Organ Planning Report

Transcription

ORGAN PLANNING REPORT
Planning, Components, Designers/Builders
East Harbour Project
The Icelandic National Conference and Concert Centre
Reykjavík, Iceland
Artec Project No.
3760
Artec Report No.
7725
EAST HARBOUR PROJECT
ICELANDIC NATIONAL CONFERENCE & CONCERT CENTRE
CONCERT ORGAN
25 OCTOBER 2005
CONTENTS
INTRODUCTION
1
BASIC COMPONENTS OF CONCERT ORGANS
2
PLANNING GUIDELINES
4
Acoustics
4
Location of the Instrument
5
Organ Blower Room
5
Electrical Requirements
5
Structural Considerations
7
Remote (Detached) Console
7
POTENTIAL DESIGNERS/BUILDERS
8
Qualification Criteria
8
Partial List of Organ Builders
Rieger Orgelbau
Orgues Letourneau
N.P. Mander LTD
Johannes Klais Orgelbau GmbH & Co KG
C.B. Fisk, Inc.
Casavant Fréres
Orgelbau Glatter-Götz
8
8
8
9
9
9
9
9
ORGAN REPERTOIRE
11
Bibliography and Suggested Reading
19
Addresses of Organ Builders
20
ARTEC CONSULTANTS INC
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CONCERT ORGAN
25 OCTOBER 2005
Introduction
The proposed Concert Hall for the Icelandic National Conference and Concert Centre will
include a Concert Organ and its necessary ancillary equipment. Concert organ designs vary
widely. Therefore, the project team should investigate the range of instruments and potential
designers/builders during the design phase to ensure physical accommodation of the organ
and incorporation of a specific design into the architecture of the new Concert Hall.
Artec Consultants Inc, will normally recommend that a Request for Proposal (RFP) be issued
to selected designers/builders for the design, fabrication and installation of a concert organ in
the new Concert Hall.
Artec is providing this information packet as a basis for discussion of the instrument and the
designers and builders of concert organs. The packet is not intended to be a complete book of
knowledge on concert organs, but rather a foundation for the discussions and exploration that
are to follow in selecting a qualified designer/builder and working with them to realize a
superior quality instrument.
The following pages are organized into five basic sections:
1. Basic Components of Concert Organs – The instruments and their configuration.
2. Planning Guidelines – Space requirements and facility infrastructure.
3. Potential Designers/Builders – Qualification criteria and prominent companies.
4. Organ Repertoire – A partial listing of concert works for the organ.
5. References and Internet Sites of Interest – Some places for further research.
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CONCERT ORGAN
25 OCTOBER 2005
Basic Components of Concert Organs
The organ is a keyboard instrument that is operated both by the player’s hands and feet. It
consists of a series of pipes that stand on a wind chest, fitted with valves. These valves are
connected to the keys at the organ console by a direct mechanical linkage, known as
tracker action, or by electrical and/or pneumatic intermediaries or a combination of both.
The organ is the earliest known mechanically operated musical instrument. Since its
invention, a process of evolution has enriched the construction and timbres of the organ.
Many large organs built in the 20th century incorporate features from early instruments, such
that organists have at their disposal the timbres suitable for a historically wide range of music.
The components of a modern pipe organ can be divided into three main categories: the
pipes/windchest, console, and blower. The heart of every pipe organ is the wind-blown pipes
which are arranged by ranks. A rank is a set of pipes of the same tone, or instrument type.
Each pipe in the rank corresponds to a key on a keyboard. These ranks of pipes stand on
windchests, which are wooden boxes containing the pressurized air from the blower. By
depressing the keys, the organist activates the valves in the windchest, which allow air to flow
into the pipes. The console may either be attached to the rest of the instrument, in which case
it is called a keydesk, or may be in its own casework a short distance away. Lastly, the blower
that supplies the “wind” or pressurized air to the windchest, is usually in a remote location,
acoustically separated from the performance area.
Tracker action is the purely mechanical system of key action used in most organs constructed
before 1900. It derives its name from the tracker, a wooden trace rod connecting the key to
the pipe valve in the windchest. This method gives the performer the ability to slightly vary
the attack of each note. Thirty to forty years ago, there was a revival of the tracker organ. For
the most part, the tracker organ requires less maintenance than the electro-pneumatic action
organs.
The organ is played from a console, usually containing between two and five manuals and a
pedalboard. Manuals are the keyboards provided for the hands, while the pedalboard is a
keyboard provided for the feet.
A “rank” is a complete set of pipes of the same tone or instrument type, controlled by one
drawstop. A rank of pipes is only capable of producing one type of sound at one volume. To
provide a variety of sounds and volume levels, pipe organs consist of different ranks of pipes
that can be played either alone or with other ranks to create varying combinations of sounds.
The Concert Organ is subdivided into smaller organs, each with an associated manual or
pedalboard. The Great Organ includes many of the general-purpose stops and the louder stops
on the instrument: it is operated from the Great Manual. The Swell Organ includes a wider
variety of tonal colors, and is enclosed in a large box with operable swell shutters, enabling its
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volume to be controlled by a foot pedal. The Swell Organ is operated from the Swell Manual.
Likewise, the Pedal Organ, containing the lowest sounding pipes, is operated from the
pedalboard, while other pipes may be grouped in Positive, Bombarde or Solo organs, each
with its corresponding manual.
There are three different types of drawstops on an organ. Most stops activate a single rank of
pipes, such as a “flute” stop or a “trumpet” stop. Mixture stops sound two or three differently
tuned pipes simultaneously (that is, activate two or three ranks simultaneously) to produce a
specific tonal color. Finally, couplers allow the keys of one manual to operate ranks of pipes
associated with another manual.
An organ has no sustaining pedal, rather sustained tones exist only as long as the key or pedal
is depressed. Note(s) stop sounding soon after a key is released, leaving the acoustic response
of the room to determine the quality of organ’s sustained sound – its rate of decay and the
tonal balance of that decaying sound.
The pitch of the organ rises and falls with the temperature of the ambient air. In theory, the
organ is in tune with itself at any given temperature. This only holds true for pipes that have
been carefully voiced and if the temperature has been at rest for hours. At any given
temperature, a change in humidity has no significant influence on the tuning. Extremely dry
air can cause problems, however for the windchests and the wooden pipes.
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Planning Guidelines
The following sections include information gathered in preparation for the design process.
References for text and information excerpted from other sources may be found later in this
document.
Acoustics
Organists, organ builders and composers agree that organ music sounds best in a reverberant
environment. The hall need not sound like a huge cathedral, which might have a 7 to 10
second decay, but it should have considerably more reverberance for organ than for a
Beethoven symphony. The Concert Hall will have an excellent acoustic for organ. In part,
this is achieved by providing specific acoustical adjustment features:
1. The acoustical design for the hall will include a coupled volume designed to extend the
reverberant decay. The loudness and length of the decay may be made variable by means of
shutters between the inner volume and the outer volume. Variable sound absorbing banners
or curtains in both the inner and outer volumes will assist the organist and facility staff in
achieving the desired acoustics.
2. The variable acoustic canopy, located above the concert platform and first several rows of
seats, has several important functions with respect to the organ:
•
The canopy can be positioned high for seeing and hearing the organ when the organ is
in use. A high canopy setting is usually acoustically appropriate for organ music.
•
It allows the sound reflecting surfaces above the orchestra to be low enough to help the
orchestra hear itself (most of the time), yet it can move out of the way to expose the
organ to full view when appropriate.
•
It helps to couple the organ acoustically to the room; the quick reflection of the organ
sound from the canopy helps the instrument to "speak" quickly, and brings clarity and
tonal subtlety to the sound, even with the long reverberation.
•
In organ/orchestra and organ/chorus repertoire, sound reflection from the canopy back
to the organist helps him or her to play in time with the other performers, and vice
versa.
•
Sound reflection off the rear section of the canopy can also help the organist hear the
upper pipes of the instrument with some immediacy.
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If desired, the variable features can be set to achieve a longer or shorter decay, and more or
less clarity. The materials of the hall will be solid to provide a solid bass foundation to the
music.
Location of the Instrument
The instrument must be located to allow the organ to fill the room naturally with musical tone.
The organ pipes/windchests should be located prominently without obstacles to sound
distribution. This is best accomplished by positioning the instrument behind the orchestra
platform on the centerline of the room. The room geometry and materials will be designed to
promote sound reflection and sustained reverberance. Irregular wall and ceiling surfaces will
assist in sound diffusion and will be incorporated into the design of the room.
The location for the concert organ must be determined in the earliest stages of conceptual
design of the concert hall. Reverberation chambers will most likely be located on either side
of the instrument and continue along the sides of the audience chamber at most or all levels.
This will provide the opportunity for the instrument either to project its sound strongly when
surrounded by the walls flanking the organ alcove and any closed reverberation chamber
doors, or to project sound into both the audience chamber and reverberation chamber through
partially or fully opened reverberation chamber doors. The former allows the most direct,
defined sound from the instrument while the latter would create longer reverberation and
blending of the notes, approaching the sound of a cathedral.
Organ Blower Room
The instrument of the size and type under consideration might require a separate blower room.
The design team should locate this space within 100 feet of the instrument. There will be an
“air conduit” between the blower plenum and the control plenum inside the organ. The
physical space between the organ and the blower room is often extremely complex and will
require much coordination. The design team may explore the actual need for and alternative
locations for the blower equipment as discussions with the organ designer begin.
Electrical Requirements
The pipe organ components requiring electricity are the blower, work lights, and console
lights, work outlets and action current rectifier. The specific requirements vary significantly
from instrument to instrument and the organ designer/builder will have to provide more
detailed information on their instruments. For example, blower motors can range from ¼ to
10 horsepower depending on the size of the instrument and configuration of blower(s).
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Basic planning for electrical accommodation should include the following:
1. Blower(s): One dedicated circuit per blower; normally 240v. Three-phase power is
usually required for blowers over 1 h.p.
2. Light fixtures directed at pipes and windchests: One or two line voltage circuits.
Depending on the organ design and how it fits into aesthetic of the hall, these may be
driven through performance lighting circuits or house lighting circuits.
3. Duplex receptacles at pipes and windchest: One or two dedicated circuits.
4. Light fixtures at Organ Console: One circuit, not connected to remote dimming systems.
5. Rectifier at Blower: One to four dedicated circuits are required. Some blower systems do
not require a rectifier.
6. Rectifier at Console: One or two dedicated circuits. Again, some organs will not require a
rectifier.
The rectifiers in 5 and 6 above run on AC current and provide 10-30v DC current to operate
components of the console and windchests. The organ builder is generally responsible for any
necessary rectifiers and DC wiring inside the instrument, while a separate electrical contractor
will be responsible for hookup of AC wiring to the instrument.
While it is most desirable to have a mechanical action instrument, there are also advantages to
providing a remote console to allow alternate location of the organist on the concert platform.
Some conduit is required for connections to the electrical action components required for
remote operation of the instrument and there are basic connections between the organ blower
room and instrument console(s) that must occur. Some preliminary guidelines on conduit
requirements are:
1. Provide a 3” empty conduit from the console to each area where pipes are located. In the
present design for the instrument, this is within the vertical zone of the organ alcove.
These conduit are used for the organ’s DC wiring.
2. Provide a ¾” conduit (with wiring) from the console to each blower location. These are
used to switch the blower(s) and rectifier(s) on and off from the console.
3. Provide one or more ¾” conduits from an AC source to the console for lights and/or
rectifier.
4. Provide a 1” empty conduit from the main blower to the main area of pipes/windchests.
This will be used to deliver DC power from the rectifier to the organ’s internal
components.
5. The design team will need to address the routing of electrical cabling between the
instrument and locations on the concert platform for the remote console.
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Structural Considerations
The weight of a concert organ is borne on the footprint area of the case, and floor loads can
vary from 50lbs/sq.ft.to as much as 1,000lbs/sq.ft. for a large mechanical action instrument
with a small footprint. The organ designer/builder and the structural engineers for the Concert
Hall must address this issue. However, we provide the following information to assist the
planning committee in anticipating the requirements.
The windchests are the largest and heaviest components to be considered in the layout of an
electric action organ. (As discussed above, there may need to be some electric action
components to allow use of a remote console for certain events.) Typical windchests are
approximately 8 to 10 feet in length and vary in width depending on the number of ranks. The
floor should be capable of supporting 450 to 500 pounds per rank. This generally relates to
floor loads of 100 to 150lbs per square foot.
Remote (Detached) Console
It may be desirable to purchase a remote console to allow location of the organist on the
concert platform for various events. While the attached console in the organ loft (the
keydesk) may be either mechanical or electric action, the desire to locate the remote console at
several positions will require in an electric action when using the detached console. The
viability of this option will vary with the selected designer/builder, since some (but not most)
builders may not construct instruments that integrate mechanical and electrical action.
The largest consideration is storage of the detached console. A four manual console may be 7
feet wide, 6 feet deep, 5 feet tall and weigh as much as 1300 pounds.
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Potential Designers/Builders
Qualification Criteria
The qualification criteria are perhaps the most important parameters of the future RFP. Artec,
Austurhöfn – TR ehf, other members of the Design Team and User Groups must hold
discussions with the aim of identifying basic design goals and the prominent designers and
builders of organs. Also, other project requirements for bidding of the contract must be
discussed and understood by the selection committee.
Partial List of Organ Builders
The following is a draft list of organ builders. Within the weeks ahead, we may add or
subtract from this list as our discussion continues.
Rieger Orgelbau
Austrian builder, Rieger Orgelbau, was founded in 1845 by Franz Rieger. The company came
under the leadership of Christoph von Glattergotz in 1920, and has remained under the
guidance of his descendents. Some of their most noteworthy projects include:
Shanghai Oriental Art Centre, Shanghai, China
Culture Center, Shenzen, China
Suntory Hall, Tokyo, Japan
Hong Kong Cultural Centre, Hong Kong
Torch Center, Seoul, Korea
Orgues Letourneau
Canadian Orgues Letourneau have created several fine instruments including those at:
Winspear Centre for Music, Edmonton, Alberta
RiverCenter for Music, Columbus, Georgia
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N.P. Mander LTD
Founded in 1936, Mander Organs has produced a wide range of instruments from small
portative organs to those with four or five manuals. The company is responsible for creating
the largest mechanical action instruments ever exported from Britain, and cites the following
projects among their achievements:
St. Ignatius Loyola in New York, New York
Azuchi Town Seminario Hall, Azuchi, Japan
Royal Albert Hall, London, England
Birmingham Town Hall, Birmingham, England
Founded in Bonn in 1882, the organ-building workshop of Johannes Klais is still owned and
operated by the Klais family, now in the fourth generation of organ builders. Some of the
spaces that have Klais instruments include:
Queensland Cultural Center Concert Hall, Brisbane, Australia
Symphony Hall, Birmingham, England
The Esplanade, Singapore
C.B. Fisk, Inc.
Massachusetts-based C.B. Fisk, Inc was founded in 1961. Fisk was the first modern
American organbuilder to return to the mechanical (tracker) key and stop action of historical
European and early American instruments. Some of their most prominent projects include:
Meyerson Symphony Center, Dallas, Texas
Benaroya Hall, Seattle, Washington
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Casavant Fréres
Canadian organ builder Casavant Freres has built organs around the world since beginning in
1879. Some of its more recent projects include:
Orchestra Hall, Chicago, Illinois
Jack Singer Concert Hall, Calgary, Alberta
Naples-Marco Philharmonic Hall, Naples, Florida
Founded by Casper Glatter-Götz, a family long associated with Rieger Orgelbau, this young
firm is best known for its innovative facade designs. Its recent concert hall designs include:
Disney Concert Hall, Los Angeles, California
International House of Music, Moscow, Russia
Information from the above builders is included in Appendix 2.
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SELECTED REPERTOIRE FOR ORGAN AND ORCHESTRA
NOTE: items with the composer name in CAPS represent the most significant
organ/orchestra collaborations, and an asterisk (*) indicates that the organ is featured in
an important solo roll, as in a concerto or ‘organ symphony’. Those items in bold face
are important main-stream orchestral repertoire selections in which the organ part is
significant and prominent. In the other works, the organ part is ‘obbligatto’, another
‘voice’ in the orchestral texture, where its presence, though perhaps not essential,
nonetheless adds to the overall visceral/emotional impact of the piece.
