P2P | 17 September 2024 | 20.82 GB
Zwolle St. Michaelskerk管风琴的历史和命运在几乎所有重要的欧洲乐器中都是相当典型的:它是由著名的巴洛克式管风琴制造家族Schnitger建造的，经过修改以反映不同时期不断变化的时尚，并最终恢复到其预期的巴洛克形式。
最初，兹沃勒的格罗特教堂，也被称为圣迈克尔教堂，有三个管风琴:两个小乐器和一个大乐器。第一次提到主管风琴要追溯到1505年。当时，renen的Johannes Jacobsz van Bilsteen建造了一个带有3个手动和一个踏板的大型风琴:Hoofdwerk(大)被建造成一个Blokwerk，所有32-34个声音同时播放，Bovenwerk(回声)有4或5个声音，Rugpositief(正面)有4个声音。1643年，阿纳姆的扬·莫雷特三世对这个风琴进行了现代化改造，并使Blokwerk的主要声音可以在踏板上演奏。1669年，圣迈克尔教堂的塔(当时是荷兰最高的塔，高128米)在被闪电击中后被烧毁，主要风琴部分受损。由于缺乏昂贵的维修资金，该器官被拆除并储存起来。30多年来，会众在没有风琴的情况下举行仪式，直到1718年，兹沃勒的医生兼市长伯纳德·休特捐赠了12,000荷兰盾来建造一个新的风琴。他的兄弟托马斯又加了2000荷兰盾。
当时，一位茨沃勒商人在汉堡出差，遇到了汉堡圣尼古拉的管风琴师文森特·莱尔贝克(Vincent l<e:1> beck)，后者向茨沃勒当局推荐了阿尔普·施尼格(Arp Schnitger)作为新管风琴的建造者。这导致了在兹沃勒建立一个新机构的任务。1719年1月3日，Arp Schnitger签署了一份合同，制作一个有46个音闸的风琴，包括other Manual(16英尺为基础)，Unter Manual(8英尺为基础)，r<s:1> ckpositiv(8英尺为基础)和Pedal(16英尺为基础)。双方商定的价格是11000荷兰盾，条件是兹沃勒市提供所需的石头、木材和铁等材料。兹沃勒闲置的天主教堂被交给了Arp Schnitger和他的儿子Frans Caspar Schnitger和Johann Georg Schnitger作为建造的车间。由于阿尔普·施尼格于1719年去世，也就是在建造开始几个月后，他的儿子们在1721年完成了新的管风琴。三位著名的荷兰管风琴师在12天的时间里对它进行了检查，他们发现施尼格家交付的风琴有63个音停(而1719年的合同只要求46个音停，第二份合同要求第四份手册，作为Borstwerk，增加了11个音停)，此外还有其他改进。在他们的报告中，他们对这个机构赞不绝口，但也提出了一些批评。有些声音不够有力，有些声音没有模仿荷兰某些其他机构中最好的声音。他们还反对将管风琴与其他乐器一起使用的音高和气质。施尼格夫妇把风琴调到了“chorton”，但审查员断言，荷兰人普遍使用较低的音调。在1721年10月6日的信中，施尼格兄弟驳斥了这一批评，导致拟议的修改被取消。直到1729年去世，弗兰斯·卡斯帕·施尼格(Frans Caspar Schnitger)一直负责乐器的维护。这项任务由阿尔伯图斯·安东尼·欣斯接管，他是家族事业的继承人，娶了施尼格的遗孀。他的继子弗兰斯·卡斯帕协助他，后来海因里希·赫尔曼·弗雷塔格和他的儿子赫尔曼·埃伯哈德也协助他。
随着时间的推移，这个器官经历了许多有害的变化。尤其值得注意的是1837年由格罗宁根(Groningen)的Petrus van Oeckelen进行的大规模修复和修改，包括将风琴改为相等的气质。后来的修改由J.C. Scheuer (Zwolle)于1873年进行，van Oeckelen于1883年(包括大多数混合物和一些芦苇停止的可悲的改变)，J. Proper于1910年和van Dam于1925年进行。
第二次世界大战后，对其进行全面整修是必不可少的。经过多次讨论，决定将风琴恢复到非常接近1721年的原始状态，也恢复了原始的高音(a ‘ = 502 Hz)。1950年，管风琴制造商Dirk Andries Flentrop (Zaandam)承担了这项任务，他在1953年至1955年期间完成了这项任务。几个世纪以来，由不同的管风琴制造者制造的混乱的管道，似乎仍然含有足够的原始材料来重建原始的施尼格尔音阶。修复计划包括修复管道工程，在琴键上安装新的象牙，以及建造新的踏板。虽然后来引入的一些修改保留了下来，但通过使用原始材料，并在必要时使用Flentrop制造的新管道，尽可能地恢复了施尼格的配置。给定Ne
The history and fate of the Zwolle St. Michaelskerk organ are fairly typical of almost all important European instruments: it was built by the prestigious Baroque organ-making family Schnitger, underwent modifications to reflect the changing fashions of different periods, and was eventually restored to its intended Baroque form.
