Digital Organ Choice

[organloft]

Thanks for the explanation. Veritas is a new name for me on this side of the Pond. I'm looking for a secondhand organ due to financial constraints (ie I'm skint!). I spoke to Phoenix who told me that I'm more likely to find an honest member of the government than a secondhand Phoenix. I've looked at Viscount and other production models and CH are far better. Their customer service is also excellent when I've been talking to them about used models. So, fingers crossed when I get the details next week.

N

 

[Clarion]

I spoke to Phoenix who told me that I'm more likely to find an honest member of the government than a secondhand Phoenix.

Haaaar! Nothwithstanding, that's an unfortunate reality. On the North American scene, over the past decade, I'm aware of only one used Phoenix becoming availalbe; and that's only 'cause the owner died. :angel: :-(

I've looked at Viscount and other production models and CH are far better. Their customer service is also excellent when I've been talking to them about used models. So, fingers crossed when I get the details next week.

You have a couple of great options in mind. Viscount, although one of the better sounding options, are still a significant part of the crumbling Galanti Empire.

For sure, if you could manage to latch onto one of the C-H discards, that would probably the way to go!!

 

[FelixLowe]

Classic Organ Works seems to specialise in another area of digital organ technology, in which they have space-saving circuit boards to apply digital signaling, in lieu of tracker action, to drive pipes. It seems they have an ingenious invention that can drive pipes of a continuous rank of pipes to operate multiple stops, thereby enabling saving much on pipework. For example, you might get five most-needed stops from a rank of 96 principal pipes, for example: 8', 4', 2' and 2 2/3' (12th) and 1 3/5' (17th), the last two drawn together make the Sequialtera, etc, by means of intra-rank borrowing. Similarly, appropriate multiple stops for a flute tone can be created using a schema of similar continous rank of flute pipes, thereby creating the most-needed flute stops of 8', 4', 2', and the Nasard and Terz (1 3/5') (these five themselves together make the Cornet V), as well as the Quint 1 1/3' and Sifflote 1'.

As for the bass tones, you could add pipes of Bourdon 16', or if I don't remember wrongly, the company can insert digitally sampled bass tones into the electronics, so that extra stops can be created and played together with the pipes.

I think if you have a limited budget, and if you want to own a pipe organ, you may want to seek advice from Classic Organ Works for their digital electronics: http://www.organworks.com/Web/products/control_systems.asp.

 

[LastCorpseStanding]

Felix, I'm not sure exactly how the Classic control systems work, however, I believe that supplying these systems to organ manufacturers and rebuilders has become a significant part of their business. They may even have a deal with M&O for that. Funny, since M&O deals also with Rodgers, if I remember correctly.

When I did the recording of Christmas music on the Classic/Walker at St. George's, it was all MIDI files that were done ahead of time, and the computer played for the recording session. It was a much easier way of doing things, as we didn't waste time on multiple takes if I screwed up, but it also allowed us to record early in the morning before the noise of traffic and the like got too bad. The neat thing is, I still have all those files, and I can play them on ANY organ that has Classic's console control system driving the organ and has MIDI interface. That includes any pipe organs for which they have supplied the CCS.

Clarion, you are absolutely right about the Wolff organ. You really need to be an organist to fully appreciate what it is and what it does. It is so very different from any instrument I've ever played before or since. For that reason, it was kind of jarring at first, but after settling in with it for a few minutes, I really could get a sense of the level of craftmanship and thought that went into it's construction. It's one of those organs that is tough to walk away from. Play it if you can.

 

[Clarion]

One area which I have not studied in depth is the requirements for French music. In the past I have heard some organists having some comments regarding playing French music on the Rieger. This shows that there may be different requirements for French music; but I guess the question has to do with certain types of French Fournitures and the need for a Clairon 4'. But maybe the organ scholar can resolve this.

Felix, I also find the French concept of organ music quite mysterious. Taking a look at the specs on the iconic St. Sulpice organ in Paris, serves to only deepen the mystery. I don't have the slightest clue as to how I would play this instrument:

Great Division - St. Sulpice:

Principal16′
Montre16′
Bourdon16′
Flûte conique16′
Montre8′
Diapason8′
Bourdon8′
Flûte harmonique8′
Flûte traversière8′
Flûte a pavillon8′
Quinte51/3′
Prestant4′
Doublette2′

 

[FelixLowe]

Great Division - St. Sulpice:

Principal16′
Montre16′
Bourdon16′
Flûte conique16′
Montre8′
Diapason8′
Bourdon8′
Flûte harmonique8′
Flûte traversière8′
Flûte a pavillon8′
Quinte51/3′
Prestant4′
Doublette2′

Oh dear, although it has the Montres 8', 4' and 2', how does one normally play the Quinte 5 1/3' from the manual? My Allen module used to have that, but I have never selected it because I wouldn't know whether it was for solo or ensemble. As I experimented the Gross Quite 5 1/3' with an ensemble, the result was that the Principal chorus became muddled. So what I guess is that this manual of the St. Sulpice organ was in fact designed as an extra solo manual for the Grand-Orgue. Therefore, the Quinte 5 1/3' must be seen as the mutation stop producing the fifth tone supporting the 16' tone series, when a line of melody is performed using a registration of 16', 8', 5 1/3', 4' and 2'. Because of the wide spectrum of harmonics produced, I would think that a Flute Conique 16' is unlikely to be used in an ensemble (but Principal 16' is often used in an ensemble) because the Flute Conique could cloud clarity of the ensemble. However, as many organists would know, the Principal 16' commonly drawn with an ensemble of Principal stops produces a rich ensemble with an inherent supporting bass in it, without further use of the pedal for its 16' tones. However, when that is to be acheived, it usually requires a mixture stop to be drawn on the manual as part of the chorus to give clarity to the ensemble. But no mixture stop is found on this manual of the St Sulpice organ. Therefore, I would guess this manual called the II Grand-Orgue is intended for solo playing. I would think the Bourdon 16' is also more likely used as a solo stop than a chorus stop in this context for the same clarity reasons.

