P2P | 2022年10月29日| 6.09 GB
該樂器位于東德德累斯頓附近的一個曆史村莊教堂,以13世紀的教堂爲基礎,在随後的幾個世紀裏進行了重建和擴建,最後一次是在1742年。由于大量的木質裝置,教堂的音響效果幹燥而清晰。
風琴是由德國弗勞恩斯坦/薩克森的戈特弗裏德·西爾伯曼于1729- 1731年建造的。Gottfried Silbermann的風琴類型可以分爲不同的建築類。這種樂器代表了典型的西爾伯曼中型教堂風琴,是赫爾穆特·沃爾查和赫伯特·科勒姆/德累斯頓的克羅伊茲基什最喜歡的樂器之一。
典型的Gottfried Silbermann管風琴特征是強烈而尖銳的外位音停,如1 1/2’,2’和3’,豐富而溫暖的8’主音停和明亮的超八度音停,如4’,2’和1’。有非常有特色的基本站,如Rohrflöte 8’和Quintadena 8’。産生的聲音明亮、清晰、洪亮。管風琴手不需要很多停音就能達到豐富的靜壓定音。風琴被調諧到所謂的曆史“Chorton”(a1=465赫茲)。
幾乎所有的管子都是原始的,尤其是前管(Principal 8’),而大多數曆史風琴在第一次世界大戰期間失去了它們,因爲對武器金屬的需求日益增加。盡管如此,該樂器不得不在1852年進行了幾次修改(平等調諧(因此縮短了管道!),由于改變聲音偏好而進行的聲音修改,安裝了一個踏闆耦合器),并在1909年浪漫主義晚期,擴展了一個帶有氣動跟蹤的Salicional 8′ (!)1953年,風壓從94毫米大幅降低到70毫米,聲音發生了嚴重的變化,導緻風非常不穩定,完全改變了微弱的聲音特征,有明顯的風凹陷(聽赫伯特·科盧姆斯1965年的錄音中的一個小聲音例子)。1997年,德累斯頓管風琴車間Kristian Wegscheider被委托對原有的風系統和管聲進行曆史性的重建和改造。風壓再次設置爲94毫米。由于失去了原有的調音,它被改成了具有曆史意義的西爾伯曼式調音系統,特别能配合巴洛克室内樂,基本鍵非常清晰。
該儀器有兩個手冊和一個缺失c#的踏闆,機械跟蹤動作,手動換向耦合器,一個踏闆耦合器自1852年(固定耦合器到Hauptwerk之前),是完全可玩的,在極好的形狀。
教堂房間有一個中等幹燥的音響效果,大約有2秒的回響。
查看谷歌地圖中的位置
錄音技術
該管風琴首次錄制于2003年5月,最初爲Hauptwerk V1。
2010年5月,使用OrganArt引入的多發布技術,采用48 kHz, 24位,多通道環繞/Vario音頻透視(VAP)進行了一次全新的錄音。停止記錄了多個釋放水平爲短,中,長鍵攻擊的最佳聲學映射。所有等級的人都用原始的顫音記錄下來。
謝謝
我要非常感謝Reinhardtsgrimma教區和Keller牧師對這個項目的支持。特别感謝Kristian Wegscheider提供的大量有用信息。
最後但并非最不重要的是特别感謝我的妻子,她協助所有的項目,并負責照片文檔。
主頁
https://bit.ly/3fd32Sl
P2P | 29 October 2022 | 6.09 GB
The instrument is located in a historical village church in East Germany near Dresden, based on a church of the 13th century, which was reconstructed and extended during the following centuries, last in 1742. The church acoustics is dry and clear because of the large amount of wooden installations.
The organ was built in 1729-31 by Gottfried Silbermann of Frauenstein/Sachsen, Germany. Gottfried Silbermann organ types can be divided into different architecture classes. This instrument represents a typical Silbermann middle-sized church organ and was one of the favourite instruments of Helmut Walcha and Herbert Collum/Kreuzkirche of Dresden.
Typical Gottfried Silbermann organ features are strong and sharp aliquote stops, such as the 1 1/2′, 2′ and 3′, rich and warm 8′ Principal stops and bright superoctave stops, such as the 4′, 2′ and 1′. There are very characteristic basic stops such as the Rohrflöte 8′ and Quintadena 8′. The resulting sound is bright, clear and sonorous. The organist doesn’t need many stops to achieve a rich plenum registration. The organ is tuned to the so-called historical “Chorton” (a1=465 Hz).
Nearly all pipes are original, especially the frontpipes (Principal 8′) , whereas most historical organs lost them during world war I, because of increasing needs for weapon metals. Nevertheless, the instrument had to bear several modifications in 1852 (equal tuning (thereby shortening the pipes!), voicing modifications due to changing sound preferences, installation of a pedal coupler) and in late romantic period 1909, extension by a Salicional 8′ with pneumatic tracking (!). In 1953, the wind pressure was strongly reduced from 94 mm to 70 mm and severe voicing changes were made, resulting in an extremely instable wind and totally altered weak sound characteristic with noticeable wind sag (listen to a small sound example of a Herbert Collums recording from 1965). In 1997, Kristian Wegscheider, organ workshop of Dresden, was entrusted with the historical reconstruction and renovation of the original wind system and pipe voicing. The wind pressure was again set to 94 mm. Because of the loss of original tuning, it was changed to a historical Silbermann like tuning system, which specially enables the accompanying of baroque chamber music, resulting in very clear basic keys.
The instrument has two manuals and a pedal with missing C#, mechanical tracker action, a manual shift coupler, a pedal coupler since 1852 (fixed coupling to the Hauptwerk before) and is fully playable and in excellent shape.
The church room has a medium-dry acoustics with about 2 seconds of reverberation.
See Location in Googlemaps
Recording technique
The organ was first recorded in May 2003 originally for Hauptwerk V1 .
A completely new recording took place in May 2010 with 48 kHz, 24 bit, multi-channel for Surround/Vario Audio Perspective (VAP), using the multi-release technique introduced by OrganArt. The stops were recorded with multiple release levels for short, medium and long key attacks for optimal acoustical mapping. All ranks were additionally recorded with the original tremulant sound.
Thanks
I would like to thank very much the parish of Reinhardtsgrimma and Pastor Keller for supporting this project. Special thanks to Kristian Wegscheider for a lot of helpful information.
Last but not least special thanks to my wife, who assists all projects and is responsible for the photo documentation.