Sunday, November 30, 2008

Organ Harvard U


In this Midnight Pipes video, Murray Forbes Somerville plays the complete Toccata and Fugue in D minor, S.565, on the Flentrop organ in Harvard University's Adolphus Busch Hall (formerly Busch-Reisinger Museum).

Saturday, November 29, 2008

Organ U of Texas Visser Rowland builders

Organ Building by Schantz

Liverpool Cathedral


picture from:http://www.die-orgelseite.de







The Organ in the Anglican Cathedral, Liverpool




The Grand Organ is the largest organ in the UK and one of the largest operational organs in the world. The famous Tuba Magna (on 50" pressure) is one of the loudest organ stops in the world. It has recently been joined by a Trompette Militaire.

The construction of the organ was begun in 1923 by Henry Willis and part of the organ was used at the consecration of the cathedral in the following year. The organ was not completed until 1926.



Most of the organ sits in two cases on opposite sides of the choir.
There are eight manual divisions: the Great, Solo, and Bombarde organs occupy the South case; the Swell, Choir, and Positif occupy the North case; the Corona organ is installed in a special gallery high up under the tower; the Central organ, to support large congregations, is in a gallery above the Rankin porch. The Pedal organ is distributed between both North and South cases in the choir.

There are two five-manual consoles: one up in a gallery under the North case and a mobile recital console. The Choir and Positif organs are played from the same keyboard, the Corona organ can be played from either the Choir or Bombarde keyboard, the Central organ can be played from either the Great or Bombarde keyboard.



Other milestones in the history of the instrument:

* 1958-60: complete overhaul and modernisation including major changes to the Choir organ, and the installation of humidifiers.

* 1965: a donation from Lady Harvey provided a two-manual mobile console to be used in the choir for accompanying small services.

* 1977: general overhaul by Harrison and Harrison.

* 1989: a donation from Victor Hutson allowed the two-manual console to be replaced by a full five-manual console suitable for recitals.

* 1998: a donation from Alan Dronsfield provided the high powered Trompette Militaire.

* 2007: a donation from the McKinley family in memory of Eleanor Wright provided the Central Space organ.



The cathedral has its own homepage.
http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=E00301#PhotoSection

stops pipes
------------------------
great 29 2257
swell 31 2375
choir 23 1764
solo 22 1459
bombarde 5 854
corona 1 61
central 6 502
pedal 35 996
-----------------------
total 152 10268

With 44 couplers the total number of registers comes to 196.





DISPOSITION



Great

Contra Violone 32
Double Open Diapason 16
Contra Tibia 16
Bourdon 16
Double Quint 10 2/3
Open Diapason no 1 8
Open Diapason no 2 8
Open Diapason no 3 8picture from:http://www.die-orgelseite.de
Open Diapason no 4 8
Open Diapason no 5 8
Tibia 8
Doppel Flöte 8
Stopped Diapason 8
Quint 5 1/3
Octave no 1 4
Octave no 2 4
Principal 4
Gemshorn 4
Flûte Couverte 4
Tenth 3
Twelfth 2 2/3
Super Octave 2
Fifteenth 2
Mixture (12.15.19.21.22)
Fourniture (19.22.24.26.29)
Double Trumpet 16 (harmonic trebles)
Trompette Harmonique 8
Trumpet 8 (harmonic trebles)
Clarion 4 (harmonic trebles)


Grand Chorus on Great



Swell (enclosed)


Contra Geigen 16 5"
Contra Salicional 16 5"
Lieblich Bourdon 16 5"
Open Diapason 8 5"
Geigen 8 5"
Tibia 8 7"
Wald Flöte 8 5"
Lieblich Gedact 8 5"
Echo Viola 8 5"
Salicional 8 5"
Vox Angelica 8 (down to FF) 5"
Octave 4 5"
Octave Geigen 4 5"
Salicet 4 5"
Lieblich Flöte 4 5"
Nazard 2 2/3 5"
Fifteenth 2 5"
Lieblich Piccolo 2 5"
Seventeenth 1 3/5 5"
Sesquialtera (10.12.17.19.22) 5"
Mixture (15.19.22.26.29) 5"
Contra Hautboy 16 7"
Hautboy 8 7"
Krummhorn 8 7"
Waldhorn 16 (harmonic)
Cornopean 8 (harmonic)
Clarion 4 (harmonic)
Double Trumpet 16 (harmonic)
Trompette Harmonique 8
Trumpet 8 (harmonic trebles)
Octave Trumpet 4 (harmonic trebles)

Tremulant 5" wind
Tremulant 7" wind


Choir - Positive


Gedact 8
Spitz principal 4
Nasât 2 2/3
Coppel 2
Terz 1 3/5
Spitzflöte 1
Cimbel (29.33.36)