Is Montre 16' the same as Principal 16'? or is it so designed as to offer a French and German choices? This is the first mystery.

The Flute Conique should be more commonly known for being 4' and 2', rather than 16'. This audio excerpt from Ahlborn http://www.ahlborn-galanti.com/MP3s/Demo2.html demonstrates the Conical Flute used in the French Carol, but I am not sure whether it is a 4' or 2' because a traditional conical flute produces a wide spectrum of harmonics, and my organ does not have such stop. But I suspect it was a 2' in the audio. I am increasingly appreciating the beauty of its glass-like tonal quality.

There was a Frenchman, who compiled the JEUX project many years ago, that claimed to have produced a Globlet Flute, by using globlets found in his home kitchen. And he recorded some performances off the glasses by playing the wine glass tones on some of his goblets and digitised them for his flute samples. His Globlet Flute 2' sounds quite like the Conical Flute 2', albeit with stronger chiff. Here is a video excerpt of a man playing wine glass music: http://www.youtube.com/watch?v=phqymc8anO0. The wine glasses produce tones of similar harmonic structure not unlike those heard from the Conical Flute. But a Flute Conique 16' is rather unheard of.

It seems the St Sulpice's Principal and Bourdon 16' are common enough, though.

Is the Flute Traversiere the same as the Flute Harmonique? If so, then why are they doubled up in the same manual? There is definitely a mystery to solve. The Flute Conique 16' also occurs also in V Solo manual. This is quite interesting.

However, the stops in its other divisions are not as startling.

But you know, some of the so called French organs were not always French in the Baroque era, despite the labeling of stops in French. Some were made by Silbermann and others. Not all French organs sounded completely different from the South German Baroque organs.

Felix

 

[Clarion]

There was a Frenchman, who compiled the JEUX project many years ago, that claimed to have produced a Globlet Flute, by using globlets found in his home kitchen. And he recorded some performances off the glasses by playing the wine glass tones on some of his goblets and digitised them for his flute samples. His Globlet Flute 2' sounds quite like the Conical Flute 2'. Here is a video excerpt of a man playing wine glass music: http://www.youtube.com/watch?v=phqymc8anO0. The wine glasses produce tones of similar harmonic structure not unlike those heard from the Conical Flute.

A similar idea to the "instrument" for which Mozart composed music: The Glass Harmonica.

http://www.youtube.com/watch?v=_XPfoFZYso8

 

[FelixLowe]

The organ being referred to in the earlier posted messages is the Cavaillé-Coll in the Church of St. Sulpice: Charles-Marie Widor presided over this monumental organ for 64 years. You can hear a performance of the 1st movement of the Widor 6th symphony at this link:http://www.youtube.com/watch?v=nKImiR7a4zw&feature=related.

The church has a long-standing tradition of talented organists that dates back to the eighteenth century (see below). In 1862, the current organ, constructed by Aristide Cavaillé-Coll, was added to the church. It is Cavaillé-Coll's magnum opus, featuring 101 speaking stops, and is perhaps the most impressive instrument of the romantic French symphonic-organ era.

The church contains one of the world's finest and most famous organs, constructed by Aristide Cavaillé-Coll in 1862, using many materials from the church's earlier French Classical organ built by Clicquot in 1781. The Grand-Orgue of Saint-Sulpice was at the time of its building one of only three "100 stop" organs in all of Europe. Its organists have also been renowned, starting with Nicolas Séjan in the 18th century, and continuing with Charles-Marie Widor (organist 1870-1933) and Marcel Dupré (organist 1934-1971), both great organists and composers of organ music. Thus for over a century (1870-1971), Saint-Sulpice employed only two organists, and much credit is due to these two individuals for preserving the instrument and protecting it from the ravages of changes in taste and fashion which resulted in the destruction of many of Cavaillé-Coll's other masterpieces. The current organists are titulaire Daniel Roth (since 1985) and Sophie-Véronique Cauchefer-Choplin.[4] This impressive instrument is perhaps the summit of Cavaillé-Coll's craftmanship and genius. Widor's compositional efforts for the organ were intended to produce orchestral and symphonic timbres, reaching the limits of the instrument's range. With five manuals— keyboards— and boasting two 32-foot stops, organists at St. Sulpice have an incredibly rich palette of sounds at their disposal.

Aside from a re-arrangement of the manual keyboards c. 1900, the installation of an electric blower and the addition of two Pedal stops upon Widor's retirement in 1934, the organ is maintained today almost exactly as Cavaillé-Coll left it. [5] Its full stop list can be found in this link: http://en.wikipedia.org/wiki/Église_Saint-Sulpice,_Paris.

The above is an edited excerpt from Wikipedia's "Église Saint-Sulpice, Paris" entry.

 

[FelixLowe]

You can compare the French organ with the voicing of the North German Baroque school by listening to a J S Bach composition, BWV 544 performed on a Marcussen and Son's organ in Denmark.


http://www.youtube.com/watch?v=511Wzql-PYg&feature=related
BWV 544/1, Prelude: Karl Richter at the Marcussen organ of the Jaegersborg-Kirche in Copenaghen





http://www.youtube.com/watch?v=5lN5P6_TjKc
BWV 544/2, Fugue: Karl Richter at the Marcussen organ of the Jaegersborg-Kirche in Copenaghen

 

[FelixLowe]

But with respect to digital classical organs, there are a few reasons why I said I have total confidence in Content. Elsewhere, I have written that it is totally satisfactory in its emulation of the pipe organ voices that I cannot help but say that there can be said to be no room for further improvement, except perhaps by increasing the number of sound channels and speakers. Although the brand is a Dutch, the voicing is not typically Dutch, but is what I would classified as Danish or Northern and Eastern German Baroque, depending on the models.