At first, the Grote Church in Zwolle, also called St. Michael’s Church, had three organs: two small instruments and one larger one. The first mention of a main organ dates back to 1505. At that time, Johannes Jacobsz van Bilsteen of Rhenen built a large organ with 3 manuals and a pedal: the Hoofdwerk (Large) was built as a Blokwerk, with all 32–34 voices playing simultaneously, the Bovenwerk (Echo) with 4 or 5 voices and the Rugpositief (Positive) with 4 voices. In 1643, Jan Morlet III of Arnhem modernized this organ and made the main voices of the Blokwerk playable on the pedals. In 1669, the tower of St. Michael’s (which was the tallest in the Netherlands at 128 meters) burned down after being struck by lightning, also partially destroying the main organ. Due to a lack of funds for expensive repairs, the organ was dismantled and stored. For over 30 years, the congregation held services without an organ, until in 1718, Bernard Huthe, a physician and mayor of Zwolle, donated 12,000 guilders for the construction of a new organ. His brother Thomas added another 2,000 guilders.
At that time, a Zwolle merchant, in Hamburg on bussiness, met Vincent Lübeck, organist at St. Nicolai, Hamburg, who recommended Arp Schnitger to the Zwolle authorities as builder for the new organ. This resulted in the assignment to construct a new organ in Zwolle. On January 3, 1719, Arp Schnitger signed a contract to make an organ with 46 stops, consisting of Ober Manual (16 feet based), Unter Manual (8 feet based), Rückpositiv (8 feet based) and Pedal (16 feet based). The agreed price was 11.000 guilders, on the condition that the city of Zwolle would deliver the needed materials of stone, wood and iron. The unused Catholic church in Zwolle was given to Arp Schnitger and his sons Frans Caspar Schnitger and Johann Georg Schnitger as a workshop for the construction. Because Arp Schnitger died in 1719, some months after the beginning of the construction, his sons completed the new organ in 1721. It was examined by three well known Dutch organists over the course of 12 days and they found that the Schnitgers had delivered an organ of 63 stops (whereas the contract of 1719 called for only 46 and the second contract called for a fourth manual as a Borstwerk with 11 extra stops), in addition to other improvements. In their report, they were full of praise for the organ, but they also passed some criticism. Some of the voices were not strong enough and others had not been modeled after the best ones in certain other Dutch organs. They also objected to the pitch and temperament with regard to using the organ with other instruments. The Schnitgers had tuned the organ to “chorton”, but the examiners asserted that a lower pitch was in general use in the Netherlands. In their letter of October 6, 1721, the brothers Schnitger refuted this criticism, resulting in the cancellation of proposed modifications. Up to his death, in 1729, Frans Caspar Schnitger took care for the maintenance of the instrument. This task was taken over by Albertus Anthoni Hinsz, the successor in the family undertaking, who married the widow of Schnitger. His stepson Frans Caspar assisted him and later on Heinrich Hermann Freytag and his son Herman Eberhard also.
Over the course of time the organ experienced numerous detrimental modifications. Especially notable are the extensive restoration and modifications, carried out in 1837 by Petrus van Oeckelen (Groningen), including changing the organ to equal temperament. Later on modifications were carried out by J.C. Scheuer (Zwolle) in 1873, van Oeckelen in 1883 (including the deplorable alteration of most mixture and some reed stops), J. Proper in 1910 and Van Dam in 1925.
After the Second World War, a comprehensive renovation turned out to be indispensable. After many discussions it was decided to return the organ very close to the original situation in 1721, recovering also the original high pitch ( a’= 502 Hz). In 1950, organ builder Dirk Andries Flentrop (Zaandam), was charged with this task, which he carried out in the period 1953-1955. It appeared that the chaos of pipes over centuries, made by different organ builders, still contained sufficient original material to reconstruct the original Schnitgerian scales. The restoration plan included repairing of the pipe work, attaching new ivory on the keys and the construction of new pedals. Although some later introduced modifications remained preserved, the disposition of Schnitger was restored as good as possible by using the original materials, and, if necessary, also by new pipes made by Flentrop. Given the Neo-Baroque ideals at that time frame, the restoration has been carried out very conscientious. But later on ideas about the ideal organ sound changed and knowledge about restoration of organs improved. Therefore, Flentrop, in the last two decades carried out a series of additional voicing corrections, in order to arrive more closely to the authentic starting point. Especially, lowering the wind pressure to approx. 78 mm and the voicing corrections based on this value had beneficial effect on the timbre of the organ.
Special thanks:
Dr. Lolke Folkertsma – Stichting Vrienden van het Schnitgerorgel (Zwolle)
Toon Hagen – organist
Bibliography:
G. Fock, Arp Schnitger und seine Schule. Baerenreiter-Verlag, Kassel 1974.
Erdtsieck – Logtenberg – de Ruiter, Koninklijke instrumenten rond de Peperbus. Ijsselacademie, Kampen 2001.