Choir (enclosed)


Contra Viola 16
Violin Diapason 8
Viola 8
Claribel Flute 8
Unda Maris 8 (down to FF)
Octave Viola 4
Suabe Flöte 4
Octavin 2
Dulciana Mixture (10.12.17.19.22)
Bass Clarinet 16
Baryton 16
Corno di Bassetto 8
Cor Anglais 8
Vox Humana 8
Trumpette 8 (harmonic)
Clarion 4 (harmonic)

Tremulant


Solo (partially enclosed)


Contra Hohl Flöte 16 (unenclosed)
Hohl Flöte 8 (unenclosed)
Octave Hohl Flöte 4 (unenclosed)

Contra Viole 16
Viole d'Orchestre 8
Viole de Gambe 8
Violes Célèstes 8 (down to FF)
Flûte Harmonique 8
Octave Viole 4
Concert Flute 4 (harmonic)
Violette 2
Piccolo Harmonique 2
Cornet des Violes (10.12.15)
Cor Anglais 16
Orchestral Clarinet 8
Orchestral Oboe 8
Orchestral Bassoon 8
French Horn 8
Contra Tromba 16
Tromba Real 8 (harmonic)
Tromba 8 (harmonic)
Tromba Clarion 4 (harmonic)

Solo Trombas on Great
Tremulant


Bombarde


Grand Chorus (subunison.unison.5.8.12.
15.19.22.26.29)
Contra Tuba 16 (harmonic)
Tuba 8 (harmonic)
Tuba Clarion 4 (harmonic)
Tuba Magna 8 (harmonic, pressure 50")


Corona


Trompette Militaire 8 (pressure 50")

Corona on Bombarde
Corona on Choir


Central Space Manual


Bourdon 16
Open Diapason 8
Principal 4
Super Octave 2
Mixture (6 ranks)


Pedal


Bourdon 16


Pedal (partially enclosed)


Resultant Bass 64
Double Open Bass 32
Double Open Diapason 32
Contra Violone 32
Open Bass 16
Tibia 16
Open Diapason 16
Contra Basso 16
Geigen 16 (enclosed)
Violon 16 (enclosed)
Dolce 16
Bourdon 16
Sub Bass 16
Principal 8
Violoncello 8 (enclosed)
Violone 8
Stopped Flute 8
Open Flute 8 (enclosed)
Bass Flute 8
Fifteenth 4
Gedact 4
Flûte Triangulaire 4 (enclosed)
Octave Flute 4
Mixture (15.19.22)
Fourniture (15.19.22.26.29)
Fagotto 16 (enclosed)
Octave Bassoon 8 (enclosed)
Contra Trombone 32 (enclosed)
Trombone 16 (enclosed)
Ophicleide 16
Clarion 8
Contra Bombarde 32
Bombarde 16
Bombarde 8
Bombarde 4

Couplers
There are Octave, Sub-Octave and Unison-Off couplers on the Bombarde, Solo, Swell and Choir organs. The Corona and Central organs have Octave and Sub-Octave couplers.

Bombarde to Choir
Solo to Choir
Swell to Choir
Great to Choir

Bombarde to Great
Solo to Great
Swell to Great
Choir to Great

Solo to Swell
Great to Bombarde

Bombarde to Pedal
Solo Tenor Solo to Pedal
Solo to Pedal
Swell to Pedal
Great to Pedal
Choir to Pedal






Overture to the occasional Oratorio' by G.F. Handel (arr. W.H. Goss-Custard).

Organ Notre Dame Paris
















The Organ

* The medieval organ: 1403-1730

The history of organs in Notre-Dame began around 1330. The first instrument was located in a bird's nest located under a high window in the nave.

By 1400, it was decided to install a second instrument on a high and narrow stone gallery above the western portal while the old organ will still be used. This new organ was completed on October 25, 1403. A major restoration began in 1473 and would last 50 years. Many modifications to the instrument were carried out including the restoration of a large number of pipes. In 1609, in order to add a second manual keyboard, the pedalboard and its action were removed.

The instrument has three normal tonal structures and about 2000 pipes: a plenum, a flue chorus and a battery of reeds. A third manual keyboard is added in 1620 and a fourth one, in 1672. From this instrument, only twelve pipes are extant.