*AHRENS, Joseph: Concerto in G for Organ and Orchestra
*ALBINONI, Tomaso (arr. Giazotto): Adagio in g minor for Organ and Strings
*ARNE, Thomas Augustine: Concertos (6) for Organ and Chamber Orchestra
Arnold, Malcolm: Grand Overture
*ARNOLD, Malcolm: Organ Concerto, Op. 471
*AUFFMAN, Joseph Anton: Concertos (3) for Organ and Chamber Orchestra
*BACH, C.P.E.: Concerto in Eb for Organ and Orchestra
*BACH, C. P. E.: Concerto in G for Organ, Strings, and Continuo
*BACH, J. C.: Organ Concertos (12), from Opus 1, 7 and 13
*BACH, J. S.: Keyboard Concerto in d, S. 1052a
*BACH, J. S.: Keyboard Concerto in D, S., 1053a (adapted from Cantatas #49, 169)
*BACH, J. S.: Keyboard Concerto in d, S. 1059a (adapted from Cantata #35)
*BACH, J. S.: Sinfonia to Cantata No. 29
NOTE: the various Bach concertos for multiple keyboards (S. 1060, 1061, 1062,
1063, 1064, 1065) can all be adapted for performance on multiple chamber organs
Bach, P.D.Q. 1712 Overture
*BALES, Gerald: Rhapsody for Organ and Small Orchestra
*BARBER, Samuel Toccata Festiva for Organ and Orchestra, Op. 36
Bartok Béla: Bluebeard’s Castle, Op. 11
Bartok, Béla: Miraculous Mandarin
BAUMANN, Max: Concerto for Organ, Strings and Timpani, Op. 70
Bax, Arnold Symphony #2
Berio, Luciano: Sinfonia for Eight Solo Voices and Orchestra
Berio, Luciano: Voci
*BERKELEY, Michael: Organ Concerto (1987)
Berlioz, Hector: Te Deum
Bernstein, Leonard: A Musical Toast
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*BINGHAM, Seth: Connecticut Suite for Organ and Orchestra
Bloch, Augustyn: Enfiando per Orchestra
*BOELLMANN, Leon: Fantasie Dialogue for Organ and Orchestra, Op. 35
*BOLCOM, William: Humoresk for Organ and Orchestra
*BOSSI, Marco Enrico Concertstück in c minor for Organ and Orchestra
*BOSSI, Marco Enrico Concerto in a, Op. 100 for organ, strings, 4 horns and timpani
*BOSSI, Marco Enrico Fantasia Sinfonica, Op. 147 for organ, strings, harp and 4 horns
Brahms, Johannes: Ein Deutsches Requiem, Op. 45
*BRANDMÜLLER, Theodore: Concerto for Organ and Orchestra (1981)
*BRANT, Henry: Ice Field for Large Orchestral Groups and Organ (2001)
*BRAUNFELS, Walter: Concerto for Organ, Op. 38
Britten, Benjamin: Cantata, Saint Nicholas, Op.42
Britten, Benjamin: War Requiem, Op. 66
*BRIXI, Franz Xavier: Concertos (3) for Organ and Chamber Orchestra
Brubeck, Dave: The Light in the Wilderness
*BRUCH, Max: Suite No. 3 for Orchestra and Organ, Op. 88b
*BUCKLEY, John: Concerto for Organ and Orchestra (1992)
*BURKHARDT, Willi: Concerto for Organ, Strings and Brasses
*BURLAS, Ladislav: Concerto for Organ and Orchestra (1984)
*CAMILLERI, Charles: Organ Concerto (1983)
*CASELLA, Alfredo: Concerto Romano for Organ and Orchestra (1926)
CHAYNES, Charles: Concerto for Organ and Strings
Clapp, Philip Greeley: Symphony #8
*COERNE, Louis Adolphe: Concerto in E for Strings, Organ, Horns and Harp, Op.12
(1892)
Coleridge-Taylor, Samuel: Hiawatha’s Departure
*COLGRASS, Michael: Snow Walker, Concerto for Organ and Orchestra, (1990)
*COPLAND, Aaron: Organ Symphony
Corigliano, John: Three Hallucinations for Orchestra
*CORRETTE, Michel: Concertos (6) for Organ and Chamber Orchestra
*DAUGHERTY, Michael: Once Upon a Castle (Concerto for Organ and
Orchestra, 2003)
*DEMESSIEUX, Jeanne Poeme for Organ and Orchestra, Op.9
Diamond, David: Symphony #5
*DIEMER, Emma Lou: Concert Piece for Organ and Orchestra (1977)
*DIEMER, Emma Lou: Concerto in One Movement for Organ and Orchestra (“Alaska”)
(2004)
*DICKINSON, Peter: Concerto for Organ and Orchestra
Druckman, Jacob: Lamia for Soprano and Orchestra
Druckman, Jacob: Mirage
Druckman, Jacob: Windows
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*DUPRE, Marcel: Cortege et Litanie (Organ with Orchestra) Op. 19, #2 (1921)
*DUPRE, Marcel: Symphony in g for Organ and Orchestra, Op. 25 (1927)
*DUPRE, Marcel: Organ Concerto in e, Op. 31 (1934)
*DUPRE, Marcel: Poème Héroïque, Op. 33 for Organ, Brass and Percussion (1935)
*DURANTE, Francesco: Organ Concertos (6)
Durufle, Maurice: Requiem
*EBEN, Petr: Concerto for Organ and Orchestra (Symphonia Gregoriana) (1953)
*EBEN, Petr: Concerto No. 2 for Organ and Orchestra (1982)
*EDER, Helmuth: Concerto for Organ and Orchestra (1965)
Elgar, Edward: Cockaigne Overture, (1901)
Elgar, Edward: Oratorio, Dream of Gerontus, (1900)
Elgar, Edward: Pomp and Circumstance Marches (5) (with organ obbligatto)
Elgar, Edward: Variations on an Original Theme (Enigma) (1899)
Elgar, Edward: Sospiri, for String Orchestra, Harp and Organ, Op. 70 (1914)
Elgar, Edward Sursum Corda (1894)
*ESCHAICH, Thierry: Concerto for Organ and Orchestra (1995)
Faure, Gabriel Requiem
*FETIS, Joseph: Fantasie Symphonique for Organ and Orchestra (1866)
Flagello, Nicolas: Theme, Variations and Fugue (1956) (organ obbligato in finale)
Foerster, J.B.: Easter Symphony #4 (1905)
Foss, Lukas: Baroque Variations
*FRICKER, Peter Racine: Symphony No. 5, Op. 74 (for organ and orchestra)
*GABRIELI, Giovanni: Canzoni for Brass, Strings, Winds, and Organ
*GENZMER, Harald: Concerto for Organ, Strings, 3 Trumpets and Timpani
*GHEDINI, Giorgio Federico: Concerto for Organ and Orchestra
*GIANNINI, Vittorio: Concerto for Organ and Orchestra (1927)
*GIGOUT, Eugene: Grand Choeur Dialogue for Organ and Orchestra
Glazunov, Alexander Carnival Overture
*GRAUN, Karl Heinrich: Concerto in F for Organ and Strings
Grieg, Edvard Landsighting,
Grieg, Edvard Peer Gynt Incidental Music
*GUILMANT, Alexander: Symphony No. 1 in d for Organ and Orchestra, Op. 42
*GUILMANT, Alexander: Symphony No. 2 in A for Organ and Orchestra, Op. 91
*HAKIM, Naji: Concerto for Organ and Orchestra (2000) (“The Seattle Concerto”)
*HAKIM, Naji: Concerto for Organ and Chamber Orchestra (2004)
*HAMPTON, Calvin: Concerto for Organ and Strings…sans Double basses (1980)
*HANDEL, George Frederic: 16 Concerti for Organ and Orchestra
*HANSON, Howard: Concerto for Organ, Harp and Strings
*HARRISON, Lou: Concerto for Organ and Percussion
*HARWOOD, Basil: Concerto in d for Organ and Orchestra (1910)
*HAYDN, Franz Josef: (5) Concerti in for Organ and Strings
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*HAYES, Philip: Organ Concertos (6)
*HEILLER, Anton: Organ Concerto (1963)
*HELMSCHROTT, Robert Maximilian: Concerto for Organ, Strings and Percussion
(“Lamento” (1993)
Henze, Hans Werner Symphony No. 6
*HETU, Jacques: Concerto for Organ and Orchestra, Op. 68 (2001)
*HINDEMITH, Paul: Concerto for Organ and Large Orchestra (1962)
*HINDEMITH, Paul: Kammermusik Concerto for Organ and Small Orchestra, Op. 43 #2
*HODDINOTT, Alun: Organ Concerto (1961)
Holst, Gustav: Christmas Day
Holst, Gustav: First Choral Symphony, Op. 41
Holst, Gustav: The Planets
*HOOK, James: Organ Concertos (20)
*HOYER, Karl: Work for String Orchestra and Organ, Op. 20
Hubay, Jeno: Symphony #3
Humperdinck, Engelbert: Eine Trauung in der Bastille
Ives, Charles: Symphony No. 4: Fugue
*JACKSON, Francis: Concerto for Organ, Strings, Timpani and Celesta (1985)
*JANACEK, Leos: Glagolitic Mass (features important organ solo interludes)
Janacek, Leos Lachian Dances
Janacek, Leos Taras Bulba
*JONGEN, Joseph: Symphonie Concertante for Organ and Orchestra Op. 81
Katzer, Georg Sound House
*KHACHATURIAN, Aram: Symphony #3 (features important virtuoso organ
interludes)
Koechlin, Charles Finale, Op. 69
*KOECHLIN, Charles: Trois Chorales for Orchestra with Organ
*KOLOSS, Istvan: Concerto for Organ, Strings and Percussion (1981)
*KRENEK, Ernst: Concerto for Organ and String Orchestra,Op. 230 (1979)
*KRENEK, Ernst: Organ Concerto No. 2, Op. 235 (1983)
*KREISLER, Fritz Concerto for Violin and Organ in C Major
Lachenmann, Helmut Harmonica, Music for Full Orchestra with Tuba Solo
Laderman, Ezra Magic Prison
Langgaard, Rued Symphony No. 6
*LANGLAIS, Jean: Piece in Free Form for Organ and Strings
*LANGLAIS, Jean: Concerto No. 2 for Organ and Large Orchestra
*LANGLAIS, Jean: Concerto No. 3 for Organ, Strings and Timpani (“Reaction”) (1971)
*LEIGHTON, Kenneth: Organ Concerto (1970)
*LINEK, Jiri Ignac: Concerto in C for Organ and Small Orchestra
Liszt, Franz: Battle of the Huns
Liszt, Franz: Dante Symphony
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Liszt, Franz: Faust Symphony
*LOCKWOOD, Normand: Concerto for Organ and Brasses
*LOEFFLER, Charles Martin: Symphonic Fantasy for Full Orchestra and Organ
Loeffler, Charles Martin: “La Villanelle du Diable” (1905)
*LOVELOCK, William: Symphonie Concertante for Organ and Orchestra
*LLOYD, Charles Hartford: Organ Concerto
*MACKEY, Steve: Pedal Tones for Organ and Orchestra (2002)
*MACLEAN, Quentin: Organ Concerto (1933)
Mahler, Gustav Symphony #2 in c minor (“Resurrection”)
Mahler, Gustav Symphony #8 (“Symphony of a Thousand”)
Mandl, Richard: Griseldie, Symphonic Poem with Chorus, Solo, and Organ (1909)
Mandl, Richard: Gesang der Elfen, for Chorus, Solo, Organ and Orchestra
Martinu, Bohuslav: Czech Rhapsody for Orchestra, Organ Solos, and Chorus (1919)
Mascagni, Pietro: Intermezzo, fr Cavalleria Rusticana
*MATHIAS, William: Organ Concerto (1984)
Mendelssohn, Felix Lobegesang, Op. 52
*MEYER, Hannes: Suite paysanne
*MOZART, Wolfgang Amadeus: 3 Sonatas for Organ and Orchestra
*MOZART, Wolfgang Amadeus: 14 Sonatas for Organ and Strings
*MÜLLLER-ZÜRICH, Paul: Concerto for Organ and String Orchestra, Op. 28
Mussorgsky, Modest Pictures at an Exhibition (Alexander Goehr arrangement)
*NELSON, Ron: Pebble Beach Sojourn (organ, brass and percussion)
*PARADIES, Pietro Domenico: Concerto in B-flat
*PARKER, Horatio: Organ Concerto in E-flat Minor, Op. 55
*PAULUS, Stephen: Concerto for Organ, Strings and Percussion (1992)
*PAULUS, Stephen: Concerto No. 2, for Organ, Orchestra and Chorus (2002)
*PAULUS, Stephen: Grand Concerto (No. 3) for Organ and Orchestra (2004)
*PEETERS, Flor: Entrata Festiva for Organ and Brass, Op. 93
*PEETERS, Flor: Concerto for Organ and Orchestra, Op. 52
*PETIT, Pierre: Concertino for Organ, Strings and Percussion (1958)
*PISTON, Walter: Prelude and Allegro for Organ and Strings
*POULENC, Francis: Concerto in G-minor for Organ, Strings, and Timpani
Prokofiev, Sergei: Romeo and Juliet, Complete Ballet
*PROULX, Richard: Concerto for Organ and Strings (2002)
*PROUT, Ebeneezer: Concerto for Organ and Orchestra
Quef, Charles: Prelude Grave (1912)
Quef, Charles: Dans les bois - Fantasie sur des themes bretons
*RAPHAEL, Gunther: Concerto for Organ, Strings, Trumpets and Timpani
Reger, Max: Psalm 100 for Chorus, Orchestra and Organ, Op. 106 (1910)
Reich, Steve: Music for Mallet Instrument, Voices, and Organ (electronic?)
Reich, Steve: Phrase Patterns
PAGE 15
CONCERT ORGAN
25 OCTOBER 2005
Respighi, Ottorino Chaconne (by Vitali, transcribed for Violin, Strings, and Organ)
Respighi, Ottorino: Church Windows
Respighi, Ottorino: Roman Restivals
Respighi, Ottorino: Pines of Rome
*RESPIGHI: Suite for Strings and Organ (1914)
*RHEINBERGER, Joseph: Organ Concerto No. 1 in F Major
*RHEINBERGER, Joseph: Organ Concerto No. 2 in g minor
*RIEGGER, Wallingford: Fantasy and Fugue for Orchestra and Organ, Op. 10
Rimsky-Korsakov, Nikolai Mlada: Procession of the Nobles
RODGERS, Richard: The Sound of Music: A Symphonic Picture
*ROREM, Ned: Concerto for Organ and Orchestra
*ROSEINGRAVE, Thomas: Organ Concerto in D
Rozsa, Miklos: Scenes from Ben Hur
Ruggles, Carl: Organum
*SAINT-SAENS, Camille: Symphony #3 in c minor, Op. 78 (“Organ”)
Saint-Saens: Cypres et Lauriers (organ solo introduction)
*SALIERI, Antonio: Concerto in C for Organ and Chamber Orchestra
*SAMMARTINI: Concerto in G for Organ and Strings
Satie, Eric: Parade
Schmidt, Franz: The Book of the Seven Seals (oratorio)
Schnittke, Alfred: In Memoriam
*SCHROEDER, Hermann: Organ Concerto
*SCHWANTNER, Joseph: September Canticle for Organ and Orchestra (2002)
Scriabin, Alexander: Le Poem d’Extase, Op. 54 Symphony No. 4
Scriabin, Alexander: Prometheus, The Poem of Fire, Op. 60 Symphony No. 5
Sessions, Roger: The Black Maskers Suite
Setacciolo, Giacomo: Quadro Sinfonico, for Orchestra with Organ and Chorus
Shostakovich, Dmitri: The Gadfly: Barrel Organ Waltz
*SITORA, Robert: Concerto for Organ and Orchestra
*SIROTA, Robert: In the fullness of time (2000)
Sonzogno, Giulio Cesare: Tango for Orchestra
*SODERSTEN,
*SOWERBY, Leo: Medieval Poem for Organ and Orchestra
*SOWERBY: Leo: Organ Concerto #1
*SOWERBY, Leo: Classic Concerto for Organ and String Orchestra
*SOWERBY, Leo: Concert Piece for Organ and Orchestra (1951)
*STAMIC, Jan Vaclav: Concertos (3) for Organ and Chamber Orchestra
*STANFORD, Charles Villiers: Concert Piece for Organ and Orchestra
Stanford, Charles Villiers: Symphony No. 5 in D major Op. 5
*STANLEY, John: Organ Concertos, Op. 10 (6)
Strauss, Richard: An Alpine Symphony
PAGE 16
CONCERT ORGAN
25 OCTOBER 2005
Strauss, Richard: Also Sprach Zarathustra, Op. 30
Strauss, Richard: Daphne, Bucolic Tragedy in One Act, Op. 82
Strauss, Richard: Divertimento after Couperin
*STRAUSS, Richard: Festival Prelude for Organ and Orchestra, Op. 61
Strauss, Richard: Joseph’s Legende, Symphonic Fragments, Op. 63A
Strauss, Richard: Salome, Final Scene
*SUCHON, Eugen: Symphonic Fantasy on B-A-C-H for Organ and Orchestra (1971)
Sullivan, Arthur: Overture in C (In Memoriam)
*SWAYNE, Giles: Chinese Whispers (1997) (for strings, 2 tpts and timpani)
*TAG, Christian Gotthilf: Symphony for Organ and Orchestra
*TAPRAY, Jean-Francois: (6) Concertos for Organ and Chamber Orchestra (18th c.)
Tchaikovsky, P.I.: Manfred Symphony
Tippett. Michael: Mask of Time
*TOMASSIN, Desire: Symphony in a minor with Organ, Op. 83
TISCHENKO, Boris: Concerto for Cello, 17 Wind Instruments, and Organ
TOCH, Ernst : Final for Large Orchestra and Organ, Op. 45
Toch, Ernst: Symphony, “An Mein Vaterland” for Soli, Chorus, Organ and Orchestra
TODT, Johann August Wilhelm: Organ Pieces with Orchestra
*UNGER, Gustav Hermann: Concerto for Organ and Orchestra, Op. 45
van der HORST, Anton: Concerto for Organ and Orchestra, Op. 58 (1952)
Varese, Edgar: Equatorial for Organ, Percussion, Trumpets, Trombones, & Voice
Vaughan Williams, Ralph: Job: A Masque for Dancing
Vaughan Williams, Ralph: Symphony No. 1 (A Sea Symphony) (1910)
Vaughan Williams, Ralph: Symphony #7 (“Sinfonia Antarctica”)
*VIVALDI, Antonio: Diverse Concerti for Organ with Various other Solo Instruments
*VIVALDI-BACH (arr. D’Antalfy): Organ Concerto in d minor
Walton, William: Oratorio, Belshazzar’s Feast
Walton, William: Crown Imperial March
Walton, William: Henry V: A Shakespeare Scenario
Walton, William: Orb and Scepter March
Webern, Anton: Five Pieces for Orchestra
*WEINBERGER, Jaromir: Passacaglia for Orchestra and Organ
Weinberger, Jaromir: Schwanda the Bagpiper: Polka and Fugue
Weld, Arthur Cyril Gordon: Ode in Time of Peace for Double Quartet and Organ (1890)
*WERNER, Gregor: Pastorelle in D for Organ and Strings
*WESLEY, Charles: Concertos for Organ and Chamber Orchestra (6)
Whithorne, Emerson Fata Morgana, Op. 44
Whitlock, Percy: Carillon (1932) for Orchestera with Organ
Whitlock, Percy: ‘Dignity & Impudence’ March for Orchestra with Organ
Whitlock, Percy: Concert Overture, “The Feast of St. Benedict” for Orch + Organ
Whitlock, Percy: Prelude, Air & Fugue (1938) for Orchestra + Organ
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CONCERT ORGAN
25 OCTOBER 2005
Whitlock, Percy: Conversation Piece (1942) for Orchestra + Organ
Whitlock, Percy: Holiday Suite (for Orchestra + Organ)
*WHITLOCK Percy: Moto Perpetuo (“Running Commentary”) for Orch + Organ
*WHITLOCK, Percy: Symphony in g for Organ and Orchestra
*WIDOR, Charles Marie: Sinfonia Sacra for Organ and Orchestra
*WIDOR, Charles Marie: Symphony No. 3 for Organ and Orchestra, Op. 69
*WIDOR, Charles Marie: Symphony in g for Organ and Orchestra, Op. 42
Symphony in F
*WILLIAMSON, Malcolm: Organ Concerto (1961)
*WILLIAMSON, Malcolm: Ochre for Organ and Strings (1978)
*YON, Pietro Alessandro: Concerto Gregoriano for Organ and Orchestra
*ZECHNER, Johann: Concerto in F for Organ and Strings
Zemlinsky, Alexander: Lyric Symphony
*ZEUNER, Charles: Concertos (2) for Organ and Small Orchestra
List compiled by Michael Barone, host of the Pipe Dreams radio program
PAGE 18
CONCERT ORGAN
25 OCTOBER 2005
References and Internet Sites of Interest
Bibliography and Suggested Reading
Anderson, Poul-Gerhard. Organ Building and Design. New York: Oxford University
Press, 1969.
Audsley, George Ashdown. The Art of Organ Building. New York: Dover Publications, Inc.,
1965.
Barnes, William H. The Contemporary American Organ: Its Evolution. Design and
Construction. New Jersey: J. Fischer and Brothers, 1964.
Barone, Michael. Selected Repertoire for Organ and Orchestra. Symphony,
November/December 2004
Blanton, Joseph E. The Revival of the Organ Case. Albany, Texas: Venture Press, 1965.
Hampton, Calvin. Organs for Use With Symphony Orchestra. The Diapason. February 1982.
Hurford, Peter. Making Music on the Organ. Chapter 2. London: Oxford University
Press, 1990.
Klais, Hans-Gerd &Philipp. The Siting and Planning of Organs: Guildelines for Architects.
Bonn, Germany: Johannes Klais, Orgelbau, 1990.
Kuznik, Joel H. “Organissimo!” Concert Hall Organs: A Renaissance. The American
Organist, June 2005.
Reidel, Scott. Acoustics in the Worship Space. St. Louis: Concordia Publishing House,
1986.
Williams, Peter and Owen, Barbara. The Organ. New York: W. W. Norton & Company,
1988.
Organ Informational Websites
Organbuilder & Organbuilder Association
http://www.agohq.org
Associated Pipe Organ Builders of America
http://www.apoba.com
PAGE 19
CONCERT ORGAN
25 OCTOBER 2005
Addresses of Specific Organ Builders, Including Web Sites
C.B. Fisk, Inc.
21 Kondelin Rd.
Gloucester, MA 01930
Tel: 978/283-1909
Fax: 978/283-2938
http://www.cbfisk.com
Kolnstrasse 148
D-53111 Bonn GERMANY
Tel: +49 (0) 228-982400
http://www.orgelbau-klais.com
N.P. Mander Ltd.
St. Peter’s Square
London E2 7AF England
Tel: +44 (0) 207 739 4747
Fax: +44 (0) 207 729 4718
http://www.mander-organs.com
Orgues Letourneau
16355 rue Savoie
Saint-Hyacinthe, PQ
J2T 3N1 Canada
Tel: 514-774-2698
http://www.letourneauorgans.com
Rieger Orgelbau
6858 Schwarzach
Vorarlberg/Austria
Hofsteigstrasse 120
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CONCERT ORGAN
25 OCTOBER 2005
Tel: 43 (0) 5572-58132-0
http://www.rieger-orgelbau.com
Casavant Fréres
900 rue Girouard est
St-Hyacinthe
Quebec, Canada
J2S 2y2
Tel: 450-773-5001
http://www.casavant.ca
Carl Benz Straße 12
D-88696 Owingen
Tel: 0049(0)7551 915195
Fax: 0049(0)7551 915197
http://www.gg-organs.com
P:\3760 - East Harbour, Reykjavik\REPORTS\Organ\Organ Handout.doc
PAGE 21
APPENDIX 1: DIAGRAMS OF ORGAN COMPONENTS
CROSS SECTION OF
AN ENCASED ORGAN
(MECHANICAL ACTION)
Planning Space for Pipe Organs; The Associated Pipe Organ Builders of America
CROSS SECTION OF AN ENCASED
ORGAN (ELECTRIC ACTION)
12
A
TEN RANK
ELECTRIC ACTION
WINDCHEST
NOTE: SECTION SHOWS ONLY LARGEST
PIPE OF EACH RANK
CROSS SECTION
PLAN
APPENDIX 2: ORGAN BUILDER INFORMATION SHEETS
MANDER ORGANS
MANDER ORGANS was founded by NOEL
MANDER MBE FSA in 1936. There have been
organ builders in his family since the 18th
century. From modest beginnings, the firm
expanded in the 1940s, undertaking the
reconstruction of many organs which had been
damaged in the Second World War. A number
of important contracts had been completed by
1960, and Noel Mander's affection and
appreciation for old organs gained the firm an unequalled reputation for their
restoration. This was also the period when the classical revival in organ-building
brought about many changes in the design and voicing of new organs including
the re-introduction of mechanical action which had been all but abandoned. The
crowning achievement of Noel Mander's work was the reconstruction of the
organ in St Paul's Cathedral which set new standards in the approach to the
rebuilding of large romantic instruments in Britain.
In 1978, Her Majesty the Queen made Noel Mander a Member of the Order of
the British Empire in recognition for his services to organ building for over 50
years. He retired in 1983, leaving examples of his work in the Middle East,
America and Africa, as well as closer to home. He also bequeathed an
experienced team of organ builders, well able to further the high standards for
which the firm had become known.
