: center;">This is a short recording of Mr. Roth at the console playing Cathédrales by Vierne. </div><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0gcjA1MGxvFwu_KFb8QlBXLAEb7hvItxY5lwgoNwaTQW4jwQJC5_SXjQdHHhqVue2Nuv307TbtbOZwTclbmjt6dxiZC3rDXHPTj91MGs6zm4g2U7ZfpdHmiTYgaR5mAWBhL4ge8QpVYo/s1600-h/Normandie_Seine_Rouen19_tango7174.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0gcjA1MGxvFwu_KFb8QlBXLAEb7hvItxY5lwgoNwaTQW4jwQJC5_SXjQdHHhqVue2Nuv307TbtbOZwTclbmjt6dxiZC3rDXHPTj91MGs6zm4g2U7ZfpdHmiTYgaR5mAWBhL4ge8QpVYo/s400/Normandie_Seine_Rouen19_tango7174.jpg" /></a></div></div><input id="gwProxy" type="hidden" /><input id="jsProxy" onclick="jsCall();" type="hidden" /><br />
<div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-2468835379013975232010-06-28T18:22:00.035-04:002010-06-30T12:59:04.123-04:00Johann Gottfried Silbermann 1734 organ in Ponitz<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3QsTMBzMgP8vPFgPAPM03uv-XRSkpQKXzCx8Jh2uzmUdyAPsO9TCtN_JFs4f65JwO0YW0MpdelzTcSFrk16FRsTNYTXJbFK0zHx6BNWDiYCr4EM3ZyDRzVFA2wBKdHjx7qfm_AG0VhzrS/s1600/orgelpostkarte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3QsTMBzMgP8vPFgPAPM03uv-XRSkpQKXzCx8Jh2uzmUdyAPsO9TCtN_JFs4f65JwO0YW0MpdelzTcSFrk16FRsTNYTXJbFK0zHx6BNWDiYCr4EM3ZyDRzVFA2wBKdHjx7qfm_AG0VhzrS/s400/orgelpostkarte.jpg" width="400" /></a></div><br />
<br />
Already in 1734 the final completion of the church was made prior to Gottfried Silbermann, the contract for which Ponitz church to build an organ. In September of that year signed contract are already indications about the future organ contain accurate. This certificate was signed by Carl August from the Planitz, Dorothea of Schönburg born of Zehmen and Christiana Sibylla of the Planitz born of Zehmen than the customer as well as by Gottfried Silbermann. The original of this document is now untraceable. The detailed content of the contract, however, is evident from a contemporary copy. Only in 1996 discovered the handwritten copy of contract at an auction in London. Today this document is located in the Saxon State Library, one copy exists in the Ponitz parish archive. With the discovery of this copy was the first time clearly that the organ was enlarged with the treaty of 1737.<br />
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<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/hOGvJPonoHE&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/hOGvJPonoHE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
<br />
Johann Sebastian Bach (1685-1750)<br />
<br />
Prelude and Fugue in E minore BWV 548<br />
1. Prelude<br />
<br />
Bernard Foccroulle at the <a href="http://www.bayarea.net/%7Ekins/AboutMe/Bach/JSB_bio_Arton/silbeng.html">Johann Gottfried Silbermann organ in Ponitz</a><br />
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DISPOSITION OF THE ORGAN<br />
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Hauptwerk<br />
Bordun 16 Fuß<br />
Principal 8 Fuß<br />
Rohr-Flöthe 8 Fuß<br />
Viol di Gamba 8 Fuß<br />
Octava 4 Fuß<br />
Spitz-Flöthe 4 Fuß<br />
Quinta 3 Fuß<br />
Octava 2 Fuß<br />
Tertia 1 3/5 Fuß<br />
Mixtur 4fach<br />
Cornett 3fach<br />
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Oberwerk<br />
Principal 8 Fuß<br />
Gedackt 8 Fuß<br />
Quintadehn 8 Fuß<br />
Octava 4 Fuß<br />
Rohr-Flöthe 4 Fuß<br />
Nassat 3 Fuß<br />
Octava 2 Fuß<br />
Gemßhorn 2 Fuß<br />
Sesquialtera 1 3/5 Fuß<br />
Quinta 1 1/2 Fuß<br />
Suffloeth 1 Fuß<br />
Cymbeln 2fach<br />
Vox humana 8 Fuß<br />
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Pedal<br />
Principal-Baß 16 Fuß<br />
Posaunen-Baß 16 Fuß<br />
Octav-Baß 8 Fuß<br />
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Calcantenglocke<br />
Nebenzüge<br />
Tremulant im Hauptwerk<br />
Schwebung im Oberwerk<br />
Pedalkoppel (seit 1884)<br />
Manualschiebekoppel<br />
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<div id="refHTML"></div><input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="jsCall();" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-77677883850538866642010-06-27T21:46:00.004-04:002010-06-28T11:38:09.387-04:00Organ Martini Kerk Schnitger GroningenGreat musicians such as Bach, Handel etc. wrote their music for the organ as an expression of their faith.<br />
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They express:<br />
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<div style="text-align: center;"><span style="font-style: italic; font-weight: bold;">You are my God, and I will praise You; You are my God, I will exalt You. Psalms 118:28 NKJ </span><br />
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May you, as you listen to these magnificent instruments, in thought be transported to also glorify your maker.<br />
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<div style="text-align: center;"><span style="font-size: 130%; font-weight: bold;">Soli Deo Gloria</span><span style="font-size: 130%;"><br />
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Georg Böhm (1661-1733)<br />
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Chorale Prelude "Aus tiefer Not schrei ich zu dir"<br />
Chorale Prelude "Vater unser im Himmelreich"<br />
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Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen<br />
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Georg Böhm (1661-1733) Partita "Freu dich sehr, o meine Seele"<br />
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Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen<br />
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Georg Böhm (1661-1733) Partita "Freu dich sehr, o meine Seele"<br />
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Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen<br />
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Organ builder Jürgen Ahrend discusses his restoration of the Arp Schnitger pipe organ at the Martinikerk, Groningen, Netherlands. Musical improvisation by Sietze de Vries.<br />
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Celebrated performers like Marie-Claire Alain, Ton Koopman, Gustav Leonhardt, Michael Radulescu, Wim van Beek and Harald Vogel have played the organ in recent years and consider it to be one of the finest instruments in the world both because of its excellent playability (mechanics by Jürgen Ahrend) and its wonderfull sound, in the individual stops (some dating back to the 15th century) as well as in the majestic full organ.<br />
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<div style="text-align: center;">Johann Ludwig Krebs: Von Gott will ich nicht lassen. Played by Liga Vilmane (Latvia)<br />
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The organ is the only instrument in the world that still possesses orginal 32-foot prestant pipes originally manufactured by the great Arp Schnitger in the years 1690/91.<br />
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HISTORY<br />
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The Martinikerk organ in Groningen can look back on a long and eventful history. The church itself acquired its present form in the early 16th century. The original three-aisled cruciform basilica dates from around 1220 and was enlarged in around 1425 with the addition of a high Gothic chancel. Some twenty-five years later the nave was rebuilt, resulting in the Gothic hall church that we know today. A Renaissance chapel was added next to the north tympanum at the beginning of the 16th century. Meanwhile, the tower had been struck by lightning in 1465 and collapsed. Rebuilding work on it was not completed until 1550. Ninety-six metres high, this Martinitoren is the pride of the town.<br />
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The Martinikerk's first organ dates from around 1450. This instrument was rebuilt in around 1482, probably by Johan ten Damme. Expert advice was provided by the famous humanist Rudolph Agricola, who was Groningen's town clerk at this time. It must have been a particularly fine organ as the present instrument still contains a number of pipes dating from 1482, attesting to their exceptional quality This Gothic organ was altered, enlarged and rebuilt in the Renaissance style in 1542 by an unknown builder. It was further rebuilt and enlarged by Anthoni Verbeeck in 1627/8, by Jan Helman in 1685-90, by Arp Schnitger in 1691/2, by Frans Caspar Schnitger and Albertus Anthoni Hinsz in 1729/30 and again by Hinsz in 1740.<br />
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Marie-Claire Alain plays extracts from Fantasy and Fugue in G minor BWV 542 at the Schnitger organ in Martinikerk (Groningen) and she speaks about Johann Sebastian Bach. <br />
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Jan Helman was still working on the instrument when he died in 1690, and it was left to Arp Schnitger - arguably the most famous organ builder of his day - to sort out the resultant problems. Schnitger needed three whole days to draw up a plan fur restoring the organ to working condition. This plan was submitted to the town council on 9 June 1691. Schnitger's assistants started work in July and the instrument was formally handed over in February 1692. That same month a new contract was drawn up with Schnitger for two large pedal towers that were to include a new 32' Prinzipal in addition to the existing pedal pipes. This commission, too, was energetically taken in hand and by December 1692 the enlarged instrument was finished. The cases for the new pedal towers were the work of the cabinet maker Allart Meijer, who often collaborated with Schnitger in Groningen. The Martinikerk now boasted a large Baroque organ in the north German style.<br />
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In 1728 a new organist was appointed in the person of Jacob Wilhelm Lustig. A native of Hamburg, he was to remain the Martinikerk's organist until 1796. And it was he who expressed the wish that the instrument should be restored and enlarged, a task entrusted to Arp Schnitger's son, Frans Caspar, in 1728. The work involved not only repairing and renovating the instrument but, above all, adding a new Rückpositiv, installing new slider-chests for the main manual and replacing parts of the Pedal. Frans Caspar died in March 1729 and the work was completed by his master journeyman Albertus Anthoni Hinsz. Hinsz was also responsible for repairs in 1740, when the opportunity was taken to add seven new stops to the Rückpositiv, space having already been left for them at the time of the rebuilding work of 1729-30. The result was a sizeable instrument of 47 stops.<br />
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In the course of the 19th century, the instrument was repeatedly repaired, rebuilt and enlarged. By 1854/5 the organ had 52 stops, but of these only 27 dated from the period before 1740. The instrument suffered appallingly at the hands of a whole series of builders during the first half of the 20th century, with the result that it was now felt to be more or less beyond rescue and scarcely worth regarding any longer as a valuable historic organ.<br />
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In 1971 the organ was removed while the church itself was restored and the question inevitably arose as to whether a restoration or reconstruction was still possible or meaningful. After detailed surveys a plan was drawn up that envisaged restoring the instrument to its 1740 state, while retaining a number of later changes, at least to the extent that these could be incorporated into the design in a sensible and harmonious way.<br />
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Many doubted whether this plan was feasible, but, acting in consultation with the organ expert Cornelius H. Edskes, the master organ builder Jürgen Ahrend succeeded in transforming this ruin back into an exceptional instrument. The work was carried out in two stages, with the Rückpositiv and Oberwerk being restored in 1976/7 after extensive preparatory work. Only when it had been established that the result was a success were the main manual and Pedal restored in 1983/4. By the time that the instrument was again playable in mid-1984, there was unanimous agreement that the Martinikerk organ had risen like a phoenix from its own ashes.<br />
<span style="font-size: 78%;">by Paul Peeters and translation Stewart Spencer</span><br />
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</span>OVERVIEW<br />
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<table><tbody>
<tr><td>1450<br />
</td><td>Building of a great organ<br />
</td></tr>
<tr> <td>1482<br />
</td><td>Rebuilding of the existing Gothic organ, presumably by Johan then Damme (with Rudolf Agricola as his adviser)<br />
</td></tr>
<tr> <td>1542<br />
</td><td>Alteration in Renaissance style<br />
</td></tr>
<tr> <td>1564<br />
</td><td>Enlargement by Andreas de Mare<br />
</td></tr>
<tr> <td>1627-28<br />
</td><td>Enlargement by Anthoni and Adam Verbeeck<br />
</td></tr>
<tr> <td>1685-90<br />
</td><td>Alteration by Jan Helman<br />
</td></tr>
<tr> <td>1691-92<br />
</td><td>Rebuilding and enlargement (32'-pedal towers) by Arp Schnitger<br />
</td></tr>
<tr> <td>1728-30<br />
</td><td>Alteration and enlargement (new Rugpositief) by Frans Caspar Schnitger and Albertus Anthonie Hinsz<br />
</td></tr>
<tr> <td>1740<br />
</td><td>Large-scale repairs after subsidence, and enlargement with seven new stops by Hinsz<br />
</td></tr>
<tr> <td>1808-1912<br />
</td><td>Numerous modifications by Lohman, van Oeckelen and Doornbos<br />
</td></tr>
<tr> <td>1938-39<br />
</td><td>Alteration (electrical action and re-voicing) by J. de Kof<br />
</td></tr>
<tr> <td>1971<br />
</td><td>Disassembly because of restoration<br />
</td></tr>
<tr> <td>1976-84<br />
</td><td>Restoration, partial reconstruction by Jürgen Ahrend from Leer/Loga (based on the 1740 situation). Adviser was Cor H. Edskes.<br />
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</td></tr>
</tbody></table><div style="text-align: center;"><span style="font-size: 180%;"><span style="font-weight: bold;"></span></span><br />
<div style="text-align: left;"><span style="font-size: 180%;"><span style="font-weight: bold;">DISPOSITION</span></span><br />
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<div style="text-align: left;"><div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Rugpositief </span></span><br />
</div>Praestant 8'<br />
Quintadena 16'<br />
Bourdon 8'<br />
Roerfluit 8'<br />
Octaaf 4'<br />
Speelfluit 4'<br />
Gedektquint 3'<br />
Nasard 3'<br />
Octaaf 2'<br />
Fluit 2'<br />
Sesquialtera II<br />
Mixtuur IV-VI<br />
Cimbel III<br />
Basson 16'<br />
Schalmei 8'<br />
Hobo 8'<br />
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<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Manuaal </span></span><br />
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Praestant 16'<br />
Octaaf 8'<br />
Salicet 8'<br />
Quintadena 8'<br />
Gedekt 8'<br />
Octaaf 4'<br />
Gedektfluit 4'<br />
Octaaf 2'<br />
Vlakfluit 2'<br />
Tertiaan II<br />
Mixtuur IV-VI<br />
Scherp IV<br />
Trompet 8'<br />
Viola da Gamba 8'<br />
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<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Bovenwerk </span></span><br />
</div>Praestant I-III 8'<br />
Holfluit 8'<br />
Octaaf 4'<br />
Nasard 3'<br />
Sesquialtera II<br />
Mixtuur IV-VI<br />
Trompet 16'<br />
Vox Humana 8'<br />
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<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">Pedaal </span></span><br />
</div>Praestant 32'<br />
Praestant 16'<br />
Subbas 16'<br />
Octaaf 8'<br />
Gedekt 8'<br />
Roerquint 6'<br />
Octaaf 4'<br />
Octaaf 2'<br />
Nachthoorn 2'<br />
Mixtuur IV<br />
Bazuin 16'<br />
Dulciaan 16'<br />
Trompet 8'<br />
Cornet 4'<br />
Cornet 2'<br />
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Couplers: Manuaal + Rugpositief, Bovenwerk + Manuaal<br />
2 tremulanten<br />
Keyboards: C-c'''<br />
Pedal: CD-d'<br />
Pitch: a' = 465 Hz<br />
Temperature: Variant of Neidhardt<br />
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Johann Sebastian Bach (1685-1750)<br />
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Fantasia in G major BWV 571<br />
1. [Allegro]<br />
2. Adagio<br />
3. Allegro<br />
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Ton Koopman, organ Fantasia g-dur BWV571 Schnitger orgel Martinikerk <br />
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Nun komm, der Heiden Heiland" (BWV 659)J.S. Bach; Organist Pieter Pilon<br />
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8 Short Preludes and Fugues Prelude and Fugue in C major<br />
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Johann Sebastian Bach <br />
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Prelude and Fugue in do major BWV 553 <br />
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<div style="text-align: center;"><br />
Praeludium und Fuge c-dur BWV 553 <br />
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1. Ton Koopman at the Garrels organ of the Grote Kerk (Maassluis)<br />
Equal Temperament. Pitch: a'=440 Hz.<br />
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2. Ton Koopman at the Schnitger organ of the Martinikerk (Groningen)<br />
Modified Neidhardt Temperament. Pitch: a'=466 Hz.<br />
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<div style="text-align: left;"><span style="font-size: 130%;"><span style="font-weight: bold;">YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:</span></span><br />
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<a href="http://ca.youtube.com/watch?v=Uz06uE5YhgY&feature=related">Groningen Martinikerk - Bach - BWV 659 Pieter Pilon Schnitger Organ</a><br />
<a href="http://ca.youtube.com/watch?v=HtHouOqN_EQ">Bach 596 Koopman Schnitger organ Groningen</a><br />
<a href="http://ca.youtube.com/watch?v=5olRVXONOYA">Bach 595 Koopman Schnitger organ Groningen</a><br />
<a href="http://ca.youtube.com/watch?v=Ua_LOlhI9B0">Bach 592 Koopman Schnitger organ Groningen</a><br />
<a href="http://ca.youtube.com/watch?v=bH0xf96B-2Q">Bach 561 - Koopman - Schnitger Groningen</a><br />
<a href="http://ca.youtube.com/watch?v=Y3cjJtwi41c">Bach 551 Koopman Schnitger organ Groningen</a><br />
<a href="http://www.youtube.com/watch?v=TvrXsA1mbrc&feature=channel">Praeludium BWV 548 - Schnitger in Groningen, M...</a><br />
<a href="http://www.youtube.com/watch?v=JMFRKkwcTw8&feature=channel">Praeludium BWV 544 - Schnitger in Groningen, M...</a><br />
<a href="http://www.youtube.com/watch?v=zsiN1f3ejq4&feature=related">Praeludium BWV 543 Martinikerk Wolfgang Ruebsam</a><br />
<a href="http://www.nme.com/video/id/jKMQrAWU-Ww/search/schnitger">Bach 536 Koopman Schnitger Goningen</a><br />
<a href="http://ca.youtube.com/watch?v=ihw1X9ajVfk&feature=related">Martinikerk Krebs, Von Gott will ich nicht lassen.</a><br />
MP3:<br />