* The classical organ: 1730-1838

When, in 1730, it was finally decided to order a new organ, France was entering into the "Age of Enlightenment" and medieval woodworking was to disappear. The contract is awarded to François Thierry. The instrument was completely redesigned: the new keyboards have 50 notes, C1 to d5, and to the four classic manuals, a new one is added as third manual: Bombarde. The Grand-Orgue has a 32' Montre and a Plein Jeu on 4 octaves. The battery of reeds now includes a Bombarde and a second Trompette. Récit and Écho manuals are as usual. The pedal division is enlarged. The new large main organ case, in a Louis XV style not yet completely free of the rigidity of the "Great Age", is installed higher and partly hides the west rose window. This organ will be used for the next fifty years.

In 1783, François-Henri Clicquot intervenes. To make room in the Positif division, a new Louis XVI style organ case is built by Caillou. All the stops of this division are rebuilt except for the 8' Bourdon and the Cornet. A 16' Bourdon is added and a 8' Flute replaces the 4' Flute. In the Grand-Orgue division, almost all tin pipes are replaced without any tonal change. In order to have an 8' Flute, it was considered to uncap the Bourdon. New reeds replace the old ones. A Trompette is added in the Bombarde division. The Écho division is rebuilt according to Clicquot's principles: Flute, Bourdon, Trompette and Clairon. The pedal division is again enlarged. The organ case is enlarged up to the exterior walls with Louis XVI panels topped by large wooden palm trees.

During the Revolution, the organ was used for many festivities but, even it was threatened by revolutionnary decrees, the instrument only suffered from years of neglect as was the fate of many French organs during that period. Only monarchy-reminding ornamental elements and fleurs de lys located on the basement portion of the organ case were cut out.

In 1828, the general condition of the organ was not good at all. Soon after began the restoration work on the building itself by Lassus and Violet-le-Duc. Dust accumulated in the pipework, fatigue appeared in the difficult winding system, while rain and wind were coming in from the stained-glass windows being restored. These conditions lead to an intervention from Louis-Paul Dallery, the last Dallery organbuilder, who proposed a tune-up with simple modifications to the winding system.

* The symphonic organ

As the architectural restoration works used up all the available credits, Viollet-le-Duc ordered an instrument worthy of a cathedral but without luxuries and worthless research. All existing material should be reused as much as possible. The project, presented in 1862, called for "a first-class instrument (four manuals and pedal) large enough for the church".

Restoration work on the organ began in June 1864 under the supervision of Aristide Cavaillé-Coll. Two situations were deplorable: first, the Positif case had been removed by Viollet-le-Duc and second, the gallery would not be lowered. The large main organ case is brought forward in order to gain depth and to layout windchests on separate floors. All voices should produce a tutti where every sound can blend with each other, be powerful and fill the large church.

From these requirements, progressive mixtures and mutations up to VII were added throughout the manuals and introduced in order to ensure a close bond between the foundations stops and the reed stops and, at the same time, to add brightness. By choosing the use of separate wind and different pressures between tonal divisions and between the bass and treble in the same division, an ascending harmony was possible. In order to alleviate the mechanical action, he installed, like he had done at St. Sulpice, pneumatic lever machines developed by British organ builder Barker in 1839.

The Notre-Dame organ was first heard, on Christmas Day 1867, as part of the World Fair without being in the competition. The instrument was officially received, in February 1868, by an international commission.



Vierne Hymne au Soleil 

by Pierre Moreau


In 1904, a restoration was carried out by Charles Mutin. Appointed in 1900, titular organist Louis Vierne asked for the Clarinette and the Dulciane from the Récit be replaced with an 8' Diapason, a 4' Octave and, a Fourniture IV. The harmonic lower notes from the Bombarde and Trompette in the Récit division were replaced with full-length pipes. It was the first neo-classical change.

In 1924, electric blowers are installed.

In 1932, Joseph Beuchet carried out a second restoration with modifications to the stop list: in the Pedal division, a 16' Violoncelle and a 8' Bourdon are added; in the Grand-Choeur division, an 8' Flute is added; in the Récit division, a Cymbel replaces the Nasard which is transferred to the Positif division replacing the Piccolo.

Under the supervision of Pierre Cochereau, in 1963, the following modifications were carried out by Jean Hermann and Robert Boisseau: the Pedal division now has 30 stops with the addition of an 11-stop Small Pedal division; creation of a 32' Plenum in the classical tradition leading to a new layout of the Plein Jeu on the five manuals; creation of a more powerful and more classic Reeds Grand Choeur; creation of a small 2-stop classic Récit; removal of the Barker machines, new console, new electric action, electronic combinations.

* Computer Contribution

In 1989, the Ministry of Culture decided to launch a complete restoration of the instrument including the modernization of the action. The contract was awarded, in 1990, to Jean-Loup Boisseau and his associate, Bertrand Cattiaux.