First of all, I would like to invite you to hear two North German Baroque-styled pipe organs:

http://www.youtube.com/watch?v=3ZHcEG9HwsQ
Johann Pachelbel (1653-1706) - Was Gott tut, das ist wohlgetan Chorale


This next one is a Marcussen and Son's:

http://www.youtube.com/watch?v=LjRsjPsmrWY
J.S. Bach: Fantasia & Fugue in C minor BWV 537


Then, I would like you to hear the same titles played on a Content instrument, as well as a list of other organ works played on Content's other models at this link: http://www.sakralorgelwelt.de/content/klangbeispiele/index.html. While listening to the repertoire, you should not worry too much about a listing titled Gavotte, however. The only criticism is its Cymbel on the higher models which are Cymbel II. But many would desire a Cymbel III, which sounds louder and gives greater brilliance to the ensemble.

The surprising thing I have just found out is that the instrument's Romantic design is capable of producing quite authentic French Romantic voicing, after hearing a child play Leon Boellman's Gothic Suite Toccata:

http://www.youtube.com/watch?v=oNcU16Cr0TY
Leon Boëllmann Suite Gothique: 3 Prière à Notre-Dame en 4 Toccata.

After hearing all these excerpts, I don't feel I need to give my reasons in words to choose Content.

Felix

 

[Ntalikeris666]

But with respect to digital classical organs, there are a few reasons why I said I have total confidence in Content. Elsewhere, I have written that it is totally satisfactory in its emulation of the pipe organ voices that I cannot help but say that there can be said to be no room for further improvement, except perhaps by increasing the number of sound channels and speakers. Although the brand is a Dutch brand, the voicing is not typically Dutch, but is what I would classified as Danish or Northern and Eastern German Baroque, depending on the models.

First of all, I would like to invite you to hear two North German Baroque-styled pipe organ:

http://www.youtube.com/watch?v=3ZHcEG9HwsQ
Johann Pachelbel (1653-1706) - Was Gott tut, das ist wohlgetan Chorale


This next one is a Marcussen and Son's:

http://www.youtube.com/watch?v=LjRsjPsmrWY
J.S. Bach: Fantasia & Fugue in C minor BWV 537


Then, I would like you to hear the same title played on a Content instrument, as well as a list of other organ works played on Content's other models at this link: http://www.sakralorgelwelt.de/content/klangbeispiele/index.html. While listening to the repertoire, you should not worry too much about a listing titled Gavotte, however. The only criticism is its Cymbel on the higher models which are Cymbel II. But many would desire a Cymbel III, which sounds louder and gives greater brilliance to the ensemble.

The surprising thing I have just found is that the instrument's Romantic design is capable of producing quite authentic French Romantic voicing, after hearing a child play Leon Boellman's Gothic Suite Toccata:

http://www.youtube.com/watch?v=oNcU16Cr0TY
Leon Boëllmann Suite Gothique: 3 Prière à Notre-Dame en 4 Toccata.

After hearing all these excerpts, I don't feel I need to give my reasons in words to choose Content.

Felix

I Agree with you!
Also,
Check these out:
http://www.youtube.com/watch?v=CleDeNiCPS4&fmt=18
http://www.youtube.com/watch?v=azx1y62xmNc&fmt=18



Nicholas

 

[FelixLowe]

Of course, when you are skint, like how I was when I had to build my organ, you may consider building it with a sound module. From what I know, at present there are two good quality modules available in the market, both constituting the self-contained complete stop list of an organ. In the past, I constructed my organ by being fortunate enough to get hold of a 30-note midified pedalboard as well as the bench. All you need to find space to deck up the two keyboards firmly on a table and just plug two ordinary midi keyboards, that are inexpensively available at your local music shops.

For louspeakers, in the past, I bought two sturdy professional Yamaha speakers and used a Volcano subwoofer. Special attention needs to be paid to the speakers because ordinary Hi-fi and other computer speakers shall not be able to withstand the strong bass tones emanating from these organ stops. They will either crack in a terrible way or simply blow them soon. Enquire about a set of Bose speakers, or the similar professional speakers, preferably with a subwoofer included in the set, to avoid paying extra. To ensure authentic sound production, you need a set which can produce about 25hz-40hz to 22,000hz (22khz) to 24,000hz (24khz).

If you prefer the North German Baroque style, just as I am, you would go for the Content module. In the past, I have enquired about the price of such a product, the Exp-440. Personally I feel it was offered at a very, very economical price, given the number of stops available and the voicing quality. If you are skint, you probably have no other way except building an organ with this module, that gives you 31 stops. It is the best of what you can get in the market for the amount you have to pay. And the module has an interface like an organ stop console. Check out the stop list and other details here: http://www.contentorgels.nl/product2.aspx?id=190. If you want to hear the voicing, it has been said that the stop samples are from the D4000 series of Content organs. You can hear some demo files of the D4000 here: http://www.sakralorgelwelt.de/content/klangbeispiele/index.html.

But if you prefer the South German Baroque style, I have also discovered a German digital organ company called Hoffricter, that sells a module that can switch between South German Baroque and alternative Classical/Romantic French styles. But I guess this one is a bit more expensive than the Content EXP-440, from what I can remember from a price list that I have seen sometime ago.

This one gives you 23 stops, with an alternative bank of stops. You can visit this link to see the stop list and hear a demonstration file: http://www.hoffrichter-kirchenorgel.de/de/Index.htm. After my preview of the music file, I would say it is quite an authentic voicing of the South German Baroque school.