JOHN MANDER, who became managing
director on the retirement of his father,
served his apprenticeship with Rudolf von
Beckerath of Hamburg in 1968 where he was
instructed in all aspects of organ building
including voicing and pipe-making. Following
his three and a half year apprenticeship, that
included the organ builders' course at the
technical college dedicated to musical
instrument making at Ludwigsburg, he
remained with Beckerath to further his
knowledge in voicing and organ design,
culminating in the design of a choir organ for
the Petrikirche in Hamburg. Following his
return to London after five years in Hamburg, he worked in the drawing office
where he was responsible for the conception and design of a number of small
mechanical action organs. In 1979 he directed the historic reconstruction of the
early 18th century organ at Pembroke College, Cambridge, spending many
hours in painstaking research into the history of the organ.
www..mander-organs.com
In 1980 he returned to Germany to prepare for the Master Organ Builders'
examination which he completed successfully in that year, making him one of
the handful of builders with that qualification outside Germany. As managing
director, he still takes an active part in the conception and realisation of the
firm's work, frequently directing the tonal finishing of organs on site all over the
world. For six years he served on the board of the International Society of
Organ Builders and he is also a founder member of the Institute of British
Organ Building which has been formed to further the education of organ
builders in Britain. He lectures on a wide variety of topics associated with organ
building, and is often called upon to advise on unequal temperaments, of which
he has made a special study.
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ACCESS | COMPANY PROFILE | PORTFOLIO | NEWS | CONCERTS | RECORDINGS | DISCUSSION | GUESTBOOK | CONTACT | PRIVACY
www.mander-organs.com
The important role of the console is another area which
requires thought and insight. Not only must it be designed in
such a way as to be as ergonomic as possible, but it must
also indicate to the organist the style and scope of the
resources at his disposal. A finely finished console which is
easy to use can immediately put the organist at ease and in
a positive frame of mind to perform his art. The various
controls should be ready to hand and in obvious places so
minimising the time needed for familiarisation. But the style
of console also has to reflect the aesthetic and location of
the instrument.
Mander consoles have a reputation for ease of use,
particularly on large instruments which can be
unwieldy.
Even
here,
there
is
continuous
re-assessment and search for improvement, often in
consultation with leading musicians. This has led to
the design of some particularly interesting consoles,
some of which are reversed and detached (but still
mechanical) and others which are exceptional
examples of a terraced layout.
High quality long-draw solenoids are fitted where electric drawstop action is
employed, and long keys are always used for electric key action consoles.
Mechanical key actions, which are always employed for new instruments are
balanced or suspended depending on layout. All feature a sophisticated
self-compensating fully-floating beam which ensures reliable operation in
extremes of climate, allowing the action to be balanced for maximum
sensitivity.
In consultation with musicians and combination action
manufacturers, we constantly explore means to make
the organist's task easier. Our development of a facility
whereby general pistons can be made available on
divisional pistons is an example of this-a unique feature
of some Mander organs and not to be found on
instruments by other builders. Veneering and French
polishing to highest standards complete the feeling of
quality, making the organist feel at one with the
instrument under his fingers.
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Next
It was only a matter of five years before
the St Andrew's instrument lost its claim
to be the largest organ to be exported to
Japan from Britain for half a century,
because in 1995 the 30-stop concert hall
organ for the Bungai Seminario Hall in
Azuchi was completed. This instrument,
influenced by the French romantic organ
of the mid 19th century, has mechanical
key and stop action but incorporates
heavy duty solenoids and pistons with a
multi-level memory and sequencer.
Azuchi is distinguished by being the site
of the first organ ever in Japan, imported
by Portuguese monks some four hundred
years ago. The Azuchi organ formed a
prominent role in the 1995 Japan Organ
Festival,
being
played
by
the
present-day organists of Buxtehude's
church in Lübeck and Bach's in Arnstadt.
Before the organ was installed, the Seminario Hall lacked a focal point. The
opportunity was taken to produce an instrument which would be as striking
visually as it was tonally. The bold move to produce a red case was well
received in Japan, the colour being associated with good luck and fortune.
Although traditional proportions have been employed in the construction of the
case, modern elements have been introduced discreetly to produce an
instrument clearly related to the contemporary design of the Hall itself.
Bourdon
16
Cor de Nuit
8
Montre
8
Salicional
8
Flûte
harmonique
8
Voix Celeste
8
Viole de Gambe
8
Prestant
4
Bourdon
8
Flûte
4
Flûte conique
4
Sesquialtera
2 2/3
Doublette
2
Plein Jeu
2
Fourniture
1 1/3
Basson
16
Cornet
8
Trompette
8
Trompette
8
Basson-Hautbois 8
Tremblant
Tremblant
CHOIR ORGAN
Coupler Manual
Principal
15
Bourdon
16
Grosse Quinte
10 2/3
Violoncelle
8
Flute
8
Octave
4
Bombarde
16
Trompette
8
Great
Organ-Pédale
Récit-Pedal
Coupler manual permanently coupled to both manuals.
PROJECT LEADER JOHN MANDER
CASE DESIGN STEPHEN BICKNELL, DIDIER GRASSIN
TECHNICAL DESIGN DIDIER GRASSIN (TEAM LEADER), GEOFF MCMAHON
CONSTRUCTION HARRY AUSTIN, TERRY HOBART, KEVIN RUTTERFORD
(WORKSHOP FOREMEN)
SITE ASSEMBLY LESLIE ROSS (TEAM LEADER)
SCALING JOHN MANDER
TONAL PREPARATION DAVID FROSTICK, MICHAEL BLIGHTON
TONAL FINISHING JOHN MANDER, MICHAEL BLIGHTON
Amid grandeur, a subtle palette ... One was struck by the transparency and tactile
loveliness of the sound ... Kent Tritle ... sought a versatile religious and musical
instrument which, it seems, he has found. This organ, designed to have a French
Romantic character, but with enough versatility to allow it to reach back into the music
of the Baroque era, flourished under the hands of David Higgs The result was impressive
indeed ... Music listeners in New York will be the beneficiaries. Edward Rothstein, The
New York Times
Such was the critical acclaim following
the Inaugural Recital played by David
Higgs on the four-manual organ on the
West gallery of this impressive church
on Park Avenue, New York. With 68
stops and 91 ranks, this is the largest
mechanical action organ ever to have
been built by an organbuilder in the
British Isles. When the doors of the
church were finally closed (leaving some
200 people outside and disappointed),
there were approximately 1,800 people
in the audience.
As the specification shows, the organ
draws on the French Romantic era for
inspiration. But it also goes much further
in its development to provide an
instrument of versatility and integrity
matching both the musical demands of
the church's liturgy and the wide ranging
requirements of St Ignatius Loyola's extensive "Sacred Music in a Sacred
Space" series.
An English organ builder constructing an instrument in the French style
America is not, perhaps, the most obvious combination. But if one is aware
the aims of the staff and music programme at St Ignatius Loyola, and that
Kent Tritle in particular, the rationale behind the combination does start
become clearer.
in
of
of
to
Perhaps the first thing to say is that the organ at St Ignatius Loyola in New York
is not a slavish copy of a mid-19th-century French organ, let alone a copy of a
Cavaillé-Coll. The style was used as a starting point rather than an end in itself.
The mid-19th-century French organ has an obvious relationship to the liturgy of
a Jesuit church with an active music programme. But to have restricted the
style to that would have placed too many limitations on the general versatility
of the organ. In the recent past, attempts have been made to mitigate the
limitations inevitably inherent in copying a particular style by the introduction of
elements from different and often disparate schools. The consequential lack of
blend has sometimes given rise to what is in essence a number of smaller
organs masquerading as a large one.
How then to satisfy the requirements of a
modem instrument to perform musically, if
not strictly authentically, a large part of the
rich repertoire for the organ? How could the
request to provide an instrument with a
French romantic flavor be acceded to
without excluding the repertoire of the
earlier French eras, not to mention the
non-French literature? How could it be made
sufficiently true to the chosen genre to
afford players in the New York area the
unique opportunity to gain a deeper
understanding of the music of Franck,
Duruflé, Messiaen and later? How could we
ensure that the liturgical requirements were
satisfied first and foremost but still afford
sufficient character to provide an exciting
concert instrument?
The combination of the varied requirements
led to a great deal of discussion during the
initial planning stages between Kent Tritle, the consultants, and ourselves. Our
main objective was to ensure that the whole instrument had integrity and a
feeling of oneness. For this reason we decided that, rather than attempting to
incorporate different styles in the one organ, we would approach the problem
from the other end and develop the core style sympathetically, whilst staying
true to the core itself.
At an early stage in the planning, we visited a number of appropriate
instruments of Cavaillé-Coll (being the obvious candidate for investigation of
the French organ of the 19th Century), intentionally spreading the selection
over as wide a period of his work as possible. Our first discovery was that it is
very difficult to define the Cavaillé-Coll organ at all. There are wide variations in
style, from the almost Dutch classical at St Omer (1855) to the high symphonic
of Rouen (1890). Our perception of the Cavaillé-Coll organ is, perhaps,
influenced too heavily by the Parisian instruments in general and that of St
Sulpice in particular.
However, the study of these instruments actually gave us the
clue as to the best way forward. In particular, we were able to
appreciate the way Cavaillé-Coll could base a new instrument
around existing pipework and cases, yet still producing an
exciting and interesting result with the integrity essential to any
good instrument. It was especially instructive to see how he
could achieve this, still providing an organ that bore his own
unmistakable stamp.
With this appreciation, we decided to base the new organ for St Ignatius on the
middle period of Cavaillé-Coll's own work, developing it whilst remaining true to
the fundamental style. For example, a Positif de Dos was included but the
pipework was scaled and voiced in the same style as the rest of the organ. Very
few, if any new organs of the mid-19th century in France had a Positif de Dos,
as the Positif was usually incorporated within the main case. The Grand Récit
was developed to provide the grand Swell Organ effect demanded of an
instrument of the late 20th Century.
The important requirements of a Franck-style Récit,
which could not have been realized in a large
department, were satisfied by the Petit Récit on the
fourth manual, also the home of some of the important
Solo elements. The Pedal was developed to be as
complete and independent as possible. Finally, some
registers which would have been foreign to a true
mid-19th century French organ were incorporated but these were always scaled
and voiced in a style firmly in keeping with the rest of the instrument.
Without proper attention to the starting point, the result could well have turned
out to be bland and of indeterminate character. However, whilst voicing the
organ, we continually ensured we were staying faithful to our model.
As we progressed with the voicing,
pieces of the French repertoire played
we were neither straying too far
inspiration nor that we would miss
attempt to develop the overall style.
we frequently listened to
on the organ to guarantee
away from our selected
important details in our
The result, we hope, is an organ with a voice of its own, perhaps
an English organ speaking with a strong French accent in some
respects. Our aim was an instrument capable of producing a
musical result, accepting that the gain in character might to some degree limit
true authenticity. Above all, however, we wanted to create an instrument which
is unashamedly of our own era, one which can stand proudly as a
representation of late 20th-century organ building.
Montre
16
Bourdon
16
Montre
8
Diapason
8
Flûte harmonique
8
Salicional
8
Violoncelle
8
Unda Maris
8
Bourdon
8
Cor De Nuit
8
Prestant
4
Octave
4
Flûte à Fuseau
4
Flûte ouverte
4
Quinte
2 2/3
Doublette
2
Doublette
2
Cornet III
2 2/3
Tierce
1 3/5
Plein Jeu IV
1 1/3
Fourniture V
1 1/3
Basson
16
Cymbale IV
2/3
Trompette
harmonique
8
Cornet V (g0 to g3)
8
Clarinette
8
Bombarde
16
Clairon harmonique
4
Trompette
8
Tremblant
Clairon
4
IVe Clav-Récit
Tremblant
Positif-Grand Orgue
PETIT RÉCIT (IVE CLAV)
Récit-Grand Orgue
Flûte traversière
8
Viole Da Gambe
8
Viola Céleste
8
Bourdon
8
IVe Clav-Grand
Orgue
PÉDALE
Soubasse (Ext 16')
32
Flûte octaviante
4
Montre
16
Octavin
2
Contrebasse
16
Cor Anglais
16
Soubasse
16
Trompette
8
Principal
8
Basson-Hautbois
8
Flûte Bouchée
8
Voix Humaine
8
Octave
4
Tremblant
Mixture V
3 1/5
Contre Bombarde
(Ext 16')
32
BOMBARDES (IVE CLAV)
Bombarde
16
Bombarde
16
Basson
16
Trompette en
Chamade
8
Trompette
8
Clairon
4
Grand
Orgue-Pédale
Positif-Pédale
Clairon en Chamade 4
POSITIF
Montre
8
Récit-Pédale
Flûte à Cheminée
8
IVe Clav-Pédale
Prestant
4
Étoile
Flûte douce
4
Orage
Nazard
2 2/3
Doublette
2
Quarte de Nazard
2
Tierce
1 3/5
Larigot
1 1/3
Plein Jeu V
1 1/3
Trompette
8
Cromorne
8
Tremblant
Récit-Positif
IVe Clav-Positif
PROJECT LEADER JOHN PIKE MANDER
CONSULTANTS KENT TRITLE, JOHN RANDOLPH, MCNEIL ROBINSON
CASE DESIGN DIDIER GRASSIN, STEPHEN BICKNELL
TECHNICAL DESIGN STEPHEN BICKNELL (TEAM LEADER)
CONSTRUCTION RALPH BEDDOES (WORKS MANAGER), HARRY AUSTIN,
TERRY HOBART, KEVIN RUTTERFORD (WORKSHOP FOREMEN)
SITE ASSEMBLY LESS ROSS (TEAM LEADER)
VOICING DAVID FROSTICK (TEAM LEADER)
SITE FINISHING JOHN PIKE MANDER, MICHAEL BLIGHTON
William Hill built his pioneering
instrument
at
Birmingham
Town Hall between about 1833
and 1837, but continued to
work on it for some time
thereafter. It had four manuals
and pedals; the Solo Organ
was ingeniously borrowed from
ranks on the Swell and Choir,
and the Pedal had no less than
three full-length 32' stops, one
displayed in the impressive
case-front. The Tuba Mirabilis,
installed in 1837, was said to
be
the
first
ever
heavy-pressure solo reed stop.
In 1890 Thomas Hill rebuilt the
organ
as
a
conventional
four-manual, retaining most of
the original pipework but
replacing many of the chorus reeds. In 1933 Henry Willis carried out a major
rebuilding, increasing the Choir and Solo sections to almost twice their original
size, and raising the wind-pressures - in some cases to three times their
original level! Every available space was filled, and the organ became a
nightmare to tune and maintain.
In the recent reconstruction, the Willis additions have been stripped away, and
the interior of the organ brought back to an orderly and manageable layout. For
the first time, virtually all of the enormous Pedal organ is divided in the
traditional manner on slider chests. The only borrowing is that of the new
Bombardon 32' from the Ophicleide.
Double Open
Diapason
16
Contra Gamba
16
Bourdon
8
Open Diapason
8
Open Diapason I
8
Keraulophon
8
Open Diapason II
8
Salicional
8
Open Diapason III 8
Vox Angelica
8
Stopped Diapason
8
Claribel Flute
8
Quint
5 1/3
Principal
4
Octave
4
Suabe Flute
4
Principal
4
Fifteenth
2
Harmonic Flute
4
Cornet
II
Twelfth
2 2/3
Full Mixture
IV
Fifteenth
2
Sharp Mixture
IV
Full Mixture
IV
Double Trumpet
16
Sesquialtera
III
Cornopean
8
Sharp Mixture
III
Horn
8
Double Trumpet
16
Oboe
8
Posaune
8
Clarion
4
Clarion
4
CHOIR ORGAN
Tremulant
SOLO ORGAN
Open Diapason
8
Viola Da Gamba
8
Stopped Diapason
8
Viola Celeste
8
Cone Gamba
8
Rohr Flute
8
Dulciana
8
Unda Maris
8
Principal
4
Flauto Traverso
4
Wald Flute
4
Harmonic Flute
4
Fifteenth
2
Piccolo
2
Flautina
2
Flageolet
1
Mixture
II
Cor Anglais
1
Contra Fagotto
16
Clarinet
8
Cornopean
8
Vox Humana
8
Krumhorn
8
Tremulant
8
Tuba Mirabilis
Tremulant
BOMBARDE ORGAN
8
PEDAL ORGAN
Bourdon
8
Double Open
Diapason
32
Flute
4
Open Diapason
Wood
16
Nazard
2 2/3
Open Diapason
Metal
16
Quarte
2
Violone
16
Tierce
1 3/5
Bourdon
16
Larigot
1 1/3
Principal
8
Plein Jeu
V-VI
Violoncello
8
Bass Flute
8
Tremulant
Bombarde
16
Twelfth
5 1/3
Trumpet
8
Fifteenth
4
Clarion
4
Sesquialtera
III
Tuba Mirabilis
(Solo)
8
Mixture
III
Bombardon
32
Contra Trombone
32
Ophicleide
16
Trombone
16
Bassoon
16
Trumpet
8
Clarion
4
PROJECT LEADER IAN BELL
TECHNICAL DESIGN IAN BELL (TEAM LEADER)
CONSULTANT DR NICHOLAS THISTLETHWAITE
CONSTRUCTION HARRY AUSTIN, TERRY HOBART (WORKSHOP FOREMAN)
SITE ASSEMBLY TOM BISHOP (TEAM LEADER)
VOICING AND SITE FINISHING DAVID FROSTICK (TEAM LEADER)
When
"Father"
Henry
Willis built
the organ
for
the
Royal
Albert Hall
in
1871,
with
four
manuals
and
111
stops,
it
was
the
largest in
the world.
The
internal
layout was
similar to
that even
today with the tunnel of Great flues above the console and the 32ft 90 per
cent tin front pipes for which the organ is so well known. The pallets were
opened by trackers connected to pneumatic purses fed by large tubes. The
console had 8 thumb pistons to each manual and six combination pedals for
the Pedal Organ. The slides were operated by either pressure or vacuum to
large purses connected to each slide. The wind pressure was provided by
steam engines which worked feeders in the traditional way. The high
pressure was generated by a steam operated piston of two feet in diameter
which provided 30" of wind pressure on one stroke and vacuum on the return
stroke.
The Durham firm of Harrison and Harrison rebuilt the organ in two stages in
1924 and 1933. The organ was augmented to 146 stops including three
percussion stops provided by Premier Percussion. The key action was also
converted to electro-pneumatic action. It was still the largest organ in Britain
at the time. Harrison and Harrison worked on the organ again in the 1970s.
The console was refurbished, and new action switchgear was provided. Some
modest alterations were made to the specification as a nod to the then
current feelings about organ design. The pressures of the Great and Pedal
25" and 15" reeds was reduced to 19" and 13" respectively. A roof was also
fitted to the organ in an attempt to project the sound into the hall somewhat
better. It was subsequently found that this was more detrimental than
beneficial to the egress of sound and it has now been removed. In essence,
the organ was essentially the Harrison and Harrison organ of the 1930s until
its dismantling commenced in January of 2002.
Concert-goers had been aware for some time that all was not well with the
organ. There were very audible wind noises from the myriad of leaks from
the failing bellows and splits in the wind trunking. Additional blowers
(bringing the total to seven) had been added in an attempt to provide more
wind, but to little avail; it was not possible to use the full resources of the
organ without the shortage of wind becoming painfully apparent. Things were
made worse by the failing leatherwork of the actions and extensive splitting
of the soundboards caused by the dry atmosphere in the hall for which the
soundboards were not designed. An ever-growing number of red dots
appeared on the stop-heads on the console, indicating which stops could not
be used. It was only the valiant efforts of the Harrison and Harrison team
that kept the organ going, and it was not possible to use the instrument
without somebody from the firm being in attendance.
Consideration was given to restoring the organ to its original Father Willis
specification but the alterations and enlargements made by Harrison and
Harrison were so far reaching as to make this impractical. The organ,
although often referred as a Willis, was by now really a Harrison instrument,
and it was felt the character of the organ should remain intact as it now is.
The possibility of retaining the original Willis soundboards was also
investigated but their construction and deterioration was such that reliability
and longevity could not be guaranteed in the hostile environment of the hall.
The aim of the restoration was to restore the organ to its unique character
without significant tonal change.
To this end, new soundboards were provided throughout, only the original
chests being retained which are less susceptible to dry conditions. The
winding was extensively remodelled with re-leathered bellows and all new
trunking, most significantly with the provision of new main trunking of
considerably more generous dimensions than the original one. This has
probably meant that the organ has sufficient wind for the first time in its life
and certainly within living memory. One of the blowers was relocated to the
Swell chamber to allow the building of a shop in the base of the organ. New
key and stop actions have been provided, together with an up-to-date
capture system. The console was completely refurbished but every effort was
made to retain its characteristic Harrison and Harrison style, the additions for
the capture system being made as discreetly as possible.
