Medieval organbuilding

In Search of the Secrets of Medieval Organs: The European Summer of 2012 A Report and Some Reflections By David Rumsey

Basel Peterskirche concert June 9, 2012: (l to r) Marc Lewon (), Eva Kopli (so- workshop: (l to r) Crawford Young (lute), Tobie Miller (hurdy-gurdy), Brett prano), Brett Leighton (organ), Nicolas Savoy (tenor), Elizabeth Rumsey (vielle); Leighton (organ), Elizabeth Rumsey (vielle) (photo: Bernhard Witzke) obscured: Dominik Hennig, (calcant) (photo: Gabriele Lewon)

n Friday and Saturday, June 9 and music has now spread both forwards hurdy-gurdy, harp, bells, whole families Stahl of Dresden6 and Stefan Keppler of O 10, 2012, a concert and workshop and backwards in time—from a “Bach- of antique instruments, and virtually Kötz,7 to name but two from Germany. focusing on the medieval organ were held fulcrum” that began with Mendelssohn, all music of any period. The ongoing at the Basel (Switzerland) Peterskirche. S.S. Wesley, et al. in the early 19th challenge in the medieval arena for 2012—European Medieval They dealt with concepts, designs, rep- century. By the late 20th century it had instrumentalists is that of surviving origi- Organ Summer ertoire and the medieval organ used in reached fortepiano, early Steinway, nals. Certainly extant and truly original On Saturday afternoon, September 8, ensemble.1 Another symposium and the “real” Wagner orchestra, and even 16th-century organs are scarce. Precious 2012, the Rhede symposium was near- series of concerts was later organized Stravinsky’s Le Sacre du printemps, little material dating from before the 15th ing its conclusion and running rather late, in and around East Friesland (Rhede), where authenticity of instruments used century is known—and then essentially since so many people had had so much commencing Monday, September 3, was a measure of performance excellence. only fragments. Iconography, contem- to offer. The interest was exceptionally 2012, running until Sunday, September Concurrently, moving back to ever earlier porary descriptions, the few compre- keen; most sessions had extended well 9, dealing with much the same topics.2 eras, the music of Buxtehude, Fresco- hensible early organbuilding tracts, and beyond their scheduled times. About 15 Some instruments and participants were baldi, Couperin, Correa de Arauxo, and much circumstantial evidence taken from different organs had been assembled in a common to both events. Elsewhere Kim- Sweelinck—among many others—has extant contemporary repertoire are about kind of “grand general meeting of gothic berly Marshall played and held courses been vigorously regenerated through all that there is to go on. At the Rhede organs.” They emulated everything from in Sion (Switzerland) during October performance on historic organs, careful conference, Winold van der Putten, who a hydraulis to 13th, 14th, and 15th- 2012. Other events in Europe during the emulation of their temperaments, key was responsible for building many of the century portatives and positives. There summer of 2012 dedicated to the medi- proportions, wind quality, specifications, instruments present, added another sig- were also some renaissance instruments, eval organ included one arranged by Jos tonal and mechanical attributes, all of nificant factor: the experience of special- including an original 16th-century Italian van der Giessen in the Netherlands. which illuminate performance practices. ist organbuilders who have now regularly organ, the most modern of the assembly, Kimberly Marshall’s 1989 book, Other 19th- and 20th-century contri- interpreted these old sources and learned a permanent fixture in the Old Church Iconographical Evidence for the Late- butions to this historical consciousness how to put theories or confusing historic at Rhede, nodal point of this symposium. Medieval Organ in French, Flemish and included the continuum of English cho- descriptions into practice. This is a cut- Other venues around this East-Friesland English Manuscripts,3 was of seminal ral music, the rediscovery of Palestrina, ting edge where artistic fringe-dwellers region included Weener and Rysum. influence to much of this blossoming cul- and parallel developments in Gregorian live dangerously by constantly expanding Attendees came from Germany, Nether- ture. It was the most oft-quoted work at chant. In the educational arena it seeped boundaries. It is a little like “walking the lands, Scotland, Switzerland, Australia, the