Hoffricter in fact also sells a six-stop module for one manual and the pedalboard. If you just want to practice on one manual and the pedalling skill, this one may be an option. See the stop list and the alternative bank of stops here: http://www.hoffrichter-kirchenorgel.de/de/Index.htm, and hear the demonstration file.

 

[FelixLowe]

But of course, some people want to make the studies of tone their aim when learning to play the organ. There is a product I know in the market that features more than 500 stops of the classical organ of various periods. But each time, one can only call out 30-odd voices, as far as I can remember aftering reading their promotional materials. So it would be a good idea to practise making your own stop list, and analysing all the elements you would need in relation to the music you want to play, each time you call out the 30-odd voices. So if you want to study exhaustively and maximally the organ voices, then a little bit of trouble of relabeling the stop tabs on your organ would be necessary every now and again, depending on what voices you have called out.

The drawback of this product is that it won't be inexpensive to own one, I guess, particularly if you want to get all 500 or so voices. Although I haven't seen the price list yet, Rodgers' promotional materials claimed that in this archive device are stored all voices the company owns. Some of the voices are listed as below. However, other details emerge that sales are based on the customers' own choices of voices. And costs are calculated based on the number of voices to be purchased.

One online correspondence from the Rodgers' website gives details, saying: "A DSG is actually a Masterpiece organ without the keys or case. Polyphony and generator capacity have nothing to do with MIDI but rather the number of DVMs (Digital Voice Modules) and voice allocation to each DVM. One DSG comes with one DVM and a second DVM (optional). The stop capability of this configuration would be 32 voices max. The cost of a DSG includes the first 10 stops with others added at addtional cost on a per stop basis. To get all 500 voices you would have to chain about 15 DSGs together and you'd be knocking on retail price door of around $400,000."

The DSG-108 makes the entire Rodgers Sound Library of over 500 stereo imaged digital sounds:

• Capacity for up to 32 stops with the option of two DVMs - multiple units can be used for more capacity
• Up to 3 manual divisions and one pedal division
• Divisions can be expressed or unexpressed
• Compatible with electric and mechanical action pipe organs
• 12 channel audio allows speakers to be placed in multiple divisions
• Completely flexible external audio options tailored to your specific needs
• Uses Rodgers Parallel Digital Imaging® technology for realistic pipe sound
• External stop-by-stop and note-by-note voicing via Ethernet connection and standard browser software
• Option to order with pre-installed MX-200 sound module - one dedicated control needed for each stop
• Compliant with the European Union's RoHS Directive

INPUTS

• Three 61 key banks of 8-15VDC inputs for manuals with + or - commons
• One 32 key bank of 8-15VDC inputs for pedals with + or - commons
• Three inputs for expression; each input can be either 16-point 8-15VDC signals with + or - commons or analog signals from expression potentiometers
• 48 individual 8-15VDC inputs for stops, couplers, tremulants and controls, all with + or - commons
• One 8-15VDC input with + or - common to turn on the system
• Ethernet port for computer access to voicing and setup parameters
• Insulation displacement type system wire connectors
• Power requirement: 120VAC - 20 amp dedicated circuit recommended; also available in 100V, 220V and 240V configurations at either 50Hz or 60Hz

OUTPUTS
12 audio channels:

• 6 manual channels
• 2 assignable channels
• 2 antiphonal channels
• 2 low frequency channels

