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Prague Baroque (1642-1673) - A South German Organ
Model
While many virtual models of organs have one specific instrument as the
template, we decided to take different approach this time. The advantage of
presenting a "South German Organ Model" without a direct connection to certain
specific instrument is that it is more clearly shown that all the organs of this
family in the given period are quite similar to each other and have many common
characteristics, in spite of their differences. These common characteristics of
the south German organ building school are: an instrument with two short-octave
manuals where the Rückpositiv is
shaped to be the "smaller brother" of the Hauptwerk for dynamic and
spatial contrast; limited pedal division of 18 tones; mild
Principals with an expressive speech even on very low wind
pressures; sparkling and light sound of numerous mixtures which
often include a tierce rank; great
variety of flute stops including the typical wooden Copulas -thinner
Gedackts- with
non-imitable "chiff"; predominant labial character of the
instrument accentuated by total absence of reed stops (with the exception of
occasional Fagot-like pedal stop with wooden resonators), early appearance of
strings. Anyway, it is good to point out at least two instruments which are
probably the most excellent examples of the South German organ building school,
milestones marking the boundaries of the given period.
Prague is said to be "Mater urbium" (the Mother of towns). The
large gothic church of Our Lady before Tyn in the very centre of the city was an
eye-witness to all the key adventures of the Czech nation since these events
usually took place at the neighboring Old-Town square. The sanctuary is known
especially for its Hussite and Utraquist past. Today, many tourists visit the
place to find the tomb of Tycho de Brahe. The church is famous also due to its
17th century organ. The instrument has to be called "Mater
organorum". Indeed, the masterpiece of
Johann Heinrich Mundt (1632-1691) finished in 1673 for the church of Our
Lady before Tyn is generally considered to be the THE organ. It is
the most typical representative of the Czech organ building. Also,
it is one of the best preserved instruments from the 17th century in
Europe. If you think of a historical Czech organ, it is the first
instrument which comes immediately to your mind. The
organ was excellently restored in 1998-2000 by Klais (Bonn) thanks
to a massive support of the German foundation (Zukunftsfonds). I can say
without any exaggeration that it is the dream of every Czech
organist to be allowed to touch this instrument.
Detailed essays on the history of the organ and its restoration are
available, based on the account of prof. Hans-Wolfgang Theobald (see
the bibliography) who
was the leading figure of the restoration process.
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However, the greatest south German
instruments offer even greater variety of stops, especially reeds.
The most notable document of the early Baroque south German organ
building is the monumental Johann Georg Freundt
(1590-1667) instrument built for the Klosterneuburg abbey near Wien
(finished in 1642). 3-manual instrument built for solistic organ
playing on high feasts, while retaining most of the characteristics
mentioned above including short bottom octaves and very limited
pedal, offers reeds of all kinds: full-, half- and short-resonators.
We were examining the Klosterneuburg organ and we wanted to record
it for Hauptwerk. The organ itself is in perfect shape. It was
restored in an exemplary manner by Kuhn (Männedorf, Switzerland) in
1990. However, the blower noise was extreme (I honestly think that
it was the loudest blower noise I ever heard) so we gave up.
Nevertheless, we at least took the inspiration how a south German
reeds should sound and then we decided to add these timbres to the
virtual model of our Prague organ model. Therefore, there is the
extended version of the Prague Baroque sample set enriched with
these Klosterneuburg-like reeds. Therefore, our virtual model cannot
be said to imitate one specific organ, rather it tries to imitate
the typical south German sound color. |
Bibliography:
- Hans-Wolfgang Theobald, Die Johann-Heinrich-Mundt-Orgel von 1671-73 in der
Teynkirche zu Prag. In: Ars Organi, März 2002, S. 27-34.
- Organa Mundi 2007
- CD of Peter van Dijk, The Týn Church Organ
1673 (ARTA Records).
- Peter Williams, The 1642 organ of
Klosterneuburg, Vienna. The Musical Times, 113 (1972), p.
494-499.
- Günter Lade, Orgeln in Wien. ISBN 3-9500017-0-0, S. 28ss.
- Friedrich Jakob, Die Fest-Orgel in der Stiftskirche
Klosterneuburg, Wien 1990.
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http://www.edition-lade.com/b__cds/d__cd__orgeln/orgel_cd_013.htm
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