Basel and Rhede conferences. A col- into musical institutions such as Eugène plank,” just that the board gets narrower Czech Republic, USA, and Scandinavia. loquium in 1995 at Royaumont (France), Gigout’s 19th-century Organ School in as it seemingly extends back forever, At the outset made the two years after an 11th-century Theophi- Paris or the early 20th-century Schola engaging the enquirer in an ever more poignant observation that this unusual lus organ had been reconstructed there Cantorum Basiliensis, not to forget the precarious balancing act. But the rewards gathering of medieval organs was an by Antoine Massoni, was a most impor- work of Solesmes and similar centers. are tangible, and in the past few years fully exceptionally important event in the tant sequel.4 Marcel Pérès, responsible High-profile specialist performers such successful medieval constant-scaled ranks history of the instrument, a hitherto for the Royaumont Theophilus organ, as Gustav Leonhardt then came on the have been constructed and voiced. They virtually unthinkable assembly. It was also played in Basel during August 2011. scene, increasingly promoting serious were commonplace enough for much of organized by the Weener Organeum, The 2012 events were significant vantage research, publications, recordings, and medieval instrument-building history and Winfried Dahlke in charge, supported points in an ongoing search for the Holy concerts. Discrete organ cultures began essential to its performance. by a squadron of organists, organbuild- Grail of understanding medieval organs to be brought back to life by dedicated Walter Chinaglia, from Como (Italy)5 ers, and others whose burning curiosity and performance practices. They contin- builders, researchers, performers, and was another of those present in both clearly motivated them strongly. ued to push back through the 15th, 14th, luminaries. A veritable explosion of Basel and Rhede with several of his Dr. Vogel inaugurated the “Rims” 13th centuries, even to the 3rd in Rhede. knowledge and activity erupted around own positives and portatives built from instrument, made for a German organ- the turn of the 21st century. extending what is “seen through a glass ist by Orgelmakerij van der Putten after The Phenomenon The phenomenon is now neither con- darkly” into convincing practical reali- mid-14th-century practices: constant- The observant phenomenologist fined to the organ nor the 16th–19th cen- ties, another fruit from the experiences scaling, two 8′s in parallel (effectively 8′ might well note something in the air: turies, but takes in viola da gamba, cor- of these increasingly skilled specialist II-ranks, always playing, no stop control) research into and performance of early netto, medieval fiddle, lute, harpsichord, builders. There are others—Marcus and a 6′ (on a separate register, slider

20 n THE DIAPASON n MAY 2013 WWW.THEDIAPASON.COM Walter Chinaglia demonstrates one of The Rims organ with its “Praetorius” Walter Chinaglia demonstrates his posi- A new reconstruction of the Aquincum his portatives; two more are in the back- keys (photo: Winold van der Putten) tive organ emulating van der Goes (pho- organ (photo: Winold van der Putten) ground (photo: Jos van der Giessen) to: Jos van der Giessen) above the windchest). The resemblance a strong and spicy finish to the tonal Much of the woodwork is Lebanese Rhede (Germany), Groningen (Nether- to an organ described in the 10–12th- resources.14 He also brought along sev- cedar, again contributing scent to the total lands), Finsterwolde (Netherlands), and century Sélestat Manuscript gives its eral positives and portatives, one very experience. It was used in every concert back to Laufen (Switzerland) during this 8′+8′+6′ specification full credibility.8 fine positive emulating that in the van and demonstration and featured twice northern sojourn—about 12 days. The prototypical culture that inspired der Goes painting in Scotland.15 on the cover of the flyer. (Rysum was the The rest of the Rhede Symposium the Rims instrument used lead as pipe Of particular interest to everybody at third.) The two Rhede flyer photos were consisted of demonstrations, concerts, material, constant scaling after the the symposium was a new interpretation taken at the Basel event by Jos van der lectures, a church service, socializing, 11th-century Berne Anonymous MS,9 of the ancient Roman organ finds from Giessen where the Peterskirche appro- and networking. The