However, some minor modifications were made. The roof has been removed
(as mentioned above) which has considerably enhanced the egress of sound
from the Swell Organ as well as the reeds on the top level. The Great reeds
were restored to their original 1924 wind pressures, achieving a noticeable
improvement in tone and power. Small adjustments were made to the breaks
of the Choir Mixture, and more extensive re-casting of the Great Cymbale
(which used to break at every octave) was undertaken. One of the alterations
made in the 1970s was the splitting of the Great Organ in such a way that
two different and independent Great Organs could be registered and played
simultaneously on different manuals. This has been rationalised a little,
effectively offering separate Willis and Harrison choruses. To further the
usefulness of the Willis Chorus (the milder of the two), a Fourniture IV has
been added. The addition of this stop restored the RAH organ's claim to be
the largest in the UK with 147 stops and 9997 speaking pipes, reclaiming its
title from the Willis organ in Liverpool Anglican Cathedral. Some Pedal pipes
were re-sited; the Mixture V was removed from the Solo box to the C side
front, and the Harmonics VII which had been in two locations was brought
together on the C# side front. The Ophicleide 32ft was moved from in front
of the Orchestral Organ swell shutters to the bass end of the organ. The
unenclosed Choir Organ was raised slightly from a position behind the
console to behind the grills above the console to assist the egress of sound.
A gala concert re-opened the organ on the evening of 26 June 2004 with
David Briggs, John Scott and Thomas Trotter at the console together with the
Royal Philharmonic Orchestra under the direction of Richard Hickox; and the
organ featured prominently in the following Promenade Concerts, after two
years of silence.
Double Open Wood
(from 7)
32
Double Open Diapason
(from 9)
32
Contra Violone
(from 64)
32
Double Quint
(from 9)
21
Open Wood I
16
Open Wood II
16
Open Diapason I
16
Open Diapason II
16
Violone
16
Sub Bass
16
Salicional
16
Viole
(from 48) in Orch
Quint
16
10
Octave Wood
(from 6)
8
Principal
(from 8)
8
Violoncello
8
Flute
8
Octave Quint
5
Super Octave
4
10, 12, 15, 17, 19, 21, 22
VII
Mixture
15, 19, 22, 26, 29
V
Double Ophicleide
(from 25)
32
Double Trombone
(from 27) in Swell
32
Ophicleide
16
Bombard
16
in Swell
Fagotto
16
16
Trumpet
(from 116) in Swell
16
Clarinet
(from 60) in Choir
16
Bassoon
(from 130) in Solo
16
Quint Trombone
Posaune
10
(from 25)
Clarion
Octave Posaune
2/3
1/3
Harmonics
Trombone
1/3
2/3
8
4
(from 25)
4
Bass Drum
Choir to Pedal
Great to Pedal
Swell to Pedal
Solo to Pedal
CHOIR AND ORCHESTRAL ORGAN 27 STOPS
FIRST DIVISION (CHOIR) UNENCLOSED 11 STOPS
Open Diapason
8
Leiblich Gedeckt
8
Dulciana
8
Gemshorn
4
Lieblich Flute
4
Nazard
1974
2
Flageolet
2/3
2
Tierce
(1974)
1
Mixture
15, 19, 22
III
Trumpet
8
Clarion
4
SECOND DIVISION (ORCHESTRA)
ENCLOSED
16
3/5
STOPS
Contra Viole
16
Violoncello
8
Viole d'Orchestre I
8
Viole d'Orchestre II
8
Viole Sourdine
8
Violes Celestes
2 ranks
Viole Octaviante
Cornet de Violes
8
4
12, 15, 17, 19, 22
V
Quintation
16
Harmonic Flute
8
Concert Flute
4
Harmonic Piccolo
2
Double Clarinet
16
Clarinet
8
Orchestral Hautboy
8
Cor Anglais
8
Tremulant
Octave
Sub Octave
Unison Off
Swell to Choir
Solo to Choir
GREAT ORGAN
ENCLOSED
32
STOPS
Contra Violone
32
Contra Gamba
*16
16
Double Claribel Flute
16
Bourdon
*16
Open Diapason I
8
Open Diapason II
8
Open Diapason III
*8
Open Diapason IV
8
Open Diapason V
*8
Geigen
8
Hohl Flute
8
Viola da Gamba
*8
Rohr Flute
*8
Quint
5
Octave
4
Principal
*4
Viola
*4
Harmonic Flute
4
Octave Quint
*2
Super Octave
2
Fifteenth
*2
1/3
2/3
Mixture
8, 12, 15, 19, 22
V
Harmonics
10, 15, 17, 19, 21, 22
VI
Fourniture
19, 22, 26, 29
*IV
Cymbale
19, 22, 26, 29, 31, 33, 36
VII
Contra Tromba
16
Tromba
8
Octave Tromba
4
Posaune
8
Harmonic Trumpet
8
Harmonic Clarion
4
Reeds on Choir
Great Second Division on
Choir *
Choir to Great
Swell to Great
Solo to Great
SWELL ORGAN 25
STOPS
16
Bourdon
16
Open Diapason
8
Viola da Gamba
8
Salicional
8
Vox Angelica
8
Flûte à Cheminée
8
Claribel Flute
8
Principal
4
Viola
4
Harmonic Flute
4
Octave Quint
2
Super Octave
2
Harmonic Piccolo
2
Mixture
8, 12, 15, 19, 22
V
Furniture
15, 19, 22, 26, 29
V
2/3
Contra Oboe
16
Oboe
8
Baryton
16
Vox Humana
8
Tremulant
Double Trumpet
16
Trumpet
8
Clarion
4
Tuba
8
Tuba clarion
4
Octave (16, 8 4 stops
only)
Solo to Swell
SOLO AND BOMBARD ORGAN 27 STOPS
FIRST DIVISION (SOLO) ENCLOSED 17 STOPS
Contra Bass
16
Flûte à Pavillon
8
Viole d'Amour
8
Doppel Flute
8
Harmonic Claribel Flute
8
Unda Maris
2 ranks
8
Wald Flute
4
Flauto Traverso
4
Piccolo Traverso
2
Double Bassoon
16
Corno di Bassetto
8
Hautboy
8
Bassoon
8
Tremulant
Double Horn
16
French Horn
8
Carillons
Tubular Bells
Octave
Sub Octave
Unison off
SECOND DIVISION (BOMBARD) FIRST 7 ENCLOSED IN SOLO BOX 10
Bombardon
16
Tuba
8
Orchestral Trumpet
8
Cornopean
8
Quint Trumpet
5
Orchestral Clarion
4
Sesquialtera
12, 15, 17, 19, 22
Octave (16, 8, 4 stops
only)
12, 15, 17, 19, 22
STOPS
1/3
V
Bombard on Choir
Contra Tuba
16
Tuba Mirabilis
8
Tuba Clarion
4
Tubas on Choir
Compass of manuals: 61 notes. Compass of pedals: 32 notes.
10 adjustable toe pistons to the Pedal Organ
5 adjustable pistons to the Choir Organ
5 adjustable pistons to the Orchestral Organ, and fixed pistons to the Clarinet
and Orchestral Hautboy
10 adjustable pistons to the Great Organ
10 adjustable pistons to the Swell Organ
5 adjustable pistons to the Solo Organ, and fixed pistons to the Corno di
Bassetto and French Horn
6 fixed pistons to the Bombard Organ as follows: Tuba, Orchestral Trumpet,
Full Enclosed, Tuba Mirabilis, Full Tubas
12 adjustable general pistons
12 toe pistons duplicating general pistons
Reversible pistons to all principal inter-departmental couplers, and Pedal
Ophicleide
Reversible toe pistons to Great to Pedal, Solo to Pedal, Solo to Great & Pedal
Sequencer 'advance' pistons below treble of Great and Swell, and toe piston
Sequencer 'back' piston below bass of Swell, and toe piston
Rocker tablets in treble end keycheeks to sequencer "advance" and "back"
Rocker tablets in bass end keycheeks to "Great and Pedal combinations
coupled" and "Swell combinations on General toe pistons"
Cancel pistons to each manual
Cancel toe piston to Pedal
General cancel piston
Setter piston
64 levels of piston memory, generals and divisionals separately switchable,
and floppy disk storage system.
Ventil switches to non-slider chests,
CONTRACT ADMINISTRATION JOHN PIKE MANDER
PROJECT MANAGEMENT GEOFF MCMAHON
TECHNICAL DESIGN GEOFF MCMAHON (TEAM LEADER)
PRODUCTION LES ROSS (WORKS MANAGER) MIKE SMITH (SHOP
FOREMAN)
PIPEWORK RESTORATION MICHAEL KÖLLMAN (METAL SHOP FOREMAN)
SHOP VOICING AND TONAL FINISHING MICHAEL BLIGHTON (TEAM
LEADER)
SITE WORK RENATO LUCATELLO (TEAM LEADER)
CONSULTANT IAN BELL
ACCESS | COMPANY PROFILE | PORTFOLIO | NEWS | CONCERTS | RECORDINGS | DISCUSSION | GUESTBOOK | CONTACT |
PRIVACY
JOHANNES KLAIS ORGELBAU GMBH & CO. KG
Organ Building - Our Skill
Concert Hall Organs Made By Klais
By Philipp Klais
After more than 2000 years of organ history we
find that the organ has not exclusively served
religious and sacral purposes during its
development over this time.
Most recently, this subject was again discussed in
another publication by Friedrich Jakob, Markus
Leuthard, Alexander C. Voûte, and Anne
Hocholi-Gysel: "The Roman Organ from
Avenches/Aventicum", published by the
Association pro Aventico, CH-1580 Avanches, in
2000.
This booklet again shows to which great extent
organs used to fulfil secular tasks, being located
and played in large rooms and theatres, but also in
arenas, in the circus, and at home.
For about the last 1000 years, the organ has
mainly served sacral purposes without completely
sacrificing its secular role, however. So was it
widely used for striking up a dance at court, for
example.
In the 19th century, the British Empire was the first Cologne Philharmonie
to revive the original tasks of the organ in large secular rooms: many Town Hall instruments, which were
created throughout the British Empire during this period, are fascinating witnesses to this development.
They are the latest ancestors of our modern concert hall organ. The British model was also appreciated in
German-speaking areas: concert hall organs made by Voit, Ladegast, and Walcker - to name only a few give proof of this tradition.
If you look at Walcker's workpiece index between 1890 and 1930, you may get the impression that Walcker
was monopolist for concert hall organs. Unfortunately, only a few of these instruments have survived
unchanged until today. Many of them were sacrified to the prevailing taste.
It's quite interesting that Walcker's early instruments of this period (until approx. 1915) only had a few
reeds, while his specifications for church organs of similar size showed reed choruses with far more
stops (in the Swell division even with Basson 16', Trompette harmonique 8', Hautbois 8', Clairon
harmonique 4').
Organ builders of the 19th and 20th centuries did by no means simply translate church organs into secular
rooms, they rather created a new organ genre, the concert hall organ.
www.orgelbau-klais.com
The concert hall organ, unchained from its liturgical integration and function, is intended to fulfil the
following tasks:
1. Blending with the orchestra – this role also involves the ability to stand "apart" from the orchestra.
2. Playing with large and small choirs – to accompany human voices.
3. Solo recital work – The organ as a solo instrument must be versatile enough to perform a wide
range of the organ literature available (this task was certainly not that important for the Walcker
organs of the late 19th/early 20th century).
4. Suitable for the training of organ students.
5. Suitable to perform modern organ music, ideally also suitable for future compositions.
Organ builders have
been facing one major
difficulty with many of
these concert hall
organ projects,
however. Frequently,
the organ must be
planned, designed and
manufactured before
the concert hall has
been completed. The
work can only be
based on the
architect's blueprints
and the acoustician's analyses and calculations. In contrast to many church projects, the organ builder has
no chance to experience the room visually and acoustically. By the way, this issue was already reported for
the Ladegast organ in the Vienna "Musikvereinssaal". The architect designed the organ case along with
the concert hall, before the hall itself had been completed.
Some examples of concert hall organs built by our workshop are shown below. Constructive arguments
and discussions between architect, acoustician and organ builder led to amazing synergy effects in many
cases. When an organ builders develops an organ solution, he enters the "field of force" between architect
and acoustician, the rulers of the concert hall: Without being an architect or an acoustician, he forces his
way deep into both fields. His work – the organ – requires space, volume; it affects the hall's acoustics and
has an architectural effect.
By Philipp Klais
Pages: [1] 2 [3]
Organ and room are considerably interdependent; thus, it's absolutely necessary to integrate the organ
design into the design process of the hall. Due to our experience, there are some major requirements
which should be met in order to succeed:
1.
Sufficient Space
Our experience with concert halls has shown that the instrument should not be located in a chamber, in a
corner or another separated room but in the concert hall itself, ideally on the face wall.
Sufficient space for proper scales and optimum space for proper articulation of each pipe are fundamental
preconditions. Sites of sufficient height and width (with respect to mechanical actions we usually avoid
organs of more than 12m width) and appropriate depth (according to our experience a depth of more than
5-6m is unfavourable for a concert hall organ) are ideal locations for concert hall organs.
2.
Surround Sound for Low Frequencies
The music instrument organ has an enormous frequency range (from 16Hz to auditory treshold) and a
bottom-up tonal pattern. Low frequencies are of particular importance in this context. Architects and
acousticians are asked to design rooms with a favourable infrastructure for these low frequencies. We
desire solid walls and ceilings. We also ask for a longer reverberation time for the extremely low frequency
range (16 to approx. 500Hz) to build up the organ sound out of a warm, full and rich foundation.
3.
Specifications With a Wide Range of Foundation Stops
Looking at the following specifications in chronological order you will realize an increasing number of
foundation stops. We experienced that a wide range of foundation stops is one of the major preconditions
in order to create a good concert hall organ: from the softest 8‘ narrator to high-pressure Flute 8‘ and
Stentorgambe 8‘, from the lyrical Clarinet 8‘ over Corno di Bassetto to Tuba 8‘. And not to forget the flue
stops in the 4' range! Sparse use of reed stops can be of advantage, however. All higher stops have to be
selected carefully – and sparsely - with respect to their future role and the hall's acoustics. Even though it is
our goal to create a very broad musical performance range, it is important to develop an instrument with its
own distinct character and not to resort to the – sometimes well-meant - idea of a universal organ.
By Philipp Klais
Pages: [1] [2] 3
Concert Hall Organs built by Klais since 1924
Year of Construction
1924
1935
1951
1959
1961
1964
1965
1968
1971
1974
1979
1980
1981
1982
1984
1985
1986
1987
1990
1993
1995
1996
1998
1999
2000
2001
2002
City
Cologne, Fair Exhibition
Brussels, World Exhibition
Düren, Blindenanstalt
Bonn, Beethovenhalle
Tokyo/Japan, Musashino College of Music
Kassel, Town Hall
Solingen, Town Hall
Detmold, North-West German Academy of Music
Nagoya/Japan, Aichi University
Tokyo/Japan, Ueno Gakuen Music College
Saarbrücken, Federal Music College
Yokohama/Japan, Concert Hall
Düsseldorf, Tonhalle
Delaware, Ohio/USA
Ohio Weslyan University, Gray Chapel
Ashiya/Japan, Konan Women's College
Osaka/Japan, University of Arts
Hiroshima/Japan, Elisabeth University
Iruma/Japan, Musashino University
Hamamatsu/Japan, Town Hall
Munich, Cultural Center on Gasteig, Philharmonic Hall
Kanazawa/Japan, Horikugakuin High School
Cologne, Philharmonic Hall
Brisbane/Australia, Cultural Center
Singapore, Victoria Memorial Hall
Birmingham/England, Symphony Hall
Front Design and Case
Athens/Greece, Concert Hall
London/England, St. John's Smith Square
Kyoto/Japan, Concert Hall
Krakow/Poland, Philharmonic Hall
Bochum, Ruhr University - Auditorium Maximum
Kuala Lumpur/Malaysia, Petronas Concert Hall
Halle/Saale, Georg-Friedrich-Händel Hall
Birmingham/England, Symphony Hall
Singapur, "The Esplanade"
Divisions/Stops
V / 130
IV / 62
III / 40
IV / 67
IV / 55
III / 56
IV / 53
IV / 53
III / 37
III / 36
III / 54
III / 30
II / 28
IV / 55
III / 35
II / 35
IV / 38
IV / 67
II / 26
IV / 70
II / 20
III / 70
IV / 88
II / 28
IV / 81
IV / 76
III / 48
IV / 90
III / 50
IV / 82
III / 44
III / 56
IV / 81
III / 61
2004
in Arbeit
in Auftrag
in Auftrag
Dortmund, Konzerthaus
Graz, Stefaniensaal
Madison, Overture Hall
Moskau, International House of Music
Sankt Petersburg, Philharmonie
Muscat / Oman, Auditorium Guest Complex
Beijing, National, Grand Theatre
Beijing, National, Grand Theatre - Übungsorgel
III / 53
III / 51
III / 65
IV / 84
III / 58
III / 39
IV / 113
II / 7
Conclusion:
These examples may have shown how much emphasis we put on a good cooperation between organ
expert, acoustician, architect and organ builder.
In our opinion, there is no ideal standard solution for a concert hall organ. Each instrument must be
planned, developed and designed individually in accordance with the musical, acoustic and architectural
features of the room.
During many years of cooperation we came to value organ experts, acousticians and architects not only as
experts in their field and engineers, but as artists, who individually contribute to the overall tonal concept.
From the organ builder's point of view, which may be somewhat limited, concert hall designs in shoe-box
style with parallel side walls have turned out to be quite favourable. However, divergent solutions may lead
to a convincing result as well.
A well-known architect, asked for his opinion about his cooperation with a well-known acoustician, let
himself be carried away into making this remark: "He is a man with four ears but no eyes."
This interesting and exciting cooperation between the two of them led to one of the most fascinating
concert halls of the world.
Any cooperation between organ expert, acoustician, architect and organs builder results in the fact that four
artists with a total of 8 eyes and 8 ears struggle for the best possible solution. How these "physical
attributes" may be actually distributed among the persons involved, cannot be determined, however.
Konzertorgeln • Concert Organs
Brisbane/AUS, Queensland Cultural Centre, Concert
Hall
1987, IV/88, mech./elektr.
I. POSITIV C - c4
Pommer
16’
Praestant
8’
Holzgedackt
8’
Quintade
8’
Bifaria
8’
Principal
4’
Rohrflöte
4’
Octave
2’
Waldflöte
2’
Larigot
Sesquialter
1 1/3’
2 2/3’II
Scharff
1 1/3’ V
Cymbel
2/3’ IV
Dulcian
16’
Solotrompete
8’
Cromorne
8’
Tremulant
II. GREAT C - c4
Praestant
16’
Rohrgedackt
16’
Principal
8’
Doppelflöte
8’
Gemshorn
8’
Nasard
5 1/3’
Octave
4’
Nachthorn
4’
Terz
3 1/5’
Quinte
2 2/3’
Superoctave
2’
Mixtur
2’ VI
Acuta
1’ V
Cornet
8’ V
Trompete
16’
Trompette
8’
Trompete
8’
Clairon
4’
Glockenspiel
III. SWELL C - c4
Bourdon
16’
Geigenprincipal
8’
Flûte harm.
8’
Metallgedackt
8’
Spitzgamba
8’
Unda maris
8’
Fugara
4’
Flûte octav.
4’
Octavin
2’
Plein jeu
Basson
2 2/3’ VI
16’
Trompette harm.
8’
Hautbois
8’
Clairon harm.
4’
Tremulant
IV. SOLO C - c4
Salicional
16’
Rohrflöte
8’
Gamba
8’
Fernflöte
8’
Vox coelestis
8’
Blockflöte
4’
Salicet
4’
Nasard
2 2/3’
Flageolett
Terz
Sifflet
Harm. aeth.
2’
1 3/5’
1’
2 2/3’ IV
Clarinette
8’
Schalmey
8’
Vox humana
8’
Tremulant
TROMPETERIA C - c4
Tromp. magna
16’
Tromp. de bat.
8’
Bajoncillo
4’
Orlos
8’
PEDAL C - g1
Praestant
32’
Untersatz
32’
Principal
16’
Subbaß
16’
Contrabaß
16’
Trichtergedackt
8’
Octave
8’
Cello
8’
Superoctave
4’
Koppelflöte
4’
Jubalflöte
2’
Hintersatz
4’ V
Pedalmixtur
2’ IV
Aliquot
5 1/3’ IV
Contrabombarde
32’
Bombarde
16’
Posaune
16’
Trompette
8’
Holztrompete
8’
Schalmey
4’
Tremulant Pedal-Solo
KOPPELN
I - II
III - II
IV - II
III - I
IV - I
IV - III
Tromp. - II
Tromp. - IV
I-P
II - P
III - P
IV - P
Tromp. - P
Cymbelstern
Nachtigall
Bochum, Ruhr-Universität, Auditorium Maximum
1998, IV/82, mech.-elektr./elektr.