<b><a href="http://services.asset-control.com/martini/wvbmg2t5.mp3" tppabs="http://services.asset-control.com/martini/wvbmg2t5.mp3">Ach bleib bei uns, Herr Jesu Christ</a></b>"<br />
</div><div style="text-align: left;">Man: Rf8,Sf4 (left hand) Rp: P8,O4,Sesq,S8 (right hand) Ped: S16,O8<br />
</div><div style="text-align: left;"><b><a href="http://services.asset-control.com/martini/wvbmg2t7.mp3" tppabs="http://services.asset-control.com/martini/wvbmg2t7.mp3">Praeludium</a></b><br />
</div><div style="text-align: left;">Man: P16,O8,O4,O2,M,Sc,T8 Ped: P16,S16,O8,Rq6,O4,O2,M,Baz16,D16<br />
</div><div style="text-align: left;">"<b><a href="http://services.asset-control.com/martini/wvbmg0t4.mp3" tppabs="http://services.asset-control.com/martini/wvbmg0t4.mp3">Allein Gott in der Höh' sei Ehr'</a></b>"<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXCf76L8zcfXeiBkKnZaWtq_YhEmOJeFcZujcxf9JthqcoNpESkb2NShHoc1VFoUuauPpMMg2xWPIx2QSdHZXn1bLMG3UT7GkAyOSAFyLoI2VPEEBx6YON8dTAVartwT-s_Lb1Q3B9zDI/s1600-h/Martini+Groningen.gif" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5313779812032270290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXCf76L8zcfXeiBkKnZaWtq_YhEmOJeFcZujcxf9JthqcoNpESkb2NShHoc1VFoUuauPpMMg2xWPIx2QSdHZXn1bLMG3UT7GkAyOSAFyLoI2VPEEBx6YON8dTAVartwT-s_Lb1Q3B9zDI/s320/Martini+Groningen.gif" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 224px;" /></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-88032280835723608332010-06-16T18:36:00.001-04:002010-06-16T18:51:30.893-04:00Organ St. Bavo Haarlem<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp0XN3IylrMjwpJS9KCzdZ4J2kMS_Bn-sm9GyU7fS5kRDmsNxIF8ihrBxBsz3lk2wOQrkBFfOwu0RI1AZDcNB7s1tr4LshPqz_9BHCa6rzE0zwNhEmUgwVl0qWzyryiKS75saSyb6WKMc/s1600-h/bavo+haarlem.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="576" id="BLOGGER_PHOTO_ID_5321962006527907922" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp0XN3IylrMjwpJS9KCzdZ4J2kMS_Bn-sm9GyU7fS5kRDmsNxIF8ihrBxBsz3lk2wOQrkBFfOwu0RI1AZDcNB7s1tr4LshPqz_9BHCa6rzE0zwNhEmUgwVl0qWzyryiKS75saSyb6WKMc/s400/bavo+haarlem.jpg" style="display: block; margin: 0px auto 10px; text-align: center;" width="338" /></a><span style="font-size: 130%;"><span style="font-weight: bold;">Christian Müller Organ 1735 -1738. </span></span><br />
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The organ builder Christian Müller and the sculptor Jan van Logteren, both of Amsterdam, built the instrument in 1735 -1738. With its sixty-four stops and imposing 32 foot pedal towers it was for many years the largest organ in the world.<br />
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Soon after its completion the organ became a tourist attraction with international fame and it still is. It was played by G.F. Händel in 1740 and ’50, who travelled to Haarlem especially for this purpose, and in 1766 the ten-year-old Mozart was on the organ.<br />
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Dietrich Buxtehude (c. 1637-1707) Praeludium in d-dur BuxWV 139<br />
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Piet Kee at the Christian Müller organ of the St. Bavokerk in Haarlem<br />
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In the nineteenth and twentieth centuries considarable alterations were made according to the dictates of the time. The purpose of the major restoration of 1959 -1961 by Marcussen & Son was to restore the organ as far as possible to its original state. In the years 1987 - 2000 Flentrop Orgelbouw worked on the voicing of the instrument.<br />
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Johann Sebastian Bach (1685-1750)Toccata in F major BWV 540<br />
Marie-Claire Alain at the Christian Müller organ of St. Bavokerk in Haarlem (Holland)<br />
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<div style="text-align: center;">Wachet Auf, J.S.Bach<br />
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<div style="text-align: center;">MOZART ON ST. BAVO<br />
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<div style="text-align: center;">Fantasie In Fa-mineur of W.A. Mozart ,performed by Bernhard Bartelink.<br />
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HISTORY<br />
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With the organ of Haarlem its maker, Christiaan Müller, a German by origin, has placed himself among the great organ builders not only of his time, but of all times. Although it has been radically restored several times – the last big restoration was carried out in 1959-60 by the Danish company Marcussen – the organ has retained its original concept with yet about 90% of the pipes. During the past years the organ building company Flentrop from Zaandam, that is maintaining the organ, has carried out a number of retunings, through which the sound again closely approaches the original. The sound can be described as broad, prominent, and despite the countless nuances exceptionally homogeneous. Famous is the Cornet, the register that is placed to enable strengthening of the melody of the psalm, and the Vox Humana, or imitation of the human voice, with which Händel was very charmed, as we know. Of course, the superb acoustics of the church contributes to the beauty of the instrument's sound. Händel, Mozart and Mendelssohn number along the many celebrated visitors who have travelled far to play the instrument.<br />
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Some technical data: The organ counts more than 5000 pipes, divided over 64 stops, with three manuals and a pedal. The case is made of pinewood and painted in mahogany; all pipes are made of metal (an alloy of lead and tin), the play-register action is mechanical tracker (renewed in 1960). The tuning is even, which is a concession to the present concert practice, in which not only Baroque music, but also music from all style periods is performed. The Müller organ is played mainly in the summer period at the mentioned city concerts and during the church services on Sundays. In the summer the city organ concerts attract many visitors each week.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ8WXs8-N0m1lK1O2Qkke1oMt_tTB64zgm9L4bD7c26lAcJAXh4OR9-un7k6_zRW3LIiiUjiSqIjprrXwAHDMJQ57tT9dqXNCPNxsHiqnAS2EgoIplKIq4gQdWz94SHxKrWYIY8FDq_1E/s1600-h/O+Ghent+.bmp" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><br />
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<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/RrPTuErumAY&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/RrPTuErumAY&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<div style="text-align: center;">Buxtehude Prelude and Fugue in D<br />
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J.S. Bach - Choral Prelude - BWV 622<br />
"O Mensch Bewein Dein Sunde Gross"<br />
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STOPLIST<br />
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<div style="text-align: center;">Hoofdwerk<br />
</div>Praestant 1,2 st.16'<br />
Bourdon 16'<br />
Octaaf 1,2 st. 8'<br />
Roerfluit 8'<br />
Viola di Gamba (conisch) 8' 1<br />
Roerquint 6'<br />
Octaaf 4'<br />
Gemshorn 4'<br />
Quint-praesant 3'<br />
Woudfluit 2'<br />
Tertiaan 2 st. 2'<br />
Mixtuur 4-10 st. 2-8'<br />
Scherp 6,7,8 st. 1 1/2' 1<br />
Trompet 16'<br />
Trompet 8'<br />
Hautbois 8'<br />
Trompet 4'<br />
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<div style="text-align: center;">Rugpositief<br />
</div>Praestant 2 st. 8'<br />
Quintadena 8' 1<br />
Holpijp 8'<br />
Octaaf 4'<br />
Fluit Douce 4'<br />
Speelfluit 3'<br />
Super Octaaf 2'<br />
Sesquialter 2, 3, 4 st.<br />
Cornet 4 st. discant<br />
Mixtuur 6, 8 st. 1'<br />
Cymbaal 3 st. 1<br />
Fagot 16'<br />
Trompet 8'<br />
Trechter regaal 8' 1<br />
Tremulant<br />
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<div style="text-align: center;">Bovenwerk<br />
</div>Quintadena 16'<br />
Praestant 2 st. 8<br />
Quintadena 8'<br />
Baarpijp 8'<br />
Octaaf 4'<br />
Flagfluit 4'<br />
Nasard 3<br />
Nachthoorn 2'<br />
Flageolet 1 1/2'<br />
Sesquialter 2 st.<br />
Mixtuur 4,5,6 st.2' 1<br />
Cymbaal 3 st. (+terts) 1<br />
Schalmei 8'<br />
Dolceaan 8'<br />
Vox humana 8'<br />
Tremulant<br />
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<div style="text-align: center;">Pedaal<br />
</div>Principaal 32'<br />
Praestant 16'<br />
Subbas 16' 1<br />
Roerquint 12'<br />
Octaaf 8'<br />
Holfluit 8'<br />
Quintpraestant 6'<br />
Octaaf 4'<br />
Holfluit 2'<br />
Mixtuur 6-10 st. 2 2<br />
Ruischpijp 4 st. (+terts) 3' 1<br />
Bazuin 32' <br />
Bazuin 16'<br />
Trompet 8'<br />
Trompet 4'<br />
Cink 2'<br />
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1) Newly made in 1961<br />
2) Added to the disposition in 1961<br />
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All pipes of all stops (64) are made of metal.<br />
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Works by Charpentier,Boyce and Derx.<br />
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Bist du bei mir J.S.Bach and an improvisation on <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnZLbXLdeeqpu4k297hodmJ60QRy2NQ9Hs9DWw8c35eoXpvdDZMzSN3_XIbQRhfHQLVZZbsb62609ekEj6x3Ahxi7fwTVAjFN-Io5QZFQvqMj1oss2BxvAqUopQ4SIkKytxsjcOOMX21o/s1600-h/O+Haarlem+large.bmp" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5268534289614056226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnZLbXLdeeqpu4k297hodmJ60QRy2NQ9Hs9DWw8c35eoXpvdDZMzSN3_XIbQRhfHQLVZZbsb62609ekEj6x3Ahxi7fwTVAjFN-Io5QZFQvqMj1oss2BxvAqUopQ4SIkKytxsjcOOMX21o/s400/O+Haarlem+large.bmp" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 314px;" /></a><br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THE ST. BAVO ORGAN BY CLICKING ON A LINK BELOW:<br />
<span style="color: red;">TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.</span></span></span><br />
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<a href="http://www.youtube.com/watch?v=lQZaqzsux-w&feature=related">YouTube - Feike Asma Liebster Jesu</a><br />
<a href="http://www.youtube.com/watch?v=jrwI_97HBuM">Pipe Organ splendour</a><br />
<a href="http://www.youtube.com/watch?v=OAQmJRuFZYc">St. Bavo Haarlem: Herre Gud, ditt dyre navn og aere</a><br />
<a href="http://www.youtube.com/watch?v=1bNDkzgVwt4">The Great Organ at Haarlem St. Bavo Church</a><br />
<a href="http://www.youtube.com/watch?v=N7UM1Rg6ZoI">Bass Pig's Rendition of Danse Macabre for Organ</a><br />
<a href="http://www.youtube.com/watch?v=N7UM1Rg6ZoI&NR=1">YouTube - Haarlem St. Bavo Bass Pig's Rendition of Danse Macabre for Organ</a><br />
<a href="http://www.youtube.com/watch?v=zTc2_1tV9J4">JS Bach: Ach Gott Und Herr, BWV 714 (St. Bavo: ...</a><br />
<a href="http://www.youtube.com/watch?v=OqfuNlsq4ac&feature=user">YouTube - Bach Chorale Prelude at St. Bavo</a><br />
<a href="http://www.youtube.com/watch?v=2zJtZzERXt4">JS Bach: Chorale Prelude: O Mensch Bewein Dein Sunde Gross, BWV 622</a><br />
<a href="http://www.youtube.com/watch?v=4lh9V5ZYEfk">JS Bach: Christ Lag In Todesbanden, BWV 625 (Michael Murray)</a><br />
<a href="http://www.youtube.com/watch?v=tSelacGZt8A">Marcello, </a> <a href="http://www.youtube.com/watch?v=RrPTuErumAY">Organ at St. Bavo in Haarlem, Netherlands</a><br />
<a href="http://www.youtube.com/watch?v=-lSY2DuaOZ4">Haydn, Flute Clocks</a><br />
<a href="http://www.youtube.com/watch?v=9OFGNDsLs7U">JS Bach: FUGUE in Eb (St. Anne), BWV 552</a><br />
<a href="http://www.youtube.com/watch?v=9sPJ4WvJo_o">James Pollard - Bruhns e minor Praeludium</a><br />
<a href="http://www.youtube.com/watch?v=sUwtYHq-tcs">James Pollard - Bach Prelude C major Bwv545</a><br />
<a href="http://www.youtube.com/watch?v=RrPTuErumAY&NR=1">You Tube Organ at St. Bavo in Haarlem, Netherlands You Tube</a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkUSV5ivJQDuVc-11nE2aOr2iLF0Fj0yzAq_UEg0cViwE0LppknhQNu_apLa4Sv93wBIia4xJjfvqE3ta9d0CvUVpUSfjpSU0PngiS6vvCHVfUD5Vyna1vJ6BoIjt5EYQqPCabYZMMJYo/s1600-h/haarlem06.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5321968335921218578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkUSV5ivJQDuVc-11nE2aOr2iLF0Fj0yzAq_UEg0cViwE0LppknhQNu_apLa4Sv93wBIia4xJjfvqE3ta9d0CvUVpUSfjpSU0PngiS6vvCHVfUD5Vyna1vJ6BoIjt5EYQqPCabYZMMJYo/s400/haarlem06.JPG" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 271px;" /></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-72550357712060307892010-06-15T15:52:00.002-04:002010-06-30T20:53:33.260-04:00Oude Kerk Amsterdam<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC9nfjR0wvfexgx3mG5OXLz7QqnsyX0Esi0i16cNM8-M96VQFU959muwktj2rJ1Gt-IWlytRd9oHA64LEtdaLDASg8lsScpkc4ift5AKGo_FW3YdBcV1yOwJ6vr970UszvY5Xa_d7u388/s1600-h/oude+kerk+largeorgan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC9nfjR0wvfexgx3mG5OXLz7QqnsyX0Esi0i16cNM8-M96VQFU959muwktj2rJ1Gt-IWlytRd9oHA64LEtdaLDASg8lsScpkc4ift5AKGo_FW3YdBcV1yOwJ6vr970UszvY5Xa_d7u388/s400/oude+kerk+largeorgan.jpg" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKLj9fXMylBhy7Ku2yq1y0Vqcj4g-MvfCj2gqaa4gOnQr8I8tFLuDuKYmAThmuxHr_MJJNWYm_R46FbWxfE2qBXCSubr7nGl2bGUOTlEkvlttPv-xwYwG_Up0plH5-UIou2ZJLcmfVefs/s1600-h/oudekerk2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKLj9fXMylBhy7Ku2yq1y0Vqcj4g-MvfCj2gqaa4gOnQr8I8tFLuDuKYmAThmuxHr_MJJNWYm_R46FbWxfE2qBXCSubr7nGl2bGUOTlEkvlttPv-xwYwG_Up0plH5-UIou2ZJLcmfVefs/s320/oudekerk2.jpg" /></a></div><div style="text-align: center;"></div><br />
<div style="text-align: center;"><span style="font-size: large;"><b>Oude Kerk Amsterdam</b></span> </div><div style="text-align: center;"></div><div style="text-align: center;"></div><br />
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<div style="text-align: center;">J.S.Bach - Toccata in C, BWV 566 - MATTEO IMBRUNO</div><br />
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<div style="text-align: center;">J.S.Bach - Dies sind die heil'gen zehn gebot, BWV 678, MATTEO IMBRUNO</div><br />
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<div style="text-align: center;"><b><i>The organ and Sweelinck, a famous 16th century organist on this organ.</i></b></div><br />
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<div style="text-align: center;">Matteo Imbruno plays <i><b>Sweelinck's Ballo del Granduca </b></i></div><div style="text-align: center;">at the Vater-Muller organ of the Oude Kerk of Amsterdam (NL) </div><br />
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<div style="text-align: left;">The Old Church has a long tradition of having excellent organs and organists. Even during the fifteenth century, an organ was hanging on the west wall (tower wall) of the nave. In 1539, the church acquired a new instrument that was played between 1577 and 1621 by a famous organist by the name of Jan Pieterszoon Sweelinck.</div><br />
The transept organ, restored to its seventeenth-century composition in 1965, was recently regiven a mean tone temperament, making it one of the best instruments imaginable, to perform the organ music of the Amsterdam 'Orpheus'. <br />
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<div style="text-align: center;"><span style="font-size: large;"><b>The great organ</b></span></div><div style="text-align: center;"></div><br />
<div style="text-align: left;">The large organ is constructed by Christiaan Vater (1724-1726) of Hannover and is restored by Johan Caspar Muller (the St Bavo-church in the city of Haarlem, NH). Shortly after the completion of the organ the church-tower began to sink (1738-1742). The entire organ needed to be dismantled, and Caspar Muller was chosen to rebuild the organ and to add nine new stops and to double the principals in the treble. In 1869-1870 the organ was revoiced to conform to contemporary taste by C.F.G. Witte</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">On the original organ (built in 1539 by Hans van Coelen and Hendrick Niehoff) Jan Pieterszoon Sweelinck (1562-1621) made his first musical compositions.</div><div style="text-align: left;"><br />
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In 1724, the church wardens of the Old Church commissioned Christian Vater, the Hamburg organ builder, to build an entirely new organ to replace the old one. Vater completed this organ in 1726 and the churchwardens were very pleased: the instrument was “absolutely perfect in every way”. In 1738, the tower began to subside. For restoration activities, the organ had to be dismantled. Once the tower had been restored, Caspar Müller was commissioned to re-install the organ. Not only did Müller put it back, but he made major changes as well, his belief being that after its renovation, the organ ‘should speak promptly and forcefully and should be heard during the singing’. The Vater-Müller organ would remain largely unchanged until 1869 when G.F.H. Witte updated it to accommodate contemporary tastes requiring a sound that was less sharp and more rounded. Although Witte changed the sound, hardly a piece of the original material was lost. Since Witte’s renovation, the organ has remained unchanged.<br />
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<div style="text-align: center;">Allegro Organ Concert nr 10</div><div style="text-align: center;">by Georg Friederich </div><div style="text-align: center;">Händel (1685-1759)</div><br />
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<div style="text-align: center;">Feike Asma plays a toccata on by J. Zwart on the organ of the oude kerk in Amsterdam </div><br />
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<div style="text-align: center;"></div><div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION GREAT ORGAN</b></span><br />
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<div style="text-align: center;"><span style="font-size: large;"><b>Hoofdwerk</b></span></div><br />
Prestant 16 <br />
Bourdon 16 <br />
Prestant 8 <br />
Holpijp 8 <br />
Quint 5 1/3 <br />
Octaaf 4 <br />
Roerfluit 4 <br />
Roerquint 2 2/3 <br />
Octaaf 2 <br />
Fluit 2 <br />
Sexquialter IV <br />
Mixtuur V-VIII <br />
Scherp IV-VI <br />
Trompet 16 <br />
Trompet 8 <br />
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<div style="text-align: center;"><span style="font-size: large;"><b>Rugwerk</b></span></div><br />
Prestant 8 <br />
Holpijp 8 <br />
Quintadena 8 <br />
Octaaf 4 <br />
Gemshoorn 4 <br />
Quint 2 2/3 <br />
Octaaf 2 <br />
Woudfluit 2 <br />
Cornet V <br />
Sexquialter II-IV <br />
Carillon III-IV <br />
Mixtuur V-VIII <br />
Scherp III-V <br />
Fagot 16 <br />
Trompet 8 <br />
+ Tremulant <br />
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<div style="text-align: center;"><span style="font-size: large;"><b>Bovenwerk</b></span></div><br />
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Quintadena 16 <br />
Prestant 8 <br />
Baarpijp 8 <br />
Quintadena 8 <br />
Viola di Gamba 8 <br />
Octaaf 4 <br />
Gemshoorn 4 <br />
Nasard 2 2/3 <br />
Sexquialter IV <br />
Cymbel III <br />
Trompet 8 <br />
Dulciaan 8 <br />
Vox Humana 8 <br />
+ Tremulant <br />