invitees included and keys as described by Praetorius for Aquincum (Hungary). It was built by priately provided a neatly framed, truly Harald Vogel, Winold van der Putten, Halberstadt.10 Its Gamba-Quintadena- A. Schuke Potsdam-Orgelbau GmbH “Gothic” background.18 The positive was Koos van de Linde, Cor Edskes (paper like bass tones with Principally-Flutey (Germany) for the Römisch-Ger- moved from Laufen (Switzerland, near read in absentia), Susanne Rühling, trebles were an experience all of their manisches Zentralmuseum Mainz (Ger- Basel) to Rhede (Germany), then Huiz- Winfried Dahlke, Jankees Braaksma, own. They came into good use during many); research, design, and concept inge (Netherlands), Rysum (Germany), Tomas Flegr, and myself. Themes ranged the symposium in Gregorian alternatims, were by Susanne Rühling M.A. and borduns supporting chanters, and works Michael Zierenberg.16 Extra time had to such as medieval Redeuntes with long- be allocated, taken from later sessions, held bass notes under more agile trebles. allowing a second round of discussion This instrument presented a left-hand about this amazing but potent little rep- cantus firmus of an early Felix namque11 lica. It stood there, like a proud Roman with remarkable ease and complete sentinel, on its brown hexagonal ped- conviction; its scaling allowing the estal, a living and working monument, “slow-note cantus firmus” to stand out mostly in copper or bronze, to the organ against right-hand elaborations as if two belonging to Aquincum’s 3rd-century fire manuals were being used. Yet no normal brigade. Its prototype ironically survived two-manual organ could ever achieve the a fire by falling into the cellar. Were they effect so convincingly. An understanding all out that night? Perhaps the seem- of the 13th-century Notre Dame school ingly unanswerable question—“Was it a of Léonin and Pérotin—also tried out at hydraulis or a bellows organ?”—might the conference—was clarified through be given a nudge towards hydraulis, since performance on this instrument. All its survival could have been the result of present knew instinctively that they were having water poured over it as it fell? in the presence of a special musical integ- It is doubtful that burning floors falling rity and masterly instrument building.12 into cellars with highly flammable organ Another organ, of an altogether dif- bellows would do anything more than ferent, rather later style, was the largest increase the conflagration. Such specula- of several provided by Walter China- tions aside, this instrument looked more glia. This remarkable organo di legno like something from the age of steam brought to mind a passage in Benvenuto and polished brass. Indeed, its amazing Cellini’s autobiography: sounds were quite reminiscent of steam whistles. Justus Willberg also tours My father began teaching me to play 17 upon the flute and sing by note; but not- Europe with a hydraulis, complete withstanding I was of that tender age with air-pumps, water cistern, pnigeus, when little children like to take pastime in and Greek repertoire, but following the whistles and such toys, I had an inexpress- older, Walcker-Mayer interpretation. ible dislike for it, and played and sang only to obey him. At this time my father fash- He was in Basel not so long before the ioned wonderful organs with pipes made of June event, another manifestation of this wood, spinets the fairest and most excellent fascinating phenomenon. The sounds of which could then be seen, viols and these Roman organs seem not unrelated and harps of the most beautiful and perfect construction.13 to the new Rims organ when first heard from a modern perspective, although What could be called Chinaglia’s they are in reality tonally, musically, and Cellini Principals are exceptionally fine mechanically universes apart. ranks, made from a beautiful red-yellow Another star of both events was the cypress, which even contributes scent to two-stop, one-manual and pedal positive the total experience of this organ. They made for the author in 2010 by van der run through the entire range of its key- Putten. This instrument was also partly board at both 8′ and 4′ pitches. The third influenced by the van der Goes painting. register, an exquisite Krummhorn- The organ and I had been invited to make with a beautifully full and rich quality in the trip from Basel specifically to talk, spite of its pencil-thin resonators, adds play, and be played at this conference.