The restoration brought together two worlds which were, until then, complete strangers to one another: organ building (organ building firms Boisseau, Emeriau, Giroud) and computing (Synaptel). On one side, high-level workmanship in a country where the organ building heritage is very rich and where historic organ restoration policies, carried out by the State and the municipalities, allowed the training of internationally renowned organ builders. On the other side, the world of engineers, computer system integrators in aeronautics, astronautics or telecommunications industries.

Close to 900 wooden pipes were brush-cleaned, compressor-cleaned, repainted and restained; 7000 others were ultrasound-cleaned in a water bath; the Principals in the Grand-Orgue and Positif divisions received new tuning slots; 8' and 4' chamades were added in the Grand-Orgue division. Other accessories were also added.

The console and the transmissions were refurbished by Synaptel and everything is now under the digital control of seven computers. With this unique system, the organist can memorize, work and restore his performances. He can set the touch depth of manuals to correspond to the valve opening timing. He has access to a combination editing and generating software that will let him create, modify, memorize, on disks, a multitude of combinations. With the MIDI gateway, he can hear himself, after he has completed a performance, in order to evaluate his performance or his registration.

SUMMARY OF History
1402
an old organ is moved to the present location and inserted into a gothic organ-case
1730
the organ'case is replaced by the present LOUIS XVI one the organ is enhanced to 5 manuals and 46 stops many pipes kept from earlier centuries of which 12 in use today have been salvaged from previous centuries
1830
back to 4 manuals including an "expression" manual
1864 - 1867
enhanced and rebuilt by Cavaille-Coll 5 manuals and 86 stops among other players: Saint-Saens and Cesar Franck  pneumatic assistance: 'Barker lever'
1900 - 1937
Louis Vierne was the organist 1932: partly electric/partly pneumatic action installed
1959
fully electrified: manuals and relays (excluding the Barker lever) but this old architecture was consisted of ... 700 kilometers of cables (yes, you are reading correctly !) problems of oxydation and ... unpredictable breakdowns
April 1990 - December 1992 (closeup)
computers and local area networks controlled


The Organists

Among the most famous titular organists, there are, along with their dates of tenure:
o Charles Raquet (1618-1640)
o Louis-Claude Dacquin (1755-1772)
o Armand-Louis Couperin (1760-1790)
o Louis Vierne (1900-1937)
o Léonce de Saint-Martin (1937-1954)
o Pierre Cochereau (1954-1984)

Since 1985, the titular organists are Olivier Latry, Philippe Lefebvre, and Jean-Pierre Leguay.


MAIN Organ
    Thierry (1733) / F.H. Cliquot (1788) / Cavaillée-Coll (1867) / Hermann (1959) / Boisseau (1960 et suivantes) / Boisseau-Emeriau-Giroud-Synaptel (1992)
    • 5 manuals and pedal
    • 110 stops, 153 ranks, ~7,000 pipes
    • Electric and electronic action
Chancel Organ

    Boisseau (1968)
    • 2 manuals and pedal
    • 30 stops, 38 ranks
    • Mechanical key action
    • Electric stop action

DISPOSITION

GRANDE ORGUE

Violon-basse 16'
Bourdon 16'
Montre 8'
Flûte harmonique 8'
Bourdon 8'
Viole de gambe 8'
Prestant 4'
Octave 4'
Doublette 2'
Fourniture 4' II-V
Cymbale 2 2/3' II-V
Bombarde 16'
Trompette 8'
Clairon 4'
1Trompette harmonique 8'
1Clairon harmonique 4'

POSITIF

Montre 16'
Bourdon 16'
Salicional 8'
Unda maris 8'
Flûte harmonique 8'
Bourdon 8'
Prestant 4'
Flûte douce 4'
Nazard 2 2/3'
Doublette 2'
Tierce 1 3/5'
Fourniture V
Cymbale V
Clarinette 16'
Clarinette 8'
Clarinette 4'

RECIT (un-enclosed)

4Cornet 8' V
4Hautbois 8'

RECIT (enclosed)

Quintaton 16'
Diapason 8'
Gambe 8'
Voix céleste 8'
Flûte traversière 8'
Bourdon 8'
Octave 4'
Flûte octaviante 4'
Quinte 2 2/3'
Octavin 2'
Bombarde 16'
Trompette 8'
Basson-Hautbois 8'
Clarinette 8'
Voix humaine 8'
Clairon 4'

CHAMADES

1re Trompette 8'
1er Clairon 4'
3Régale 2'-16'
22è Trompette 8'
22è Clairon 4'