I. HAUPTWERK C-c4
Praestant
16’
Gedackt
16’
Principal I-II
8’
Flûte harm.
8’
Doppelgedackt
8’
Salicional
8’
Pifaro
8’
Octave
4’
Blockflöte
4’
Fugara
4’
Großquinte
5 1/3’
Großterz
3 1/5’
Quinte
2 2/3’
Octave
2’
Waldflöte
2’
Mixtur V-VII
2 2/2’
Cymbal IV
1’
Cornet V (ab g°)
8’
Trompete
16’
Trompete
8’
Clairon
4’
II. POSITIV C-c4
Rohrgedackt
16’
Principal
8’
Quintadena
8’
Portunalflöte
8’
Unda maris (ab c°)
8’
Octave
4’
Koppelflöte
4’
Viola
4’
Sesquialter II
Bauernflöte
Quinte
Mixtur V
Scharff IV
Dulcian
2 2/3’
2’
1 1/3’
2’
1 1/3’
16’
Cromhorn
8’
Klarinette
8’
Horn
8’
Tremulant
III. RECIT C-c4
Salicional
16’
Diapason
16’
Bourdon
8’
Flute traversiere
8’
Konzertflöte
8’
Aeoline
8’
Vox celestis (ab c°)
8’
Octave
4’
Flute octaviante
4’
Violine
4’
Nasat
Doublette
2 2/3’
2’
Kleincornet III (ab g°)
2 2/3’
Plein jeu harm.III - V
2’
Harm. aetheria III
2 2/3’
Basson
16’
Tromp. harm.
8’
Hautbois
8’
Voix humaine
8’
Clairon harm.
4’
Tremulant
IV. BOMBARDWERK C-c4
Tuba (horiz.)
16’
Tuba (horiz.)
8’
Trompette en chamade (horiz.)
8’
Trompette en chamade (horiz.)
4’
PEDAL C-f1
Principalbass
32’
Untersatz
32’
Principal
16’
Violonbass
16’
Subbass
16’
Zartbass
16’
Octave
8’
Flötbass
8’
Cello
8’
Choralbass
4’
Flöte
4’
Nachthorn
2’
Großcornet III
Hintersatz V
Rauschquinte III
10 2/3’
4’
2 2/3’
Bombarde
32’
Posaune
16’
Fagott
16’
Trompete
8’
Clairon
4’
KOPPELN
II - I, III - I,
IV - I, III II, IV - II,
IV - III,
Sub III - I,
Super III I, Super in
III,
Sub in III
I - P, II - P,
III - P, IV P
Birmingham/GB, Symphony Hall
2002, IV/82, mech./elektr. + 2. elektr. Spieltisch
I. POSITIV C-c4
Quintadena
16’
Praestant
8’
Voce umana (ab c°)
8’
Gedackt
8’
Principal
4’
Koppelflöte
4’
Nasat
Octave
2 2/3’
2’
Terzflöte
1 3/5’
Sifflöte
1 1/3’
Scharff V
1 1/3’
Dulzian
16’
Trompette
8’
Cromorne
8’
Tremulant
II. GREAT C-c4
Praestant
16’
Principal
8’
Flaut major
8’
Gambe
8’
Bordun
8’
Quinte
5 1/3’
Octave
4’
Nachthorn
4’
Terz
3 1/5’
Quinte
2 2/3’
Superoctave
2’
Mixtur V
2’
Cymbel III
1’
Cornet V
8’
Trompete
16’
Trompete
8’
Clairon
4’
III. SWELL C-c4
Bourdon
16’
Flûte harmonique
8’
Gamba
8’
Voix céleste
8’
Rohrflöte
8’
Principal
4’
Flûte octaviante
4’
Nasard
2 2/3’
Octavin
2’
Tierce
1 3/5’
Sifflet
1’
Plein jeu V
2’
Basson
16’
Trompette harmonique
8’
Hautbois
8’
Voix humaine
8’
Clairon harmonique
4’
Tremulant
IV. SOLO C-c4
Traversflöte
8’
Cor de nuit
8’
Salicional
8’
Céleste
8’
Viola
4’
Rohrflöte
4’
Waldflöte
2’
Baryton
Clarinette
16’
8’
Tremulant
CHAMADEN C-c4
Trompette en cham.
8’
Trompette en cham.
4’
ECHO C-c4
Unda maris I - II
Trombone
8’
16’
Trumpet
8’
French Horn
8’
Tuba
8’
Cor anglais
8’
Tuba clarion
4’
PEDAL C-g1
Openflute
32’
Untersatz
32’
Principal
16’
Violon
16’
Subbass
16’
Octave
8’
Cello
8’
Gedackt
8’
Superoctave
4’
Hohlflöte
4'
Mixtur IV
2 2/3’
Contrabombarde
32’
Bombarde
16’
Fagott
16’
Trompete
8’
Clairon
4’
KOPPELN
Positiv
Swell
Solo
I - II Great
III - II
Great
IV - II
Great
Chamade
- II Great
Right Echo
- II Great
Swell
Solo
III - I
Positiv
IV - I
Positiv
Chamade
- I Positiv
Left Echo
- I Positiv
Solo IV
- III Swell
Chamade
- IV Solo
Sub Chamade
- Chamade
Positiv
I - P Pedal
Great
II - P Pedal
Swell
Solo
Chamade
III - P
Pedal
IV - P
Pedal
- P Pedal
Singapore, Arts Center The Esplanade
2002, III/61, mech./elektr. + 2. elektr. Spieltisch
I. GREAT C-c4
Praestant
16’
Principal
8’
Flûte harmonique
8’
Gambe
8’
Octave
4’
Flûte octaviante
4’
Quinte
2 2/3’
Superoctave
2’
Cornet V (ab g°)
8’
Mixtur V
2’
Acuta IV
1’
Trompete
16’
Trompete
8’
Clairon
4’
II. SWELL C-c4
Rohrbordun
16’
Diapason
8’
Bordun
8’
Flûte traversière
8’
Unda maris ab c°
8’
Principal
4’
Blockflöte
4’
Waldflöte
2’
Fourniture V
2 2/3’
Scharff III
1 1/3’
Basson
16’
Trompette harm.
8’
Hautbois
8’
Clairon harm.
4’
Tremulant
III. SOLO C-c4
Dulciana
16’
Cor de nuit
8’
Viola
8’
Voix céleste (ab c°)
8’
Rohrflöte
4’
Fugara
4’
Nasard
2 2/3’
Octavin
2’
Tierce
1 3/5’
Larigot
1 1/3’
Piccolo
1’
Harm. aetheria III - IV
2 2/3’
Cromorne
8’
Vox humana
8’
Corno di Bassetto
8’
Tremulant
BOMBARDE
Tuba magna
16’
Tuba mirabilis (horiz.)
8’
Tuba clairon (horiz.)
4’
Grand Cornet V (ab g°)
8’
PEDAL C-g1
Praestant
32’
Untersatz
32’
Principal
16’
Violon
16’
Subbass
16’
Octave
8’
Cello
8’
Flûte
8’
Tenoroctave
4’
Mixtur IV
4’
Contrabombarde
32’
Bombarde
16’
Fagott
16’
Posaune
8’
KOPPELN
II - I, III - I, Bombarde - I,
III - II, Bombarde - II,
Sub II - II, Bombarde - III
I - P, II - P, III - P,
Bombarde - Pedal,
I - P combined
RIEGER ORGELBAU
Shanghai Oriental Art Center - Shanghai
2005
Hauptwerk
C - c4
Positiv
C - c4
Schwellwerk
Principal
Bourdon
I
16'
16'
Quintatön
Principal
II
16'
8'
Pommer
Diapason
III
16'
8'
C - c4
Principal
8'
Quintade
8'
Gambe
8'
Gamba
Rohrflöte
8'
8'
Bourdon
Prestant
8'
4'
Voix céleste
Flûte harm.
8'
8'
Flûte harm.
8'
Rohrflöte
4'
Cor de nuit
8'
Großquinte
Octave
5 1/3'
4'
Nasat
Octave
2 2/3'
2'
Prestant
Flûte oct.
4'
4'
Flöte
4'
Terz
1 3/5'
Nazard harm.
2 2/3'
Großterz
Quinte
3 1/5'
2 2/3'
Quinte
Septime
1 1/3'
1 1/7'
Flageolet
Tierce harm.
2'
1 3/5'
Septime
2 2/7'
Sifflöte
Superoctave
Mixtur major
IV
2'
2'
Mixtur
Zimbel
Mixtur minor
IV
1'
Cornet
Trompete
V
8'
16'
Trompete
Trompete
Solo (expr.)
1'
Piccolo harm.
1 1/3'
2/3'
Fourniture
Basson
Dulcian
16'
Trompette harm.
8'
Krummhorn
Tremulant
8'
Hautbois
Clairon harm.
8'
4'
IV-V
IV
8'
4'
2'
16'
Tremulant
C - c4
Bombarde
V
C - c4
Pedal
C -g1
Salicional
Salicional
Bourdon
16'
8'
8'
Cornet de B.
Chamade
Chamade
V
8'
16'
8'
Subbass
Principal
Violonbass
32'
16'
16'
Doppelflöte
Unda maris
Flûte trav.
8'
8'
4'
Chamade
4'
Subbass
Quintbass
Principal
16'
10 2/3'
8'
Dulciana
Nazard
Quarte de N.
4'
2 2/3'
2'
Cello
Gedackt
Terz
8'
8'
6 2/5'
1 3/5'
2'
8'
8'
8'
Septime
Quinte
Octave
Hintersatz
Kontrabomb.
Bombarde
Fagott
Posaune
Klarine
4 4/7'
5 1/3'
4'
4'
32'
16'
16'
8'
4'
Tierce
Harm. aeth.
Trompete
Clarinette
Voix humaine
Tremulant
IV
1'
II-VI
IV
IV-V
Shanghai Oriental Art Center - Shanghai
2005
Couplers mech.:
II/I, III/I, IV/I, III/II, IV/II, I/P, II/P, III/P, IV/P
Couplers el.:
II/I, III/I, IV/I, V/I, III/II, IV/II, V/II, IV/III,V/III,V/IV, V/P
I/I 16', I/I 4',III/I 16', III/I 4',IV/I 16', IV/I 4'
II/II 16', II/II 4', III/II 16', III/II 4',IV/II 16',IV/II 4'
III/III 16', III/III 4',IV/IV 16', IV/IV 4',P/P 16', P/P 4'
Comb. System:
1000 generals
+ 3 Inserts each
x 16 User
ID Card
Memory Card
4 Crescendi - adjustable
Sequencer
Consoles:
Main Console (mech.)
Mobile Console (el.)
Special:
Rieger Tuning System
Culture Center - Shenzhen
2005
Great
C - c4
Positiv (expr.)
C - c4
Swell
Principal
Bourdon
I
16'
16'
Quintatön
Principal
II
16'
8'
Pommer
Diapason
III
16'
8'
C - c4
Principal
8'
Quintade
8'
Gambe
8'
Gamba
Rohrflöte
8'
8'
Bourdon
Prestant
8'
4'
Voix céleste
Flûte harmonique
8'
8'
Flûte harmonique
8'
Rohrflöte
4'
Cor de nuit
8'
Octave
Flöte
4'
4'
Nasat
Octave
2 2/3'
2'
Prestant
Flûte octaviante
4'
4'
Quinte
2 2/3'
Terz
1 3/5'
Nazard harm.
2 2/3'
Superoctave
Mixtur
VI
2'
2'
Quinte
Mixtur
V
1 1/3'
1 1/3'
Octavin
Tierce harm.
2'
1 3/5'
Scharff
V
1'
Zimbel
IV
2/3'
Fourniture
Cornet
Trompete
V
8'
16'
Dulcian
Krummhorn
16'
8'
Basson
Trompette harm.
Trompete
8'
Regal
8'
Trompete
4'
Tremulant
VI
2 2/3'
16'
8'
Hautbois
8'
Voix humaine
Clairon harm.
8'
4'
Tremulant
Solo
C - c4
Bombarde
Salicional
8'
Seraphon
Bourdon
Flûte double
Unda maris
8'
8'
8'
Cornet
Chamade
Chamade
Flûte traversière
Dulciane
Nazard
4'
4'
2 2/3'
Chamade
Biazhong
Quarte de Naz.
Tierce
Sifflet
Harmonia aeth.
1. Trompette
2. Trompette
Clarinette
Chimes
Tremulant
IV
II-V
V
C - c4
Pedal
8'
Principal
32'
8'
16'
8'
Principal
Violonbaß
Offenbaß
16'
16'
16'
4'
Subbaß
Quintbaß
Principalbaß
16'
10 2/3'
8'
2'
1 3/5'
1'
Violon
Gedackt
Choralbaß
8'
8'
4'
2 2/3'
8'
8'
8'
Flöte
Flachflöte
Rauschpfeife
Kontrabombarde
Bombarde
Fagott
Trompete
Klarine
4'
2'
2 2/3'
32'
16'
16'
8'
4'
V
0
III
C - g1
Culture Center - Shenzhen
2005
Couplers mech.:
II/I, III/I, IV/I, III/II, IV/II, I/P, II/P, III/P, IV/P
Couplers el.:
II/I, III/I, IV/I, V/I, III/II, IV/II, V/II, IV/III,V/III,V/IV, V/P
I/I 16', I/I 4',III/I 16', III/I 4',IV/I 16', IV/I 4'
II/II 16', II/II 4', III/II 16', III/II 4',IV/II 16',IV/II 4'
III/III 16', III/III 4',IV/IV 16', IV/IV 4',P/P 16', P/P 4'
Comb. System:
1000 generals
+ 3 Inserts each
x 16 User
ID Card
Memory Card
4 Crescendi - adjustable
Sequencer
Consoles:
Main Console (mech.)
Mobile Console (el.)
Special:
Rieger Tuning System
ORGUES LÉTOURNEAU
The Davis Concert Organ
The Francis Winspear Centre for Music, Edmonton, Alberta
Orgues Létourneau Limitée, Opus 50
GRAND-ORGUE
(125mm wind)
RÉCIT EXPRESSIF
22 stops; 33 ranks; 1,879 pipes
16’
16’
8’
8’
8’
8’
5 1/3’
4’
4’
3 1/5’
2’
2’
III
IV-VI
II-IV
V
16’
8’
4’
Montre .............................. 61 pipes
Bourdon (wood) .............................. 61 ”
Montre I .................................. 61 ”
Montre II ................................. 61 ”
Flûte harmonique .................... 61 ”
Flûte à cheminée ..................... 61 ”
Gros Nazard ............................. 61 ”
Prestant ................................... 61 ”
Flûte conique ........................... 61 ”
Grosse Tierce ........................... 61 ”
Doublette ................................. 61 ”
Flûte à bec ............................... 61 ”
Grosse Fourniture (12-15-19) .. 183 ”
Fourniture (19-22-26-29) ............. 306 ”
Cymbale (26-29) ............................ 208 ”
Cornet (from tenor C) .................... 245 ”
Bombarde ............................... 61 ”
Trompette ................................ 66 ”
Clairon .................................... 78 ”
16’
8’
4’
Trompette en chamade ..... BOMBARDE
Clairon en chamade .......... BOMBARDE
(130mm wind)
Bourdon (wood) ....................... 61 pipes
Diapason ................................. 61 ”
Bourdon .................................. 61 ”
Viole de gambe ........................ 61 ”
Voix céleste (from GG) ..................... 54 ”
Prestant ................................... 61 ”
Flûte octaviante (harmonic) ........... 61 ”
Nazard ..................................... 61 ”
Octavin (harmonic) ........................... 61 ”
Quarte de nazard ..................... 61 ”
Tierce ...................................... 61 ”
Plein jeu (15-19-22-26) ................. 244 ”
Cymbale (22-26-29) ...................... 183 ”
Basson ..................................... 61 ”
Trompette ................................ 66 ”
Hautbois .................................. 61 ”
Voix humaine ........................... 61 ”
Clairon .................................... 78 ”
16’
8’
8’
8’
8’
4’
4’
2 2/3’
2’
2’
1 3/5’
IV
III
16’
8’
8’
8’
4’
Tremblant
Tremblant
POSITIF EXPRESSIF
(130mm wind)
16’
8’
8’
8’
8’
4’
4’
2 2/3’
2’
2’
1 3/5’
1 1/3’
IV
III
8’
8’
8’
Cor de chamois ................. 61 pipes
Principal .................................. 61 ”
Bourdon (wood) ............................... 61 ”
Dulciane .................................. 61 ”
Dulciane céleste (from tenor C) ..... 49 ”
Octave ..................................... 61 ”
Flûte à fuseau .......................... 61 ”
Quinte ..................................... 61 ”
Doublette ................................. 61 ”
Flûte ........................................ 61 ”
Tierce ...................................... 61 ”
Larigot ..................................... 61 ”
Fourniture (19-22-26-29) ............. 244 ”
Cymbale (29-33-36) ...................... 183 ”
Trompette ................................ 66 ”
Cromorne ................................ 61 ”
Clarinette ................................. 61 ”
Tremblant
16’
8’
4’
BOMBARDE EXPRESSIF (250mm wind)
8’
8’
8’
4’
2’
V
V
8’
16’
8’
4’
Montre .................................... 61 ”
Viole d’orchestre ..................... 61 ”
Viole céleste (from GG) ................... 54 ”
Prestant ................................... 61 ”
Doublette ................................. 61 ”
Fourniture (12-15-19-22-26) ........ 305 ”
Grand Cornet (from tenor C) ........ 245 ”
Tuba Magna † .......................... 66 ”
Trompette en chamade ∞ .......... 61 ”
Trompette en chamade ∞ .......... 66 ”
Clairon en chamade ∞ ............... 78 ”
Rossignol
Clochettes
PÉDALE
† — 425mm wind
∞ — 300mm wind
(130mm and 150mm wind)
25 stops; 25 ranks; 800 pipes
32’
32’
16’
16’
16’
16’
16’
10 2/3’
8’
Montre .............................. 32 pipes
Bourdon (wood) ........................ 32 ”
Contrebasse (wood) ........................ 32 ”
Montre ......................... GRAND-ORGUE
Soubasse (wood) .............................. 32 ”
Bourdon .................................. RÉCIT
Cor de chamois ..................... POSITIF
Quinte ..................................... 32 ”
Prestant * ................................. 32 ”
PÉDALE CONTINUED
8’
Violoncelle ............................... 32 ”
8’
Bourdon * ......................................................... 32 ”
4’
Basse de chorale * ................................... 32 ”
4’
Cor de nuit * ................................................... 32 ”
2’
Flûte * .................................................................... 32 ”
III
Grosse Fourniture (5-8-12) ........... 96 ”
V
Fourniture (12-15-19-22-26) ........ 160 ”
32’ Bombardon ............................. 32 ”
16’ Bombarde ............................... 32 ”
16’ Basson ..................................... 32 ”
8’
Trompette * ..................................................... 32 ”
4’
Clairon * ............................................................. 32 ”
2’
Clairon doublette * ................................... 32 ”
Tremblant (affects stops marked with *)
16’
8’
4’
TOTALS:
COUPLERS:
All usual suboctave, unison and octave interand intra-manual couplers.
CONSOLE ACCESSORIES:
Combination action by Solid State Organ Systems,
shared by both consoles.
300 levels of memory, each controlling:
• 8 adjustable pistons for Grand-Orgue
• 8 adjustable pistons for Positif
• 8 adjustable pistons for Récit
• 6 adjustable pistons for Bombarde
• 8 adjustable pistons for Pédale
• 16 adjustable General pistons
• 1 adjustable Tutti piston
General crescendo pedal with bargraph
indicator, featuring 1 fixed and 3 adjustable
programs of 60 stages each.
Independent registration sequencer with up to
3000 adjustable sequences.
Total Recall disk-based memory back-up system.
Manual Transfer feature exchanging Positif and
Grand-Orgue with appropriate pistons.
Pédale to Grand-Orgue Pistons coupler.
WINDING:
The organ uses four blowers requiring a
total of 25 horsepower.
www.letourneauorgans.com
Cat numb:
Cat date:
Last rev:
Columbus, Georgia (USA)
RiverCenter for Music
Builder:
Year:
Opus:
Case
Builder:
Date:
Materials:
Console type:
Stop controls:
Pedals type:
Action
Key:
Stop:
Temperament:
Pitch (a', Hz):
No. stops:
No. ranks:
No. pipes:
Wind supply
Power:
Pressures (mm):
Primary source:
00101400102
5/2003
Orgues Létourneau Ltée
N/A
60
Integral
Draw knob
Radiating, concave
57
Builder's Web site [En Fr].