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<div style="text-align: center;"><span style="font-size: large;"><b>Pedaal</b></span></div><br />
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Prestant 16<br />
Subbas 16<br />
Prestant 8<br />
Roerquint 5 1/3<br />
Octaaf 4<br />
Nachthoorn 2<br />
Mixtuur VI<br />
Bazuin 16<br />
Trompet 8<br />
Trompet 4<br />
Cinq 2<br />
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<a href="javascript:openPopup('/ncrv?nav=fyswbDsHtGAkBbCeByB',%20'flashconcert',%20100,%20100,%20360,%20250,%20'flashconcert');">beluister dit concert >></a> <br />
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The Old Church Organ has always been admired. It was once mentioned in the famous 18th-century travelogue written by Charles Burney. Even today, it attracts organ enthusiasts – both listeners and players – from all over the world.<br />
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The case for the organ was designed by Jurriaan Westerman. Above the organ are the old city seal of Amsterdam with the cargo ship and the city’s coat of arms with the three Andreas crosses.<br />
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<div style="text-align: center;"><span style="font-size: large;"><b>The small (or transept) organ </b></span></div><div style="text-align: center;"></div><br />
This organ was built in 1658 by the famous organ maker Hans Wolff Schonat. In building it, he used some of the pipes taken from another organ at this location that had been built by Hendrik Niehoff. <br />
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The small or transept organ of the Oude Kerk in Amsterdam has two blinds with paintings representing musical instruments. These paintings are made by Cornelis Brizé and were completed in 1658 at the time the original organ was ready.<br />
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<div style="text-align: center;">Dutch/Italian organist Matteo Imbruno plays Scheidemann's "Alleluja" at the Transept organ</div><div style="text-align: center;">of the Oude Kerk of Amsterdam (NL)</div><br />
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<div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION TRANSEPT ORGAN</b></span><br />
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</div><div class="MsoPlainText"></div><div class="MsoPlainText"><span style="font-family: MS Sans Serif; font-size: small;"><b>Transeptorgel</b> </span><br />
<span style="font-family: MS Sans Serif; font-size: small;"><o:p> </o:p> </span></div><div style="text-align: center;"><div style="text-align: center;"><span style="font-family: MS Sans Serif; font-size: x-small;"><b>Hoofdwerk</b> (C-d''')<o:p> </o:p> </span></div></div><div class="MsoPlainText"><span style="font-family: MS Sans Serif; font-size: x-small;"> </span><span lang="ES-TRAD"><span style="font-family: MS Sans Serif; font-size: x-small;">Prestant 8'<o:p> </o:p> <br />
Holpijp 8'<o:p> </o:p> <br />
Quintadena 8'<o:p> </o:p> <br />
Octaaf 4'<br />
Quint 3'<o:p> </o:p> <br />
</span></span><span style="font-family: MS Sans Serif; font-size: x-small;">Super Octaaf 2'<o:p> </o:p> <br />
Gemshoorn 2'<o:p> </o:p> <br />
Mixtuur<o:p> </o:p> <br />
Scherp<o:p> </o:p> <br />
Trompet 8'<br />
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</b></span></div><div style="text-align: center;"><div style="text-align: center;"><span style="font-family: MS Sans Serif; font-size: x-small;"><b> Borstwerk</b><o:p> </o:p> </span></div></div><div class="MsoPlainText"><span style="font-family: MS Sans Serif; font-size: x-small;"> Gedekt 8'<o:p> </o:p> <br />
Prestant 4'<o:p> </o:p> <br />
Octaaf 2'<o:p> </o:p> <br />
Dulciaan 8'</span></div><div class="MsoPlainText"><span style="font-family: MS Sans Serif; font-size: x-small;"><o:p> </o:p> </span></div><div style="text-align: center;"><div style="text-align: center;"><span style="font-family: MS Sans Serif; font-size: x-small;"><b>Pedaal</b> (C-d')<o:p> </o:p> </span></div></div><div class="MsoPlainText"><span style="font-family: MS Sans Serif; font-size: x-small;"> </span><span lang="EN-GB"><span style="font-family: MS Sans Serif; font-size: x-small;">Bourdon 16'<o:p> </o:p> <br />
Octaaf 8'<o:p> </o:p> <br />
Trompet 8'<o:p> </o:p> </span></span></div><div class="MsoPlainText"><span lang="EN-GB"><span style="font-family: MS Sans Serif; font-size: x-small;"><b>T</b></span></span><span lang="EN-GB"><span style="font-family: MS Sans Serif; font-size: x-small;"><b>remulant</b><o:p> </o:p> <br />
</span></span><span style="font-family: MS Sans Serif; font-size: x-small;">koppel: Ped + Hw<o:p> </o:p> </span></div><div class="MsoPlainText"><span style="font-family: MS Sans Serif; font-size: x-small;"><b>Toonhoogte</b><br />
a'=440 Hz<o:p> </o:p> </span></div><span style="font-family: MS Sans Serif; font-size: x-small;"><b>S</b></span><span style="font-family: MS Sans Serif; font-size: x-small;"><b>temming<br />
</b>1/4 komma middentoon</span><br />
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The instrument was used for concerts commissioned by the city’s administration. During the 18th century, it was used less and less frequently so that when an organ had to be built for the Zuiderkerk in 1821, the pipes from the small organ in the Old Church were used. The case, however, remained behind. In 1964 and 1965, a new organ was built for the old organ case by organ makers Ahrend & Brunzema from the East Friesian town of Loga near Leer. Its disposition was taken from the famous collection of dispositions of Joachim Hess, an organist from Gouda, and dates from 1774. It has become a beautiful instrument with great artistic eloquence and was even enlarged after being retuned in 2001 to a 17th-century mean-tone tuning.<br />
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<div style="text-align: center;"><span style="font-size: large;"><b>The cabinet organ</b></span></div><div style="text-align: center;"></div><br />
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The cabinet organ was built in 1767 by Amsterdam organ maker Deetlef Onderhorst, supposedly for a private client. In 1946, the organ was repaired by organ builder A. Blik who also replaced its manual wind chest with an electronic system. In 1977, the organ was completely restored by Adema's Kerkorgelbouw. The restoration included having the cabinet restored and completed and removing the white coat of paint that had been added in 1953.<br />
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DISPOSITION CABINET ORGAN<br />
Kabinetorgel<br />
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Holpijp 8 vt. gehalveerd<br />
Prestant 8 vt. discant<br />
Prestant 4 vt. gehalveerd<br />
Fluyt 4 vt. Gehalveerd<br />
Quint 3 vt. bas<br />
Octaaf 2 vt. gehalveerd<br />
Sexquialte 2 vt. sterk, discant<br />
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After its most recent restoration, the organ was installed in the choir of the Old Church.<br />
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Chaconne in F from the 9th Suite "Uranie" by Johann Caspar Ferdinand Fischer at the choir organ of the Oude Kerk (Amsterdam, NL) <br />
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<div style="text-align: center;"><span style="font-size:130%;"><span style="font-weight: bold;">4 Manuals, 110 Ranks, 73 Stops (+ 10 Ext. + 20 Tr.),<br />
6134 Pipes</span><br />
<span style="font-weight: bold;">Builder: Glatter-Götz & Rosales, 2004</span><br />
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<div style="text-align: center;">Frank Gehry Saint-Saens Symphony#3 for Organ<br />
</div><br />
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LISTEN TO THE ORGAN:<br />
<br />
Part I<br />
<br />
WILLIAM MATHIAS: Fanfare<br />
<br />
JOSEF RHEINBERGER: Introduction & Passacaglia, from Sonata No. 8 in e, Op. 132<br />
<br />
FANNIE DILLON: Woodland Flute Call<br />
<br />
CÉSAR FRANCK: Pièce heroïque<br />
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<script type="text/javascript" src="http://pipedreams.publicradio.org/www_publicradio/tools/media_player/js/swfobject.js"></script><div id="pipedreams_2008_05_19_0820part1_128s_player"></div><script type="text/javascript">/*<![CDATA[*/var so = new SWFObject("http://pipedreams.publicradio.org/www_publicradio/tools/media_player/s_player.swf", "pipedreams_2008_05_19_0820part1_128s_player", "319", "83", "8", "#ffffff");so.addParam("quality", "high");so.addParam("menu", "false");so.addParam("wmode", "transparent");so.addVariable("name", "pipedreams/2008/05/19_0820part1_128");so.write("pipedreams_2008_05_19_0820part1_128s_player");/*]]>*/</script><br />
<br />
Part II<br />
<br />
ERIC DeLAMARTER: You raise the flute to your lips, from Four Eclogues.<br />
<br />
PAUL DRAYTON: Pavan.<br />
<br />
PETER HURFORD: Paean –Samuel Soria<br />
<br />
(2003 Dobson/Cathedral of Our Lady of the Angels, Los Angeles, CA) Delos CD 3343<br />
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<br />
Part III<br />
<br />
GEORGE BAKER: Berceuse-Paraphrase<br />
<br />
HEALEY WILLAN: Introduction, Passacaglia and Fugue in e-flat<br />
<br />
FREDERICK SWANN: 2 Encores (Allegro after Corelli; Trumpet Tune)<br />
<br />
Filler–DILLON<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFoBD8UegyXCsUwSkpQZMonWa2nwwNEYC6bgoksd9ihpijNwN9MGzK3yQ3WPFFAk4mQVtlfzyEsa2ATR8cm-YvUOXOcfs30Ze66AXalpSw7jQkuAS5gw2aZoAGnbJmOyWQhD6O5Yg80qI/s1600-h/WDCH-Facade.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFoBD8UegyXCsUwSkpQZMonWa2nwwNEYC6bgoksd9ihpijNwN9MGzK3yQ3WPFFAk4mQVtlfzyEsa2ATR8cm-YvUOXOcfs30Ze66AXalpSw7jQkuAS5gw2aZoAGnbJmOyWQhD6O5Yg80qI/s400/WDCH-Facade.jpg" alt="" id="BLOGGER_PHOTO_ID_5370280826756156146" border="0" /></a><br />
<br />
<span style="font-size:130%;"><span style="font-weight: bold;">DISPOSITION</span></span><br />
<br />
<div style="text-align: center;">I. Positive 21 (18)<br />
</div>Quintaton 16<br />
Principal 8<br />
Flûte harmonique 8<br />
Gedackt 8<br />
Gambe 8<br />
Unda maris 8<br />
Octave 4<br />
Hohlflöte 4<br />
Nasard 2 2/3<br />
Super Octave 2<br />
Waldflöte 2<br />
Tierce 1 3/5<br />
Larigot 1 1/3<br />
Mixture IV 1 1/3<br />
Llamada 16 Tr. Llam.<br />
Cor anglais 16<br />
Llamada 8 Tr. Llam.<br />
Trompeta de L.A. 8 Tr. Llam.<br />
Trompette 8<br />
Cromorne 8<br />
Llamada 4 Tr. Llam.<br />
Clairon 4<br />
+ Schweller<br />
+ Tremolo<br />
<br />
<div style="text-align: center;">II. Great 36 (18)<br />
</div>Grand Bourdon 32 Ext., result.<br />
Violonbasse 32 Tr. Ped.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3RmUsabNj1E9u9G2yk3do_hL2jwc6LlBo84khwD6XACHBP9qLJPOpBI2GHCIZdmkM-SuZKOR-EpNaQHnuTvxnzOOJkKo3RlyX3IwTyDUTOw3lkw7J15-HJq-eu8jnOZjfyR2uITxEsKI/s1600-h/WDCH-ConsolePlatform.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3RmUsabNj1E9u9G2yk3do_hL2jwc6LlBo84khwD6XACHBP9qLJPOpBI2GHCIZdmkM-SuZKOR-EpNaQHnuTvxnzOOJkKo3RlyX3IwTyDUTOw3lkw7J15-HJq-eu8jnOZjfyR2uITxEsKI/s200/WDCH-ConsolePlatform.jpg" alt="" id="BLOGGER_PHOTO_ID_5370277711845616114" border="0" /></a><br />
Praestant 16<br />
Bourdon 16 Tr. Ped. Sb.<br />
Violonbasse 16 Ext.<br />
Principal 8<br />
Diapason à pavillon 8<br />
Flûte harmonique 8<br />
Chimney Flute 8<br />
Violoncelle 8 Ext.<br />
Grand Nasard 5 1/3<br />
Octave 4<br />
Spire Flute 4<br />
Grande Tierce 3 1/5<br />
Octave Quinte 2 2/3<br />
Super Octave 2<br />
Corneta magna VII<br />
Grande Fourniture II-III 2 2/3<br />
Mixture VIII 2<br />
Cymbale IV 1<br />
Contre Basson 32 Ext., Fac.<br />
Basson 16<br />
Trompeta de L.A. 8 Tr. Llam.<br />
Basson 8<br />
Basson 4<br />
<br />
<div style="text-align: center;">III. Swell 24 (20)<br />
</div>Bourdon 16<br />
Diapason 8<br />
Flûte traversière 8<br />
Bourdon 8<br />
Viole de gambe 8<br />
Voix céleste 8 CC<br />
Dulciane doux 8<br />
Voix angélique 8 TC<br />
Principal 4<br />
Flûte octaviante 4<br />
Nasard 2 2/3<br />
Octavin 2<br />
Tierce 1 3/5<br />
Piccolo 1<br />
Plein Jeu harmonique III-V 2 2/3<br />
Bombarde 16<br />
Llamada 8 Tr. Llam.<br />
Trompeta de L.A. 8 Tr. Llam.<br />
Trompette 8<br />
Hautbois 8<br />
Voix humaine 8<br />
Clairon 4<br />
+ Schweller<br />
+ Tremolo fast<br />
+ Tremolo slow<br />
<br />
<div style="text-align: center;">IV. Llamarada 17 (9)<br />
</div>Flautado grandioso 8<br />
Octava real 4<br />
Lleno fuerte V 2 2/3<br />
Compuestas V 1 3/5<br />
Llamada 16 Ext.,*<br />
Bombardon 16<br />
Llamada 8 hor., 17",*<br />
Trompeta de L.A. 8 Fac., hor.,*<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXiV_o14fYBy9cxtVlMHzAYu-zqGgYlTLVZ3nmhwJZ6hd8__0gEdyO2u92wWT-9G02JbWT6QGsRAg4bVHX_O99q5hQ3JyMPtTDfaE5GifkJ8Cm3U7Gm_IwqMljMmamfGmHFFSPgOfo9b0/s1600-h/WDCH-Trumpets-4.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXiV_o14fYBy9cxtVlMHzAYu-zqGgYlTLVZ3nmhwJZ6hd8__0gEdyO2u92wWT-9G02JbWT6QGsRAg4bVHX_O99q5hQ3JyMPtTDfaE5GifkJ8Cm3U7Gm_IwqMljMmamfGmHFFSPgOfo9b0/s200/WDCH-Trumpets-4.jpg" alt="" id="BLOGGER_PHOTO_ID_5370278958440288722" border="0" /></a> Trompeta armonica 8<br />
Llamada 4 Ext.,*<br />
Clarín armonico 4<br />
+ 2 Campanitas (Glock.)<br />
+ 2 Pajaritos (Nachtigall)<br />
+ Schweller (außer *)<br />
+ Tremolo (außer *)<br />
<br />
<div style="text-align: center;"><br />
<br />
<br />
Pedal 12 (8)<br />
</div>Flûte 32<br />
Violonbasse 32 Facade<br />
Praestant 16 Tr. Great<br />
Subbass 16<br />
Bourdon 16 Tr. Swell<br />
Violonbasse 16 Tr. Great<br />
Grosse Quinte 10 2/3<br />
Octave 8<br />
Flûte 8 Ext.<br />
Bourdon 8 Ext. Subb.<br />
Violoncelle 8 Tr. Great<br />
Super Octave 4<br />
Flûte 4 Ext.<br />
Mixture V 5 1/3<br />
Contre Bombarde 32 Ext.<br />
Contre Basson 32 Tr. Great<br />
Grande Bombarde 16<br />
Bombardon 16 Tr. Llam.<br />
Basson 16 Tr. Great<br />
Trompeta (armonica) 8 Tr. Llam.<br />
Basson 8 Tr. Great<br />
Clarín (armonico) 4 Tr. Llam.<br />
Basson 4 Tr. Great<br />
<br />
<br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLouwYVnQZXPLW58kZn_TQzkXf88h252MriUxZQVxEQSUfIOR-Q1tTS7youR0_cTGSkB9dojl8Hq7rcuJ3haCGC1GeKDebY8VclPMAik-3bUPAu-HLAIXEn8JEwzI6JIAVFJdsUJJ9Ik/s1600-h/WDCH-StageConsole.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 349px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLouwYVnQZXPLW58kZn_TQzkXf88h252MriUxZQVxEQSUfIOR-Q1tTS7youR0_cTGSkB9dojl8Hq7rcuJ3haCGC1GeKDebY8VclPMAik-3bUPAu-HLAIXEn8JEwzI6JIAVFJdsUJJ9Ik/s400/WDCH-StageConsole.jpg" alt="" id="BLOGGER_PHOTO_ID_5370267929231875634" border="0" /></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-74771228823042973312010-06-15T15:46:00.000-04:002010-06-15T15:46:52.814-04:00Klosterneuburg Freundt organ built in 1642, Austria.<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/1Wnbahseagc&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/1Wnbahseagc&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
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<div style="text-align: center;">Gustav Leonhardt plays Johannes Speth (1664-c1720) - Toccata Nr. 1 d-moll</div><br />
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<br />
<br />
The Abbey<br />
<br />
Klosterneuburg is the 26th district of Vienna. The abbey is a Roman Catholic Augustinian monastery established on a hill rising directly from the banks of the Danube. An abbey, in the German-speaking world, is frequently called a <i>Stift</i> because often its foundation was made possible by a generous benefactor.<br />
<br />
It was founded in 1114 (first documented mention 1108) by Saint Leopold III, Margrave of Austria and his wife, Agnes. Leopold was a Babenberger and is the patron saint of Austria. The abbey was given over, in 1133, to the Augustinian Canons. The donation included impressive buildings on vast area, comprising the abbey facilities and the collegiate Romanesque church (3-aisled, transept with regular crossing), built between 1114-36.<br />
<br />
The towers were built in 1394 and 1638 respectively. Jakob Prandtauer drew the plans for a Baroque enlargement of the abbey in 1706. In 1730, Donato Felice d'Allio began to draw his plan for a new building, significantly influenced by Joseph Emmanuel Fischer von Erlach, commissioned by Emperor Karl VI, who wanted to make Klosterneuburg his official residence ("Austrian Escorial"). In 1776, this plan had to be simplified by D. Kaselikand, between 1836-1842, J. Kornhäusl carried out the first quarter of the plan, the rest was not realised.<br />
<br />
The decorations and furnishings in their present Early Baroque form date from the 17th and 18th centuries and are due to transformation of aisles into chapels, the building of a western gallery and stucco work, High Baroque frescoes by Johann Michael Rottmayr and stuccoes by Santino Bussi (1680-1723).<br />
<br />
The exterior was extensively restored by Frederich von Schmidt, in the 19th century (Neo-Gothic western towers, 1887-92). Other additions include the Freisinger or Wehinger chapel (1394, restored 1869-1881); auxiliary altars (from 1700 with paintings by Paul Strudel and sculptures by the Spät brothers); remarkable choir stalls by Matthias Steinl (1723); the high altar (1728); the Leopold chapel (former chapter hall with Gothic windows dating from 13th and 15th centuries), adaptated between 1677-1680 which contains the famous Verdun altar (Margrave Leopold's tomb), a marvellous winged altarpiece made from enamel panels by Nikolaus von Verdun (1181), in 1331 transformed into a winged altarpiece with painted panels.<br />
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<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijC94-hk1t3Sfh1Gdpq8WnAmEid5EU6AxoeUxz9M3rsdka7fSKhkd12lwj9hzedoM8la81MIlFGpLjzpaTNOt-RbaHBV3KGiUtsPwQG1apiAffOB902oEt9AxXhx08h8OUGrAiYDSC3bs/s1600-h/klosterneuburg3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijC94-hk1t3Sfh1Gdpq8WnAmEid5EU6AxoeUxz9M3rsdka7fSKhkd12lwj9hzedoM8la81MIlFGpLjzpaTNOt-RbaHBV3KGiUtsPwQG1apiAffOB902oEt9AxXhx08h8OUGrAiYDSC3bs/s400/klosterneuburg3.jpg" /></a></div><br />
<br />
<br />
The Organ<br />
<br />
<br />
<ul>The organ in Klosterneuburg is from the 17th century. It was built between 1636 and 1642 by the young organ builder Johannes Freundt, from Passau. The organ was exclusively installed for solistic organ playing on high feasts. </ul><ul> </ul><ul>Over the next centuries, adaptations took place several times, but fortunately these were only minor. A complete restoration was planned for 1942 but the war made it impossible. The action was moved to Vienna to be repaired, but was destroyed in a bombing attack. </ul><ul> </ul><ul>After the war, the political situation made it very difficult to restore the organ to its original glory. It wasn’t until 1983 and 1990 that a complete restoration according to historical principles could be performed by the Kuhn company (Männedorf, Switzerland) that brought back this unique piece of art to its original conditions. </ul>It is one of the finest Baroque organs in Europe. <br />
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<br />
<br />
<br />
DISPOSITION<br />
<br />
<br />
<div style="text-align: center;"><br />
<center><br />