SOLO

Bourdon 32'
Principal 16'
Montre 8'
Flûte harmonique 8'
Grande quinte 5 1/3'
Prestant 4'
Grande tierce 3 1/5'
Quinte 2 2/3'
Septième 2 2/7'
Doublette 2'
Grande fourniture 4' II
Fourniture 2' V
Cornet 2' II-V
Cymbale 1' V
Cromorne 8'
2Trompette harmonique 8'
2Clairon harmonique 4'

GRANDE CHOEUR

Principal 8'
Bourdon 8'
Prestant 4'
Quinte 2 2/3'
Doublette 2'
Tierce 1 3/5'
Larigot 1 1/3'
Septième 1 1/7'
Piccolo 1'
Cymbale IV-VI
Tuba Magna 16'
Trompette 8'
Clairon 4'


GRANDE PEDALE

Principal 32'
Contrebasse 16'
Soubasse 16'
Grosse quinte 10 2/3'
Flûte 8'
Violoncelle 8'
Grande Tierce 6 2/5'
Quinte 5 1/3'
Septième 4 4/7'
Octave 4'
Contre-Bombarde 32'
Bombarde 16'
Basson 16'
Trompette 8'
Basson 8'
Clairon 4'

PETITE PEDALE

Bourdon 8'
Flûte à cheminée 4'
Grande tierce 3 1/5'
Quinte 2 2/3'
Flûte 2'
Piccolo 1'
Tierce 1 3/5'
Larigot 1 1/3'
Fourniture III
Cymbale IV
Sordun 16'
Chalumeau 4'
Clairon 2'

    Légende / Legend:
      1
      		En chamade / Horizontal
      2
      		Provenant du Grand-Orgue / From Grand-Orgue
      3
      		Régale 2' = C-g1
      4
      		aigu / treble
    Accouplements / Couplers:
    • au Grand-Orgue / to Grand-Orgue
      • Positif 8,4; Récit 16,8,4; Solo 8, Grand-Choeur 8, Pédale 8
    • au Positif / to Positif
      • Récit 8; Solo 8; Grand-Choeur 8
    • au Récit / to Récit
      • Solo 8, Grand-Choeur 8
    • au Grand-Choeur / to Grand-Choeur
      • Solo 8
    • à la Pédale / to Pedal
      • Grand-Orgue 8; Positif 8,4; Récit 8,4; Solo 8,4; Choeur 8
      Des accouplements additionnels peuvent être créés au moyen du système d'ordinateur. / Additional couplers can be created using the computer system.
    Combinaisons / Combinations:
    • Appel chamade / Chamade ON
    • Appel des anches / Reeds ON: Pédale, Grand-Orgue, Positif, Récit, Grand-Choeur, Chamades
    • Inversion du Positif et Grand-Orgue / Inversion between Positif and Grand-Orgue manuals
    • Division de la Pédale / Divided pedal
    • Sostenuto et/and Plein Jeu
    Autres caractéristiques / Other Details:
    • Buffet du XVIIIe siècle / 18th-century organ case
    • Étendue des claviers / Manual compass: 56 notes
    • Étendue du pédalier / Pedal compass: 32 notes
    • Trémolo: Récit
    • Octaves graves de tous les claviers / Bass octave on all manuals
    • Ordre des claviers programmable / Programmable sequence of manuals
    • Combinateur électronique et système d'ordinateur / Electronic combinator and computer system











DISPOSITON CHANCEL ORGAN

GRANDE ORGAN

Bourdon 16'
Montre 8'
Bourdon 8'
Prestant 4'
Nasard 2 2/3'
Tierce 1 3/5'
Fourniture III
Cymbale IV
Trompette 8'
Clairon 4'
Dessus en chamade 8'

POSITIF

Bourdon 8'
Prestant 4'
Flûte 4'
Nasard 2 2/3'
Doublette 2'
Tierce 1 3/5'
Larigot 1 1/3'
Cymbale III
Régale 16'
Cromorne 8'

PEDALE

Flûte
16'
Bourdon
16'
Flûte
8'
Flûte
4'
Flûte
2'
Bombarde
16'
Trompette
8'
Clairon
4'

    Autres caractéristiques / Other Details:
    • Buffet du XIXe siècle / 19th-century organ case
    • Étendue des claviers / Manual compass: 56 notes
    • Étendue du pédalier / Pedal compass: 30 notes
    • Accouplements / Couplers: POS/GO; GO/PED; POS/PED












          Organ Paris Notre Dame Cathedral Cochereau Plays Messiaen








      YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THE NOTRE DAME PARIS ORGAN BY CLICKING ON THE LINK BELOW:
      TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.