DIMENSIONS
23.25" H x 22" W x 13" D (height includes .75" rubber feet)
PARTIAL LIST OF AVAILABLE STOPS FOR THE DSG-108
1ST OPEN DIAPASON 8
2ND OPEN DIAPASON 8
ACUTA III
AEOLIAN WINDS II 8
ÆOLINE 16
ÆOLINE 8
ALIQUOTÉE NEUVIÈME VII
ANGELIC CHOIR V
ANGELIC CHOIR VI 8
BASS CLARINET 16
BASS FLUTE 8
BASS TUBA 16
BASSET HORN 16
BASSET HORN 8
BASSON 16
BASSOON 16
BLOCKFLÖTE 2
BOIS CÉLESTE II 8
BOMBARDE 32
BOMBARDE 16
BOMBARDE 8
BOMBARDE 4
BOMBARDE MAGNA 16
BOURDON 32
BORDUN 16
BOURDON 16
BOURDON 8
BOURDON DOUX 16
BOURDUN 16
BOWED STRING 16
BRASS ENSEMBLE
CARILLON
CELESTA
CELLO 8
CELLO CÉLESTE II 16
CELLO CÉLESTE 8
CELLO CÉLESTE II 8
CHALUMEAU à CHEMINÉE 4
CHAMADE 8
CHAMADES II
CHIMES
CHIMNEY FLUTE 8
CHIMNEY FLUTE 4
CHOEUR DES VIOLES IV
CHOEUR FOURNITURE V
CHORALBASS 4
CHORUS MIXTURE IV
CLAIRON 4
CLAIRON HARMONIQUE 4
CLARABELLA 8
CLARINET 16
CLARINET 8
CLARION 4
CLARION TUBA 4
CONCERT FLUTE 8
CONTRA BOMBARDE 32
CONTRA BOURDON 32
CONTRA FAGOTTO 32
CONTRA FAGOTTO 16
CONTRA GAMBA 16
CONTRA GEIGEN 16
CONTRA PRINCIPAL 32
CONTRA TROMBA 16
CONTRA TROMBONE 32
CONTRA TROMBONE 16
CONTRA TUBA 16
CONTRA VIOLA 16
CONTRA VIOLONE 32
CONTRE BASSE 16
CONTRE BASSON 32
CONTRE BASSON 16
CONTRE BOMBARDE 32
CONTRE BOURDON 32
CONTRE GAMBE 32
CONTRE GAMBA 16
CONTRE GEIGEN 32
CONTRE MONTRE 16
CONTRE PRINCIPAL 32
CONTRE TROMPETTE 32
CONTRE TROMPETTE 16
CONTRE VIOLONE 32
COR ANGLAIS 8
COR DE BASSETTO 16
COR DE CHAMOIS 8
COR de GABRIEL 8
COR DE NUIT 8
COR DE NUIT 4
CORNET II
CORNET III
CORNET IV
CORNET V
CORNETT V
CORNO DI BASSETTO 16
CORNOPEAN 8
CREMONA 8
CREMONA 4
CROMORNE 4
CROMORNE 8
CYMBAL III
CYMBAL IV
DIAPASON 16
DIAPASON 8
DOLCE FLÛTE CÉLESTE II 8
DOPPELFLÖTE 8
DOUBLE DIAPASON 16
DOUBLE OPEN DIAPASON 32
DOUBLE OPEN DIAPASON 16
DOUBLE OPEN WOOD 32
DOUBLE TROMBA 16
DOUBLE TROMBONE 32
DOUBLE TRUMPET 16
DOUBLE TUBA 16
DOUBLETTE 2
DULCET 8
DULCETT III 8
DULCIAN 16
DULCIANA 16
DULCIANA 8
DULCIANA 4
DULCIANA CÉLESTE II 16
DULCIANA CÉLESTE II 8
DULCIANA CÉLESTE III 8
DULZIAN 16
DULZIAN 8
ECHO CHIMES
ECHO DIAPASON 16
ECHO HORN 8
ECHO MIXTURE IV
ECHO TRUMPET 8
ECHO VOIX HUMAINE 8
ENGLISH DIAPASON 16
ENGLISH DIAPASON 8
ENGLISH HORN 8
ENGLISH TRUMPET 8
ENGLISH TUBA 16
ENGLISH TUBA 8
ERZÄHLER 16
ERZÄHLER 8
ERZÄHLER CÉLESTE 8
ERZÄHLER CÉLESTE II 8
FAGOTO 32
FAGOTTO 16
FAGOTT 16
FAGOTT 8
FERN FLUTE 4
FESTIVAL TRUMPET 16
FESTIVAL TRUMPET 8
FESTIVAL TRUMPET 4
FIFE 1
FIFTEENTH 4
FIFTEENTH 2
FIRST OPEN DIAPASON 8
FLAGEOLET 2
FLAUTINO 2
FLAUTO BASSO 16
FLAUTO MIRABILIS 8
FLAUTO TRAVERSO 4
FLAUTO VENEZIANO 4
FLÛTE 8
FLÛTE 4
FLÛTE 2
FLÛTE à BEC 2
FLÛTE à CHEMINÉE 8
FLÛTE à FUSEAU 4
FLÛTE à PAVILLON 8
FLÛTE CÉLESTE 8
FLÛTE CÉLESTE II 8
FLÛTE CONIQUE 4
FLÛTE D' ORCHESTRE 4
FLUTE d'AMOUR 4
FLUTE d'ARGENT 4
FLÛTE DE BOIS 8
FLÛTE DOUCE 8
FLÛTE HARMONIQUE 8
FLÛTE HARMONIQUE 4
FLÛTE MAJEUR 8
FLÛTE OCTAVIANTE 4
FLÛTE OUVERTE 16
FLÛTE TRAVERSIÉRE 4
FOURNITURE III-IV
FOURNITURE IV
FRENCH HORN 8
FUGARA 4
FULL MIXTURE IV
GAMBE 32
GAMBA 16
GAMBA 8
GAMBA CÉLESTE II 16
GAMBA CÉLESTE II 8
GAMBE 8
GAMBE CELÉSTE 8
GAMBE CÉLESTE II 8
GEDACKT 8
GEDACKT POMMER 16
GEDECKT 16
GEDECKT 8
GEIGEN 32
GEIGEN DIAPASON 8
GEIGEN PRINCIPAL 8
GEMSHORN 8
GEMSHORN 4
GEMSHORN CÉLESTE 8
GEMSHORN CELESTE II 8
GRAND DIAPASON 8
GRAND FOURNITURE V
GRAND FOURNITURE VI
GRAND FOURNITURE VII
GRAND JEU VII
GRAND MIXTURE VII
GRAND OCTAVE 4
GRAND PRINCIPAL 8
GRAVE FOURNITURE IV
GRAVE MIXTURE V
GRAVISSIMA 64
GROSS NAZARD 5 1/3
GROSS PRAESTANT 32
HANDBELLS
HARMONIC CLARION 4
HARMONIC FLUTE 8
HARMONIC FLUTE 4
HARMONIC TRUMPET 8
HARMONICS V
HARP 8
HARP 4
HARPSICHORD
