Pipe Organ History The Early Iberian Organ Design and Disposition

By Mark J. Merrill

The development of origin for other special characteristics early Spanish organs of this organ type.3 The dimensions of At the beginning of the 16th century, the windchest, consisting of one single Organ at San Bernardo, Granada, Spain, builder unknown, circa 1772 organs in Spain resembled those in the piece or of two pieces, are often small. rest of Europe. During the last third There are usually 45 channels (for four of the century, Spanish organs gradu- octaves, the short octave included), ally began to take on characteristics of of which 21 are for the left-hand side their own, becoming transformed into and 24 for the right-hand side—if the several local organ types. windchest is made of two pieces. The The first noticeable development of structure of the organ permits a dif- the Spanish organ was the gradual dif- ferent number of registers for each ferentiation of individual registers from hand, always more for the right hand. the Blockwerk, which also occurred It is necessary in many cases to place elsewhere in Europe. Little by little, the majority of the large bass pipes the keyboard compass expanded to outside of the windchest, due to its cover more than three octaves and restricted dimensions. This has contrib- windchests began to be constructed uted greatly to the development of the larger, especially towards the bass. techniques of conducting wind to the Divided registers began to be built on façade, and later, to the trompetería de Spanish organs in the 1560s. Two sepa- batalla (Battle Trumpets). The tablones rate lines of evolution existed in regard (channel boards) distribute wind to dif- to the increasing versatility of sonori- ferent parts of the façade and are one of ties, namely, adding more keyboards the ingenious inventions of the Spanish and dividing registers. organ builders to cope with the tricky Three different kingdoms coexisted problems of guaranteeing wind to all on the peninsula: Castile, Aragon, and the pipework. The action is always sus- Divided keyboard of San Salvador organ, Granada, Spain Portugal. Due to the occupation of the pended, creating a touch that, accord- Moors (711–1497) the Spanish court ing to Blancafort, is “the most sensitive was forced to take up residency in and subtle that exists.”4 The mechanism Barcelona, Spain, located at the heart of the draw stops is simple. of the region of Catalonia. It is for this Although examples of divided stops reason that the development of the exist elsewhere in Europe—in Brescia, early organ in Spain finds its beginnings Italy, in 1580, for example—“Spain in Catalonia. certainly seems to be the first country to Generally speaking, the instruments have used them systematically for colour- were quite large and were frequently ful solo effects.”5 The principle of the built on a 16′ basis (Flautado de 26 = divided registers is simple and ingenious. Principal 16′). Flautado de 26 (made of The keyboard is divided into two halves, metal) was a stop frequently included both of which possess a variety of stops. in Catalonian organs. It was common Because the descant and bass halves can to have at least two manuals: a Cadira, be registered independently, even rather and the Rückpositiv. In Catalonia, small one-manual organs offer versatile there were no divided registers until and rich possibilities for registration. It is the 18th century, and the windchests common to find a few of the same stops were large in size and diatonic by on both halves of the keyboard, but the arrangement. It is noteworthy that majority of registers belong exclusively when divided registers appeared later to the descant or to the bass half. The in Catalonian organs, the division was growing popularity of the divided reg- made between b and c1, while the divi- isters gave birth to a new type of organ sion point in the Castilian organs was composition, namely, the tiento de medio between c1 and c1-sharp.1 registro, in which either one or two solo The high point of the Castilian organ voices figured in the soprano (tiento de was around 1750, considerably later than medio registro de tiple/de dos tiples), or that of the Catalonian organs. Castilian in the bass (tiento de medio registro de organs were commonly built on an 8′ baxón/de dos baxones), against a softer basis (Flautado de 13 = Principal 8′). accompaniment, which was played on Flautado de 26 was rarely found in these the other half of the keyboard. I consider organs. There was usually only one man- the technique of divided registers to be ual, but there could be as many as three one manifestation of the Spaniards’ love in exceptional cases. (For instance, the of fanciful, colorful sounds, contrasts, Gospel organ of the Segovia Cathedral and variety in sonority. has three keyboards.) There was usu- A variety of surprising special effects ally no Cadereta (Swell). The registers could be created by the different toy were divided, and the windchests were stops that especially large Baroque small and chromatic. The largest pipes organs contained. It is usual to have were placed in the center of a façade, Tambores or Timbales (drums) in the and there was usually a horizontal pedal, providing a timpani effect. Tam- trompetería (reed division).2 bores often include D and A. Pajaritos Gabriel Blancafort describes several (little birds) produce a twitter resem- features of the Castilian organ, which bling the Usignoli (nightingale) of the reveal its close resemblance to the posi- early Italian organs. There are also a tive organ. First of all, the windchest variety of accessories generating sounds Trompetería of the organ of Santa Clara, Santiago, Spain: Orlos (regals) and of the Castilian organ always maintains of sleigh bells. One is a Zymbelstern- Trompeta Real 8 its chromatic structure, which is the like apparatus.