        Bach @ Notre Dame de Paris Pipe Organ: Vierne P...
        YouTube - Notre Dame Cathedral Paris Pipe Organ Gigout Toccata
        YouTube - Olivier Latry at the organ at the Cathedral of Notre Dame
        YouTube - Marie Claire Allain Toccata by Eugene Gigout
        YouTube - Charles-Marie Widor: Toccata en fa majeur
        YouTube - Louis Vierne - Carillon de Westminster
        YouTube - Sortie Duet Notre Dame De ParisYouTube - Oliver Latry - Daquin Étranger
        Léonce de St Martin improvises at Notre Dame (1)
        Léonce de St Martin improvises at Notre Dame (2)
        Notre Dame Cathedral Pipe Organ Paris Cochereau Messiaen
        Notre-Dame de Paris - Part B
        Philippe LEFEBVRE: Vêpres à Notre-Dame de Paris
        Philippe LEFEBVRE, à Notre-Dame de Paris
        Communion à Notre-Dame de Paris
        Louis Vierne Symphonie No. 1 "Final" by Pierre Cochereau
        SAINT-SAENS à Notre Dame de Paris (concert 1997)
        organ music at Notre-Dame in Paris
        Pierre Cochereau Improvises at Notre Dame de Paris
        Pipe Organ Notre Dame Cathedral Paris Vierne Clair de Lune


        dated 1929: Vierne videos:

        YouTube - Pipe Organ: Vierne Plays Bach at Notre Dame de Paris
        YouTube - Pipe Organ: Vierne Plays Vierne at Notre Dame de Paris (2)
        YouTube - Notre Dame de Paris Pipe Organ Vierne Plays Vierne (3)
        YouTube - Notre Dame de Paris Pipe Organ Vierne Plays Vierne (4)









        Organ Mormon Tabernacle

        Friday, November 28, 2008

        Organ Harvard U Edward Power Biggs



        Johann Sebastian Bach's Toccata and Fugue in D minor (BWV 565) and the Fugue in G major (see video below) performed by the concert organist E. Power Biggs playing the 1958 Flentrop tracker in the Busch-Reisinger Museum at Harvard University




        Fugue in G major played by E. Power Biggs on the Flentrop organ at the Busch-Riesinger Museum.







        Johann Sebastian Bach (1685-1750) Prelude and Fugue in A minor BWV 543 Edward Power Biggs at the Flentrop organ of the Busch Hall





        DISPOSITION OF THE ORGAN

        Rugpositief (I)

        Holpijp 8'
        Prestant 4'
        Roerfluit 4'
        Gemshoorn 2'
        Quint 1 1/3'
        Mixtuur II
        Kromhoorni 8'

        Hoofdwerk

        Presant 8'
        Roerfluit 8'
        Octaaf 4'
        Speelfluit 4'
        Nasard 2 2/3'
        Valkfluit 2'
        Terts 1 3/5'
        Mixtuur IV

        Borstwerk

        Zingend Gedekt 8'
        Koppelfluit 4'
        Prestant 2'
        Sifflet 1'
        Regaal 8'

        Pedaal

        Bourdon 16'
        Prestant 8'
        Gedekt 8'
        Fluit 4'
        Mixtuur III
        Faggot 16'
        Trompet 8'

        Saturday, November 22, 2008

        My Lifelong Pipe Organ Hobby


        The pipe organ has been my lifelong interest, and I was privileged to serve as organist for 49 years in various churches in Canada as well as in the Netherlands. Accompanying a congregation on the organ was a real joy to me, weeping with those who weep and rejoicing with those who rejoice. Our earthly praise will transcend into heavenly praise and never end.

        What a future!

        Sola Deo Gloria







        China's largest pipe organ locates at Oriental Arts Centre, Shanghai, China


        Above: Rieger 5 manual Concert Organ.
        China's largest pipe organ is located at the Oriental Arts Centre, Shanghai, China.
        The Concert hall is equipped with an 88 stop 5 manual keyboard pipe organ. As the biggest pipe organ in China, it is specially made for Shanghai Oriental Art Center by Austrian Rieger Pipe Organ Co., Ltd.

        Westminster Abbey Organ GB







        HISTORY

        The Harrison and Harrison organ of Westminster Abbey was installed for the Coronation of King George VI in 1937. With four manuals and 84 speaking stops, it incorporated some of the pipework from the previous five manual instrument, built by William Hill in 1848.





        The earliest evidence of any organ in the Abbey dates from 1304, referring to ‘a pair of organs’ in the Lady Chapel. From the late sixteenth century there was an organ in the Quire, of which no details survive, but that was certainly played by John Blow and Henry Purcell – two of the most eminent names amongst the list of distinguished Organists of Westminster Abbey.