HAUTBOIS 8
HERALD TRUMPET 8
HOHLFLÖTE 8
HOLZGEDACKT 8
JEU DE CLOCHETTE II
KINURA 8
KLARINE 4
KLEIN ERZÄHLER II 8
KLEINOKTAV 2
KONTRA FAGOTT 32
KOPPELFLÖTE 4
KRUMMHORN 8
KRUMMHORN 4
LARIGOT 1 1/3
LEGATO STRINGS
LIEBLICH BOURDON 16
LIEBLICH FLÖTE 4
MAJOR BASS 16
MAJOR FLUTE 8
MAJOR OCTAVE 4
MARCATO STRINGS
MELODIA 8
MILLENNIAL TRUMPET 8
MIXTURE III
MIXTURE III-IV
MIXTURE IV
MIXTURE V
MIXTURE VI
MIXTURE XI
MONTRE 16
MONTRE 32
MONTRE 8
MOUNTED CORNET V
MUSETTE 4
MUTED VIOLS II 8
MUTED VIOLS II 4
NACHTHORN 8
NACHTHORN 4
NASAT 2 2/3
NASON GEDACKT 8
NAZARD 2 2/3
NEUVIÈME 1 7/9
OBOE 8
OBOE d'AMOUR 8
OBOE 4
OCTAVE 2
OCTAVE 8
OKTAVBASS 8
OCTAVE 4
OKTAV 4
OCTAVIN 2
OKTAV 2
OKTÄVLEIN 1
OPEN DIAPASON 16
OPEN DIAPASON 8
OPEN FLUTE 4
OPEN WOOD 32
OPEN WOOD 16
OPHICLEIDE 32
OPHICLEIDE 16
ORCHESTRAL FLUTE 4
ORCHESTRAL HARP
ORCHESTRAL OBOE 8
PETITE CLAIRON 4
PETITE CYMBALE IV
PETITE TROMPETTE 8
PHILOMELA 8
PICCOLO 2
PICCOLO 1
PLEIN JEU III
PLEIN JEU III-V
PLEIN JEU IV
POMMER 16
POSAUNE 16
POSAUNE 8
POSTHORN 16
POSTHORN 8
PRÆSTANT 16
PRÆSTANT 8
PRÆSTANT 4
PRESTANT BASSE 8
PRINCIPAL BASSE 32
PRINCIPAL 16
PRINCIPAL 8
PRINCIPAL 4
PRINCIPAL 2
PRINZIPAL 8
PRINZIPAL 4
PRINZIPAL 2
PRINZIPAL 1
QUARTE DE NAZARD 2
QUINT 10 2/3
QUINT 5-1/3
QUINT 2 2/3
QUINTADE 16
QUINTADE 8
QUINTATON 16
QUINTFLÖTE 1 1/3
RANKETT 16
RAUSCHQUINT II
RAUSCHQUINT III
RAUSCHQUINT IV
REGAL 8
RESULTANT 64
ROHR GEDACKT 16
ROHR PFEIFE 2
ROHR PIPE 4
ROHR SCHALMEI 8
ROHR SCHALMEI 4
ROHRFLÖTE 8
ROHRPFEIFE 2
ROYAL TRUMPET 8
ROYAL TUBA 8
SALICIONAL 8
SCHARF IV
SCHARFF III
SCHARFF IV
SCHARFF ZIMBEL III
SECOND OPEN DIAPASON 8
SEPTIÈME 1 1/7
SERPENT 16
SESQUIALTERA II
SEVENTEENTH 1 3/5
SHARP IV
SHAWM 4
SIFFLÖTE 1
SINGEND PRINZIPAL 8
SLOW STRINGS 16
SLOW STRINGS 8
SLOW STRINGS 4
SOLO DIAPASON 4
SOUBASSE 16
SPILLFLÖTE 4
SPINDLE FLUTE 4
SPIRE FLUTE 4
SPITZ GEIGEN 8
SPITZ PRINCIPAL 4
SPITZFLÖTE 16
SPITZFLUTE 8
SPITZFLÖTE 4
STATE TRUMPET 8
STOPPED DIAPASON 8
STOPPED FLUTE 8
SUB PRINCIPAL 16
SUB TUBA 16
SUBBASS 16
SUPER OCTAVE 2
SUPEROKTAV 2
TERZ 1 3/5
TERZIAN V
THIRD OPEN DIAPASON 8
TIBIA 16
TIBIA CLAUSA 16
TIBIA 8
TIBIA CLAUSA 8
TIBIA MINOR 8
TIBIA FIFTH 5 1/3
TIBIA 4
TIBIA MINOR 4
TIBIA PICCOLO 4
TIBIA TENTH 3 1/5
TIBIA TWELFTH 2 2/3
TIBIA 2
TIBIA PICCOLO 2
TIBIA SEVENTEENTH 1 3/5
TIBIA TIERCE 1 3/5
TIERCE 1 3/5
TIBIA FIFE 1
TIERCE FOURNITURE IV-VI
TIERCE MIXTURE IV
TIERCE MIXTURE IV-V
TIERCE MIXTURE V
TOWER BELLS
TRAVERSE FLUTE 4
TROMBA 8
TROMBONE 32
TROMBONE 16
TROMPETE 8
TROMPETTE 8
TROMPETTE DE FETE 8
TROMPETTE EN CHAMADE 16
TROMPETTE EN CHAMADE 8
TROMPETTE EN CHAMADE 4
TROMPETTE HARMONIQUE 8
TROMPETTE ROYALE 8
TROMPETTE de CINQ 5 1/3
TRUMPET 16
TRUMPET 8
TRUMPET D'GABRIEL 8
TUBA 16
TUBA 8
TUBA CLARION 4
TUBA MAGNA 16
TUBA MAGNA 8
TUBA MAJOR 16
TUBA MAJOR 8
TUBA MIRABILIS 16
TUBA MIRABILIS 8
TUBA PROFUNDA 16
TWELFTH 2 2/3
UNDA MARIS II 4
UNDA MARIS II 8
UNTERSATZ 32
VIOL 32
VIOL CÉLESTE II 16
VIOL CÉLESTE II 8
VIOL CÉLESTE II 4
VIOL DES ANGES II 8
VIOL OCTAVE 4
VIOL PRINCIPAL 8
VIOLA 16
VIOLA 8
VIOLA CÉLESTE 8
VIOLA CÉLESTE II 8
VIOLA DE GAMBE 8
VIOLA POMPOSA 8
VIOLE 8
VIOLE CÉLESTE 8
VIOLE CÉLESTE II 8
VIOLE DE GAMBE 8
VIOLINCELLO CÉLESTE II 8
VIOLIN DIAPASON 8
VIOLINAS II 4
VIOLON 16
VIOLON BASSE 32
VIOLONCELLO CÉLESTE II 8
VIOLONCELLO 8
VIOLONE 16
VIOLONE 8
VIOLS CHORUS IV
VIOLS CHORUS VI
VOCE UMANA 8
VOCE UMANA II 8
VOIX CÉLESTE 8
VOIX DES ANGES II 8
VOIX DES ANGES VI 8
VOIX HUMAINE 8
VOIX SÈRAPHIQUE II 8
VOX CÉLESTE 8
VOX HUMANA 8
VOX MYSTICA 8
WALDFLÖTE 2
WALDHORN 16
WALDHORN 8
ZAUBERFLÖTE 2
ZIMBEL III
ZIMBEL IV
ZIMBELSTERN
ZINK 2