Stop list
Grand-Orgue
Bourdon
Montre
Flûte Harmonique
Flûte à Cheminée
Flûte Douce
Flûte Céleste
Prestant
Flûte Conique
Grosse Tierce
Nasard
Doublette
Tierce
Fourniture
Bombarde
Bombarde
Tremblant
16
8
8
8
8
8
4
4
3 1/5
2 2/3
2
1 3/5
IV-VI
16
8
*
*
*
*
*
Récit (enclosed)
Contre Viole
Montre
Bourdon
Viole
Viole Céleste
Prestant
Flûte à Cheminée
Nasard
Doublette
Quarte de Nasard
Tierce
Mixture
Basson
Trompette
Hautbois
Clairon
Tremblant
16
8
8
8
8
4
4
2 2/3
2
2
1 3/5
IV
16
8
8
4
Positif
Salicional
Bourdon
Prestant
Flûte à Fuseau
8
8
4
4
Letourneau Organs
Nasard
Doublette
Quarte de Nasard
Tierce
Larigot
Mixture
Trompette
Cromorne
Tremblant
2 2/3
2
2
1 3/5
1
IV
8
8
Pédale
Montre
Bourdon
Contre Viole
Principal
Bourdon
Octave
Flûte
Mixture
Contrebombarde
Bombarde
Basson
Trompette
Clairon
Bourdon
16
16
16
8
8
4
4
IV
32
16
16
8
4
32
Récit
Ext
Ext
Récit
Electronic1
Letourneau Organs
C.B. FISK, INC
NEW ADDRESS:
C. B. Fisk, Inc.
21 Kondelin Rd
Gloucester MA 01930
VOX 978.283.1909
FAX 978.283.2938
[email protected]
Personnel of C.B. Fisk
Chairman of the Board
Virginia Lee Fisk
President
Steven A. Dieck
Executive Vice President &
Tonal Director
David C. Pike
Vice President for Operations
Gregory R. Bover
Our Staff
Kathleen Hallman Adams
Diane M. Bevins
Jonas Berg
Steven A. Boody
Gregory R. Bover
Greg Cliff
Robert W. Cornell
Linda Cook
Steven A. Dieck
Patrick Fischer
Jason Fouser
William O. Finch
Andrew X. Gingery
Joshua Goldberg
J. Scott Halkey
Nami Hamada
Robert L. Hazard
Rick Isaacs
Terry L. Joris
David S. G. Kazimir
Stephen Paul Kowalyshyn
Michael B. Kraft
Stephen F. Malionek
Charles Nazarian
Mark Edward Nelson
Mika Oba
Brian Pike
David C. Pike
Scott Ryder
C. B. Fisk Inc., was founded in
Gloucester, Massachusetts, in 1961 by
Charles Brenton Fisk. A person of many
interests and talents, he chose
organbuilding as the profession to
combine his extraordinary aptitude in
physics with his lifelong love of music.
He apprenticed with Walter Holtkamp,
Sr., in Cleveland, Ohio, then went on to
become a partner and later sole owner of
the Andover Organ Company. He left to
establish C. B. Fisk in Gloucester near
where he had spent childhood summers
with his family.
The workshop attracted bright young
co-workers who combined their talents in
music, art, engineering, and cabinet
making to build the organs which would
redefine modern American
organbuilding. Always experimenting, C.
B. Fisk was the first modern American
organbuilder to abandon the
electro-pneumatic action of the early
twentieth century and return to the
mechanical (tracker) key and stop action
of the historical European and Early
American instruments. The Fisk firm
went on to construct the largest
four-manual mechanical action
instruments built in America in this
century first at Harvard University in
1967, then again at House of Hope
Church in St. Paul, Minnesota, in 1979.
The firm has also built a number of
instruments based on historical organs,
among them one at Wellesley College,
patterned after North German organs of
the early 17th century, and one at the
University of Michigan in the manner of
the Saxon builder, Gottfried Silbermann.
The large four-manual dual-temperament
instrument at Memorial Church, Stanford
University used modern technology to
combine many different aspects of
historical organ styles The four-manual
instrument of 66 stops for the new
Meyerson Symphony Center in Dallas
was designed to convincingly play with
orchestra as well as in solo repertoire.
C. B. Fisk still combines the science of
physics and the art of music under the
leadership of Steven Dieck and David
www.cbfisk.com
Dana Sigall
Theodore Stoddard
Akimasa Tokito
David M. Waddell
Pike and the cohesive staff selected and
trained by Charles Fisk. Fisk saw himself
as a teacher and tirelessly shared his
insight and experience with others. His
style of leadership, modeled after the
team of scientists with whom he worked
on the Manhattan Project, involved his
co-workers in the making of daily
decisions about the concepts and
construction of the instruments. The
same people who were once drawn by
Charles Fisk's bold ideas and gentle
manner now carry on his work and share
their insight and experience with another
generation of organbuilders. This
dedicated community of workers
continues to use its talented imagination
to stretch the boundaries of
organbuilding, producing instruments
that will add to the rich heritage of organs
and the performance of organ music.
Writings of Charles Fisk:
Articulateness and the Organ: A Problem
for the Organ Builder
The Organ's Breath of Life
Pipe Flueways
The Architect as Organ Maker
Musical Differences
Some Thoughts on Pipe Metal
Sea Mossing at Milk Island
www.cbfisk.com
Opus 100
Meyerson Symphony Center
Dallas Symphony Orchestra
International Organ Competition
1992
Discography
Résonance
I and/or IV
Prestant
32'
Montre
16'
Montre
8'
Violoncelle
8'
Flûte harmonique
8'
Bourdon
8'
Quinte
5 1/3'
Prestant
4'
Octave
4'
Quinte
2 2/3'
les Octaves
III
les Quintes
VI
Plein jeu
VIII
Bombarde
16'
Trompette
8'
Clairon
4'
Great
I
Principal
Quintadehn
Octava
Spillpfeife
Octava
Rohrflöte
Superoctava
Mixtur
Trommeten
16'
16'
8'
8'
4'
4'
2'
VIII-XII
16'
Rising the full height of the concert chamber
behind the stage, the Herman W. and Amelia
H. Lay Family Concert Organ serves as the
visual focal point of the Eugene McDermott
Concert Hall of the Morton H. Meyerson
Symphony Center. One of the largest
mechanical action organs ever built for a
concert hall, the instrument is Opus 100 of
C.B. Fisk, Inc. of Gloucester, Massachusetts.
The construction and installation of the
organ was made possible by a generous gift
of the Lay family.
C.B. Fisk, Inc. was founded in 1961 by
Charles Brenton Fisk (1925-1983). It was Fisk
who made the initial proposal to the
Meyerson Symphony Center Organ
Committee in 1982. Throughout his career,
Fisk sought to recapture the sound, touch
and enduring qualities of historical
instruments in creating new insturments on
which a wide variety of organ literature could
be performed. C.B. Fisk, Inc. is
internationally recognized for its innovation,
high level of craftsmanship, architectural
sensitivity and the tonal quality of its
instruments, achieved by the meticulous
voicing of each pipe. It is for these reasons
that the firm was selected by the Meyerson
Symphony Center Organ Committee, chaired
www.cbfisk.com
Trommeten
8'
Positive
II
by Dr. Eugene Bonelli, then dean of the
Meadows School of the Arts at Southern
Methodist University.
Bourdon
16'
Principal
8'
Dulciane
8'
Gedackt
8'
Octave
4'
Baarpijp
4'
Nazard
2 2/3'
Doublette
2'
Tierce
2' & 1 3/5'
Sharp
VI-VIII
Trompette
8'
Cromorne
8'
Trechterregal
8'
Swell
III
Flûte traversière
Viole de gambe
Voix cèleste
Bourdon
Prestant
Flûte octaviante
Octavin
Cornet
Basson
Trompette
Hautbois
Voix humaine
Clairon
Tuba
IV
Tuba Magna
Tuba
16
Royal Trumpet
Tuba Clarion
16
8'
8'
8'
8'
4'
4'
2'
III
16'
8'
8'
8'
4'
16'
8'
8'
4'
Pedal
Prestant
ext
32'
Untersatz
32'
Prestant
Gt
16'
Contrebasse 32
16'
Montre
Res
16'
Bourdon
16'
Quinte
16 10 2/3'
Flûte
8'
Violoncelle Res
8'
Flûte harmoniqueRes 8'
Bourdon
Res
8'
Quinte
Res 5 1/3'
Prestant
Res
4'
photo: Jay Brousseau
The design of the instrument evolved from
consultations between architect I.M. Pei,
acoustician Russell Johnson, and principals
from Fisk. The team of designers, included
Robert Cornell, Senior Design Engineer;
Charles Nazarian, Visual Designer and 32
artists and craftsmen who played an integral
role in the design, construction, installation,
tuning and voicing of this, the one
hundredth organ created by the 32-year old
firm. Nazarian designed a free-standing case
of warm-hued cherry wood to house the
4,535 pipes and interior mechanisms of the
instrument. Other artists involved in creation
include Jas. Gillanders. Ltd. of Toronto, who
crafted the millwork on the massive cherry
wood case, and August Laukhuff of
Germany who had one of few facilities large
enough to manufacture the 32-foot polished
tin pipes.
www.cbfisk.com
Octave
Res
4'
Quinte
Res 2 2/3'
Mixture
Res
VI
Tuba Profunda ext
32'
Bombarde
Res
16'
Tuba Magna
Tuba
16'
Posaune
16'
Trompette
Res
8'
Tuba
Tuba
8'
Royal Trumpet Tuba
8'
Clairon
Res
4'
Couplers
Great to Rèsonance
Positive to Rèsonance
Swell to Rèsonance
Tuba to Rèsonance
Rèsonance octaves graves
Positive to Great
Swell to Great
Tuba to Great
Swell to Positive
Rèsonance to Pedal
Great to Pedal
Positive to Pedal
Swell to Pedal
Swell 4' to Pedal
The completed instrument draws its tonal
inspiration from many different styles and
periods of organ building, enabling it to
showcase as much of the organ literature as
possible. The key action is mechanical,
directly linking each key to a valve
controlling wind to the pipe and imparting
sensitive control to the player's touch. The
action includes a Fisk-designed
servo-pneumatic lever that assists the key
action to the large Resonance division. The
stop action is electrically controlled with a
solid-state combination action to permit
instant access to nearly limitless
combinations of preset registrations.
Ventils
Pedal reeds off
Rèsonance reeds off
Great reeds off
Positive reeds off
Swell reeds off
Rèsonance off
Features
Servo-pneumatic Lever
Rèsonance Flue Tremulant
Cymbelstern
Rosignol
82 ranks
60 independent voices
Four manuals and pedal:
Key compass: 61/32 notes
Mechanical key action
electric stop action
click here for console layout
click here for piston layout
photo: Gary Clark
The instrument is composed of six divisions
which are played on four manual keyboards
and one pedal keyboard. The Great, Swell,
Positive and Pedal divisions form the
Classical core of the organ. The Resonance
division, played on either manual or pedal
keyboard, is a powerful division of French
Romantic influence designed to be used with
orchestra. An English inspired Tuba
division, also played on either manual or
pedal keyboard, is voiced on highwind
pressure and is especially suited for
www.cbfisk.com
crescendos in music for organ and orchestra.
Centuries of craftmanship and artistry have
been married with modern technology to
create the Lay Family Concert Organ. The
organ speaks proudly in a concert hall that is
the architectural and acoustical benchmark
by which others are judged and a proud
legacy Dallas will leave to many generations
of music lovers.
www.cbfisk.com
Opus 114
Benaroya Hall
Seattle, WA
2000
GREAT
Man I, 61 notes
Prestant
16'
Octave
8'
Violoncelle
8'
Spillpfeife
8'
Flûte harmonique
8'
Octave
4'
Rohrflöte
4'
Quinte
2 2/3'
Superoctave
2'
Terz
1 3/5'
Mixture
VI-VIII
Bombarde
16'
Trommeten
8'
Trompette
8'
Clairon
4'
Tuba Magna
(ext)* 16'
Tuba Mirabilis
* 8'
Tuba Clarion (ext)* 4'
* enclosed with Solo
POSITIVE
Man II, 61 notes
Quintaton
16'
Principal
8'
Salicional
8'
Unda maris
8'
Gedackt
8'
Octave
4'
Baarpijp
4'
Grosse Tierce
3 1/5'
Nasard
2 2/3'
Doublette
2'
Quarte de nasard
2'
Tierce
1 3/5'
Larigot
1 1/3'
Piccolo
1'
Sharp
IV-VI
SOLO
Man I, 61 notes
Stentor Diapason
Flauto Mirabilis
(c1-c4)
Stentor Octave
Stentor Mixture
Clarinet
PEDAL
32 notes
Prestant (fac.
Untersatz
Open Wood
Montre
Prestant
Violonbasse
Bourdon
Gross Quinte
Octave
Open Flute
Violoncelle
Spillpfeife
Superoctave
Mixture
Tuba Profunda
Tuba Magna
Bombarde
Posaune
Tuba Mirabilis
Trommeten
Trompette
Tuba Clarion
Clairon
8'
8'
4'
IV
8'
FF)
32'
32'
(32) 16'
(32) 16'
(GT) 16'
16'
(SW) 16'
10 2/3'
8'
(32) 8'
(GT) 8'
(GT) 8'
4'
IV
(ex) 32'
(GT) 16'
(GT) 16'
16'
(GT) 8'
(GT) 8'
(GT) 8'
(GT) 4'
(GT) 4'
Positive to Great
Swell to Great
www.cbfisk.com
Dulcian
16'
Trompette
8'
Cromorne
8'
Tuba Magna
(Gt) 16'
Tuba Mirabilis (Gt) 8'
Tuba Clarion
(Gt) 4'
SWELL
Man III, 61 notes
Bourdon
16'
Diapason
8'
Viole de gambe
8'
Voix Céleste
8'
Flûte traversière
8'
Bourdon
8'
Prestant
4'
Flûte octaviante
4'
Octavin
2'
Cornet (c1-g3)
II
Plein jeu
III-IV
Bombarde
16'
Trompette
8'
Hautbois
8'
Voix humaine
8'
Clairon
4'
Solo to Great
Swell to Positive
Great to Pedal
Positive to Pedal
Swell to Pedal
Solo to Pedal
Great off
Octaves graves to Great
Great:
Servo-pneumatic Lever
General Tremulant
Swell Tremolo rapidé
Solo Tremulant
Flexible Wind
Balanced Swell Pedal
Balanced Solo Pedal
Crescendo Pedal
Combination Action
2000
64 voices
83 stop knobs
4,490 pipes
PDF of knob layout
PDF of piston layout
www.cbfisk.com
CASAVANT FRÉRES
The reason Casavant Frères has achieved the distinction of being the
oldest continuing name in organ building in North America comes not
just from more than a century of continuous organ building, but also
from the quality of the instruments that have been installed all over the
world where they continue to serve their intended purpose decade after
decade. Such longevity is the result of the use of quality materials and
workmanship of the highest order. From the very beginning, the
Casavant brothers understood the importance of these elements in
building the reputation they wished to establish.
Kyoto, Japan
Doshisha University, 1980
The excellence of materials and workmanship is meaningless
however, unless the tonal quality is also of the highest quality
and based upon such solid musical values that the
instruments withstand the movement of the stylistic
pendulum that is part of all artistic activity. That Casavant
organs built today, as well as those built fifty, eighty and one
Toronto, Ontario
St. Paul’s Anglican Church, 1914
hundred years ago continue to be appreciated, played and
recorded is proof of this musicality.
Tonal and Visual Architecture
In designing a successful instrument we often speak of two significant and closely related areas of
architecture: visual and tonal.
Visual and tonal architecture in organ building are inseparable and have
a “chicken and egg” relationship. Because most listeners’ initial
impression of an organ is visual, it is important that the image be
positive, invoking anticipation of the musical sounds to follow.
Detroit, Michigan
Central Woodward Church
1928
The
placement
of
the
instrument
in
the
building
is
fundamentally important and one of the first elements taken into
consideration when designing an organ. Beginning with an
understanding of the musical requirements and worship
practices of the church, the next step is to determine the most
effective relationship between the organ, organist–music
director, choir and congregation. Taking care that the
instrument speaks unimpeded and directly towards the listeners
preferably from an elevated position above their heads are some
Los Angeles, California
Bel Air Presbyterian Church, 1991
of the factors that are determined in the design phase.
www.casavant.ca
Understanding and respecting the architectural style and scale
of the building becomes the foundation upon which the
designer works to create the organ’s visual presence. Keeping
the organ in proportion and balance with its surroundings is
key to integrating the instrument into the building so that both
have the appearance of being conceived simultaneously.
Appropriate wood species, finishes and suitable decorative
features such as wood carving, application of gold leaf and
hand painting are used in realizing the organ’s integration into
Dublin, Ohio
St. John Lutheran Church, 2004
its environment.
Harold E. Wagoner, a well-known architect who designed
many churches in the United States once commented,
“The great thing about being an architect is you can walk
into your dreams.” Musical composition and organ tonal
design follow a similar path of working out one’s aural
images on paper before they are realized. The design of a
pipe organ begins with listening, listening to the resident
musician describe the requirements and aspirations for an
instrument and listening to the space in which the organ
Sewanee, Tennessee
University of the South
All Saints Chapel, 1961
will find its home. Imagining how it will sound in the
building’s acoustic, what will be played and how it will be
used becomes the basis for what stops are selected.
Organs built for our time are called upon to play a wide range of music from organ solos to the
accompaniment of choirs and instruments and leadership of the congregation in the singing of
hymns and other music appropriate to the worship experience. One must also take into account that
there will be a desire to perform music from different nationalistic traditions spanning several
hundred years. Such diverse requirements require the design to be creative and eclectic, however it
must be more than a collection of stops for it to be successful.
When designing an organ we select individual stops to provide
variety of tone at various dynamic and pitch levels while pipe
scaling is determined to maximize the breadth and warmth of
the organ’s ensemble at the same time maintaining clarity and
transparency of the combinations needed for polyphony.
Appropriate and well-developed tonal ensembles are developed
on each division, which are balanced with one and another and
related to the instrument as a whole.
"Ensemble first, last and always"
Claver Casavant
Claver Casavant
Toronto, Ontario
Royal York Hotel, 1929
The hallmark of virtually every successful professional musical
organization is found in the unity of their ensemble sound. Just
as a conductor works to shape the sound of individual
performers into a unified whole, we work to achieve a sound that
www.casavant.ca
is cohesive. When stops are added together they contribute to
the whole in such a way that the ensemble builds smoothly,
virtually seamlessly from pianissimo to fortissimo with each new
stop contributing to the ensemble while blending with the stops
already drawn. Relationships between divisions are established
Fort Worth, Texas
Broadway Baptist Church, 1996
in such a way that each division maintains its individual
character and integrity while blending into the total ensemble in
a logical and time-honored manner.
Our approach to voicing is to provide individual stops with their maximum color potential while
simultaneously developing choruses where individual voices blend together in musically cohesive
ensembles.
>> Top of page
www.casavant.ca
Chicago, Illinois — Orchestra Hall
Three manuals and pedals, 44 stops, 60 ranks
Movable French terraced drawknob console, compass 61/32
Electro-pneumatic action
Opus 3765, 1998
Photographs: Michael Perrault
Beginning in the summer of 1995, Orchestra Hall, home of the Chicago
Symphony Orchestra, began an important architectural renovation project that
took three years to complete. The project involved a dramatic transformation of
the building that significantly increased the cubic volume for acoustic purposes
whi
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yi
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’
ss
uppor
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i
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i
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ht
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nd
performers. That this work was done between seasons with no disruption to the
concert schedule is a credit to the men and women who planned and executed the
work.
The organ project involved reusing as much of the existing organ as was desirable
and practical. Those pipes that were retained underwent a major transformation
in order to accomplish the goal of having an instrument that was able to play the
organ-orchestral literature from concerti to works where the organ is treated as
an important part of the ensemble. Although the changes to the hall were
significant, the intention of the architects was to emulate the visual appearance
that was associated with the hall when it was new. We researched old
photographs of the building and replicated the Roman mouths and appearance of
the first organ built by the Chicago firm of Lyon & Healey, known today as one of
t
hewor
l
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e was designed
with low-profile terraced stop jambs in order to allow the organist easy sight lines
to the conductor. Of particular interest is the Tuba, a new stop voiced on twentyfive inches of pressure. Its robust sound provides a powerful solo stop that is also
very useful for those spine-tingling climaxes of the full ensemble. Further details
may be found in the reprint of the February 2000 cover feature article of The
American Organist magazine in the Published Articles section of the website.
Great Organ
Diapason
16
Bourdon (from Chimney Flute & Ped.)
16
Open Diapason
8
Chimney Flute
8
Harmonic Flute
8
Spitz Flute
8
Octave
4
Open Flute
4
Fifteenth
2
Fourniture IV-VI
1-1/3
Double Trumpet
16
Trumpet
8
Gr
e
at1
6'
,Uni
s
onOf
f
,Gr
e
at4’
Major Tuba (Choir)
16
Tuba Mirabilis (Choir)
8
Tuba Clarion (Ext. Choir)
4
Pedal Organ
Diapason 1
Contra Bourdon (Ext.)