        A new organ, built for the Coronation of George II in 1727, was re-located and placed on the central screen at the entrance to the Quire. This was replaced in 1848 by the Hill organ, built on the North and South sides of the Nave Screen where the Harrison and Harrison instrument now stands. The two organ cases, built originally for the Hill organ in 1895 by the architect J.L. Pearson, were coloured and reinstated in 1959.


        No significant changes were made to the original specification until a major overhaul in 1982. A second, unenclosed choir division was installed in the North case, and new stops added to the Great and Pedal divisions.





        At the console, a fifth manual was added in preparation for the Bombarde division located in the North Triforium. Completed in 1986, this new department comprises fanfare reeds and a robust chorus, giving the organ a greater presence and supporting large congregations on major occasions.





        2006 saw a complete overhaul of the console. The memory capacity was doubled to 512 channels; ten thumb pistons serve each of the four main manuals; new reversible thumbs pistons are in place for 32 foot stops; and the music desk is now fully adjustable.




        The Organ plays a central role in the Abbey’s daily liturgy, accompanying the choral music with distinctive colour and sensitivity; it is also a powerful and versatile solo instrument. Organ recitals take place every Sunday, given by the Abbey organists and visitors from across the world, and each year the Summer Organ Festival brings some of the world’s leading performers to the Abbey.




        ORGAN:




        ORGAN and CHOIR:





        5 Manuals, 120 Ranks, 88 Registers (+ 5 Ext. + 13 Tr.

        1730 Schneider
        1848, 1884 and 1895 case by Hill
        1937-1938 New 84 Registers Harrison & Harrison (GB)
        1982 and 1987 ?
        1994 renovation







        DISPOSITION



        Choir 23 (19)
        Open Diapason 8
        Claribel Flute 8 *
        Rohr Flute 8
        Stopped Flute 8 *
        Viola da Gambe 8 *
        Principal 4
        Open Flute 4
        Flauto Traverso 4 *
        Gemshorn 4 *
        Nason 4 *
        Nazard 2 2/3
        Fifteenth 2
        Block Flute 2
        Gemshorn Fifteenth 2 *
        Tierce 1 3/5
        Mixture IV
        Mixture II *
        Cornopean 8 *
        Cremona 8
        + Schweller (nur *)
        + Tremulant


        Great 27 (18)
        Bourdon 16
        Double Geigen 16
        Open Diapason I 8
        Open Diapason II 8

        Stopped Diapason 8
        Hohl Flute 8
        Geigen 8
        Octave 4
        Geigen Principal 4
        Wald Flute 4
        Octave Quint 2 2/3
        Super Octave 2
        Harmonics IV
        Mixture V
        Sharp Mixture III
        Contra Posaune 16
        Posaune 8
        Octave Posaune 4


        Swell 23 (18)
        Quintaton 16
        Open Diapason 8
        Lieblich Gedeckt 8
        Viole d'Amour 8
        Salicional 8
        Vox Angelica 8
        Principal 4
        Lieblich Flute 4
        Fifteenth 2
        Twenty-Second 1
        Sesquialtera II
        Mixture V
        Double Trumpet 16 *
        Contra Oboe 16
        Trumpet 8 *
        Oboe 8
        Vox Humana 8
        Clarion 4 *
        + Schweller
        + Tremulant (außer *)


        Solo 17 (15)
        Contra Viole 16
        Harmonic Flute 8
        Viole d'Orchestre 8
        Viole Céleste 8
        Concert Flute 4
        Viole Octaviante 4
        Harmonic Piccolo 2
        Cornet de Violes III
        Contra Tuba 16 Ext., **
        Double Clarinet 16 Ext.
        Tuba Mirabilis 8 *, **
        Tuba 8 **
        Orchestral Trumpet 8 **
        French Horn 8 **
        Cor Anglais 8
        Clarinet 8
        Orchestral Hautbois 8
        + Schweller (außer *)
        + Tremulant (außer **)




        Bombarde 17 (8)
        Open Diapason 8
        Principal 4
        Fifteenth 2
        Grand Cornet V
        Mixture IV-VI
        Bombarde 16
        Contra Posaune 16 Tr. Great

        Tuba Mirabilis 8 Tr. Solo
        Posaune 8 Tr. Great
        Trumpet 8
        Octave Posaune 4 Tr. Great
        Clarion 4



        Pedal 13 (10)
        Double Open Wood 32 Ext.
        Open Diapason 16
        Open Wood I 16
        Open Wood II 16
        Bourdon 16 Tr. Great
        Geigen 16 Tr. Great
        Viole 16 Tr. Solo
        Principal 8
        Bass Flute 8 Tr. Gt. Bd.
        Fifteenth 4
        Rohr Flute 4
        Open Flute 2
        Mixture IV
        Double Ophicleide 32 Ext.
        Tuba 16 Tr. Solo
        Ophicleide 16
        Contra Posaune 16 Tr. Great
        Clarinet 16 Tr. Solo
        Posaune 8 Tr. Great
        Trumpet 8 Ext. Clar.
        Octave Posaune 4 Tr. Great
        Clarion 4











        Friday, November 14, 2008

        A Pipe Organ for St. Thomas FRC.