24 n THE DIAPASON n NOVEMBER 2012 WWW.THEDIAPASON.COM Characteristics of the divided into two defined families: flau- de Batalla (exterior and horizontal) and as well as the rear façades (speaking early Iberian organ tados (principals) and nasardos (nasard Trompetas Interior (interior and verti- into the nave), which allows for dazzling The vast majority of Iberian organs as in the Netherlands, nachsatz), which cal). Early instruments almost always echo effects alternating between exte- are small instruments. In fact, the form two distinct choruses of labial had at least one, if not two stops en rior and interior reeds. typical instrument consists of a single pipes: the coro estrecho or claro, and the Batalla even in the event that the instru- manual. Instruments of two or three coro ancho. The terms estrecho or claro ment might not have a single interior Windchests and distribution of manuals are the exception and then refers to cylindrical open pipes with a 1/4 reed stop. wind on early Iberian organs only found in the largest cathedrals. mouth to circumference relationship. The most frequently found Trompetas Windchests on early instruments are Early instruments with four manuals The terms estrecho and ancho refers to de Batalla (exposed and horizontal) are: always laid out chromatically, never simply do not exist. It should also be the diameter of the pipe in relation to Left hand stops diatonically or symmetrically. Addition- mentioned that these instruments do the length. Early Iberian instruments Bajoncillo (4′) ally, each chest is divided between bajos not have a highly developed indepen- measured pipe lengths oddly enough in Clarin en 15º (2′) (bass) and tiples (treble). The division dent pedal division, but rather utilize a palmos (palm or hand widths). Clarin de Bajos (8′) occurs between c′ and cs′ (c3 and c#3). In minimal octave or pull-downs. The following stop names are typical Clarin en 22º (1′) Catalonia the division occurs between b The organbuilder and writer of many of early instruments. Trompeta Magna (16′) and c′ (b2 and c3), but is the exception to treatises, Mariano Tafall y Miguel, gives Trompeta de Batalla (8′) the rule and is very seldom encountered. the following classifications of early Flautado Mayor de 26 Palmos (16′) organs based upon their disposition.6 Flautado de 13 (8′) Right hand stops Keyboards (Teclados) Early builders were accustomed to Octava (4′) Oboe (8′) Of course, early instruments always 2 using the following names to describe Docena (2 ⁄3′) Chirimia Alta (4′) utilize mechanical key and stop action. their organs based upon the size of the Quincena (2′) Trompeta de Batalla (8′) The action on most early instruments 1 instrument and basis of pitch. Such com- Decinovena (1 ⁄3′) Clarin (8′) tends to be extremely responsive and mon names are órgano entero/completo Veintidosena (1′) Trompeta Magna (16′) light, necessitating a highly developed (based upon 16′), medio órgano (based Lleno* (mixture) Trompeta Imperial (32′) level of technique. Divided registers upon 8′), cuarto de órgano (based upon Cimbala (partidos) predominate the peninsula 4′), and octavo de órgano (based upon 2′ Sobrecimbala It is also common to find Dulzainas, and, as previously stated, allow the stopped and sounding at 4′). *lleno general or principal chorus. Orlos (regals), Viejos, Viejas (rankets), organist to have two distinct registrations The manuals, órgano mayor (Great) and Gorrinitos (clarions) mounted hori- on a single manual. and cadereta (Swell), can also be clas- The nasardos can be open or stopped, zontally on the exterior of the case: 8′, Thanks to the divided registers, it is sified into the following five categories, conical or cylindrical pipes. Generally 4′, 2′ for the left hand and 16′ and 8′ always possible to register a work with depending on the number of manuals: there is a 2/9 mouth to circumference for the right hand. These batteries of contrasting registrations for the right and relationship. reed stops serve two roles within the lit- left hand. This