Contrabass
Diapason (Great)
Bourdon
Gemshorn (Choir)
Echo Bourdon (Swell)
Open Flute (Ext.)
Octave
Chimney Flute (Great)
Gemshorn (Choir)
Still Gedeckt (Swell)
Super Octave
Chimney Flute (Great)
Théorbe III (Derived)
Mixture IV
Bombarde 1
Ophicleide (Ext.)
Major Tuba (Choir)
1
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Diapason
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Salicional
Voix Céleste (CC)
Flute Celeste II
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Spindle Flute
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Pedal Organ (continued)
Ophicleide
Double Trumpet (Great)
Posaune (Swell)
Fagott (Choir)
Tuba Mirabilis (Choir)
Trumpet (Ext.)
Tuba Clarion (Choir)
Clarion (Ext.)
© Casavant Frères
16
16
16
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4
Calgary, Alberta — Epcor Centre for the Performing Arts
Jack Singer Concert Hall
Four manuals and pedals, 75 stops, 111 ranks
Movable drawknob console, compass 61/32
Opus 3623, 1987
Photographs: Casavant Frères Archives
The planning for the construction of this major arts facility in downtown Calgary
dates to 1969. Located in the heart of the Olympic Plaza Cultural District, the
center attracts almost three hundred thousand people annually in more than
seventeen hundred events comprising theatre, dance, art exhibits and concerts.
The principal performance hall is the Jack Singer Concert Hall, which is home to
the Calgary Philharmonic Orchestra and Casavant Opus 3623. The organ is
positioned high on the front wall above the stage of the 1800 seat hall. The
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-five stops provide a vast range of solo colors and
contrasting plena for use in a wide range of literature when the organ is used as a
solo instrument, or with an orchestra in concerti as well as in literature where the
organ functions as a member of the ensemble, such as the large-scale symphonic
poems of the late nineteenth and early twentieth centuries.
The construction of this instrument marked a return to building organs for
concert halls at Casavant Frères that dates to 1909 when the Casavant brothers
built an organ for the Boston Opera House. Since the successful completion of the
instrument in Calgary, other Casavant organs have been installed in civic halls in
Naples, Florida; Green Bay, Wisconsin and Chicago, Illinois.
Following its completion, the organ has been heard regularly in solo and
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and successful concert series featuring a pipe organ in a concert hall. For many
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also the centerpiece of the Calgary International Organ Competition that
included significant prizes for the finest young organists from all over the world.
Grand Orgue
Contre Bourdon (Ext.)
32
Violon
16
Bourdon
16
Montre
8
Flûte harmonique (common bass)
8
Flûte à cheminée
8
Gros Nazard
5-1/3
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4
Flûte
4
Grosse Tierce
3-1/5
Doublette
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8
Grande Fourniture II-IV
2-2/3
Fourniture V
2
Cymbale IV
2/3
Bombarde
16
Trompette
8
Clairon
4
Grand Orgue Unison Off
Positif
Quintaton
Montre
Voce umana (TC)
Bourdon
Quintadena
Prestant
Flûte à fuseau
Nazard
Doublette
Quarte de nazard
Tierce
Larigot
Fourniture III
Cymbale III
16
8
8
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4
4
2-2/3
2
2
1-3/5
1-1/3
1-1/3
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Récit
Bourdon doux
Principal
Viole de gambe
Voix céleste (TC)
Cor de nuit
Octave
Flûte octaviante
Nazard
Octavin
Tierce
Plein Jeu VI
Contre Basson (Ext.)
Basson
Hautbois
Voix humaine
Clairon harmonique
Tremblant
Bombarde
Bombarde
Trompette
Clairon
Grand Cornet VI (from MC)
Trompette-en-chamade
Bombarde Unison Off
Pédale
Principal basse (Ext. From G 1)
Contre Bourdon (Grand Orgue)
Contrebasse
Montre
Soubasse
Bourdon (Grand Orgue)
Bourdon doux (Récit)
16
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Positif (continued)
Douçaine
Trompette
Cromorne
Chalumeau
Tremblant
Positif Unison Off
Grand Cornet (Bombarde, from TC)
Trompette-en-chamade (Bombarde)
Echo
Bourdon
Flûtes célestes II
Flûte à cheminée
Principal italien
Piccolo
Sesquialtera II
Cymbale II
Cor anglais
Tremblant
Echo Unison Off
© Casavant Frères
16
8
8
4
8
8
8
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2
1
2-2/3
1/3
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Pédale (continued)
Quintaton (Positif)
Octavebasse
Flûte à cheminée
Cor de nuit (Récit)
Octave
Flûte
Flûte (Ext.)
Fourniture IV
Cymbale III
Contre Bombarde (Ext.)
Contre Basson (Récit)
Bombarde
Basson (Récit)
Trompette
Basson (Récit)
Clairon (Ext.)
Basson (Récit)
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Naples, Florida — Naples-Marco Philharmonic Hall
Four manuals and pedals, 41 stops, 64 ranks
Movable drawknob console, compass 61/32
Opus 3690, 1990
Photographs: Ed Chappell
After initially considering the construction of a concert hall for the Naples
Philharmonic that included an organ, the leaders decided that a hall with such a
narrow focus might not be as viable as one hat included other types of
performance. At that point in time the design of the hall changed to one that
could be used for opera and musicals in addition to orchestral concerts. Since
organs in multi-purpose halls are often difficult to place, the organ was dropped
from the program. After the hall was under construction the subject of the organ
was revisited when some key individuals decided it would be a mistake to build a
new hall that did not contain a pipe organ. We were called again at that point and
intense discussions began on ways to include an instrument. The commitment of
the leadership was extremely positive and they were willing to make any change
that was necessary to install an organ in the new hall with the exception of
renovations that would delay the opening of the hall the following year because
major events had been previously scheduled. The solution was to place the
instrument at the back of the stage just behind the orchestra shell in the area that
had been designated as the backstage crossover space. The crossover was routed
behind the organ space. We designed a façade that replaces the back wall of the
orchestra shell when the organ is used in performance. The façade then becomes
the backdrop for the orchestra and the ceiling and walls of the acoustic shell serve
as reflecting panels for the organ as well as the orchestra. The hall was opened on
schedule in 1989 and the organ was installed and finished the following summer
with its inauguration held at the opening of the 1990-1991 season. The
instrument is complete in its design with fully developed divisions for its use with
a large orchestra and for solo performances.
True, the organ is an amalgam of many personalities, brought
together, however, in a work of art that will never be precisely
duplicated; that never can be. No two human beings are the same:
no two human experiences, even experienced by the same person,
can be exactly the same. And inspiration, the underlying force of a
work of art, is fluid, changing, impulsive. So Casavant opus 3690, in
the Philharmonic Center for the Arts, in Naples, is unique, in the
loftiest meaning of the term. And splendid.
— Norman Nadel, critic, 1990
Grand Orgue
Violonbasse (Ext.)
Montre
Violon
Flûte ouverte (common bass)
Flûte à cheminée
Prestant
Flûte
Doublette
Cornet III
Grande Fourniture II-III
Fourniture IV-VI
Bombarde (Ext.)
Trompette
Tremblant
Grand Orgue Unison Off
Positif Expressif
Salicional
Bourdon
Principal
Flûte à fuseau
Nazard
Quarte de nazard
Tierce
Larigot
Cymbale IV
16
8
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2
1-3/5
1-1/3
2/3
Récit
Bourdon doux (Ext.)
Flûte majeure
Viole de gambe
Voix céleste (GG)
Principal
Flûte octaviante
Octavin
Plein Jeu V
Basson (Ext.)
Hautbois
Voix humaine
Clairon harmonique
Tremblant
Récit Unison Off
Pédale
Contre Bourdon 1
Montre
Violonbasse (Grand Orgue)
Soubasse
Bourdon doux (Récit)
Octavebasse
Violon (Grand Orgue)
Flûte à cheminée (Grand Orgue)
Octave
16
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8
4
4
2
2
16
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Positif Expressif (continued)
Cromorne
8
Tremblant
Positif Unison Off
Solo
Flûte harmonique
Grand Cornet V (
MC,f
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Cornet V (TC)
Bombarde (Ext.)
Trompette royale
Clairon royal (Ext.)
Tremblant
© Casavant Frères
8
16
8
16
8
4
Pédale (continued)
Flûte (Grand Orgue)
Mixture IV
Contre Bombarde (Ext.)
Bombarde
Petite Bombarde (Grand Orgue)
Basson (Récit)
Trompette (Ext.)
Clairon (Ext.)
Cromorne (Positif)
1
Digital
4
2-2/3
32
16
16
16
8
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4
GLATTER-GÖTZ ORGANBUILDERS
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philosophy
we
We are a team of organbuilders, carpenters and
artisans from various professional backgrounds,
each with his or her distinctive professional
characteristics.
Each of us is distinguished through his or her
experience and practical expertise.
Together, we strive for excellence by combining our
individual talents as craftsmen and creative artists
to achieve our mutual goal.
what
We build pipe organs, both large and small, with
delicate as well as magnificent sounds, so that
others who have also learned as diligently as we
have, might play especially beautiful music on them.
We build our instruments not only for churches, but
also for concert halls, as well as for private living
rooms or music salons. We go to great efforts to find
the ideal solution for every location.
how
We believe that the greatest efforts are worthy
enough for the modern, contemporary instruments
which should far outlast the people who have
created them. These efforts include the use of the
most modern machinery and technology in
conjunction with the traditional materials of
organbuilding: wood, tin and lead, to name a few.
when
From Monday through Friday, from 7 a.m. to 12
noon and from 1:30 p.m. to 5 p.m. - in our modern
workshop located in the industrial park in Owingen
(near Überlingen on the Lake of Constance).
In our spare time we think about and talk about
ways to improve on what we are doing.
At night we dream of building the best and most
beautiful pipe organs that money can buy.
why
Because we are great idealists, who regard our work
as a cultural contribution. Nevertheless, it is out
goal to conduct our business in an economically
sound manner, convinced that only thus can we
continue to offer our discerning clientele the
excellent instruments they insist on, namely elegant
instruments of the highest technological quality and
with first class sound, designed and built with an
www.casavant.ca
eye to the future.
(c) 2000, Glatter-Götz Organbuilders, All rights reserved.
www.casavant.ca
COVER FEATURE
WALT DISNEY CONCERT HALL
LOS ANGELES, CALIFORNIA
GLATTER-GÖTZ ORGELBAU/ROSALES ORGAN BUILDERS
Founded in 1919, the Los Angeles Philharmonic established its home in downtown
Philharmonic Auditorium in 1920. This hall
housed Austin Organ Company’s Opus 156
(IV/66) of 1906. In 1964, the orchestra moved
to the Dorothy Chandler Pavilion in the Los
Angeles County Music Center. The Pavilion,
a proscenium-type multipurpose theater,
forms one of a trio of performance venues
grouped around a central plaza, not unlike
Lincoln Center in New York City (which
opened two years later). For many years after, the idea of an additional symphony hall
for Los Angeles seemed unthinkable. While
the Chandler’s acoustics did not generally
meet with wide acclaim, the Pavilion’s
3,000+ seating capacity certainly addressed
62
the needs of the symphony- and opera-going
public.
In the 25 years following the Chandler’s
completion, American taste in musical listening experienced a profound transformation. Revolutions in recording and architectural acoustics led to deeper dissatisfaction
with the often arid acoustics of the previous
generation’s symphony spaces. During the
same period, the organ’s role as orchestral
partner underwent similar re-evaluation. Organs of the 1950s and ’60s (such as in Detroit’s Ford Auditorium, New York’s Philharmonic Hall, and Philadelphia’s Academy
of Music) stressed mobility, versatility, and a
lean sound in the style of the times. By 1990,
shifting values had produced more favorable
acoustical settings and new organs that
looked beyond the neo-Baroque and American Classic. A turning point came in 1991
with the opening of the Meyerson Symphony
Center in Dallas. Its adjustable acoustics
met—and still meet—with a warm reception,
and C.B. Fisk Opus 100 redefined the sound
of an organ in an orchestral setting.
Since then, virtually every significant new
American concert room has included a pipe
organ. Just as telling is the fate of the previous generation’s halls and organs. The Detroit Symphony has returned to its original
1927 hall; New York’s twice-revised Philharmonic Hall of 1962 (now Avery Fisher
Hall) is still considered acoustically poor,
with the organ removed; and the PhiladelTHE AMERICAN ORGANIST
phia Orchestra has moved one city block to
the new Verizon Hall, which will eventually
house a large pipe organ.
Los Angeles did not remain aloof from
these national trends. Dissatisfaction with
the Chandler’s acoustics for symphonic music coincided with increasing scheduling demands. With symphony, opera, ballet, and
even the Academy Awards presentation all
sharing the hall, daily re-configurations were
costly and cumbersome. Finally, the Pavilion had neither an organ nor a suitable location for one. By the early 1980s, a new symphony hall no longer seemed so implausible.
When Walt Disney’s widow, Lillian, gave
$50 million in honor of her husband’s love of
the arts, the vision for a new hall gained momentum. Largely the brainchild of the Philharmonic’s then-executive director Ernest
Fleischmann, Walt Disney Concert Hall and
its story are as colorful as the building’s design. The selection of Nagata Associates of
Tokyo as acousticians was followed by an investigation of new concert halls in Japan; almost every one had a significant, centrally
located organ. Architect Frank Gehry, chosen by competition in 1988, accepted the organ’s visual centrality as part of the brief to
create a musical environment unlike any
other.
Stimulated by a $1 million gift from the
Toyota Motor Car Corporation of America,
selection of an organbuilder began in 1989.
A committee of Cherry Rhodes, Robert Anderson, and Michael Barone reviewed approximately two dozen proposals from
American and European builders. Rosales
Organ Builders was selected in the summer
of 1990 and engaged on design retainer that
fall.
As deliberation commenced, Frank Gehry
made clear his starting point: just as the
Concert Hall itself bore little relation to traditional architecture, neither should the
instrument assume the appearance of a conventional organ case. Thus began a four-year
process of gradual philosophical alignment
between architect and organbuilder. Rosales
proposed various dramatic designs, only to
be rebuffed by Gehry with such questions as
“Can all the front pipes be mounted upside
down?” “Could the organ and organist hang
from the ceiling?” and “How about pipe
shades of chain-link fence?” Rosales insisted
all along that the facade pipes be functional;
any “Organ of the Future” still had to be a
musical instrument. As Gehry became more
aware of the possibilities, he saw that the facade held a unique opportunity: one of his
signature shapes—a curvilinear object of
straight-grained Douglas fir—could be
whimsically fashioned into the functioning
entity of an organ pipe.
The design evolved as an array of curved
wooden pipes shooting out like an explosion
of Roman candle fireworks, some from the
case, others from the floor of the hall itself. A
burst of brass trumpets directly above the
console punctuates the appearance, and a
group of vertical tin pipes anchors the design. For variety of shape, two wooden ranks
would dominate the facade: a 32' Violonbasse (midway between violone and open
wood in nature) and a 32' Contrebasson (a
chorus reed of generous but uncommanding
output). The tin pipes would form the bass of
the Great Prestant, and the brass and tin
trumpets would be known as the “Trompeta
de Los Angeles.”
All in all, it looked unlike anything that
APRIL 2004
had come before. As pictures began circulating through fax machines and across the Internet, the design—dubbed the “French Fry”
scheme—gained the status of renegade and
spectacle. Having overcome his reluctance,
Rosales saw opportunity in the innovative
design. To what other pipe organ would apply so readily the public relations dictum,
“There is no such thing as bad publicity”? If
people were fascinated by the instrument’s
appearance, they might be equally curious
about its sound.
When Manuel Rosales and his longtime associate, Kevin Gilchrist, began preliminary
engineering drawings in 1991, an earthquake-resistant structure was assumed. The
1994 Northridge earthquake dramatically
confirmed the necessity of such design parameters. By 1995, the certainties were in
place: the skeletal steel structure housing the
organ and anchoring the facade, the position
of the console, and the facade array. Apart
from two downward-facing trumpet pipes,
every facade pipe would speak. The unfolding design process involved some 20 models.
The final version was constructed at 1:10
scale, measuring about five feet tall, inserted
into a master model of the building itself.
(One of the project’s more fascinating aspects
is how Nagata Associates employed the
building model for acoustical testing. Being
accurate to the point of including 2,265 feltcovered lead figures simulating an audience,
the structure was sealed, charged with liquid
nitrogen, and used as a sound laboratory to
forecast acoustical response.)
Through this conceptual stage, the organ’s
tonal design remained subservient to elements of architectural consequence. What
had been established were the facade pipes,
the basic locations of three manual departments, and the hanging of a 32' Haskellized
open wood outside the steel skeleton (at the
rear and sides of the case, mounted upside
down, in ironic accord with an early Gehry
wish). Beyond that, tonal design and budget
remained undefined.
Between 1994 and 1998, the Walt Disney
Concert Hall project came close to being
shelved, largely because the cost estimates
far exceeded initial projections. Several
forces combined to put the venture back on
track. Under the baton of Esa-Pekka Salonen,
the Philharmonic was enjoying unprecedented popularity, appealing to a broader
age-range through innovative programming
and a commitment to modern music. Frank
Gehry’s Guggenheim Museum in Bilbao,
Spain (designed later than the Concert Hall
but finished in 1997), garnered such staggering worldwide acclaim as to lend new credence to his Disney design; moreover, his
1989 Pritzker Prize became a key fund-raising tool. Then-mayor Richard Riordan was
determined not to let the Concert Hall die
and be seen as yet one more Los Angeles disaster. Riordan, Fortune 500 businessman Eli
Broad, and Music Center Chair Andrea van
de Kamp revived enthusiasm and engaged in
heroic fund-raising.
In the same period, Rosales was involved
with a succession of large organs, one in conjunction with Glatter-Götz Orgelbau of
Owingen, Germany: Claremont Congregational UCC, Claremont, California. Thus,
when the Disney project came alive again in
1998 with a new, tight timetable, Rosales invited Glatter-Götz to build the organ as a collaborative venture. Caspar von Glatter-Götz
prides himself on creating organs of high
quality that speak a modern architectural
language. An organ for Gehry’s hall would
not only be the young firm’s largest to date,
but a milestone opportunity, with Gehry’s
curved facade pipes the pinnacle of irresistible challenge.
Arrangements with Glatter-Götz and Rosales were formalized in mid-1998, and contracts were signed establishing Glatter-Götz
as builder and Rosales as tonal director. In
addition to building and installing the entire
instrument, Glatter-Götz and his chief engineer, Heinz Kremnitzer, would work with
Gehry to engineer the spectacular facade.
Manuel Rosales and Kevin Gilchrist would
supply critical input on stop layout, pipe
scales, all details of pipe construction, and
carry out voicing and tonal finishing. In due
course, Michael Barone was engaged as project consultant, acting as sounding board and
mediator, and bringing both an insider’s perspective and a worldview from the wider
realm of classical music.
From the outset, the organ was envisioned
with two consoles, one attached, the other
mobile. In the context of a labor-union-run
performance space, both are equally necessary. If only the attached console existed,
judging balances would be difficult. But if
only a mobile unit were provided, a stage call
would be required for any and every use. The
attached console’s first purpose, then, is to
secure access to the organ at all times. The
mobile console affords easy communication
between musician and conductor, and allows the instrument to be heard in good balance. The combination action is common to
both consoles, allowing easy migration between the two.
An attached console offered the possibility
of mechanical action. It would be inaccurate,
however, to regard this instrument as a
tracker organ. In reality it is an electric-action instrument with tracker action introduced to the Great, Swell, and Positive. The
Pedal, Llamarada, and many bass registers
on the other three manuals are entirely electric, as are all couplers. This arrangement
affords a sense of connectedness from the attached console, and a different overall experience from the second console. Moreover,
the attached console serves a visual role; its
perfectly symmetrical stopjambs are of a
scale in keeping with the case and the instrument’s resources. Conversely, the mobile
console is as compact and low in profile as
practicable; its radiating terraced jambs grow
into fins echoing shapes found in the hall.
Both consoles have a crisp, clean appearance, in keeping with Glatter-Götz’s own design ethic and the feel of the hall.
At its official opening in October 2003,
Walt Disney Concert Hall was hailed as a triumph, the skeptics overwhelmed by the seductive spaces, fantastical vistas, and enveloping gardens. Quite apart from visual
design, it was clear that the acoustical research had paid off in a space of exceptional
clarity and warmth, reflecting the talents and
perseverance of acoustician Yasuhisa Toyota
of Nagata Associates. From the organ’s perspective, the room may not be overly reverberant, but has excellent resonance. Transmission of tone is direct and clear, with a
certain degree of enhancement from multiple early reflections. Bass response is honest
and well reinforced. During informal
demonstrations of the instrument, it has
been found that an organist can speak from
the attached console in normal tones and be
63
heard with perfect ease almost anywhere in
the hall.