        The organ in the St. Thomas Free Reformed Church was built by Koopman Organ Company of Lucan. The console and many of the pipes (such as the Mixtures IV and III and the Sesquialtera II and other ranks), as well as the blower and windchests originate in the First United Church in Waterloo where Jan Overduin presently is organist. This church has installed a mechanical-action 43 stop instrument built by Gabriel Kney which was formerly in London’s Aeolian Town Hall. Jan Overduin gave the opening recital on our organ and is, in a sense, playing his previous instrument,which has been totally revoiced and reconstituted for its new home in St. Thomas.



        Above is a drawing of how the proposed organ would look in our church.

        HISTORY AND DEVELOPMENT

        • The consistory approves the proposal to the congregation to purchase the organ on November 16, 2005. The congregation approves the proposal.
        • The organ is completed in September of 2006.










        Three Manual Pipe Organ
        June 2006


        The specification is as follows:
        • Great
        • 8’ Principal
        • 8’ Spitz Flute
        • 8’ Salicional
        • 4’ Octave
        • 4’ Flute
        • 22/3’ Quint
        • 2’ Super Octave
        • IV Mixture
        • 8’ Trumpet
        • 4’ Clarion
        • Swell to Great
        • Choir to Great

        • Swell
        • 16’Bourdon
        • 8’ Gedeckt
        • 8’ Dulciana
        • 8’ Celeste
        • 4’ Prestant
        • 4’ Rohr Flute
        • 2’ Flautino
        • II Sesquialtera
        • III Plein Jeu
        • 16’Trumpet
        • 8’ Trumpet
        • Tremulant
        • Choir to Swell

        • Choir
        • 8’ Rohr Gedeckt
        • 8’ Salicional
        • 4’ Principal
        • 4’ Stopped Flute
        • 4’ Dulcet
        • 22/3’ Quint
        • 2’ Piccolo
        • 11/3’ Larigot
        • 1’ Sifflet

        • Pedal
        • 16’ Contra Bass
        • 16’ Bourdon
        • 8’ Principal
        • 8’ Flute
        • 51/3’ Quint Bass
        • 4’ Choral Bass
        • 16’ Trumpet
        • 8’ Trumpet
        • Great to Pedal
        • Swell to Pedal
        • Choir to Pedal



        Below are some of the music committees suggestions for the organ to Koopman Organ Company; December 2005

        Silencing:
        Blower and Bellows to be properly silenced. They should be inaudible in the sanctuary.They can be put behind the wooden wall presently in the back of the church. Swell shade movement also to be silent.

        Voicing: Blending of stops is very important.


        GREAT
        Principal 8’: robust noble principal sound. Base sound of the entire organ.
        Spitzflute 8’: warm mellow with lots of body.
        IV Mixture not sharp or shrill but bright and light, in balance with the plenum (Principal 8,4, and 2) and not overbearing.

        SWELL (swellbox should allow for a large decresendo from fully open to totally closed. Swell should sound distant in comparison with the Great when the swellbox is closed)
        Rohrgedekt 8’: Playful with Rohr overtones.
        Prestant 4’: Foundation stop of the swell
        II Sesquialter: Bright and flashy. Metalic sound.
        III Plein Jeu: Higher than IV mixture and slightly softer. Should not sound harsh. Should not be overbearing when used with Rohrgedekt 8’ plus Prestant 4’ plus Flautino 2’. (This combination should be a softer (echo plenum) when compared to the Principal 8,4,2 plus Mixture on the Great.) This allows alternate use for some music.
        Trumpet: Bright Baroque sound toward a festival trumpet. Should also blend well if used with swell somewhat closed for accompaniment. With swell open, should be crown on full organ. With swell open should also be excellent bright solo stop.

        Tremulant to be adjustable for depth and speed.

        CHOIR
        8’ Gedekt should have nice speech. Some chiff would be nice. This stop carries the entire choir manual. Should have good body.

        PEDAL
        16’ Contrabass: (full pressure to produce maximum sound)
        Fagotto 16’: should have some bite to it and snarl.
        The console is installed.

        SEPTEMBER 2006: COMPLETED
        We thank the Koopman Organ Company for producing an amazing organ surpassing our expectations. The voicing was excellent.
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