<br />
<br />
<table cellpadding="0" cellspacing="0" style="width: 400px;"><tbody>
<tr align="CENTER" valign="CENTER"><th colspan="2"><br />
<br />
<br />
<br />
<br />
<center><span style="font-size: xx-small;"><b>I. Rückpositiv</b></span><br />
</center> </th> <th #fff0f5="" width="90 pixels bgcolor="><span style="font-size: xx-small;"><br />
</span></th> <th colspan="3"><br />
<br />
<br />
<br />
<br />
<br />
<br />
<center><span style="font-size: xx-small;"><b>II. Hautpwerk</b></span><br />
</center> </th> </tr>
<tr> <td align="LEFT" width="150 pixels"><span style="font-size: xx-small;">Nachthorn</span></td><td align="right" width="50 pixels"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT" width="150 pixels"><span style="font-size: xx-small;">Prinzipal</span></td><td valign="top"><br />
</td><td align="right" width="75 pixels"><span style="font-size: xx-small;">8'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;">Prinzipal</span></td><td align="right"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>6</sup>Prinzipalfloeten</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">8'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;">Klein Copl</span></td><td align="right"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Copl</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">8'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;">Spitzfloeten</span></td><td align="right"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Quintadena</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">8'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;">Octave</span></td><td align="right"><span style="font-size: xx-small;">2'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Octav</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">4'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><sup>3</sup>Superoctav</span></td><td align="right"><span style="font-size: xx-small;">1'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Octav Copl</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">4'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><sup>3</sup>Cimbel scharf 1/4'</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>3</sup>Dulcian</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">4'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><sup>2</sup>Krummhorn</span></td><td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Offne Floeten</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">4'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Quint</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">3'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Superoctav</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">2'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>3,6</sup>Mixtur 4'</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">XII-XIV</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>3</sup>Cimbel gross 2/3'</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>1,6</sup>Dulcian</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">16'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>1,6</sup>Pusaun</span></td><td valign="top"><br />
</td><td align="right"><span style="font-size: xx-small;">8'</span></td> </tr>
</tbody></table><br />
<br />
</center><br />
<br />
<br />
<br />
<br />
<center><br />
<br />
<br />
<table cellpadding="0" cellspacing="0" style="width: 400px;"><tbody>
<tr align="CENTER" valign="CENTER"><th colspan="2"><br />
<br />
<br />
<br />
<br />
<br />
<center><span style="font-size: xx-small;"><b>III. Brustwerk</b></span><br />
</center> </th> <th #fff0f5="" width="90 pixels bgcolor="></th> <th colspan="2"><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<center><span style="font-size: xx-small;"><b>Pedal</b></span><br />
</center> </th> </tr>
<tr> <td align="LEFT" width="150 pixels"><span style="font-size: xx-small;">Coplfloeten</span></td><td align="right" width="50 pixels"><span style="font-size: xx-small;">4'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT" width="150 pixels"><span style="font-size: xx-small;"><sup>5</sup>Prinzipal</span></td><td align="right" width="75 pixels"><span style="font-size: xx-small;">16'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;">Prinzipal</span></td><td align="right"><span style="font-size: xx-small;">2'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>6</sup>Subbass</span></td><td align="right"><span style="font-size: xx-small;">16'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;">Splitzfloetwn</span></td><td align="right"><span style="font-size: xx-small;">2'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Octav</span></td><td align="right"><span style="font-size: xx-small;">8'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;">Regal</span></td><td align="right"><span style="font-size: xx-small;">8'</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Chroalfloeten</span></td><td align="right"><span style="font-size: xx-small;">8'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><sup>4</sup>Tremulant</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Superoctav</span></td><td align="right"><span style="font-size: xx-small;">4'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Mixtur 4'</span></td><td align="right"><span style="font-size: xx-small;">VII-VIII</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;">Rauschwerk 2'</span></td><td align="right"><span style="font-size: xx-small;">III</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>1,6</sup>Grosspusaun</span></td><td align="right"><span style="font-size: xx-small;">16'</span></td> </tr>
<tr> <td align="LEFT"><span style="font-size: xx-small;"><br />
</span></td><td align="right"><span style="font-size: xx-small;"><br />
</span></td> <td><span style="font-size: xx-small;"><br />
</span></td> <td align="LEFT"><span style="font-size: xx-small;"><sup>1,6</sup>Octav Pusaun</span></td><td align="right"><span style="font-size: xx-small;">8</span></td> </tr>
</tbody></table><br />
<br />
<br />
<br />
<br />
</center><span style="font-size: xx-small;"></span> <br />
<ul><dt><span style="font-size: xx-small;"><b>Légende / <i>Legend</i></b></span></dt>
<ul><table><tbody>
<tr> <td align="center" pixels="" width="20"><span style="font-size: xx-small;"><sup>1</sup></span></td> <td pixels="" width="20"><span style="font-size: xx-small;"><br />
</span></td> <td valign="top"><span style="font-size: xx-small;"> <i>1990 installation</i></span></td> </tr>
<tr> <td align="center" pixels="" width="20"><span style="font-size: xx-small;"><sup>2</sup></span></td> <td pixels="" width="20"><span style="font-size: xx-small;"><br />
</span></td> <td valign="top"><span style="font-size: xx-small;"> <i>1984 installation</i></span></td> </tr>
<tr> <td align="center" pixels="" width="20"><span style="font-size: xx-small;"><sup>3</sup></span></td> <td pixels="" width="20"><span style="font-size: xx-small;"><br />
</span></td> <td valign="top"><span style="font-size: xx-small;"><i>1950 installation</i></span></td> </tr>
<tr> <td align="center" pixels="" width="20"><span style="font-size: xx-small;"><sup>4</sup></span></td> <td pixels="" width="20"><span style="font-size: xx-small;"><br />
</span></td> <td valign="top"><span style="font-size: xx-small;"> <i>1934 installation</i></span></td> </tr>
<tr> <td align="center" pixels="" width="20"><span style="font-size: xx-small;"><sup>5</sup></span></td> <td pixels="" width="20"><span style="font-size: xx-small;"><br />
</span></td> <td valign="top"><span style="font-size: xx-small;"> <i>With an extra key for B below low C</i></span></td> </tr>
<tr> <td align="center" pixels="" width="20"><span style="font-size: xx-small;"><sup>6</sup></span></td> <td pixels="" width="20"><span style="font-size: xx-small;"><br />
</span></td> <td valign="top"><span style="font-size: xx-small;"> <i>Activated/deactivated ventil stop "Wind Hinterladen" </i></span></td> </tr>
</tbody></table></ul><dt><span style="font-size: xx-small;"><b> <i>Other Details</i></b></span></dt>
<ul><li><span style="font-size: xx-small;"> <i>Manual compass</i>: (CDEFGA-c</span><span style="font-size: xx-small;"><sup>3</sup>)</span></li>
<li><span style="font-size: xx-small;"> <i>Pedal compass</i>: (CDEFGA-b</span><span style="font-size: xx-small;"><sup>0</sup>)</span></li>
<li><span style="font-size: xx-small;"> <i>Couplers</i>:</span></li>
<dd><span style="font-size: xx-small;"><i>Small Pedal</i></span> </dd>
<li><span style="font-size: xx-small;">Diapason: A=476</span></li>
<li><span style="font-size: xx-small;"> <i>Slightly modified mean tone temperament</i></span></li>
</ul></ul></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zOlgnajam1fxqW9nujj586qkVH-RtjK1rpAtxDD-yzhI9EJtd3ZhG1oG7cIyBUF3sa_S4mJS6VonxrSos1VR9JPVSVKxNpd0Tp90jBAt_apwwLWyW4d2wEIfXzRWBVL_83ej8CN7C44/s1600-h/klosterneuburg2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zOlgnajam1fxqW9nujj586qkVH-RtjK1rpAtxDD-yzhI9EJtd3ZhG1oG7cIyBUF3sa_S4mJS6VonxrSos1VR9JPVSVKxNpd0Tp90jBAt_apwwLWyW4d2wEIfXzRWBVL_83ej8CN7C44/s400/klosterneuburg2.jpg" /></a></div><input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="jsCall();" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-14538467929859101672010-06-10T19:05:00.001-04:002010-06-10T19:23:05.080-04:00Johann Woeckerl Organ in the Cathedral-Church of Saint-George in Sopron, Hungary, was built in 1633<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Y2pVxosaV9A&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Y2pVxosaV9A&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
Johann Sebastian Bach: Choral Prelude "Wer nur den lieben Gott lasst walten"<br />
<br />
The Johann Woeckerl Organ in the Cathedral-Church of Saint-George in Sopron, Hungary, was built in 1633, but the pipes of its Holzflöte 8 stop were made in 1580. Among the church's congregation was Vitus "Veit" Bach, a miller whose great-great grandson Johann Sebastian Bach would compose the most celebrated organ music in the world.<br />
<br />
<br />
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/vTZQGRfsJa0&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/vTZQGRfsJa0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
<br />
Domenico Zipoli: Versetto<br />
<br />
<br />
Specification:<br />
<br />
Holzflöte 8'<br />
Gedact 8'<br />
Principal 4'<br />
Spitzflöte 4'<br />
Superoctave 2'<br />
Quint 1 1/3'<br />
Mixture III<br />
<br />
Pedal:<br />
<br />
Subbas 16'<br />
Bassföte 8'<br />
<br />
The first part of this choral prelude is played on Holzflöte 8' from the year of 1580 (!).Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-57560187462729878562010-05-27T11:59:00.011-04:002010-06-05T22:17:27.814-04:00Jann organ of the Frauenkirche in München<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MQuKTuDw2eDqweJv7OwrQq_xShfE5vU_BefeMptpUMnc4HoKIKfq1FnUpXR8ZAm6BrDgSi1UJrMdSKdEjD1734AEvS5T3qDTT2agiCXmyzbqJgCtt_CFVN5zYNVJvV3OOiBf6VJ1_kZU/s1600/452px-Organ_Frauenkirche_M%C3%BCnchen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MQuKTuDw2eDqweJv7OwrQq_xShfE5vU_BefeMptpUMnc4HoKIKfq1FnUpXR8ZAm6BrDgSi1UJrMdSKdEjD1734AEvS5T3qDTT2agiCXmyzbqJgCtt_CFVN5zYNVJvV3OOiBf6VJ1_kZU/s400/452px-Organ_Frauenkirche_M%C3%BCnchen.jpg" width="302" /></a></div><br />
<br />
<br />
Organs <br />
<br />
Today's organ and choir loft was built in 1993 by Carl Theodor Horn. The cathedral has a total of four Organs, all of the workshop Jann organ from Allkofer (Laberweinting/Lower, South of Regensburg).<br />
<br />
<br />
<br />
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/4172MNAZ7gY&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/4172MNAZ7gY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
Franz Lehrndorfer (1928)<br />
<br />
Improvisation on "Lobet den Herren alle, die ihn ehren"<br />
1. Erster verse<br />
2. Zweiter verse<br />
3. Dritter verse<br />
4. Vierter verse<br />
<br />
Franz Lehrndorfer at the Jann organ of the Frauenkirche in München<br />
<br />
The main organ<br />
<br />
On the West gallery a four manual Main organ of 95 Registers was built during the restoration of the cathedral in 1994. The main organ is stylistically to the works of Baroque and Romance designed. It has a solid console with mechanical action and also an identical console on the choir level. The organ has a total of nearly 9900 pipes, and special registers such as a Carillon (Shell bell) and a Carillon (Röhrengocken). The Prospectus architecture was the model of North German organs such as the Stellwagen organ St. Mary's in Stralsund designed.<br />
<br />
Because of the enormous power of the sound in tutti (Hauptwerk mixtures) is very northern German, nevertheless the instrument has very fine French tongue choirs in the Swell. In particular, the flutes, which are represented in large numbers because of their color richness, deserve special attention. The room acoustics, which is typical for large cathedrals, the majestic sound of the organ does not display any faster tempos.<br />
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<br />
<br />
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<br />
Originally belonging to the 14th-century Hospice of the Holy Ghost, a medieval order flourishing in the 1300s, this is called a Gothic "Hall Church." It was built on foundations laid by another structure in the 12th century, and the church was completed in 1730. Except for the church, the other hospice buildings were demolished in 1885. Architects at that time added three bays on the western facade of the church, giving it a neo-baroque facade. The tower (1730) has a lantern dome of characteristic Munich type.<br />
<br />
<leo_highlight id="leoHighlights_Underline_4" leohighlights_keywords="world%20war%20ii" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dworld%2520war%2520ii%26domain%3Dwww.igougo.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dworld%2520war%2520ii%26domain%3Dwww.igougo.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_4')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_4')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_4')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">World War II</leo_highlight> bombs brought much destruction, and only <leo_highlight id="leoHighlights_Underline_5" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.igougo.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.igougo.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_5')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_5')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_5')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">the original</leo_highlight> choir, buttresses, and the north wall of the nave remain intact. The rest of the building, which you see today, is a reconstruction but frankly, you cannot really tell.<br />
<br />
This is not one of Munich’s most spectacular churches but it is impressive for its size and location. The interior of the church was renovated at great expense in 1991 and it is certainly worth wandering around seeing some of the attractions. Among several items of considerable art-historical interest in the church are: in the porch, to left and right of the main entrance, parts of a bronze memorial made in 1608 by Hans Krumper for Duke Ferdinand of Bavaria and in the chancel the high altar by Nikolaus Stuber (1730), with an altarpiece by Ulrich Loth "The Effusion of the Holy Spirit" (1661) and two flanking figures of angels by Johann Greiff (1729).<br />
<br />
Other features are by the right aisle, a series of wall paintings (1725) by Peter Horeman illustrating the "Seven Gifts of the Holy Spirit"; in the Kreuzkapelle, a Late Gothic crucifix (1510); and, midway along the left aisle, an altar with a miraculous image of the "Hammerthaler <leo_highlight id="leoHighlights_Underline_6" leohighlights_keywords="madonna" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dmadonna%26domain%3Dwww.igougo.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dmadonna%26domain%3Dwww.igougo.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_6')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_6')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_6')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">Madonna</leo_highlight>" (15th C.).<br />
<br />
If you are planning to visit St Peter’s church, which is just across the street, visit here first and I am sure you will be impressed by both buildings. </div><ul class="small inline flagging alignR floatR quiet"><input type="hidden" value="" />
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Munich, Germany </div></div><div class="accordionHeader selected" id="h_1326675"><h2 class="h3"><a class="accordionLink
hasPhotos" href="http://www.igougo.com/travelcontent/journal.aspx?JournalID=63096#1326675" id="a_1326675">The Dom</a><img alt="Best of IgoUgo" class="ic
i-cheer " height="14" src="http://www.igougo.com/images/spacer.gif" title="Best of IgoUgo" width="11" /></h2><div class="quiet small">Attraction </div></div><div class="multiPhotos"><div class="thumbnail"><a class="ReviewPhotoSlideshow" href="http://photos.igougo.com/images/p255923-Munich-The_Dom.jpg" photoid="255923" rel="1326675"><img alt="The Dom" src="http://www.igougo.com/photos/journal/thum/4b898e0239424658a40417ba3b2407e7_prefRes.JPG" /></a></div></div>The Frauenkirche ("Dom zu unserer Lieben Frau" - Cathedral of Our Lady), or Dom as most visitors know it, is the most famous building in the city center and serves as the cathedral for the Archdiocese of Munich and Freising. It is particularly famous for the brass onion domes that top the twin towers and which have become the symbol of Munich. The domes were added in the 16th century, in a style that contrasted with the Gothic style of the rest of the building. <leo_highlight id="leoHighlights_Underline_7" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.igougo.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.igougo.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_7')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_7')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_7')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 0%; background-repeat: repeat; cursor: pointer; display: inline;">The original</leo_highlight> design, apparently, called for pointed towers like Cologne Cathedral but they were never completed due to lack of money. <br />
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The monumental late Gothic brick church has shaped Munich's skyline for 500 years. The towers are not only an impressive sight but the south tower is also accessible via an elevator. When you look at the church, the two towers appear to be the same height but in fact one is slightly taller than the other. Unlike most buildings in Munich's old town, the towers of the Frauenkirche (but not the church itself) survived WW2 intact, making them more than 500 years old. The Frauenkirche's towers (99 meters and 100 meters) are also the measurement for a rule which limits the height of new buildings to the same height in the city. This rule was passed in November 2004 by the people of Munich in a referendum.<br />