WWW.THEDIAPASON.COM THE DIAPASON n MAY 2013 n 21 Medieval organbuilding around gothic pipe-making, wind pres- sures, , repertoire, performance practice, the problems and advantages in the anachronous use of tuning slides in modern copies of early organs, the tower- ing figure of Arnaut de Zwolle, medieval organ design (cases, windchests, specifi- cations, keys), the Blockwerk, surviving literature, touch sensitivity on portatives, the use of bells with medieval organs, Pythagorean tempering, and much more. Time simply ran out. The richness of thematic material, available expertise, the many discussion by-products, and the ravenous cultural, intellectual, and musi- cal hunger of all gathered together for this event turned out to be quite overwhelm- ing for the organizers. Some speakers and players had to seriously curtail their offerings. Frustrating though this was, it should be no enduring problem as long as David Rumsey and Kimberly Marshall at Jankees Braaksma (recorder) in re- The Rims organ: two 8′ ranks and one 6′ the need for more is acknowledged. the Rumsey organ’s inauguration Laufen hearsal with RenaiDanse (photo: Jos van rank all with the same (27mm, “pigeon’s Thus it was that, on Saturday after- (CH), April 2010 (photo: Gabriele Lewon) der Giessen) egg”) diameter (photo: Jos van der Giessen) noon, September 8, 2012, momentarily lacking a program, I turned to Jos van der and Tomas Flegr (Czech Republic) were able to pose important questions, assumed by exponents of this culture, Giessen and asked, “When does this fin- played it with the group Vox Resonans, the and even answer some, at least in the including Mark Lindley, although often ish?” Even the fascinating unscheduled ensemble adding that sparkle and trans- short term. But long-term answers are with serious reservations or caveats.24 double session by Koos van de Linde formed sound that has been frequently needed, since both the practice and the Others, such as Adam B. Rahbee, are (Netherlands/Germany) ranging from noted with this organ: those who had research is relatively recent, tends to be known to be investigating this.25 Further Arnaut de Zwolle to the much-discussed attended both events were still comment- revelatory, and is ongoing—very much results are eagerly awaited from him Utrecht Nicolaïkerk organ restoration19 ing on Tobie Miller’s hurdy-gurdy playing an essential part of the phenomenon. and others. However, the most likely was not fully done. Three more speak- in Basel and the amazing soundscapes There were questions posed about outcome, endemic to this medieval ers were impossibly scheduled in the 30 created when organistrum and organum the nicknaming of the Rutland Psalter discipline it would seem, is that there minutes before the close at 4:30 pm. My are played in ensemble. The dance group, copy as a “Theophilus” organ. Of course, was no single standard. One particularly question was intended to be “When does RenaiDanse,20 led by Veronique Daniels with hindsight we can now view this fascinating development of this was how, this (session) finish”—but the response (Switzerland), and instrumentalists also as two ends of a historical progression in the half-century or so before Schlick fittingly, amusingly, and intentionally featured in two of the Rhede Symposium and clearly distinguish between them (the work of Arnaut de Zwolle, Pietro misinterpreted it, summing up the spirit concerts as well as this Groningen event. as organ types. Simple, well-intended Aaron, et al), the pure thirds/diminished which had been engendered by all the They all earned a double standing ovation glossing can grow into habits that fourths were shifted and came into line 2012 events: “Never, I hope!” in Groningen—one after the concert, become less correct as time progresses. with four of what became mean-tone For the phenomenologists, at least four another after the encore. The calcant (the Such expressions tend to stick, even temperament’s normal eight.26 medieval organ events in around four organ’s builder), physically exhausted and when more recent knowledge overtakes Fingering: The use only of 2nd, 3rd, months—Basel, Netherlands, Rhede, suffering from a serious workshop injury them. Another habit of this kind began and 4th fingers when playing medieval Sion—must be something of a landmark incurred just before the symposium, was to be formed at these conferences keyboard music was strongly promoted for 2012. fittingly included with the performers in when—rightly enough as a new venture in the Rhede masterclasses. There was a • these accolades. in recreating pipe-making history—the claim that it was impossible to use thumb so-called “pigeon’s egg” registers (three and 5th finger anyway, especially when Immediately following the Rhede Quo vadis? on the Rims organ, one on the Rumsey playing portatives. Yet this was proven Symposium, on Sunday, September 9, The many themes raised by these con- organ) were referred