 

[FelixLowe]

One can appreciate the beauty & transparency of the voices performing Gavotte (from Symphony IV) by William Boyce (1710-1779) on the Content digital organ: http://www.classicalorganscornwall.co.uk/09_-_Gavotte__from_Symphony_IV_.mp3.
Classical Organs Cornwall gets this file right with the title of the song.

You can find out more from this UK link here: http://www.classicalorganscornwall.co.uk/music.html and hear more music performed on Content organs, a slightly different repertoire from the German site.

Felix

 

[FelixLowe]

As I've checked my existing organ speakers at home, they are Yamaha model "Monitor Speaker System MS202 II", and are of a size that is similar to the normal computer monitor per piece. One advantage of these is that they are extremely compact, sturdy and distortion-proof. This is because it can only produce bass tone down to only 70hz, below which the system seems to cut off the lower frequencies. This means that the deep bass of 16hz to around 60hz is blocked to prevent cracking and distortion. However from my memory, the highest frequencies expressed are only about 18Khz and a little bit beyond that perhaps, which is not very satisfactory as an organ speaker. But I must say that it is a reliable, sturdy alternative professional piece of equipment, particularly when it is intended for home/personal use only. Generally, organ speakers require capability of expressing 24khz, which, they say, cannot be heard, but can be sensed by humans. Also, true organ speakers often claimed they could produce tones down to 16hz.

[SIZE=+1]Yamaha MS202 II Powered Monitor

[/SIZE]

[SIZE=-2] [/SIZE]​

[SIZE=-1]Ideal for home recording. Features clean 20W built-in power amp; wide frequency response (70Hz-18kHz); RCA and 1/4" inputs plus mic in and line out; magnetic shielding for use near CRTs; and comprehensive low, high, EQ, and volume controls. Includes 2 - 4" full range cone speakers. [/SIZE]



I used to have one such monitor speaker for the great/pedal and another for swell/pedal. But when using these speakers, one needs additional subwoofers to express the pedal bass tones, as well as the low-register notes on the manuals. The line-out you saw in the picture goes to the subwoofer, where a volume and frequency control knobs are available. What I have done in the past is to allow the subwoofer to express only the frequency range from 25hz to roughly about 60Hz. But that had cost extra. I should have chosen a set of professional audio equipment that included a subwoofer, so as to avoid coughing up extra.

When you are purchasing your speakers, bring the sound module along with you and test it in the shop by playing the module using the demo button on it, as I did. I did so when purchasing the subwoofer. And I found it quite OK when I and the shopkeepers were able to see their ceiling panes rattling. Be aware to turn the volume down first and slowly up to avoid damaging the speaker systems in the shop.

 

[FelixLowe]

I invite you to read a page from an 1985 academic journal on the changing tastes of organ playing in the United States: http://www.jstor.org/pss/961686 -- how European tastes were transmitted to America. The journal is titled Bach and the Organs of His Time: Their Influence in America, by John Brombaugh © 1985 Musical Times Publications Ltd..

 

[Clarion]

- - - how European tastes were transmitted to America.

I don't believe that Continental European tastes have really caught on in America. The predominance of English/American Romantic organs in both England and America, tends to define the majority of instruments in both countries. Although some attempt to separate the organ characteristics of each country, to my ears, Americn and English organs are homogenius entities.

 

[FelixLowe]

There are ancient organs, particularly those of Germany, that feature large mixtures, sometimes, in excess of six ranks or more. Often times, there were as many as three mixture stops, including the Cymbel or Sharff on one of the manuals alone. I was quite impressed by the brightness of a Klapmeyer organ I stumbled across yesterday, and was hoping to find out more from literature about the tonal appointment of such stops sounding loudly together -- particularly why as many as three could be found on one manual in certain old organs. Yet, in the book titled the Art of Organ Building, the author has criticised such ancient inventions as unscientific and inartistic, saying that they were not made in accordance with how music theories were understood in the modern times. But is this true? Were they really inartistic? No, they certainly weren't. The author seems to misunderstand these devices as merely harmonic-corroborating stops to be designed to perhaps "sing along" with the rest of the pipes. However, my understanding of these stops is that they were made as imitations of the ancient percussion instruments of the crash cymbels or the gongs perhaps.

See the author, George Audsley's criticism of large pipe organ mixtures in The Art of Organ Building can be read here:
http://books.google.com.hk/books?id=wyfl0QnhCoMC&pg=PA272&lpg=PA272&dq=large+mixture+organ&source=bl&ots=R9KLT-2NIU&sig=aAsvBDeLmjTUS_DVXmflt3nzfpY&hl=zh-TW&ei=rS8DS4iXB5SCkQX8jJHKAQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CAgQ6AEwAA#v=onepage&q=large%20mixture%20organ&f=false.

His comment is not new to me. Elsewhere, in another book he authored, Organ Stops, he has made similar remarks regarding loud mixtures, as well as unenclosed reeds. But despite what he has condemned, these devices continue to exist, and there is no shortage of examples of unenclosed reeds found in America, for example.