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The foundation stone of the building was laid by Duke Sigismund in 1468. The church is huge but simple and is a ‘must-see’ when visiting Munich. Its central location just a few meters from the Town Hall means that you cannot miss it. Much of <leo_highlight id="leoHighlights_Underline_8" leohighlights_keywords="the%20original" leohighlights_underline="false" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dthe%2520original%26domain%3Dwww.igougo.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dthe%2520original%26domain%3Dwww.igougo.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_8')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_8')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_8')" style="-moz-background-inline-policy: -moz-initial; background: none repeat scroll 0% 0% transparent; cursor: pointer; display: inline;">the original</leo_highlight> Gothic interior has been destroyed or removed partially by contra-reformists. An unusual feature of the building is that when viewed from the porch, the aisles and side windows are invisible, the octagonal pillars of the nave having the appearance of a wall; at one time the window of the choir was also obscured by the high altar.<br />
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The cathedral houses an elaborate 15th-century black-marble tomb guarded by four 16th-century armored knights. It's the final resting place of Duke Ludwig IV (1302-47), who became Holy Roman Emperor Ludwig the Bavarian in 1328. The Frauenkirche's great treasure, however, is the collection of 24 carved wooden busts of the apostles, saints, and prophets above the choir, made by the 15th-century Munich sculptor Erasmus Grasser. Don’t leave without seeing these.<br />
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Improvisation on "Lobet den Herren alle, die ihn ehren"<br />
5. Fünfter verse<br />
6. Sechster verse<br />
7. Fuge, Choral<br />
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Franz Lehrndorfer at the Jann organ of the Frauenkirche in München<br />
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<div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION</b></span></div><br />
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<div style="text-align: center;">I Rückpositiv Ca3</div>Quintade 16'<br />
Praestant 8'<br />
Voce umana (ab c0) 8'<br />
Rohrflöte 8'<br />
Quintade 8'<br />
Octave 4'<br />
Hohlflöte 4'<br />
Sesquialtera 2 2/3'<br />
Superoctave 2'<br />
Flautino 2'<br />
Quinte 1 1/3'<br />
Sifflöte 1'<br />
Scharff IVVI1'<br />
Cymbel III 1/3'<br />
Trompette 8'<br />
Cromorne 8'<br />
Clairon 4'<br />
Tremulant<br />
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<div style="text-align: center;">II Hauptwerk Ca3</div>Praestant 16'<br />
Gedeckt 16'<br />
Octave III 8'<br />
Gambe 8'<br />
Flûte harmonique 8'<br />
Quinte 5 1/3'<br />
Octave III 4'<br />
Flauto 4'<br />
Terz 3 1/5'<br />
Quinte 2 2/3'<br />
Octave III 2'<br />
Mixtur major VIVIII 2'<br />
Mixtur minor IV 1'<br />
Cornet V 8'<br />
Trompete 16'<br />
Trompete 8'<br />
Horn (durchschlagend) 8'<br />
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<div style="text-align: center;">III Positiv Ca3</div>Gemshorn 16'<br />
Praestant 8'<br />
Bourdon 8'<br />
Octave 4'<br />
Blockflöte 4'<br />
Nazard 2 2/3'<br />
Doublette 2'<br />
Tierce 1 3/5'<br />
Larigot 1 1/3'<br />
Mixtur V 1 1/3'<br />
Obertöne II 2/7'+ 8/9'<br />
Dulcian 16'<br />
Schalmey 8'<br />
Clarinette 8'<br />
Tremulant<br />
Glockenspiel c1d3<br />
Carillon Cf2<br />
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<div style="text-align: center;">IV Schwellwerk Ca3</div>Gambe 16'<br />
Bourdon 16'<br />
Diapason 8'<br />
Flûte traversière 8'<br />
Bourdon 8'<br />
Aeoline 8'<br />
Salicional 8'<br />
Unda maris (ab A) 8'<br />
Octave 4'<br />
Flûte octaviante 4'<br />
Nachthorn 4'<br />
Viola 4'<br />
Quinte 2 2/3'<br />
Octavin 2'<br />
Tierce 1 3/5'<br />
Piccolo 1'<br />
Progressio harm. IIV 1 1/3'<br />
Plein-jeu IV 2'<br />
Basson 16'<br />
Trompette harmonique 8'<br />
Hautbois 8'<br />
Vox humana 8'<br />
Clairon harmonique 4'<br />
Tremulant<br />
Carillon Cf2<br />
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<div style="text-align: center;">Chamadewerk Ca3</div>Chamade 16'<br />
Chamade 8'<br />
Tuba 8'<br />
Trompeta quinta 5 1/3'<br />
Clairon 4'<br />
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<div style="text-align: center;">Pedal Cf1</div>Principalbass 32'<br />
Violonbass 32'<br />
Principal 16'<br />
Violon 16'<br />
Subbass 16'<br />
Quinte 10 2/3'<br />
Octave 8'<br />
Bassflöte 8'<br />
Cello 8'<br />
Octave 4'<br />
Offenflöte 4'<br />
Bauernflöte 2'<br />
Hintersatz IV 2 2/3'<br />
Bassmixtur VI 2'<br />
Bombarde 32'<br />
Posaune 16'<br />
Fagott 16'<br />
Trompete 8'<br />
Feldtrompete 4'<br />
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<div id="refHTML"></div><input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="jsCall();" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-5385017686349381752010-05-18T10:38:00.000-04:002010-05-18T10:38:11.180-04:00Grote Kerk Dordrecht 1855 Kam Organ<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRjD4tmVyMfyePRs2LQD0xrhJLrU5tb3UKqRIeV63Kvoz2OuDy7hb5H-Rw7lYXcsqeotH9PraZO9FeuLbi-DwXzNNmUi0XbkbxgCRWZq3DZaxNBM6JW4m34RAAGtO0hUgdg60BFcsBrqo/s1600/Grote+Kerk+Dordrechtm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRjD4tmVyMfyePRs2LQD0xrhJLrU5tb3UKqRIeV63Kvoz2OuDy7hb5H-Rw7lYXcsqeotH9PraZO9FeuLbi-DwXzNNmUi0XbkbxgCRWZq3DZaxNBM6JW4m34RAAGtO0hUgdg60BFcsBrqo/s400/Grote+Kerk+Dordrechtm.jpg" /></a></div><br />
<div style="text-align: center;">Grote kerk Dordrecht interior</div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHW6XVl84Kzyd05pQiHhtMjx-lhFMOn_koOSKwDvjncVTcW_kVyTQSxPdn8f2Z3kuH9vhKdsDGNoxhq0HBQTkwbPidReq-jGec_wR5bad04ggBwayDG1AUqShmzn8bm0-8MrwAJk3cON0/s1600/Grote_Kerk,_Dordrecht.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHW6XVl84Kzyd05pQiHhtMjx-lhFMOn_koOSKwDvjncVTcW_kVyTQSxPdn8f2Z3kuH9vhKdsDGNoxhq0HBQTkwbPidReq-jGec_wR5bad04ggBwayDG1AUqShmzn8bm0-8MrwAJk3cON0/s400/Grote_Kerk,_Dordrecht.jpg" /></a></div><br />
<div style="text-align: center;">Grote kerk Dordrecht exterior</div><br />
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<div style="text-align: center;"><a href="http://www.refdag.nl/multimedia/1255/Restauratie+orgel+Grote+Kerk+Dordrecht.html?fullscreen=true&config=%7BbaseURL:%27http://www.refdag.nl/tools/common/flowplayer%27,embedHeight:258,embedWidth:422,fullScreen:true,controlsWidth:422,videoFile:%27http://www.refdag.nl/media/video/2010/20100313_Orgel_Grote_kerk_Dordrecht_REFDAG_F8_512K.flv%27,showFullScreenButton:true,showMenu:false,loop:false,autoPlay:true,initialScale:%27fit%27,fullScreenScriptURL:%27/tools/common/flowplayer/fullscreen.js%27%7D"><span style="font-size: large;"><b>The organ</b></span></a></div><br />
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History<br />
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Even in the Middle Ages the church had an organ. This is confirmed in financial accounts from 1490 which show payments to an organist. It was not so much organ music to which the church council objected, but rather some “light hearted” playing. This was probably due to the organists who, now and again, played non-religious pieces. <br />
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When the pulpit was moved to the nave in 1597, the first organ was also moved to the southern transept, approximately opposite its original position.<br />
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In 1614 the organ builder Aelbert Kiespenning of Nijmegen was contracted to build a new organ that would be located on the east wall of the southern transept. This organ was approved by the famous organist Jan Pietersz. Sweelink of Ansterdam.<br />
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A lead singer was appointed in 1611 to support congregational singing. Organ music was banned temporarily from church services but after 1638 the singing of psalms was once again accompanied by the sounds of the organ. The organ once again regained its rightful place in services, but technically no longer met requirements. In 1671 the organ builder Nicolaas van Hagen received a contract to build a new instrument. In spite of protests from the Guilds that the money could be better spent, he made preparations in his home town of Antwerp and commenced the project.<br />
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Lack of money and the war against France caused progress to be slow. By 1674 the work was only half completed. However, to have stopped at that point would have been a senseless waste of money. The only alternative was to borrow more money and in 1675 Nicolaas van Hagen was again fully employed on this work. After that date his name is no longer mentioned in historic documents. Carel Jacobsz. Pellereyn, organ builder of Dordrecht, finally completed the building of that organ.<br />
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In 1762 the organ casing was fitted with new carvings in rococo style, with the exception of the Arms. The carving and Arms were painted white and the oakwood organ casing received a mahogany colouring. In this way the organ formed a unity with the nave.<br />
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About 1855, however, the organ had fallen into such disrepair that it was decided to build another organ, to be placed in the existing casing. The new organ, now located at the north western end of the building, was built by the organ builder Kam of Rotterdam and was inaugurated by the then current Minster organist, Gijsbert Izaäk de Vries.<br />
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Except for some minor changes, the current organ still has its original specification.<br />
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<div style="text-align: center;">Grote kerk Dordrecht exterior and interior</div><div style="text-align: center;">Kam organ Tourist concert organist Arjan Teeuw.</div><br />
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<div style="text-align: center;">Everhard Zwart plays "Toccata in D" from R.L. Becker</div><div style="text-align: center;">on the Kam-organ of the Grote Kerk at Dordrecht (Holland).</div><br />
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<div style="text-align: center;">Opening part (Grands Jeux) from Jean Langlais' Suite Brève (1947)</div><div style="text-align: center;">performed by Margreeth de Jong on the 1859 Kam-organ</div><div style="text-align: center;">of the Grote Kerk in Dordrecht (The <leo_highlight id="leoHighlights_Underline_0" leohighlights_keywords="netherlands" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_0')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_0')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_0')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">Netherlands</leo_highlight>).</div><br />
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<div style="text-align: center;">Improvisation Grote kerk Dordrecht Piet van Egmond</div><br />
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<div style="text-align: center;">The Bells of Dordrecht Cathedral, <leo_highlight id="leoHighlights_Underline_1" leohighlights_keywords="netherlands" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_1')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_1')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_1')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">Netherlands</leo_highlight>.</div><br />
On Friday September 26th the Change Ringing Peal in Dordrecht was officially opened. After a full day of concerts and demonstrations the Saturday after our Carilloneur Boudewijn Zwart, never without energy, invited all the English ringers in the tower for a ring on the big bells. He also took them to the carillon and improvised on God save the Queen. It was impressive for all of us!!<br />
<div style="text-align: left;">This Cathedral has 67 bells. 6/67 used for peal bells. The big bell of this cathedral is the greatest of the <leo_highlight id="leoHighlights_Underline_2" leohighlights_keywords="netherlands" leohighlights_underline="true" leohighlights_url_bottom="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsBottom.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" leohighlights_url_top="http%3A//shortcuts.thebrowserhighlighter.com/leonardo/plugin/highlights/3_1/tbh_highlightsTop.jsp?keywords%3Dnetherlands%26domain%3Dwww.blogger.com" onclick="leoHighlightsHandleClick('leoHighlights_Underline_2')" onmouseout="leoHighlightsHandleMouseOut('leoHighlights_Underline_2')" onmouseover="leoHighlightsHandleMouseOver('leoHighlights_Underline_2')" style="-moz-background-clip: -moz-initial; -moz-background-inline-policy: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-size: auto auto; background-attachment: scroll; background-color: transparent; background-image: none; background-position: 0% 50%; background-repeat: repeat; border-bottom: 2px solid rgb(255, 255, 150); cursor: pointer; display: inline;">Netherlands</leo_highlight>. The weight of the 6 peal bells is:</div>1100kg<br />
1600kg<br />
2700kg<br />
4000kg<br />
6000kg<br />
9400kg<br />
<br />
<br />
<div style="text-align: center;"><br />
<br />
<span style="font-size: large;"><b>DISPOSITION </b></span></div><br />
<div style="text-align: center;">Manuaal </div><br />
Prestant 16'<br />
Gedekt 16'<br />
Prestant 8'<br />
Roerfluit 8'<br />
Holpijp 8'<br />
Octaaf 4'<br />
Roerfluit 4'<br />
Quint 3'<br />
Octaaf 2'<br />
Gemshoorn 2'<br />
Mixtuur 3-5 st.<br />
Cornet D 5 st.<br />
Trompet 16'<br />
Trompet 8'<br />
Klarinet 4'<br />
<br />
<br />
<div style="text-align: center;">Positief </div><br />
Bourdon 16'<br />
Prestant 8'<br />
Gemshoorn 8'<br />
Salicionaal 8'<br />
Bourdon 8'<br />
Octaaf 4'<br />
Gemshoorn 4'<br />
Quint 3'<br />
Octaaf 2'<br />
Mixtuur 2-4 st.<br />
Cornet D 5 st.<br />
Trompet 8'<br />
Dulciaan 8'<br />
<br />
<br />
<div style="text-align: center;">Bovenwerk </div><br />
Baardpijp 8'<br />
Holpijp 8'<br />
Viola di Gamba 8'<br />
Quintadeen 8'<br />
Salicionaal 4'<br />
Open Fluit 4'<br />
Gedekt 4'<br />
Nazard 3'<br />
Woudfluit 2'<br />
Carillon 3 st.<br />
Schalmei 8'<br />
Vox Humana 8'<br />
<br />
<div style="text-align: center;">Pedaal</div><br />
Subbas 32'<br />
Principaal 16'<br />
Violon 16'<br />
Subbas 16'<br />
Octaaf 8'<br />
Gedekt 8'<br />
Quint 6'<br />
Octaaf 4'<br />
Bazuin 16'<br />
Trombone 8'<br />
Trompet 4'<br />
<br />
koppelingen Man-Pos<br />
Man-Bw<br />
Ped-Man<br />
Ped-Pos<br />
Ped-Bw <br />
<br />
tremulanten Pos, BW <br />
<br />
afsluiters Man<br />
Pos, Bw en Ped <br />
<br />
435 Hz <br />
<br />
Temperatuur: evenredig zwevend <br />
<br />
Wind-voorziening:magazijnbalg <br />
<br />
Bijzonderheden: <br />
Het Manuaal is voorzien van Barkerhefbomen<br />
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<input id="gwProxy" type="hidden" /><!--Session data--><input id="jsProxy" onclick="jsCall();" type="hidden" /><div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-74367862269611021572010-04-08T10:03:00.004-04:002010-11-08T12:29:40.097-05:00The Spectacular Gabler Organ at Weingarten<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8OGqLfQjPier-V1CbgtQhkOKi_hlATsE6EPS3kMJJtMY-YUBGdWakHMgqujpVrA6-vKQgaLSRMwrtsFgpoVHFx9pBbTMy3tSnQ7fY9mSAjvcZtu7TGbsIZ5jGjmutxUWiDmuJNn9IErw/s1600-h/weingarten_abbeygabler.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 350px; height: 380px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8OGqLfQjPier-V1CbgtQhkOKi_hlATsE6EPS3kMJJtMY-YUBGdWakHMgqujpVrA6-vKQgaLSRMwrtsFgpoVHFx9pBbTMy3tSnQ7fY9mSAjvcZtu7TGbsIZ5jGjmutxUWiDmuJNn9IErw/s400/weingarten_abbeygabler.jpg" alt="" id="BLOGGER_PHOTO_ID_5287880805082019682" border="0" /></a><br />
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The 1750 organ at Weingarten Abbey, Germany, is a baroque organ by Joseph Gabler with 4 manuals and nearly 7000 pipes, including a 49 rank pedal mixture "La Force" on the bottom pedal C.<br />
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HISTORY and SPECIFICATION Weingarten (Basilica)<br />
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In 934, Duke Henry founded an abbey that was transfered in 1053 to today’s site and was named “Weingarten”. Since 1056, Benedictine monks have settled here and built a new church and cloisters in 1124, one of the largest in Swabia. Since 1712, plans were underway to built the abbey church that is still in use today. The church was completed and consecrated in 1724. It is the largest baroque church north of the Alps. The architects were Christian Tumb and Peter Schreck. The west facade with the two towers as well as the dome above the crossing were built after plans of Donato Giuseppe Frisoni. The frescoes in the vaults and ceilings have been created by Cosmas Damian Asam, the choir stalls (1724) are carved by Joseph Anton Feuchtmayer. The towers house seven large bells (a″ - c-sharp′ - e′ - f-sharp′ - g-sharp′ - b′ - c-sharp″. There is an additional bell in the North tower (Hosanna bell, b°, weight of c. 6.500 kg, from 1490). Since 1922, 120 years after the secularisation of the abbey, Benedictine monks from Beuron are back in Weingarten Abbey.<br />
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to hear the spectacular vox humana:<br />
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<div style="text-align: center;">BWV 1056<br />
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</div>Earliest organs for the previous churches have been mentioned in the 13th century, replaced by new organs in 1561 and 1613. When in 1715 the old minster had been dismantled and was replaced by the present abbey church in 1724, plans were made for the building of a representative new organ. In 1729, the abbey chapter’s attention was drawn to a young organ builder, Joseph Gabler, who at that time just was working at the rebuiling of the organ in Ochsenhausen. Gabler was asked to repair the Weingarten choir organ, and after he done these works successfully and also completed the new organ in Ochsenhausen in 1733, it was decided in 1737 to ask him to built the new organ in Weingarten.<br />
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In a first contract from 1737, the organ should comprise 60 stops and some percussion stops like Glockenspiel, Cimbala, Rossignol, playable on four manuals and pedal. The compasses should have on the manuals C-c3, in the pedal C-g°, with all 12 chromatic notes in the lowest octaves . The wind supply system in the North tower should have 12 bellows. Most parts of the organ should be playable within three years.<br />