may explain the existence 1 manual erature: one as a solo stop and the other of so many small instruments with only Órgano Mayor Violon Mayor de 26 Palmos (16′) as a complement to the reed chorus. a single manual, however, one which Violon de 13 (8′ stopped) The voicing is formidable, harmonic, serves as two! When considering the 2 manuals Nasardo en 8º (4′ stopped) and richly distinctive in comparison early Iberian repertoire it is important 2 Órgano Mayor Nasardo en 12º (2 ⁄3′ stopped or open) to the interior reeds, which are sweet to realize the significance of a title such Cadereta Nasardo en 15º (2′ open) and broader in scaling. In the larg- as Tiento de tiples (melody in the right 3 or Nasardo en 17º (1 ⁄5′ open) est cathedrals (Zaragoza, Salamanca, hand) or Tiento de bajos (melody in the Órgano Mayor Nasardos Toledo, Málaga, Granada, Santiago de left hand). Cadereta Interior Claron Compostela, Sevilla) the organs have On the earliest of instruments, it Corneta Trompetas de Batallas mounted on the is possible to find stops that were 2½ manuals front façades (speaking into the choir) enclosed within an Arca de Ecos (echo Órgano Mayor Generally speaking, nasardos 4′ and Cadereta above are semi-open or chimney-style Cadereta Interior (Arca de Ecos: pipes. The Swiss-German organbuild- enclosed within a chamber) ers Juan Kiburz y Francisco Otter, who were established in Barcelona, Spain, 3 manuals proposed the addition of several new Órgano Mayor stops in the organ at the Iglesía de Cadereta Nostra Senyora del Pi, recommending Cadereta Interior (Arca de Ecos: the inclusion of a Gamba, Quintatón, enclosed within a chamber) Fagotto, and Soncional. However, as Órgano de la Espalda (speaking into early as 1587, organbuilder Maese Jorge the side of the nave from rear façade of added a Flautas Tapadas de 14 Palmos, the organ) called a Quintaden, deriving its name Cadereta de la Espalda (speaking into from the sound that produced a promi- the side of the nave from rear façade of nent fifth overtone. the organ) In fact, by the end of the 18th century many early organs in Spain contained The casework of early such stops as Flauta travesera (traverse Iberian organs flute),Flauta con boca redonda (flute with The casework, generally speaking, round mouth), Flauta Alemana (German is either very decorative or very plain. flute),Salicional , and Gamba. Larger instruments found in cathedrals, however, are highly ornate. Two oppos- Reeds ing instruments are located above the Without a doubt, the stops most asso- choir; they are nearly identical and very ciated with early Iberian instruments are ornate: one instrument will have two or the lenguas (reeds). The Lengüetería three manuals and the other possibly (reed division) makes up the third just one manual. The casework of early chorus on a typical Iberian instrument. instruments also has a secondary func- Reeds are divided into two categories: tion, that of adding embellishment and reales (normal or full length) and cortos aesthetic value to the artistic integrity of (half length) resonators. the building. Early in the development of the Ibe- rian organ, lenguas cortos (half-length Pipework on early resonator stops) such as Dulzainas, Iberian organs Orlos, and Regalías were introduced. Early builders used the term caños Little by little appeared the Trompe- (pipes) and cañería (pipe building) tas Bastardas (harmonic trumpets) extensively until the Romantic and Post- with half-length resonators, as well Romantic periods, at which time the as the Trompetas Reales (full-length term tubo came into use, most likely due trumpets). The Trompeta Real (8′) is to the impact of the French school of always an interior stop and vertical in its symphonic organbuilding, which came placement. The Obué and the Clarinete from the French term tuyau (tube). (which is the Cromorno for Iberian The term tubo is divided into two instruments) can also be found on many distinct classifications, as tubos de boca early instruments. (labials) and tubos de lengua (linguals). The Trompetas can be further divided Tubos de boca (or labials) can then be into two distinct categories: Trompetas