The playful chaos of the facade is enhanced by the fact that visitors can walk
among the forest of pipes. The external appearance stands in contrast to the discipline
of the organ’s showcase interior: an organ
built to last, fully conscious of its place in a
world-class venue. The aesthetic of modern
appearance extends inward, with elegant
oak floors and stairways; large manual chests
are divided into four sections, with wide
walkboards for ease of tuning access. Other
aspects bear in mind the world-class performance venue. Dual blower turbines engage
alternately, one always in reserve in case of
malfunction. The soundproofed blower
room provides wind through silencing baffles. All swell shades are 21⁄2" thick, with distinctive triple-stairstepped edges to promote
effective pianissimos and gradual openings.
The shades’ physical arrangement was determined with Frank Gehry’s input, responding equally to visual and tonal criteria.
Dedicated pitch pipes allow the orchestra to
tune to the organ without an organist present. Finally, the pipes themselves speak of
strength and elegance; every principal is tin
throughout, and the interior wood pipes are
built to the same high standard as those in
the facade.
Ultimately, budget and space permitted an
organ of 72 speaking stops and 109 ranks. The
tonal design culminates 20 years of development that began with the concept for Rosales
Opus 11 (1987) for Trinity Cathedral in Portland, Oregon. For Opus 24 in Los Angeles,
pressures, scales, and tonal structure are
geared not only toward complexity of result
but also the specific requirements of use with
orchestra. With the inclusion of two 32'
and four 16' stops, here could be a Great of
uncompromising complexity and magnitude.
Twenty-four ranks in the chorus alone—
almost a quarter of the organ’s pipes—underscores the value placed upon the principal
chorus as the instrument’s true core. Available depth permitted a broad array of Great
foundations, sufficiently spaced to augment
each other tonally, and three chorus mixtures, again with enough room to combine
meaningfully and to allow stable tuning.
The quartet of unison registers—Principal,
Violoncelle, Flûte harmonique, Chimney
Flute—continues the Rosales tradition, augmented by the belled Diapason à Pavillon.
While a second open in volume, the Diapason possesses an unusual pervading power.
The 16' mutations lie midway between principal and flute tone, giving gravity to the chorus while also permitting a grand jeu de
tierce. The Mixture VIII is a stand-alone register emphasizing the 8' series. The Grand
Fourniture and Cymbale together form a second complete mixture, standing on the same
toeboard with a near absence of duplicated
pitches, separately available for variety in
defining the chorus. While the three mixtures are interrelated, and together crown the
plenum, it is possible to achieve a slightly
more Germanic effect with Mixture alone,
and perhaps something more along French
classical lines using the other two. “Basson”
here denotes a chorus reed of milder tone
with moderately closed shallots, allowing
for breadth over brilliance.
Directly behind the Great is the Llamarada,
or “blazing”—as in a fire, outburst or brilliant flash. Just as the word “Bombarde” is
used to name either stop or division, the
64
Spanish words Llamada (as in “call,” as in
the French word “appel”) and Llamarada
play upon a homonym in a Hispanic cultural
framework. While the Great, Swell, and Positive are viewed as a complete ensemble, the
Llamarada augments the tutti for dramatic
orchestral climaxes. Placed on eight-inch
pressure, the principals of this department
are made from flared tin pipes, lending a
color distinct from that of the Great. For additional clang and harmonic richness, a second mixture called Compuestas introduces
thirds, flat sevenths, and ninths, further differentiating the Llamarada chorus from the
Great’s, and allowing the two to blend with
scintillating effect. The enclosed chorus
reeds are the instrument’s most powerful.
Moments of terrifying grandeur are supplied
by a tuba, the Llamada, placed horizontally
atop the Swell box. On 17-inch wind pressure and only a few feet from the ceiling, the
Llamada readily “calls” attention to itself.
The Swell organ is Rosales’s largest to
date, combining all the features of its predecessors: a wealth of foundation tone, harmonic flute choir, versatile mutations, major
and minor celestes, and a commanding reed
chorus with strong mixture. The division’s
elevated placement lends prominence, with
a commanding trumpet chorus that matches
in reed tone the Great’s dominating plenum.
The Positive flanks the console, its location
determining much of its tonal character. The
principal chorus and flute upperwork respond to the Great, the plenum being the
scale of many other instrument’s Great divisions. The other foundations relate in romantic character to those of the Great and
Swell; the Unda Maris is scaled and located
to undulate with either Principal or Gambe
in the French tradition. Bearing in mind this
department’s proximity to the choral terrace
and its usefulness for accompaniment, the
chorus reeds are the organ’s mildest.
The Pedal is both customary and climactic. Its chorus underpins the Great’s, with a
big mixture based on a 51⁄3'. In addition to its
customary role, the Pedal supplies the extraordinary qualities expected in the symphonic context. While the facade and various borrows supply milder effects, the Flûte
and Grande Bombarde offer a thunderous climax. With four full-length manual 16' chorus
reeds, it was felt that the Pedal still needed
one unimpeachable stop. The 32' Contre
Bombarde, of copper and spotted metal,
stands at either side of the Positive and
reaches, unmitered, to the ceiling. If some
have likened the organ’s appearance to the
aftermath of an earthquake, the Pedal might
as well have the potential to create something similar.
Then there are the astonishing facade
pipes. Made entirely in the Glatter-Götz
shops, the final design was worked out between the Gehry and Glatter-Götz design
staff collaborating on attachment and pipe
location. The curving 32' flues and reed resonators are spectacular examples of exacting
craftsmanship, built from imported straightgrained Douglas fir (the primary wood finish
throughout the hall). Each pipe is anchored
with a steel-plated foot. Twin stainless-steel
support rods project from the organ’s skeletal frame and connect near the top of each
pipe to an interior steel plate. In turn, each
top connection is hinged, allowing the pipes
a limited degree of motion during an earthquake. Nothing quite so daring and unusual
has previously existed in organbuilding.
Every great organ is the result of extraordinary collaboration, even when the product of
a single firm. This organ represents unusually integrated teamwork among the
builders, working together with architect,
management, consultant, and voicer. Most
particularly, it demonstrates Glatter-Götz’s
commitment to a vision of 21st-century organbuilding capable of looking beyond the
horizon. It bodes well for exciting times to
come.
JONATHAN AMBROSINO
The organ installation occurred in stages
from October 2002 through October 2003.
Voicing commenced in October 2003. The
organ will be first heard on July 8 during the
AGO National Convention. The Los Angeles
Philharmonic’s inaugural concert series will
take place in the 2004–2005 season, featuring both solo and concerted works. To learn
more about the building and the organ, visit:
www.laphil.org/press/imagelibrary.cfm
http://wdch.laphil.org/misc/kcrw_radio_docs.
cfm
www.gg-organs.com
www.rosales.com
www.nagata.co.jp
Glatter-Götz Orgelbau, Owingen, Germany;
Opus 9
Builders and Installers of the Organ, Facade,
and Steel Structure
Caspar v. Glatter-Götz
Heinz Kremnitzer
Stefan Stürzer
Joachim Seifried
Ralf Reichle
Ekki Doll
Gerhard Möhrle
Christoph Meissner
Johannes Hüfken
Eberhard Hilse
Johanna Kessler
Karin Schmelzle
Dominik Mätzler
Markus Burtscher
Roland Opitz
Rosales Organ Builders, Los Angeles; Opus 24
Concept, Visual Design, Tonal Direction,
and Voicing
Manuel Rosales
Kevin Gilchrist
Richard Houghten
Vladimir Vaculik
Lawrence Strohm
Jonathan Ambrosino
Robert Coulter
Jonathan Wilson
Russell Schertle
Michael Wong
Albert Nass
Duane Prill
David Chamberlin
Rodney Ford
WIND PRESSURES
Great
Swell
Positive
Llamarada
Llamada
Pedal Flues, Facade
Pedal 32' Flute and 32' Bombarde
5"
41⁄2"
4"
8"
17"
51⁄2"
8"
Cover photo by Jim Lewis
Article photo by Laurence Bartone
THE AMERICAN ORGANIST
WALT DISNEY CONCERT HALL
LOS ANGELES, CALIFORNIA
GLATTER-GÖTZ ORGELBAU/ROSALES ORGAN BUILDERS
GREAT (Manual II) (unenclosed)
32
Violonbasse (Gehry facade)
32
Grand Bourdon (from 16, 1–12 resultant)
16
Prestant (polished tin facade)
16
Violonbasse (ext.)
16
Bourdon (Pedal Subbass)
8
Principal
8
Diapason à Pavilion
8
Violoncelle (ext. Violonbasse)
8
Flûte harmonique
8
Chimney Flute
1
5 ⁄3
Grand Nasard
4
Octave
4
Spire Flute
31⁄5
Grande Tierce
2
2 ⁄3
Octave Quinte
2
Super Octave
II–III Grande Fourniture (16)
VIII Mixture (8 series)
IV
Cymbale (4 series)
VII
Corneta Magna
32
Contre Basson (ext.16) (Gehry facade)
16
Basson
8
Basson
4
Basson
8
16
SWELL (Manual III) (enclosed)
16
Bourdon
8
Diapason
8
Flûte traversière
8
Bourdon
8
Viole de gambe
8
Voix céleste (CC)
8
Dulciane doux
8
Voix angèlique (TC)
4
Principal
4
Flûte octaviante
2
2 ⁄3
Nasard
2
Octavin
3
1 ⁄5
Tierce
1
Piccolo
III–V Plein jeu harmonique (22⁄3)
16
Bombarde
8
Trompette
8
Hautbois
8
Voix humaine
4
Clairon
Fast Tremulant
Slow Tremulant
8
8
Llamada (Llamarada)
Trompeta de Los Angeles (Llamarada)
16
4
Swell to Swell
Swell to Swell
Great to Great (does not affect 32' stops)
POSITIVE (Manual I) (enclosed)
16
Quintaton
8
Principal
8
Unda Maris (CC)
8
Gambe
8
Flûte harmonique
8
Gedackt
4
Octave
4
Hohlflöte
2
2 ⁄3
Nasard
2
Super Octave
2
Waldflöte
13⁄5
Tierce
1
1 ⁄3
Larigot
IV
Mixture (11⁄3)
16
Cor anglais
8
Trompette
8
Cromorne
4
Clairon
Tremolo
LLAMARADA (Manual IV) (enclosed)
8
Flautado grandiso
4
Octava real
V
Compuestas
V
Lleno fuerte
16
Bombardon
8
Trompeta armonica
4
Clarín armonico
Tremblante
16
8
4
8
Unenclosed
Llamada (ext.)
Llamada (horizontal Tuba)
Llamada (ext.)
Trompeta de Los Angeles (Gehry facade)
Campanitas (two bell arrays, available
independently or together)
Pajaritos (two pairs of birdolas)
Pitch Pipes (3 pipes) D F A (A=442)
16
8
4
8
Llamada (Llamarada)
Llamada (Llamarada)
Llamada (Llamarada)
16
Positive to Positive
MIXTURE COMPOSITIONS
Great Grande Fourniture II–III 171 pipes
Notes 1
13 25 31 37 43 51 61
22⁄3' 51⁄3' 51⁄3' 51⁄3' 8' 8'
16' 16'
2' 22⁄3' 4' 4'
51⁄3' 51⁄3' 8'
8'
2
2
2'
2 ⁄3' 2 ⁄3' 4' 4'
51⁄3' 51⁄3'
Llamarada Lleno fuerte V ranks
Notes 1
15
27
39
47
22⁄3' 4'
4'
4'
4'
2
2
2
2'
2 ⁄3' 2 ⁄3' 2 ⁄3' 22⁄3'
11⁄3' 2'
2'
2'
2'
1'
11⁄3' 11⁄3' 11⁄3' 11⁄3'
2
1
⁄3'
1'
1'
1 ⁄3'r 11⁄3'r
294 pipes
51
61
8'
8'
4'
4'
22⁄3' 22⁄3'
2'
2'
Great Cymbale IV
Notes 1 13 25
1' 11⁄3' 2'
2
⁄3' 1' 11⁄3'
1
⁄2' 2⁄3' 1'
1
⁄3' 1⁄2' 2⁄3'
Llamarada Compuestas V ranks 290 pipes
Notes 1
15
27
43
47
51
61
13⁄5' 2'
22⁄3' 4'
4'
8'
8'
1
3
2
2
1 ⁄3' 1 ⁄5' 2'
2 ⁄3' 2 ⁄3' 4'
4'
11⁄7' 11⁄3' 13⁄5' 2'
2'
22⁄3' 22⁄3'
1
1
3
3
1'
1 ⁄7' 1 ⁄7' 1 ⁄5' 1 ⁄5' 2'
2'
8
8
8
⁄9'
⁄9'
⁄9'
11⁄7'
Great Mixture VIII
Notes 1 13 25
2' 22⁄3' 4'
11⁄3' 2' 22⁄3'
1' 11⁄3' 2'
2
⁄3' 1' 11⁄3'
1
⁄2' 2⁄3' 1'
2
⁄3'r 1'r
APRIL 2004
31
2'
11⁄3'
1'
1'r
37
22⁄3'
11⁄3'
1'
1'r
31
4'
22⁄3'
2'
11⁄3'
11⁄3'r
1'
1'r
37
8'
4'
22⁄3'
22⁄3'r
2'
2'r
11⁄3'
11⁄3'r
233 pipes
43 51 61
2
2 ⁄3' 4' 4'
2'
22⁄3' 22⁄3'
11⁄3' 2' 2'
11⁄3'r
362 pipes
43 51 61
8'
8' 8'
4'
51⁄3' 51⁄3'
2
2 ⁄3' 4' 4'
22⁄3'r 22⁄3' 22⁄3'
2'
2' 2'
2'
PEDAL
32
Flûte
32
Violonbasse (Gehry facade)
16
Flûte (ext.)
16
Prestant (Gt.)
16
Violonbasse (Gt.)
16
Subbass
16
Bourdon (Sw.)
102⁄3 Grosse Quinte
8
Octave
8
Flûte (ext.)
8
Violoncelle (Gt.)
8
Bourdon (ext. Subbass)
4
Super Octave
4
Flûte (ext.)
V
Mixture (51⁄3)
32
Contre Bombarde (ext.)
32
Contre Basson (Gehry facade)
16
Grande Bombarde
16
Bombardon (Llamarada)
16
Basson (Gt. 16)
8
Trompeta (Llamarada)
8
Basson (Gt. 8)
4
Clarín (Llamarada)
4
Basson (Gt. 4)
COUPLERS
8
Great to Pedal
8
Positive to Pedal
8
Swell to Pedal
8
Llamarada to Pedal
16
8
16
8
4
16
8
4
Positive to Great
Positive to Great
Swell to Great
Swell to Great
Swell to Great
Llamarada to Great
Llamarada to Great
Llamarada to Great
8
8
Swell to Positive
Llamarada to Positive
COMBINATIONS
Great
1–8
Thumb reversibles for:
Positive 1–8
Great to Pedal
Swell
1–8
Positive to Pedal
Llamarada 1–6
Swell to Pedal
Pedal
1–6 (toe)
Llamada to Pedal
General
1–24
Swell to Great
(1–12 toe)
Positive to Great
Llamada to Great
Restore
Tutti
General Cancel
Combination Set
Toe reversibles for:
Great to Pedal
All Pistons Next
Swell to Pedal
Next
Tutti
Previous
Pajaritos
Positive Mixture IV
Notes 1
19 31
11⁄3' 2'
4'
1'
11⁄3' 2'
2
⁄3'
1'
11⁄3'
1
2
⁄2'
⁄3'
1'
43
4'
22⁄3'
2'
11⁄3'
51
8'
4'
22⁄3'
2'
244 pipes
61
8'
4'
22⁄3'
2'
Swell Plein jeu harmonique III–V 269 pipes
Notes 1
13
25
43
51
61
2'
22⁄3' 4'
8'
8'
8'
1
2
1
1 ⁄3' 2'
2 ⁄3' 4'
5 ⁄3' 51⁄3'
1'
11⁄3' 2'
22⁄3' 4'
4'
1'
11⁄3' 2'
22⁄3' 22⁄3'
1
1'
1 ⁄3' 2'
2'
Pedal Mixture V
Notes 1 to 32
51⁄3'
22⁄3'
2'
11⁄3'
1'
160 pipes
65
projects
project future
dornbirn
claremont
laufen
palos verdes
taegu
disney hall
bergen
paterno
freiburg im breisgau
perm
wil
louisiana
moscow
claremont chapel
augustana
seoul
langau
bergen university
small organs
information
contact
CD's
links
Glatter-Götz Organbuilders, Owingen, in cooperation
with Johannes Klais Organbuilders, Bonn, was awarded
the contract to build the new concert organ for the
Moscow International House of Music. The bid for the
project was prepared in collaboration between the organ
building workshops of Glatter-Götz and Klais. The
execution of the contract for this significant instrument
was also carried out jointly by the two companies. The
project is particularly noteworthy as the organ will be
the largest new concert instrument to appear in Moscow
in the last 100 years and it will set a new accent. We
were pleased to build this instrument with Klais
Organbuilders, a company which has created many
significant concert organs worldwide. The purpose of the
cooperation is the achievement of an optimal result by
successfully blending and complementing the talents
and experience of both companies. The strikingly
modern concert hall with a seating capacity of 1800 has
been completed and was officially opened in December,
2002, by President Vladimir Putin. The installation of the
organ was executed in the latter half of 2004.
The organ concept is in the tradition of the German
Romantic style. The case is the latest example of
designs developed exclusively for Glatter-Götz
Organbuilders by architect, Graham Tristram of
Edinburgh. In addition to its modern appearance, the
organ provides for the ideal placement of the choir in
front of the instrument.
A small Positiv organ with 6 stops to be used for
chamber music was delivered in December, 2002, by
Glatter-Götz Organbuilders.
International House of Music / Moscow, Russia
[stoplist] [images]
www.gg-organs.com
projects
project future small organs information contact
dornbirn
claremont
laufen
palos verdes
taegu
disney hall
bergen
paterno
freiburg im breisgau
perm
wil
louisiana
moscow
claremont chapel
augustana
seoul
langau
bergen university
CD's
links
STOPLIST FOR THE ORGAN AT THE
"INTERNATIONAL HOUSE OF MUSIC", IN MOSCOW, RUSSIA
I Manual
Positiv
Rohrgedackt
Principal
Holzgedackt
Flauto amabile
Unda Maris
Salicional
Octave
Rohrflöte
Nasard
Superoctave
Waldflöte
Terz
Quinte
Mixtur IV
Alpen Horn
Cromorne
Tremulant
II Manual
Hauptwerk
Untersatz
Praestant
Flöte
Praestant
Octave
Bourdon
Doppelflöte
Viola di Gamba
Quinte
Octave
Nachthorn
Gemshorn
Quinte
Superoctave
Cornet V
Mixtur major IV-V
Mixtur minor III
Fagott
Trompete
Clairon
III Manual
32'
16'
16'
8'
8'
8'
8'
8'
5 1/3'
4'
4'
4'
2 2/3'
2'
8'
2'
1'
16'
8'
4'
Schwellwerk
Bordun
Geigenprincipal
Konzertflöte
Zartgedackt
Aeoline
Voix celeste
Octave
Traversflöte
Salicet
Quintflöte
Flageolet
Terzflöte
Flautino
Fourniture IV
Basson
Trompette harm.
Oboe
Clairon harm.
Tremulant
IV Manual
16'
8'
8'
8'
8'
8'
4'
4'
2 2/3'
2'
2'
1 3/5'
1 1/3'
1 1/3'
8'
8'
16'
8'
8'
8'
8'
8'
4'
4'
4'
2 2/3'
2'
1 3/5'
1'
2 2/3'
16'
8'
8'
4'
Solo / Bombarde
www.gg-organs.com
Courcellina
Flute harm
Viola di Alta
Flute octaviante
Violine
Piccolo
Grande Cornet V
English Horn
Clarinette
Tremulant
Tuba Magna
Tuba en chamade
Clairon en chamade
8'
8'
8'
4'
4'
2'
8'
8'
8'
16'
8'
4'
Pedal
Vox Balanae
Principalbass
Untersatz
Majorbass
Subbass
Bourdonbass
Violonbass
Octavbass
Cello
Bassflöte
Octave
Flöte
Mixtur V
Contrabombarde
Posaune
Fagott
Trompete
Schalmey
64'
32'
32'
16'
16'
16'
16'
8'
8'
8'
4'
4'
5 1/3'
32'
16'
16'
8'
4'
Clochette
Rossignol
Koppeln/Coupler
III-I
IV-I
I-I Sub
I-I Super
I-II
III-II
IV-II
IV-III
III-III Sub
III-III Super
I-P
II-P
III-P
III-P Super
IV-P
Chamade auf I
Chamade auf II
Chamade auf III
Chamade auf IV
Chamade auf P
Crescendo
Pleno
Tutti
International House of Music / Moscow, Russia
[back] [images]
www.gg-organs.com

Organ Planning Report

Transcription

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