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But on December 2, 1737, a fire in the cloister buildings ruined these plans, because the abbey carpenters had to work exclusively at the rebuilding of the destroyed buildings. So, Gabler was asked to build a new choir organ in the meantime. But since the carpenters could not deliver these cases before the end of the year 1742, the completion of this organ was delayed, too. Nothing is left from this choir organ today, except for the wonderful baroque cases. Behind the facades, the organbuilder Reiser built a new organ with 46 stops on three manuals and pedals in 1937.<br />
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With a third contract, it was tried in 1741 to get the dead-locked negotiations for both organs moving again. Gabler was promised 10.000 guilders, but had to carry out further works without payment, such as some carvings in the facade, manufacturing the ivory keyboards and building a 3-stop procession organ.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8gVFBEyoPPxKFeGa8D5DO7aqEk8Va4PIFsM1jY1oQnunOTlenTUXvpSxZ2bkRt5ikzOmeLHuxYV2bbDcM85vmIGzzTntN-h0h9RJK3_tcdHU3bNTskEbuKUImjWCVQiNjc9AOdGel3eA/s1600-h/Weingarten_Basilika_Gabler-Orgel_Spieltisch.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8gVFBEyoPPxKFeGa8D5DO7aqEk8Va4PIFsM1jY1oQnunOTlenTUXvpSxZ2bkRt5ikzOmeLHuxYV2bbDcM85vmIGzzTntN-h0h9RJK3_tcdHU3bNTskEbuKUImjWCVQiNjc9AOdGel3eA/s400/Weingarten_Basilika_Gabler-Orgel_Spieltisch.jpg" alt="" id="BLOGGER_PHOTO_ID_5369934210133701458" border="0" /></a><br />
<br />
In this contract, we can see Gablers sense for constellations of numbers:<br />
<br />
Great Organ: 76 stops = 6666 pipes<br />
Choir Organ: 24 stops = 2222 pipes<br />
Total: 100 stops = 8888 pipes<br />
<br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzM9Wtil4_535aeQ2i6BUljZ0GHRJqHesGzvuGpwguFJO7jnK4xBU2bOYuU5b_FMbrGeUWxdAbECrxy1P0bRHvOLX5MqUJaK2xFmRzcwrIxjYbKyMEISorZy-M7342aCUyHmwtwZh_1-o/s1600-h/Weingarten_Basilika_Gabler-Orgel_von_Empore.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzM9Wtil4_535aeQ2i6BUljZ0GHRJqHesGzvuGpwguFJO7jnK4xBU2bOYuU5b_FMbrGeUWxdAbECrxy1P0bRHvOLX5MqUJaK2xFmRzcwrIxjYbKyMEISorZy-M7342aCUyHmwtwZh_1-o/s400/Weingarten_Basilika_Gabler-Orgel_von_Empore.jpg" alt="" id="BLOGGER_PHOTO_ID_5369935535921493634" border="0" /></a><br />
<br />
After a fourth contract, dating in 1746, and a total time of 13 years of building the organ, finally, the great organ was completed and inaugurated on June 24, 1750.<br />
<br />
<br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm5e8yLOlOjBO-S4uvf5XrZ85hQl4nntTMOhTcwsvPKQPAyq5hPS8EBIIJNAEJpRV0uFHMzryanfnGN4AWkLCz_2tYWv-dHz42OcYrV2EROv6KB68YOx7CJOCuQb1HBWWow9VBuiK2Q3o/s1600-h/orgel_weingarten_basilika1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm5e8yLOlOjBO-S4uvf5XrZ85hQl4nntTMOhTcwsvPKQPAyq5hPS8EBIIJNAEJpRV0uFHMzryanfnGN4AWkLCz_2tYWv-dHz42OcYrV2EROv6KB68YOx7CJOCuQb1HBWWow9VBuiK2Q3o/s320/orgel_weingarten_basilika1.jpg" alt="" id="BLOGGER_PHOTO_ID_5311284463765082754" border="0" /></a><br />
<br />
<div style="text-align: center; font-weight: bold;"><span style="font-size:180%;">DISPOSITION<br />
</span></div><br />
<span style="font-size:130%;"><span style="font-weight: bold;">Hauptwerk (I) C-c3</span></span><br />
<br />
Praestant 16’<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhJFsw8M8cg8wfbmBnV-SMzVs15YvIcFNjPnoVBBS15HGcSiJ549DJ7WGo1vIatirAQOXgiuxtl8zedIvSdXvKlUguoJJp2sNSX9KLPo5LT-P52utP5cc_6zi5_tUx8FKX_zcYKMNxQf4/s1600-h/450px-Weingarten_Basilika_Gabler-Orgel_Register_links.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhJFsw8M8cg8wfbmBnV-SMzVs15YvIcFNjPnoVBBS15HGcSiJ549DJ7WGo1vIatirAQOXgiuxtl8zedIvSdXvKlUguoJJp2sNSX9KLPo5LT-P52utP5cc_6zi5_tUx8FKX_zcYKMNxQf4/s200/450px-Weingarten_Basilika_Gabler-Orgel_Register_links.jpg" alt="" id="BLOGGER_PHOTO_ID_5369931320883753394" border="0" /></a><br />
Principal 8’<br />
Rohrflöte 8’<br />
Octav I-II 4’<br />
Superoctav II 2’+1’<br />
Hohlflöte 2’<br />
Mixtur IX-X 2’<br />
Cimbalum XII 1’<br />
Sesquialter VIII-IX 1 1/2'<br />
Piffaro III-VII 8’<br />
Trombetten 8’<br />
<br />
<span style="font-size:130%;"><span style="font-weight: bold;">Oberwerk (II) C-c3</span></span><br />
Bourdon I-III 16’<br />
Principal Tutti 8’<br />
Violoncello I-III 8’<br />
Coppel 8’<br />
Hohlflöte 8’<br />
Unda maris 8’<br />
Salicional 8’<br />
Mixtur IX-XII 4’<br />
Octav douce 4’*<br />
Viola II 4’+2’*<br />
Cimbalum II 2’+1’*<br />
Nasat 2’*<br />
<br />
<span style="font-size:130%;"><span style="font-weight: bold;">Echowerk (III) C-c3</span></span><br />
Bourdon 16’<br />
Principal 8’<br />
Flöten 8’<br />
Quintatön 8’<br />
Viola douce 8’<br />
Octav 4’<br />
Hohlflöte II 4’(f)<br />
Piffaro doux II 4’<br />
Superoctav 2’<br />
Mixtur V-VI 2’<br />
Cornet V-VI 1’<br />
Hautbois 8’ (new)<br />
<span style="font-size:130%;"><span style="font-weight: bold;"><br />
Brustpositiv (IV) C-c3</span></span><br />
Principal doux 8’ (f)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfiK1HLIxslhsH7-n4G8kvEOk-fyszadEfe_THFFAJx9tBILlT7iCxPONrjTA1jAZsaPIzINZ0EXvqcvXH9YN20eusXKqjUmSHXvmONuVqEi2j8L3BTUcffb_1DFE_XuFkVPfn2ICO758/s1600-h/450px-Weingarten_Basilika_Gabler-Orgel_Register_rechts.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfiK1HLIxslhsH7-n4G8kvEOk-fyszadEfe_THFFAJx9tBILlT7iCxPONrjTA1jAZsaPIzINZ0EXvqcvXH9YN20eusXKqjUmSHXvmONuVqEi2j8L3BTUcffb_1DFE_XuFkVPfn2ICO758/s200/450px-Weingarten_Basilika_Gabler-Orgel_Register_rechts.jpg" alt="" id="BLOGGER_PHOTO_ID_5369931778645513938" border="0" /></a><br />
Flaut douce 8’<br />
Quintatön 8’<br />
Violoncello 8’<br />
Rohrflöte 4’<br />
Querflöte 4’<br />
Flaut travers II 4’<br />
Flageolet 2’<br />
Piffaro V-VI 4’<br />
Cornet VIII-XI 2’<br />
Vox humana 8’<br />
Hautbois 4’<br />
Carillon 2’ TF#<br />
Tremulant<br />
<br />
<span style="font-weight: bold;font-size:130%;" >Hauptpedal C-d1</span><br />
Contrabass II 32’+16’(f)<br />
Subbaß 16'<br />
Oktavbass 8’<br />
Violonbass II 16’<br />
Mixturbass V-VI 8’<br />
Posaunenbass 16’<br />
Bombardbass 16’<br />
La force 49f (C) 2’<br />
Carillon ped. 2’<br />
<br />
<span style="font-weight: bold;font-size:130%;" >Brustpedal C-d1</span><br />
Quintatönbass 16’<br />
Superoctavbass 8’ (f)<br />
Flaut douce bass 8’<br />
Violoncellbass 8’<br />
Hohlflötbass 4’<br />
Cornetbass X-XIII 4’<br />
Sesquialter VI-VII 3’<br />
Trompetbass 8’<br />
Fagottbass 8’<br />
<br />
Percussion stops: Cuculus, Rossignol, Cymbala, Tympan<br />
Couplers: II/I, III/II, IV/III, IV/I, I/Ped, II/Ped, IV/Ped<br />
Kronpositiv-Copplung, Brustpedal-Copplung<br />
(f) im Prospekt<br />
* placed in Kronpositiv<br />
# placed in console<br />
<br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUcu-zF-HJtLP5ayHJeNhmUybUX0o2Vv5PqEBPDaGmc_Dm9ly9Bx_TLysHEj7nAnYRGXvoJWoEaIuLpSUCmlQ9Rkot7O4BPI6bYf1owS0F5oaJeng4_joGxN7RI9Y8uQiuWVrAD9Cq0_U/s1600-h/WEINGARTEN+front.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUcu-zF-HJtLP5ayHJeNhmUybUX0o2Vv5PqEBPDaGmc_Dm9ly9Bx_TLysHEj7nAnYRGXvoJWoEaIuLpSUCmlQ9Rkot7O4BPI6bYf1owS0F5oaJeng4_joGxN7RI9Y8uQiuWVrAD9Cq0_U/s400/WEINGARTEN+front.JPG" alt="" id="BLOGGER_PHOTO_ID_5336478177525336130" border="0" /></a><br />
<br />
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<span style="font-size:130%;"><span style="font-weight: bold;">YOU CAN LISTEN TO ALL THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW: <span style="color: rgb(255, 0, 0);">TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.</span><br />
<br />
</span></span><a href="http://www.youtube.com/watch?v=iPkvXmZavCM">Gabler WeingartenChrist lag in todesbanden Danniel Chappuis </a><br />
<a href="http://www.youtube.com/watch?v=DNd5Ux0mGsY&feature=related">BWV 1056 Gabler Organ Weingarten BWV 1056 </a><br />
<a href="http://ca.youtube.com/watch?v=Sp3zQh9lu4U">BWV 654 Koopman, Gabler organ Weingarten</a><br />
<a href="http://ca.youtube.com/watch?v=EU46RmK6leE">BWV 653 Koopman, Gabler organ Weingarten, Bach</a><br />
<a href="http://ca.youtube.com/watch?v=k3G53cF835I">BWV 645 Wachet auf, ruft uns die Stimme </a><br />
<a href="http://ca.youtube.com/watch?v=k3G53cF835I">BWV 645 Johann Sebastian Bach</a><br />
<a href="http://ca.youtube.com/watch?v=VEGqlF6eZls">BWV 645 "Wachet auf, ruft uns die Stimme" </a><br />
<a href="http://ca.youtube.com/watch?v=a5Z3zZvfX1Q">BWV 549 Praludium in C minor (Koopman)</a><br />
<a href="http://ca.youtube.com/watch?v=FVD8MFT3AqE">BWV 546 Fuga, Koopman, Gabler organ Weingarten, Bach </a><br />
<a href="http://ca.youtube.com/watch?v=FVD8MFT3AqE">BWV 546 Fuga, Koopman, Gabler organ Weingarten, Bach Category: Music Tags: </a><br />
<a href="http://ca.youtube.com/watch?v=FVD8MFT3AqE">BWV 546 Fuga Koopman Gabler organ Weingarten Bach </a><br />
<a href="http://ca.youtube.com/watch?v=l7C7FP44MTA">BWV 546 Praeludium, Koopman, Gabler organ Weingarten, Bach </a><br />
<a href="http://ca.youtube.com/watch?v=sPYPjFS6EXw">Bach 534 Piet Kee, Gabler in Weingarten (modified Mean tone with mild wolf, Kammerton La = 419 Hz) </a><br />
<a href="http://ca.youtube.com/watch?v=gIX4uuqnL9M">Pachelbel - Praeludium, Fantasia Piet Kee, Gabler in Weingarten (modified Mean tone with mild wolf, Kammerton La = 419 Hz) </a><br />
<a href="http://ca.youtube.com/watch?v=dB-TEt6E">Concert la mineur Bach-Vivaldi André Isoir</a> <a href="http://ca.youtube.com/watch?v=vgjdbqsERSA">Bach prélude & fugue en mi mineur André Isoir</a><br />
<a href="http://ca.youtube.com/watch?v=Lc7UaAkU9XQ">Bach "In dulci jubilo"André Isoir</a><br />
<a href="http://ca.youtube.com/watch?v=oNbdc8Zp-lw&feature=related">JL Krebs Gabler Weingarten 3 Gerhard Weinberger </a><br />
<a href="http://ca.youtube.com/watch?v=h-wnrXAyg3A">JL Krebs Gabler Weingarten 2 Gerhard Weinberger </a><br />
<a href="http://ca.youtube.com/watch?v=TOwPoiQtvqU">JL Krebs Gabler Weingarten 1 Gerhard Weinberger </a><br />
<a href="http://ca.youtube.com/watch?v=wQYuNwg8yKs">JL Krebs Gabler iWeingarten Gerhard Weinberger </a><br />
<a href="http://ca.youtube.com/watch?v=knZ8_OU5pm4">JL Krebs chorales Gerhard Gnann The immortal legend of Gabler in Weingarten</a><br />
<a href="http://www.youtube.com/profile?user=Brelaz2007">Gabler Weingarten Vox Humana</a><br />
<a href="http://www.youtube.com/watch?v=N9nYTJIh51g&NR=1">Gabler-Organ Weingarten</a><br />
<br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit3wYM-bEXGKB3b1EU2Q_RruaghPF8UjjMXdaxBFIwqKfdJzxdiqkOCWhBIViMJWvrGcV4pU3LOMf5b84Acn2-TpPZcGdpdn-zqR1B46uLCmY5XZhFtJmSFUrSPUYHVeoy3_5pVpRZyMg/s1600-h/D_Weingarten_Basilika.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 278px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit3wYM-bEXGKB3b1EU2Q_RruaghPF8UjjMXdaxBFIwqKfdJzxdiqkOCWhBIViMJWvrGcV4pU3LOMf5b84Acn2-TpPZcGdpdn-zqR1B46uLCmY5XZhFtJmSFUrSPUYHVeoy3_5pVpRZyMg/s400/D_Weingarten_Basilika.jpg" alt="" id="BLOGGER_PHOTO_ID_5287934742361084290" border="0" /></a> click to enlarge<span style="font-style: italic;"></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-13926095205032494092010-04-03T17:33:00.005-04:002010-04-03T21:40:25.188-04:00Great Paschen Organ in Central Pori Church, Pori, Finland.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidgHt5syTL3LmudL-o-evYuqsbSB6Yk6RJtjF2cY3NWfOGcZJROwNdcK2kE58NQOBPRFeHLWXMMjKa_2CgebSvbLeKcVJI4R_LaRTbuN6cLUGfNdAgeFtp-TsSSh6BoAUqdCpwFXGkLzzg/s1600/K-PPaschen-urut_fasadi.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidgHt5syTL3LmudL-o-evYuqsbSB6Yk6RJtjF2cY3NWfOGcZJROwNdcK2kE58NQOBPRFeHLWXMMjKa_2CgebSvbLeKcVJI4R_LaRTbuN6cLUGfNdAgeFtp-TsSSh6BoAUqdCpwFXGkLzzg/s400/K-PPaschen-urut_fasadi.JPG" width="308" /></a></div><br />
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<object style="height: 344px; width: 425px;"><param name="movie" value="http://www.youtube.com/v/0f0k-c7o-p8"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/0f0k-c7o-p8" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="425" height="344"> </embed></object><br />
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<a href="http://www.poriorgan.fi/poriorgan/index.php/paschen-organ/specification"></a><br />
<br />
<br />
<div style="text-align: center;"><br />
</div><div style="text-align: center;">The Organ in Central Pori Church</div><div style="text-align: center;">Paschen Kiel Orgelbau GmbH 2007</div><br />
<br />
<br />
When the new organ for Central Pori Church was being planned, two main objectives were in the forefront: firstly, to provide the congregation with a versatile and inspiring instrument and secondly, to build an organ of the highest artistic integrity based on the French Romantic tradition.<br />
<br />
Organ building prospered in France in the second half of the 19th century. This resulted in a number of brilliant instruments being built in different parts of France, during that period. The inspiration provided by the new style of organ-building, culminated in a significant output of major organ-compositions being created. The most important composers of this style are César Franck, Louis Vierne, Camille Saint-Saëns, Alexandre Guilmant and Charles-Marie Widor.<br />
<br />
The organ in Central Pori Church was built by the German organ-building company, Paschen Kiel Orgelbau GmbH. The specification, designed by the Parisian organ specialist Kurt Lueders, has 58 stops on three manuals and pedal. The organ-builders and voicers, Helmuth Gripentrog and Kalevi Mäkinen, were responsible for the voicing of the organ.<br />
<br />
The organ façade was designed by Roland Monczynski, Director of the Paschen Organ Factory, who based the design on a combination of the typical characteristics of the French Romantic organ style, with that of the Neo-Gothic architecture of Central Pori Church. The casework and façade is made of oak and houses selected front pipes belonging to the stops Montre 16’ and Montre 8’, both of which are part of the division “Grand Orgue “. The remainder of this division, belonging to the main manual is located behind the façade. The Positif and Récit divisions are enclosed in swell boxes, one on top of the other, behind the Grand Orgue division. The pedal pipes are on both sides of the Grand Orgue division. The largest pedal stops, Soubasse 32´ and Bombarde 32´, are situated at the back wall of the organ case on their own wind chests.<br />
<br />
The tonal structure of the organ specification is based on the French Romantic organ tradition and is for this reason, that the instrument’s sound reflects the quality of timbre embodied in a symphony orchestra. Emphasis is on fundamental tone, which is in turn shaped by juxtaposing and the combination of three characteristic stop families (flutes, strings and the numerous colourful and brilliant reed stops). In addition, the first and second manuals include a fully-fledged mixture chorus, e.g. Grand Orgue( the first manual): Montre 16´, Montre 8´, Prestant 4´, Doublette 2´, Fourniture 5r, Cymbale 4r. Additionally the organ has colourful mutation ranks, for example Nasard 2 2/3’ or Tierce 1 3/5’.<br />
<br />
All departments of the organ are subdivided into two sections: foundation stops and forte stops. The latter may be prepared thanks to the appel system (foot activated pedal-levers which bring on the previously-drawn stops belonging to this group). In addition to the appel pedals, the organ also possesses a computer-based register memory system, which enables the recording of a nearly countless number of stop combinations.<br />
<br />
The pipes of the second and third manuals are enclosed in wooden chambers known as swell boxes, whose sides can be opened and closed progressively to increase and decrease the volume of tone. In addition to the usual couplers, e.g. second to first, the first and third manuals are equipped with suboctave couplers (Octaves graves). All of these devices make great dynamic variation possible; the organist can thereby initiate tremendous crescendo and diminuendo effects.<br />
<br />
The tracker action of the organ is mechanical, and the stop action is both mechanical and electrical. All the manuals are equipped with the so-called Barker lever machines to assist the keyboard playing action by means of pneumatics. This way the fundamental principles of mechanical action and those of pneumatic action conjugate most effectively. The mechanical action retains a clear pluck point, without the touch being influenced by the couplers, thus giving the organist the means to control this technically complex late Neo-Romantic organ with all its couplers, double pallets and long action runs, in a musical and sensitive way.<br />
<br />
The wind system (12 large bellows), the console design, pipework placement, scaling and voicing were carried out in accordance with the essential characteristics of the French Romantic organ building tradition.<br />
When the new organ for Central Pori Church was being planned, two main objectives were in the forefront: firstly, to provide the congregation with a versatile and inspiring instrument and secondly, to build an organ of the highest artistic integrity based on the French Romantic tradition.<br />
<br />
Organ building prospered in France in the second half of the 19th century. This resulted in a number of brilliant instruments being built in different parts of France, during that period. The inspiration provided by the new style of organ-building, culminated in a significant output of major organ-compositions being created. The most important composers of this style are César Franck, Louis Vierne, Camille Saint-Saëns, Alexandre Guilmant and Charles-Marie Widor.<br />
<br />
The organ in Central Pori Church was built by the German organ-building company, Paschen Kiel Orgelbau GmbH. The specification, designed by the Parisian organ specialist Kurt Lueders, has 58 stops on three manuals and pedal. The organ-builders and voicers, Helmuth Gripentrog and Kalevi Mäkinen, were responsible for the voicing of the organ.<br />
<br />
The organ façade was designed by Roland Monczynski, Director of the Paschen Organ Factory, who based the design on a combination of the typical characteristics of the French Romantic organ style, with that of the Neo-Gothic architecture of Central Pori Church. The casework and façade is made of oak and houses selected front pipes belonging to the stops Montre 16’ and Montre 8’, both of which are part of the division “Grand Orgue “. The remainder of this division, belonging to the main manual is located behind the façade. The Positif and Récit divisions are enclosed in swell boxes, one on top of the other, behind the Grand Orgue division. The pedal pipes are on both sides of the Grand Orgue division. The largest pedal stops, Soubasse 32´ and Bombarde 32´, are situated at the back wall of the organ case on their own wind chests.<br />
<br />