In Psalm 150, there is recorded an ancient Hebraic orchestral band with various instruments used during their worship activities. There, two of the perscussion instruments are featured, the cymbel and the high-pitched cymbel. It is so obvious that these devices were not created for the purpose of "harmonic-corroborating" instruments, but to add rhythm and joyfulness to the music. The Cymbel definitely is not intended to harmonise because it can only produce one musical note throughout. Therefore, I am in favour of larger mixture and cymbel as found in many organs in the Baroque period in Germany as these when drawn together create some crashing of tones, that makes it possible to conjure up the image of many pairs of cymbels being played at the same time. The organ, which serves to imitate a band under one man's control, can serve this purpose better with sizeable/ multiple mixtures that serve to perform the percussion function, rather than intentionally as extra chord provider. So although the author crticises the ancient making of various mixtures as unmusical or non-harmonic-corroborating, the builders must have had their reasons for the approaches they had followed generation after generation.

Here, I would invite you to hear Vincent Lübeck's (1654-1740) Prelude and Fugue II in E major
Michel Chapuis at the Johann Hinrich Klapmeyer organ of the St. Nicolai Church in Altenbruch. The organ is of German Baroque voicing, but features loud mixtures.
http://www.youtube.com/watch?v=_h2g0Xrh7gI&feature=related

DISPOSITION OF THE ORGAN
Hauptwerk
Quintadohn 16'
Principahl 8'
Gedackt 8'
Octav 4'
Waldflöt 2'
Mixtur V
Simbel III
Trommeth 8'
Vox humana 8'
Scharff IV
Dulcian 16'
Kromphorn 8'

Rückpositiv
Principahl 8'
Gedackt 8'
Quintadöhn 8'
Octav 4'
Gedackt 4'
Nasat 3'
Super Octav 2'
Blockflöt 2'
Sexquialtera II

Brustwerk
Gedacktes 8'
Gedackt 4'
Super Octav 2'
Quint 1 1/2'
Scharff III
Knop Regal 8'

Pedal
Untersatz 16'
Prinzipahl 8'
Gedackt 8'
Octav 4'
Mixtur IV
Posaun 16'
Trommeth 8'
Corneth 2'

 

[FelixLowe]

But one point I need to correct myself is on the ancient cymbals. An encyclopedic entry of "Cymbal" of Wikipedia describes ancient cymbals in this way:

"Ancient cymbals or tuned cymbals are much more rarely called for. Their timbre is entirely different, more like that of small hand-bells.... They are not struck full against each other, but by one of their edges, and the note given in by them is higher in proportion as they are thicker and smaller. Berlioz's Romeo and Juliet calls for two pairs of cymbals, modelled on some old Pompeian instruments no larger than the hand (some are no larger than a crown piece), and tuned to F and B flat. The modern instruments descended from this line are the crotales."

This description immediately reminds me of the occasion so many years ago when one of the schools I attended arranged for a valedictory performance of a section taken from Beethoven Symphony No. 9 for its graduating students. I was the one of the few, who must have played the ancient cymbals. I can recall at that time that another boy was playing the triangle, whose tone somewhat resembled my instrument, albeit had a sharper tinkling and sounded a higher pitch. But the instrument I played was two bell-shaped, small metallic cups of about one and a half inches high, bronze-coloured. They didn't have the clapper inside them as a bell does. Both had a small ear on top where a tricolour ribbon, of about six to seven inches, was tied to their ears to join them up as a pair. At the appropriate moments, one needed only to strike both together gently by their rims to produce a tinkling sound. I believe they got them from one of those Commie stores selling traditional Chinese products. This is because one year, when our whole family went to a Commie store (Chinese emporium) to get a toy glockenspiel, I saw many of these "ancient cymbals" lying in one of the baskets in the music section.

This instrument called Pengling from a Chinese music store. Two small bells are said to be made of high-tin bronze without internal clappers, and are hemispheric, gourd-like in shape. In performance the player, with one bell in each hand, strikes each other at their rims. The instrument produces a delicate, tinkling tone. It is a coloring rhythmic instrument, played in ensembles or in theater music.

But not until I saw the Wikipedia description did I realise I had played one of those ancient cymbals before, for, normally a cymbal today is understood to be a gong of considerable sizes. So that would correct an understanding of the ancient instrument, which is probably similar to the ones mentioned by the Hebrews in Psalm 150.

So with my music talent still waiting to be discovered, that's all I can say about the only occasion of playing in a band.

One boy in the band played the higher-pitched Triangle during the valedictory performance.

 

[FelixLowe]

Buxwv 139 by Dietrich Buxtehude at the Johann Hinrich Klapmeyer organ of the St. Nicolai Church in Altenbruch:
http://www.youtube.com/watch?v=wbiy7O5iK4k.

Also, Buxtehude's Wie schon Leuchet der Morgenstern: http://www.youtube.com/watch?v=usn9as4DG30&feature=related.

For the well-known English carol "The First Noel the Angels Did Say", David Willcocks has in fact had a last-verse arrangement composed and it was performed for Verse 5 in this American church service last year:http://www.youtube.com/watch?v=Us4nAM8jFTE. Listen to the organ, which I feel is probably a German Romantic one.

Star over Bethelehem

Magi seeking the Star of Bethlehem

The above shows the night sky of the conjunction of Jupiter and Regulus in 3BC (-2). This occurred about two years after Jesus was born. So if the magi had ever laid gifts at the manger, Jesus must have already been two years old.

If you want to learn more about the star conjunction with planet Jupiter, you can read about a Christmas story in connection with the Bible and some astronomical analyses here: http://www.whychristmas.com/customs/star-of-bethlehem.shtml.