WWW.THEDIAPASON.COM THE DIAPASON n NOVEMBER 2012 n 25 Pipe Organ History

Pedal keys (contras) on the organ at San Salvador, Granada, Spain, builder unknown, circa 1767 chamber) foreshadowing the future key and two keys as if they had been Caja Expresiva (expressive box; swell accidentals. It is interesting to discover box). Initially, these Arcas were open, that the Spanish word for a key on the non-expressive boxes containing a sin- keyboard is tecla (from the Latin, teja), gle stop such as a Corneta or Trompeta further supporting the hypothesis that placed within the Arca, producing a the early Iberian organ is much older slightly distant sound quality. Over than originally thought. time, a lid was placed on top of the The old manual compass was as indi- Trompetería of the organ at Monasterio de San Pelayo, Santiago, Spain: Trompeta box and a lever, operated by the foot cated below until the mid-15th century: Real 16, 8, 2 and Clarines 4 or knee, would open or close the lid. | Fa | Sol | La | b | Si | Do | # | Re | b | Initially this effect was referred to as Mi | Fa | etc. (Sol 1–Sol 5); Cadereta of 51 notes (Do repertoire, so it goes without saying suspensión, referring not to a musical 1–Re 5): Ecos of 51 notes (Do 1–Re 5). the pedals are very simple in design, structure, but rather the emotion pro- The new layout was as follows: The tessitura of the manual is divided usually consisting of wooden pisas duced in response to the overall effect. | Do | Fa | Re | Sol | Mi | La | b | Si | Do and labeled in the following manner: (round knobs) or peanas (blocks), but Earliest examples typically affected | # | Re | b | Mi | Fa | etc. 1º Octava = Grave never more than an octave. When the only one Tiples (right hand) register or 2º Octava = Baja pedals are a pull-down (coupled from stop, usually the Corneta. Later, the Arca This manual layout, which ended on 3º Octava = Media the manual) they are called pisas. If, on de Ecos came to include a variety of stops. La 4, is the format that was prevalent 4º Octava = Aguda the other hand, the pedals have their The terms Eco and Contraeco seem to be during the 17th century. It consisted of 5º Octave = Sobreaguda own appropriate pipes, they are called used quite often in early treatises, which 42 notes: 21 notes for each hand [divided contras. These pedals first appeared describe the effects created by the Arca registers]. In the 18th century, the com- The short octave diatonically—Do, Re, Mi, Fa, Sol, La, de Ecos, the sensation of far (lejanía) and pass was further enlarged in the right The limited pedal division is no doubt Sib, Si—eight pitches total. Later they near (cerca), not that of loud and soft. hand up to Do 5 and later enlarged in the due to the use of short octaves in these were expanded chromatically—Do, These Arcas de Ecos were not utilized left hand to complete the octava grave. early instruments. The lowest notes of Do#, Re, Mib, Mi, Fa, Fa#, Sol, Sol#, to create a “swelling” sound (crescendo). At the end of the 18th century, Julian the keyboard, which would normally be La, Sib—twelve pitches total. The usual Aristide Cavaillé-Coll incorporated this de la Orden installed in the Cátedral E-F-F#-G-G#, were tuned to pitches stop for the Contras is the Flautado 26 concept with his organ at Santa María de de Malaga three new manuals of 51 below their usual pitches; the C/E short palmos (16′). In some instances, the San Sebastián, in which the third manual notes (Do 1–Re 5), and in the Cátedral octave (octava corta) keys were tuned pisa being a pull-down works much operates in the same manner as an Arca de Toledo he renovated the Organo de as C-F-D-G-E. Since the pedal division like a coupler, so the sound will reflect de Ecos, which he called an Organo de Emperador in 1770 with two manuals of was so limited, this allowed the per- the registration used in the left-hand, Ecos, which in France would be called a 54 notes (Do 1–Fa 5). In 1797 José Verd- former to play intervals in the left hand lowest octave. ■ Récit Expressif. alonga enlarged the Órgano de evangelio that would otherwise be impossible. The The compass of the manuals, as one to three manuals of 56 notes (Do 1–Sol use of the short octave was popular for Mark J. Merrill holds a B.M. in church would expect, increased gradually as 5). These 56-note manuals took on the many reasons: music and an M.A.T. in Spanish from Drake newer instruments were being con- name teclados de octavas segundas, University, Des Moines, Iowa. He has stud- ied organ with Montserrat Torrent for nearly structed. Bigger is better! Correa de which meant that all of the octaves were Benefits for the organist 30 years, earning his Maestría in Organ from Arauxo makes mention of this fact in his like the second octave. Verdalonga also 1. It allowed the organist to play the the Conservatory of Music in Barcelona, treatise, Facultad Orgánica, 1626: the constructed the organ in the Iglesia lowest bass note and inner voice with the Spain, as well as his Título de Doctorado organbuilders Hernando de Córdoba del Salvador de Leganés in 1790 with a left hand. The short octave was in a sense from the Real Academia de Bellas Artes in and Hernando Alonso de Córdoba, manual compass of 45 notes (Do 1–Do the pedal on these instruments. Spain. He has dedicated the past 30 years to father and son from Zaragoza, Spain, 5), with a diatonic short octave (octava 2. It extends the lowest octave of the documenting, recording, and analyzing near- were given the task of expanding the corta). In 1771 Josep Casas renovated instrument, omitting chromatic notes, ly 168 historical instruments in Spain. His compass of the organ for the Parroquia and enlarged the Órgano Prioral at the since the bass part of the keyboard rep- dissertation, “The Effects and Implications de San Gil de Zaragoza, Spain in 1574.7 Escorial, where Antonio Soler was the ertoire was predominantly diatonic. on the Performance Practices of Early Ibe- rian Keyboard Music,” earned him a special In order to amplify the compass from Fa organist. The outcome was an organ of 3. It allowed the organist’s feet to be citation of merit from the Spanish Depart- to Do they only had to add one natural three manuals: Órgano Mayor of 61 notes free for other tasks: ment of Culture. He has presented numerous • To operate the Arca de Ecos concerts and lectures in Spain and has been • To operate foot-activated stops heard in recital numerous times on Spanish National Radio. Benefits for the organbuilder It was more economical, Notes • When space was at a minimum 1. Gabriel Blancafort, “El órgano español • When cost was a factor del siglo XVII,” in Actas del I Congreso Na- cional de Musicología (Zaragoza: Institución The stops are located on either side “Fernando el Católico,” 1979), 133–142. 2. Ibid., 121. of the teclado (manual) according to 3. Ibid., 138. the divided registers, bajos and tiples, 4. Ibid., 138–139. left and right, respectively. Stops can be 5. Peter Williams, The European Organ found in the shape of paddles or knobs, 1450–1850 (Bloomington: Indiana University ornate or plain. Occasionally, it is pos- Press, 1978, third impression), 245. sible that the stop knobs can be located 6. See James Wyly, “The Pre-Romantic beneath the manual and activated by the Spanish Organ: Its Structure, Literature, and knees. On organs with a short octave the Use in Performance.” D.M.A. dissertation, stops may be located where the pedals University of Missouri at Kansas City, 1964, ought to be, since on such an instrument, 280–283. 7. This is the eleventh (unnumbered) page there was no basic need for pedals. in Kastner’s preface to his edition of Correa’s Facultad orgánica, first published as volumes The pedals VI (1948) and XII (1952) in the series Monu- The use of pedals was limited mentos de la Música Española (Barcelona: In- to emphasizing cadences in early stituto Español de Musicología).

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