The tonal structure of the organ specification is based on the French Romantic organ tradition and is for this reason, that the instrument’s sound reflects the quality of timbre embodied in a symphony orchestra. Emphasis is on fundamental tone, which is in turn shaped by juxtaposing and the combination of three characteristic stop families (flutes, strings and the numerous colourful and brilliant reed stops). In addition, the first and second manuals include a fully-fledged mixture chorus, e.g. Grand Orgue( the first manual): Montre 16´, Montre 8´, Prestant 4´, Doublette 2´, Fourniture 5r, Cymbale 4r. Additionally the organ has colourful mutation ranks, for example Nasard 2 2/3’ or Tierce 1 3/5’.<br />
<br />
All departments of the organ are subdivided into two sections: foundation stops and forte stops. The latter may be prepared thanks to the appel system (foot activated pedal-levers which bring on the previously-drawn stops belonging to this group). In addition to the appel pedals, the organ also possesses a computer-based register memory system, which enables the recording of a nearly countless number of stop combinations.<br />
<br />
The pipes of the second and third manuals are enclosed in wooden chambers known as swell boxes, whose sides can be opened and closed progressively to increase and decrease the volume of tone. In addition to the usual couplers, e.g. second to first, the first and third manuals are equipped with suboctave couplers (Octaves graves). All of these devices make great dynamic variation possible; the organist can thereby initiate tremendous crescendo and diminuendo effects.<br />
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The tracker action of the organ is mechanical, and the stop action is both mechanical and electrical. All the manuals are equipped with the so-called Barker lever machines to assist the keyboard playing action by means of pneumatics. This way the fundamental principles of mechanical action and those of pneumatic action conjugate most effectively. The mechanical action retains a clear pluck point, without the touch being influenced by the couplers, thus giving the organist the means to control this technically complex late Neo-Romantic organ with all its couplers, double pallets and long action runs, in a musical and sensitive way.<br />
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The wind system (12 large bellows), the console design, pipework placement, scaling and voicing were carried out in accordance with the essential characteristics of the French Romantic organ building tradition.<br />
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Paschen organ - Specification<br />
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</div><div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION</b></span></div><br />
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<div style="text-align: center;">I Grand Orgue (C - a ''')</div>Montre 16<br />
Bourdon 16<br />
Montre 8<br />
Bourdon 8<br />
Violoncelle 8<br />
Flûte harmonique 8fasadi<br />
Prestant 4<br />
Octave 4<br />
Quinte 2 2/3<br />
Doublette 2<br />
Fourniture 5r<br />
Cymbale 4r<br />
Cornet 5r<br />
Basson 16<br />
Trompette 8<br />
Clairon 4<br />
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<div style="text-align: center;">II Positif expressif (C - a ''')</div>Quintaton 16<br />
Principal 8<br />
Flûte 8<br />
Cor de nuit 8<br />
Salicional 8<br />
Unda maris 8<br />
Prestant 4<br />
Flûte douce 4<br />
Nasard 2 2/3<br />
Doublette 2<br />
Tierce 1 3/5<br />
Plein jeu harmonique 3-6r<br />
Piccolo 1<br />
Cor anglais 16<br />
Trompette 8<br />
Clarinette 8<br />
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<div style="text-align: center;">III Récit expressif (C - a ''')</div>Bourdon 16<br />
Diapason 8<br />
Flûte traversiere 8<br />
Viole de gambe 8<br />
Voix céleste 8<br />
Flûte octaviante 4<br />
Viole d’amour 4<br />
Octavin 2<br />
Plein jeu 4r<br />
Bombarde 16<br />
Trompette harmonique 8<br />
Clairon 4<br />
Basson et hautbois 8<br />
Voix humaine 8<br />
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<div style="text-align: center;">Pédale (C - f ')</div>Soubasse 32<br />
Contrebasse 16<br />
Soubasse 16<br />
Basse 8<br />
Bourdon 8<br />
Violoncelle 8<br />
Flûte 4<br />
Bombarde 32<br />
Bombarde 16<br />
Basson 16<br />
Trompette 8<br />
Clairon 4<br />
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Pédales de Combinaisons<br />
Effet d’orage<br />
Tirasse Grand Orgue<br />
Tirasse Positif<br />
Tirasse Récit<br />
Anches Pédale<br />
Octaves Graves Grand Orgue<br />
Octaves Graves Récit<br />
Tremolo Positif<br />
Expression Positif<br />
Expression Récit<br />
Tremolo Récit<br />
Anches Grand Orgue<br />
Anches Positif<br />
Anches Récit<br />
Introduction Grand Orgue<br />
Copula Positif/Grand Orgue<br />
Copula Récit/Grand Orgue<br />
Copula Récit/Positif<br />
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Computer-based register memory system(Otto Heuss), 3999 combinations, memory stick option.<br />
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Builder: Paschen Kiel Orgelbau GmbH<br />
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Specification: Kurt Lueders, Paris, France<br />
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Façade: Roland Monczynski, Germany<br />
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Technical design: Roland Monczynski<br />
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Tonal realization: Helmuth Gripentrog & Kalevi Mäkinen<br />
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<div id="refHTML"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-41776834987239484532010-04-03T16:28:00.002-04:002010-04-04T14:29:33.400-04:001761 Johann-Andreas-Silbermann Organ Dom zu Arlesheim Arlesheim/Basel, Switzerland<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvcx0hhDSn6WbXNQL5qQnJfIRVNMFavyLnLu1lO_tCfKMzVuNPM50xL-R6jRl2G1HDwwGUzmOlTvsoPqzCPE5V3sPjlJI6anWBHjXvgzquXnFqVvG4GWujPHSVYj_hZCeKTv-UUZ3A4TY/s1600-h/2007+silbermannorgel+arlesheim+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvcx0hhDSn6WbXNQL5qQnJfIRVNMFavyLnLu1lO_tCfKMzVuNPM50xL-R6jRl2G1HDwwGUzmOlTvsoPqzCPE5V3sPjlJI6anWBHjXvgzquXnFqVvG4GWujPHSVYj_hZCeKTv-UUZ3A4TY/s400/2007+silbermannorgel+arlesheim+6.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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The 1761 Johann-Andreas-Silbermann Organ Dom zu Arlesheim Arlesheim/Basel, Switzerland<br />
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<div style="text-align: center;"><span style="font-size: large;"><b>Short preliminary Introduction and History</b></span></div><br />
This famous organ is well-known especially for the complete Bach recordings of Lionel Rogg in 1970.<br />
The cathedral has a Baroque organ built by the German builder Johann Andreas Silbermann, based in Alsace, in 1761. The instrument was restored by Metzler in 1959-62, and is an example of the fusion of French and German organ building styles. The complex restoration and reconstruction was done by the renowned Swiss Metzler organ workshop and was the leading restoration at this time, which had an important influence on all later restorations of baroque organs. The church has a wonderful warm and rich acoustics. <br />
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Lionel Rogg performed 1970 Bach's Toccata and Fugue BWV 565 at Arlesheim's cathedral ('Dom von Arlesheim')<br />
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Johann Sebastian Bach (1685-1750) Prelude and triple Fugue in E flat major BWV 552 Prelude Lionel Rogg at the Silbermann organ in Arlesheim<br />
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Rogg plays Johann Sebastian Bach's prelude and fugue in c minor BWV 549 on the Silbermann organ of Arlesheim.<br />
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Johann Sebastian Bach (1685-1750) Prelude (Toccata) and Fugue in E major BWV 566 Lionel Rogg at the Silbermann organ in Arlesheim <br />
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Johann Sebastian Bach (1685-1750)<br />
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Das Orgelbüchlein<br />
Christus, der uns selig macht BWV 620<br />
Da Jesus an dem Kreuze stund BWV 621<br />
Wir danken dir, Herr Jesu Christ BWV 623<br />
Hilf, Gott, daß mir's gelinge BWV 624<br />
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Lionel Rogg at the J.A. Silbermann organ in Arlesheim (Switzerland) <br />
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Rene Saorgin playing an organ by Andreas Silbermann in Arlesheim, Switzerland.<br />
Buxtehude Toccata <br />
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Johann Sebastian Bach (1685-1750)<br />
Passacaglia and Fugue in C minor BWV 582<br />
1. Passacaglia<br />
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Lionel Rogg at the Johann Andreas Silbermann organ of the Domkirche in Arlesheim<br />
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Johann Sebastian Bach (1685-1750) Passacaglia and Fugue in C minor BWV 582 2. Fugue Lionel Rogg at the Johann Andreas Silbermann organ of the Domkirche in Arlesheim<br />
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<div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION</b></span></div><br />
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<div style="text-align: center;">Hauptwerk</div><br />
* Bourdon 16'<br />
* Montre 8'<br />
* Bourdon 8'<br />
* Prestant 4'<br />
* Nazard 2 2/3'<br />
* Doublette 2'<br />
* Tierce 1 3/5'<br />
* Sifflet 1'<br />
Fourniture 3fach<br />
Cymbale 2fach<br />
* Cornet 5fach (ab c')<br />
Trompette 8'<br />
Voix humaine 8'<br />
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<div style="text-align: center;">Rückpositiv:</div><br />
* Bourdon 8'<br />
* Prestant 4'<br />
* Flûte 4'<br />
* Nazard 2 2/3'<br />
* Doublette 2'<br />
* Tierce 1 3/5'<br />
Larigot 1 1/3'<br />
Fourniture 3fach<br />
Cromorne 8'<br />
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<div style="text-align: center;">Récit/Echo:</div><br />
* Bourdon 8'<br />
* Prestant 4'<br />
* Nazard 2 2/3'<br />
Doublette 2'<br />
Tierce 1 3/5' (Disk.)<br />
Basson/Trompette 8'<br />
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<div style="text-align: center;">Pedal:</div><br />
* Subbass 16'<br />
* Octavbass 8'<br />
Quinte 5 1/3'<br />
Prestant 4'<br />
Fourniture 3fach<br />
Bombarde 16'<br />
Trompette 8'<br />
Clairon 4'<br />
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Tremulant<br />
Koppel Rp/Hw<br />
Koppel Hw/Ped<br />
*Silbermann-Register von 1761<br />
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<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/28hH-GBt3kQ&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/28hH-GBt3kQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-90614881720070397732010-04-02T20:38:00.000-04:002010-04-04T20:45:54.622-04:00Johann Sebastian Bach playing Johann Sebastian Bach (1685-1750) Thomaskirche (Leipzig)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSCgly0A4DoQrN9usjw8sym7pYXU_cw8qXa4i08o6wMKhx3Jg6zNaaXoInj5iIpFqeO8biQkd2iCEnV9vcd5uTFI_s3XABqq-Y-hy-0b47MjybopSMDlSvlRcY3rBg5ueXAoFKdrrErlk/s1600-h/Leipzig+Church+StThomas+Woehl+Organ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSCgly0A4DoQrN9usjw8sym7pYXU_cw8qXa4i08o6wMKhx3Jg6zNaaXoInj5iIpFqeO8biQkd2iCEnV9vcd5uTFI_s3XABqq-Y-hy-0b47MjybopSMDlSvlRcY3rBg5ueXAoFKdrrErlk/s400/Leipzig+Church+StThomas+Woehl+Organ.jpg" /></a><br />
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<div style="text-align: center;">the new "Bach Organ" built by Gerald Woehl <br />
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A notable feature of the Thomaskirche is that it contains two organs. The older one is a Romantic organ by Wilhelm Sauer, built 1885-1889. Since this organ was not suitable for Bach's music, a second organ was built by Gerald Woehl's organ building company from 1999-2000. This "Bach organ" was designed to look similar to the old organ on which Bach had played in the Paulinerkirche.<br />
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<div id="teaser">The St. Thomas Church is one of 2 houses of worship in Leipzig’s city center. Home of the St. Thomas Boys Choir and a place of musical creativity; it is also the final resting place of the famous St. Thomas Cantor, Johann Sebastian Bach.<br />
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</div><div id="teaser">The St. Thomas Church is one of the earliest places in Europe, which documented organ music during church services. "Organ songs" were mentioned for a Maria Mass in 1384 and in 1392 for the Corpus Christi Mass-indications of a very early fostering of music from the St. Thomas founders of 1212. The organs of Bach's time do not exist anymore. The organ, which can be seen on the west choir loft, was built by Wilhelm Sauer in 1889. Originally, this Romantic period instrument had 63 organ stops. In 1908, more stops were added to give a total of 88 stops. It was later restored and brought back to its original eminence in 2005.<br />
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</div><div id="teaser">The new Bach-Organ on the north choir loft, situated across from the Bach-Window, was built in the year 2000. This organ is used especially for playing the organ works of Johann Sebastian Bach and was built by the organ manufacturer Gerald Woehl in Marburg. The sound quality of this instrument, with its 61 organ stops on 4 manuals and a pedal board, is similar to the organs built in Middle-Germany during the 18th century. The organ in the University Church St. Pauli, which Bach played during his time in Leipzig, served as the inspiration for the form of the Bach-Organ.<br />
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</div><div id="teaser"><br />
</div>The St. Thomas Church dates back to the 12th Century. It was here in 1409 that the University of Leipzig was founded. From 1492 to 1496, the church had the form of a late Gothic hall church. It was also here in 1539 that Martin Luther preached the implementation of the Reformation. For the last 800 years, the St. Thomas Boys Choir has been singing here. <br />
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One of the oldest boy choirs in Germany singing Matthäuspassion (St Matthew Passion) by their own cantor from XVII Century - J.S. Bach. However now the choir is led by inimitable Georg-Christoph Biller. This is a very short sequence of originally 3+ hours long musical masterpiece.<br />
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The St. Thomas Boys Choir, whose history dates back to the year 1212, is the oldest cultural establishment of the city of Leipzig. Outliving all political, municipal, religious, and educational controversy, 800 years musica sacra has shaped the choir's past.<br />
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Through the influence of the many St. Thomas Cantors, including the most famous-Johann Sebastian Bach (Thomas Cantor 1723-1750)-the city of Leipzig and the St. Thomas Church became the center of Protestant church music. <br />
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<div style="text-align: center;">Johann Sebastian Bach (1685-1750) Prelude in A minor BWV 543<br />
Johann Sebastian Bach at his organ, the Neue Bach-Orgel, in Thomaskirche (Leipzig)<br />
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The St. Thomas Church is home to the Boys Choir. A choir rich in tradition, they are committed to continue his musical legacy.<br />
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Today, visitors from all over the world come to Leipzig to observe church services in the St. Thomas Church, hear a motet from the St. Thomas Boys Choir, or to take pleasure in concerts and organ music.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijIwbMlTKSGGtsV0G_MBxO73xpDMV-zfDnynoT1iZ4_VNbxQTP5fITWqOrhDtpMl6ENOZuSRpf6SM5W2Z5ATHtQMJyyzX0jKMVmhIVSAXyvBkdY_A1waQrdaWjW3TJORf4nYz1I7FY9cQ/s1600-h/Leipzig+Church+StThomas+Sauer+Organ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijIwbMlTKSGGtsV0G_MBxO73xpDMV-zfDnynoT1iZ4_VNbxQTP5fITWqOrhDtpMl6ENOZuSRpf6SM5W2Z5ATHtQMJyyzX0jKMVmhIVSAXyvBkdY_A1waQrdaWjW3TJORf4nYz1I7FY9cQ/s400/Leipzig+Church+StThomas+Sauer+Organ.jpg" /></a><br />
</div><div style="text-align: center;">Romantic organ by Wilhelm Sauer, built 1885-1889<br />
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</div>Even amongst the many churches of Europe, St. Thomas in Leipzig, Germany is special; not only has it housed a world famous boys choir but has been the site of considerable music creativity. Composers such as Mendelssohn and Mozart have performed there and Wagner was baptized there, but certainly the greatest works ever done there are the compositions of J.S. Bach. <br />
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<div style="text-align: center;">"Nun danket alle Gott" BWV 657 (J.S. Bach) Ullrich Böhme, Orgel. Ullrich Böhme, Organ. <br />
</div><div style="text-align: center;">on the new "Bach Organ" built by Gerald Woehl <br />
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</div><div style="text-align: center;">Thomaskirche (Leipzig)<br />
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The organ featured in this recital by Mr. Böhme is the new "Bach Organ" built by Gerald Woehl dedicated in 2000 according to the official St Thomas Church. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEielyqw9jVCf_13zADK4qpzswdEVF-FIxU75-hz6iyE-uMhHwBAx8Q0XHFGhEy_qpxuJkh4KzAwtaDa7yGZrCjDgCmApNG38r4ugAKEm5o-HBVZp7mcIxSR5TjaYGSQ-Oh2-z-uCapSHnU/s1600-h/xxc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEielyqw9jVCf_13zADK4qpzswdEVF-FIxU75-hz6iyE-uMhHwBAx8Q0XHFGhEy_qpxuJkh4KzAwtaDa7yGZrCjDgCmApNG38r4ugAKEm5o-HBVZp7mcIxSR5TjaYGSQ-Oh2-z-uCapSHnU/s400/xxc.jpg" /></a><br />
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<div style="text-align: center;"><span style="font-size: large;"><b>DISPOSITION OF THE ORGAN</b></span><br />
</div><div style="text-align: center;">the new "Bach Organ" built by Gerald Woehl <br />
</div><div style="text-align: center;"><br />
</div><div style="text-align: center;">Brustwerk (I)<br />
</div>Grob Gedackt 8'<br />
Klein Gedackt 4'<br />
Principal 2'<br />
Super Gemßhörnlein 2 f.<br />
Quint-Sexta 2 f.<br />
Sieflit 1'<br />
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<div style="text-align: center;">Hauptwerk (II)<br />
</div>Bordun 16'<br />
Principal 8'<br />
Violdagamba 8'<br />
Rohrflöth 8'<br />
Quinta 6'<br />
Octav 4'<br />
Nassatquint 3'<br />
Superoctav 2'<br />
Queerflöth 2'<br />
Sesquialtera 3 f.<br />
Mixtur 6 f.<br />
Cimbel 3 f.<br />
Fagott 16'<br />
Trombetta 8'<br />
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<div style="text-align: center;">Oberwerk (III)<br />
</div>Quintaden 16'<br />
Prinzipal 8'<br />
Gedackt 8'<br />
Gemßhorn 8'<br />
Flauta doux 8'<br />
Octav 4'<br />
Hohlflöth 4'<br />
Hohlquint 3'<br />
Superoctav 2'<br />
Plickflöth 2'<br />
Sesquialtera 3 f.<br />
Scharff 4 f.<br />
Vox Humana 8'<br />
Hautbois 8'<br />
Tremulant<br />
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<div style="text-align: center;">Echo (IV)<br />
</div>Barem 16'<br />
Still Gedackt 8'<br />
Quintaden 8'<br />
Principal 8'<br />
Nachthorn 4'<br />
Spitzflöth 4'<br />
Spitzquint 4'<br />
Octav 2'<br />
Schweitzerflöth 2'<br />
Rauschquint 1' 1/2<br />
Superoctävlein 1'<br />
Cimbel 3 f.<br />
Regal 8'<br />
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<div style="text-align: center;">Pedal<br />
</div>Großer Untersatz 32'<br />
Prinzipal 16'<br />
Violon 16'<br />
Sub Bass 16'<br />
Octav 8'<br />
Gedackt 8'<br />
Quintaden 8'<br />
Superoctav 4'<br />
Bauerflöth 1'<br />
Mixtur 6 f.<br />
Posaun Bass 32'<br />
Posaun Bass 16'<br />
Trombet 8'<br />
Cornet 2'<br />
Glockenspiel 2'<br />
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TEMPERAMENT: modified Neidhardt<br />
PITCH: a'=465 with Chorton.<br />
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</div><div style="text-align: left;"><h1><span style="font-size: large;">Disposition Sauer-Orgel 1908/2005</span></h1><h1> </h1><table border="0" cellpadding="0" cellspacing="0" class="tbl_outline " style="height: 44px;"><thead>
<tr><th>I. MANUAL (25 STIMMEN) <br />
</th> <th>2. MANUAL (21 STIMMEN) <br />
</th> </tr>
</thead> <tbody>
<tr> <td>Principal 16fuß<br />
</td> <td>Salicional 16fuß<br />
</td> </tr>
<tr> <td>Bordun 16fuß<br />
</td> <td>Gedackt 16fuß<br />
</td> </tr>
<tr> <td>Principal 8fuß<br />
</td> <td>Principal 8fuß<br />
</td> </tr>
<tr> <td>Geigenprincipal 8fuß<br />
</td> <td>Schalmei 8fuß<br />
</td> </tr>
<tr> <td>Viola di Gamba 8fuß<br />
</td> <td>Salicional 8fuß<br />
</td> </tr>
<tr> <td>Gemshorn 8fuß<br />
</td> <td>Harmonica 8fuß<br />
</td> </tr>
<tr> <td>Dulciana 8fuß<br />
</td> <td>Dolce 8fuß<br />
</td> </tr>
<tr> <td>Doppelfloete 8fuß<br />
</td> <td>Flûte harmonique 8fuß<br />
</td> </tr>
<tr> <td>Flute harmonique 8fuß<br />
</td> <td>Konzertfloete 8fuß<br />
</td> </tr>
<tr> <td>Flauto dolce 8fuß<br />
</td> <td>Rohrfloete 8fuß<br />
</td> </tr>
<tr> <td>Gedackt 8fuß<br />
</td> <td>Gedackt 8fuß<br />
</td> </tr>
<tr> <td>Quintatön 8fuß<br />
</td> <td>Octave 4fuß<br />
</td> </tr>
<tr> <td>Quinte 5 1/3fuß<br />
</td> <td>Salicional 4fuß<br />
</td> </tr>
<tr> <td>Octave 4fuß<br />
</td> <td>Flauto dolce 4fuß<br />
</td> </tr>
<tr> <td>Gemshorn 4fuß<br />
</td> <td>Quinte 2 2/3fuß<br />
</td> </tr>
<tr> <td>Rohrfloete 4fuß<br />
</td> <td>Piccolo 2fuß<br />
</td> </tr>
<tr> <td>Violini 4fuß<br />
</td> <td>Cornett 3fach<br />
</td> </tr>
<tr> <td>Octave 2fuß<br />
</td> <td>Mixtur 4fach<br />
</td> </tr>
<tr> <td>Rauschquinte 2fach<br />
</td> <td>Cymbel 3fach<br />
</td> </tr>
<tr> <td>Mixtur 3fach<br />
</td> <td>Tuba 8fuß<br />
</td> </tr>
<tr> <td>Cornett 2-4fach<br />
</td> <td>Clarinette 8fuß<br />
</td> </tr>
<tr> <td>Scharf 5fach<br />
</td> <td><br />
</td> </tr>
<tr> <td>Groß-Cymbel 4fach<br />
</td> <td><br />
</td> </tr>
<tr> <td>Trompete 16fuß<br />
</td> <td><br />
</td> </tr>
<tr> <td>Trompete 8fuß<br />
</td></tr>
</tbody></table><h1 style="text-align: left;"> </h1></div><div style="text-align: center;"><br />
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</div><div style="text-align: center;"><span style="font-size: large;"><b>HISTORY </b></span><br />
</div><div style="text-align: center;"><span style="font-size: large;"><b>Thomaskirche (Leipzig)<br />
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<table border="1" class="wikitable"><tbody>
<tr><td>December 12, 1409<br />
</td> <td>Foundation of Leipzig University in the Monastery of St. Thomas<br />
</td> </tr>
<tr> <td>September 14, 1477<br />
</td> <td>The oldest bell “Gloriosa” was cast<br />
</td> </tr>
<tr> <td>1482-1496<br />
</td> <td>Renovation of the nave into a late Gothic style hall church<br />
</td> </tr>
<tr> <td>June 24, 1519<br />
</td> <td>Service held for the beginning of the <a href="http://en.wikipedia.org/wiki/Leipzig_Debate" title="Leipzig Debate">Leipzig Debate</a> between <a href="http://en.wikipedia.org/wiki/Martin_Luther" title="Martin Luther">Martin Luther</a> and <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Johannes_Eck" title="Johannes Eck">Johannes Eck</a><br />
</td> </tr>
<tr> <td>May 25, 1539<br />
</td> <td>Martin Luther gives a sermon, introducing the Reformation to Leipzig<br />
</td> </tr>
<tr> <td>1541<br />
</td> <td>Closing of the monastery and destruction of its buildings<br />
</td> </tr>
<tr> <td>1723-1750<br />
</td> <td>Johann Sebastian Bach is cantor in Leipzig<br />
</td> </tr>
<tr> <td>April 11, 1727<br />
</td> <td>First Performance of <a class="mw-redirect" href="http://en.wikipedia.org/wiki/St._Matthew_Passion" title="St. Matthew Passion">St. Matthew Passion</a> by Bach on Good Friday<br />
</td> </tr>
<tr> <td>1732<br />
</td> <td>Renovation of the St. Thomas School<br />
</td> </tr>
<tr> <td>May 12, 1789<br />
</td> <td><a href="http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Wolfgang Amadeus Mozart</a> plays the organ at St. Thomas<br />
</td> </tr>
<tr> <td>1806<br />
</td> <td>Troops under <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Napoleon" title="Napoleon">Napoleon</a> store munitions in the church<br />
</td> </tr>
<tr> <td>1813-14<br />
</td> <td>St. Thomas is used as a military hospital during the <a href="http://en.wikipedia.org/wiki/Battle_of_Leipzig" title="Battle of Leipzig">Battle of Leipzig</a> (“Battle of Nations”) when Napoleon was defeated<br />
</td> </tr>
<tr> <td>August 16, 1813<br />
</td> <td>The composer <a href="http://en.wikipedia.org/wiki/Richard_Wagner" title="Richard Wagner">Richard Wagner</a> was baptized<sup class="reference" id="cite_ref-0"><a href="http://en.wikipedia.org/wiki/St._Thomas_Church,_Leipzig#cite_note-0">[1]</a></sup><br />
</td> </tr>
<tr> <td>April 4, 1841<br />
</td> <td>Bach’s <a class="mw-redirect" href="http://en.wikipedia.org/wiki/St._Matthew_Passion" title="St. Matthew Passion">St. Matthew Passion</a> performance repeated by <a href="http://en.wikipedia.org/wiki/Felix_Mendelssohn" title="Felix Mendelssohn">Felix Mendelssohn</a><br />
</td> </tr>
<tr> <td>September 16, 1842<br />
</td> <td>Founding of “Gustav-Adolf-Werk”, an organization whose mission continues to be providing support for minority protestant churches throughout the world.<a class="external text" href="http://www.gustav-adolf-werk.de/" rel="nofollow">Website for the Gustav-Adolf-Werkes e. V., Leipzig</a><br />
</td> </tr>
<tr> <td>April 23, 1843<br />
</td> <td>Dedication of the Bach Memorial; built under Mendelssohn’s direction<br />
</td> </tr>
<tr> <td>November 26, 1848<br />
</td> <td>Commemoration of the life of <a href="http://en.wikipedia.org/wiki/Robert_Blum" title="Robert Blum">Robert Blum</a> takes place in the St. Thomas Church<br />
</td> </tr>
<tr> <td>1884-1889<br />
</td> <td>Renovation of the church in the Neo-Gothic style<br />
</td> </tr>
<tr> <td>1885-1889<br />
</td> <td>The Sauer organ is built<br />
</td> </tr>
<tr> <td>1902<br />
</td> <td>Closing of the St. Thomas School<br />
</td> </tr>
<tr> <td>1904<br />
</td> <td>The church superintendent’s house is built on the site of the St. Thomas School<br />
</td> </tr>
<tr> <td>1908<br />
</td> <td>Dedication of the Bach statue designed by Carl Seffner<br />
</td> </tr>
<tr> <td>1917<br />
</td> <td>The last tower keeper moves out of the bell tower apartment<br />
</td> </tr>
<tr> <td>December 4, 1943<br />
</td> <td>The bell tower is damaged by fire bombs dropped by Allied bombers<br />
</td> </tr>
<tr> <td>1950<br />
</td> <td>Bach’s grave is moved to the St. Thomas Church<br />
</td> </tr>
<tr> <td>1961-64<br />
</td> <td>Interior renovation of the church<br />
</td> </tr>
<tr> <td>1966-67<br />
</td> <td>Schuke organ installed<br />
</td> </tr>
<tr> <td>1991<br />
</td> <td>Initiation of the complete restoration of the church<br />
</td> </tr>
<tr> <td>1993<br />
</td> <td>Dedication of the restored Paulus altar<br />
</td> </tr>
<tr> <td>1997<br />
</td> <td>Installation of the Mendelssohn window<br />
</td> </tr>
<tr> <td>1999<br />
</td> <td>Removal of the Schuke organ<br />
</td> </tr>
<tr> <td>June 11, 2000<br />
</td> <td>Dedicaton of the restored St. Thomas Church with the new Bach organ<br />
</td> </tr>
<tr> <td>July 28, 2000<br />
</td> <td>Celebration of the 250th anniversary of Johann Sebastian Bach’s death<br />
</td> </tr>
<tr> <td>October 18, 2008<br />
</td> <td>Dedication of the copy of the Felix Mendelssohn statue across from St. Thomas<br />
</td></tr>
</tbody></table>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5858552622662478312.post-20010127677047777342010-03-20T10:16:00.003-04:002010-07-05T10:13:39.807-04:00The Klapmeyer-Organ (1730), Altenbruch GERMANY<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZO1yzUJOB5J-VXUSiMiLZ8G_l5wVda67DRHkWjm43Ne0ieB45KmzXG81BTgeiJyCEMkMDLAAJ5A2uE29pdPlOniYsyv-NObAGHMEc9GSuZmQSoJ6jiX-XYK3nO-Z7sPRr9vxzMOEcruc/s1600-h/altenbruch+klapmeyer.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5296163870926251458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZO1yzUJOB5J-VXUSiMiLZ8G_l5wVda67DRHkWjm43Ne0ieB45KmzXG81BTgeiJyCEMkMDLAAJ5A2uE29pdPlOniYsyv-NObAGHMEc9GSuZmQSoJ6jiX-XYK3nO-Z7sPRr9vxzMOEcruc/s400/altenbruch+klapmeyer.jpg" style="display: block; height: 289px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Among the major organs of Lower Saxony, the Monumental organ in the St Nicolai Church in Altenbruch is of paramount importance not only nationally, but also in the international field. The 500-year-old instrument, the oldest in Germany, mostly consisting original preserved material, and the unusual architectural history - all of this together with the wonderful sound of this great organ, justifies all efforts to preserve the instrument.<br />
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<div style="text-align: center;">Vincent Lübeck (1654-1740) Prelude and Fugue II in E major Michel Chapuis at the Johann Hinrich Klapmeyer organ of the St. Nicolai Church in Altenbruch <br />
</div><br />
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In 1497 the chaplain Johannes Coci built an Organ with six stops and eight bellows on the north side of the church near the altar. An extension was added in 1577, presumably by Matthias Mahn.<br />
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In 1647 the Oberwerk was renewed or extended by Hans Christoph Fritzsche (Hamburg). 21 years later Joachim Richborn (Lübeck) worked on the organ in Altenbruch. In 1698 the organ received individual stops or registers and the keyboard was widened by Matthias Dropa (Lüneburg).<br />
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<div style="text-align: center;">Vincent Lübeck (1654-1740) Prelude and Fugue IV in G minor<br />
</div><div style="text-align: center;">Michel Chapuis at the Johann Hinrich Klapmeyer organ of the St. Nicolai Church in Altenbruch<br />
</div><br />
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Johann Hinrich Klapmeyer (Glückstadt) in 1727, moved the organ at the tower site to the newly built West Empore. He maintained the Rückpositiv and Hauptwerk of the old organ, to which he added two new pedal towers and a Brustwerk (as the third Manual) with 6 stops/registers. After this the organ remained almost unchanged until the 20th century. Its disposition comprises 35 registers divided over 3 manuals and pedal. It is, together with the Lüdingworther organ, considered to be one of the oldest organs of northern Europe. Extensive restoration measures were performed by the organ-building workshop of Jürgen Hendrik Ahrend. After completion of the work 2004, the organ was tuned to the Werckmeister III. Temperature.<br />
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The video below gives a description of the organ and its history (in German)<br />
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HISTORICAL DETAIL<br />
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The instrument in the Old St. Nicholas is one of the most important monuments of Central European organ art. The Certificates issued by the “MiddleRhein association of the Eifel and the Netherlands to the Weser and Elbe”, authenticate the age of the organ pipes in the Ruck-positive and pedal. The Thuringian-Saxon art from the Dresden-born Hans Fritzsche Christopher (son of Heinrich Schütz operating under Hoforgelmachers Gottfried Fritzsche) decorated the Hauptwerk.<br />
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The changes implemented by the Siebenbürgen -born Matthias Dropa reveals influences from the Southeast European-Hapsburg tradition. Johann Friedrich Klapmeyer, from Danish Holstein, created an architectural and aural synthesis, without altering the peculiarities of the 8'principal and older pipes and created a harmonius 3 manual instrument.<br />
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In the middle of the 17th century Klapmeyer also built organs in Kiedrich (Rheingau), Klosterneuburg near Vienna or Prague / These organs no longer exist and thus the Altenbrucher Klapmeyer Organ represents a landmark in the northwest German organ landscape.<br />
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For a village church it was unusual to have an organ of this size. But considering the size of the organ with 35 registers on three manuals and pedal on the one hand, and the size and importance of the twin church, once the seat of an archdiocese Archidiakonats in Bremen we can understand its functionality. Up to the time of the Enlightenment the musical Lutheran liturgy was rich with its versatile use of the organ, and an instrument of this size and color was required. For playing the organ music of Jan Pieterszoon Sweelinck and Heinrich Scheidemann to Dietrich Buxtehude, Nicolaus Bruns and Vincent Lübeck, but also by Johann Sebastian Bach and his pupils, to Johann Christian Kittel, who himself played the instrument, the organ in the Altenbruch was an stylistically appropriate instrument.<br />
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The Nikolaikirche Altenbruch possesses a monumental organ. Construction started 1498, completion of it took place in the 1730s. It was currently restored with the proviso that the historic state from 1730 would prevail in the from the ground up restoration. The organ builder Ahrend, Leer-Loga, concluded this restoration in 2004. To maintain this organ and the Arp-Schnitger organ in the neighboring Lüdingworth church and to promote professional organ music in both churches and on both instruments, in 2006, a "Historical Foundation in Old organs in Altenbruch and Lüdingworth” was launched. The patron of the Foundation is the Federal Attorney General, Ms. Harms who has been active promoting cultural heritage.<br />
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The Klapmeyer Organ<br />
500 years historic Altenbruch St. Nicolai<br />
from the leaflet on organ restoration,<br />
Supplement to the international journal "Organon"<br />
Editing Prof. Riedel, Mainz<br />
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Masaaki Suzuki. Coci-Klapmeyer organ, Altenbruch. Werckmeister I (III) plus Chorton<br />
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BUILDER/RENOVATION HISTORY<br />
Johannes Coci 1498 /<br />
Matthias Mahn (?) 1577 /<br />
Hans Christoph Fritzsche 1649 /<br />
Matthias Dropa 1697/1700 /<br />
Johann Hinrich Klapmeyer 1727/30<br />
(r) v. Beckerath 1967/ (r)<br />
Jürgen und Hendrik Ahrend 2003/04<br />
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<div style="text-align: center;"><span style="font-size: 130%;"><span style="font-weight: bold;">DISPOSITION</span></span><br />
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(35 / HW / RP / BW / Ped)<br />
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<div style="font-weight: bold; text-align: center;">Hauptwerk<br />
</div>Quintadohn 16'<br />
Principahl 8'<br />
Gedackt 8'<br />
Octav 4'<br />
Waldflöt 2'<br />
Mixtur V<br />
Simbel III<br />
Trommeth 8'<br />
Vox humana 8'<br />
Scharff IV vor 1727<br />
Dulcian 16' Fr/vB<br />
Kromphorn 8' Fr/Vb<br />
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<div style="text-align: center;"><span style="font-weight: bold;">Rückpositiv</span><br />
</div>Principahl 8'<br />
Gedackt 8'<br />
Quintadöhn 8'<br />
Octav 4'<br />
Gedackt 4'<br />
Nasat 3'<br />
Super Octav 2' Dr<br />
Blockflöt 2' ä<br />
Sexquialtera II Fr<br />
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<div style="font-weight: bold; text-align: center;">Brustwerk<br />
</div>Gedacktes 8' Kl<br />
Gedackt 4' Kl<br />
Super Octav 2' Kl<br />
Quint 1 1/2' Kl<br />
Scharff III Kl<br />
Knop Regal 8' Kl<br />
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<div style="font-weight: bold; text-align: center;">Pedal<br />
</div>Untersatz 16' ä*<br />
Prinzipahl 8' Kl<br />
Gedackt 8' Dr<br />
Octav 4' Dr<br />
Mixtur IV Dr<br />
Posaun 16' Fr<br />
Trommeth 8' ä<br />
Corneth 2' vB**<br />
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Tremulant, Zimbelsterne, Manualkoppel<br />
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Manualumfänge: C,D,E,F,G,A, - c''' Pedalumfang: C,D,E - d'<br />
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Stimmung: gleichschwebend<br />
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Pfeifenmaterial:<br />
ä = vor 1647 / *= aus Pfeifenmaterial von 1498<br />
Fr = H.Chr.Fritzsche <br />
Dr = Matth. Dropa<br />
Kl = J.H. Klapmeyer<br />
vB = von Beckerath / **=unter Verwendung älterer Pfeifen<br />
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Erläuterung der Abkürzungen<br />
r = restauriert durch<br />
rk = rekonstruiert durch<br />
n = Neubau von<br />
u = Umbau von<br />
G = Gehäuse erhalten<br />
Ppf = Prospektpfeifen erhalten<br />
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HW = Hauptwerk<br />
RP = Rückpositiv<br />
BW = Brustwerk<br />
UW = Unterwerk<br />
SW = Schwellwerk<br />
Ped = Pedal<br />
p = angehängtes Pedal (ohne eigene Register<br />
I, II oder III = 1, 2 oder 3 Manuale<br />
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<div style="text-align: center;"><div style="text-align: center;">Vincent Lübeck (1654-1740) Prelude and Fugue VI in C major<br />
Michel Chapuis at the Johann Hinrich Klapmeyer organ of the St. Nicolai Church in Altenbruch<br />
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</div><div style="text-align: center;">Vincent Lübeck (1654-1740) Prelude and Fugue V in C minor<br />
Michel Chapuis at the Johann Hinrich Klapmeyer organ of the St. Nicolai Church in Altenbruch<br />
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<a href="http://ca.youtube.com/watch?v=7_ypwM9ZXPA&feature=related">The most apocalyptic collar shirt and sideburns...</a><br />
<a href="http://ca.youtube.com/watch?v=wbiy7O5iK4k">The Stars collapse at the Klapmeyer organ in Altenbruch</a><br />
<a href="http://www.youtube.com/watch?v=kCZQi3hXjK4&feature=user">The historical Klapmeyer organ at Altenbruch, Germany</a><br />
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