to just so: “pigeon’s wrong by at least one participant, who after the closing church service in Rysum, ferences can only be dealt with through egg ranks.” The term comes from the repeatedly and comfortably used all fin- a further concert was held in Groningen’s an enduring continuum of instrument 11th-century Codex Bern (see endnote gers. When an octave span is required in, De Oosterpoort Concert Hall. Arrange- building, research, discussion, publica- 9), where the measure of pipe diameters e.g., a 3-part Buxheim27 piece, and it can ments had been made that my instrument tion, and many more such events. This is explained as “the width of a pigeon’s only be played by one hand because the would remain in the Netherlands for a arena is a collection of musical swords egg.” Yet the eggs chosen were different other is too far removed to help out, then few days before being returned to Swit- that still need much more rattling in their and correctly discriminated between the how can the thumb not be used, espe- zerland. Jankees Braaksma (Netherlands) scabbards. Basel and Rhede together eras the two instruments represented. cially if the keys are substantially wider Thus the ranks were not scaled to the than modern keys and there is no pedal? same widths. The terminology really (Horror of horrors: was the rule of exclu- should have been “constant-scaled.” sively 2nd, 3rd, and 4th fingers partly After that we might talk ancient treatises formulated by people playing relatively and ornithology.21 Likewise, in discussing narrow modern keyboards?) Aside from the “wolf” in Pythagorean tempering, Tobie Miller’s hurdy-gurdy playing in the interval really should have been Basel, the finely fingered performances referred to as “b to g ” rather than “b to by Brett Leighton—who takes Buchner’s f ”. And what were referred♭ to as “pure Fundamentum organisandi of c. 1520 thirds”♯ are in fact just ever so slightly and his Quem terra pontus as a point of impure acoustically, since they are really departure—also linger very well in col- Pythagorean diminished fourths, e.g., lective memory.28 d–g , which are 384.36 cents, whereas Music and its structures: Much of a truly♭ pure major third is 386.31 cents. the medieval repertoire could have been True, normal human perception can- intended for constant-scaled ranks. The not distinguish between them.22 Again, music of Robertsbridge29 and Faenza30 strictly speaking, the hydraulis presented seem often to rely on the development was closer to a bellows organ. of tension through tessitura variation These matters need little further and the relation of this to changing tonal comment here; the intention is clear in qualities induced by scaling practices. every case once the context is clarified Redeuntes, for example, sound wonder- and human nature to gloss, nickname, ful on constant-scaled ranks as the figura- and abbreviate is acknowledged. Exact tion rises and falls. This music thrives on terminology usually sorts itself out “intensity climaxes” that higher-pitched, eventually as needs arise and awareness fuller and flutier constant-scaled ranks increases—although a general tendency produce. No modern scaling can possi- to slow progress is lamentable. bly achieve this. The first Estampie from What needs probing now includes the Robertsbridge has one “punctus” after following: another, each getting successively higher Medieval Tuning and Tempering: than the preceding, until the final one A frequent modern assumption that ear- just blooms with the highest and most lier Pythagorean temperaments mostly intensely flutey notes of all. It is not just had the “wolf” at G –E 23 seems only constant-scaled ranks but also other scal- rarely to be hinted at in♯ ancient♭ sources. ing practices from this era—e.g., Arnaut’s It has sometimes been recommended or “halving on the octave with addition

22 n THE DIAPASON n MAY 2013 WWW.THEDIAPASON.COM love of F–G rather than F–A in his deliberate choice♯ of a “nasty” F-minor♭ tonality. Was the Pythagorean “wolf” sought out in like manner, or studiously avoided by these earlier musicians? Probably it was avoided if the evidence of modal transpositions is taken at face value—but even here there are ques- tions that need working through.37 In any case, there is no significant evidence in medieval music for an Affektenlehre and Figurenlehre: that was the culture of Bach, Handel, and Roseingrave. To a degree, medieval voicing seems somewhat weather-prone: what barely works one day, might work well or not at all in the next cold snap or heat wave. And the organs of those days were only marginally protected from weather change compared to ours in air-conditioned buildings today. The Sion organ: possible original ap- Hamar’s apparently conical flue pipes(*) Winold van der Putten explaining his Thus: were their tolerances of pitch and pearance without the added pedal pipes 1999 Rutland (l) and 2010 Rumsey (r) tuning, including in ensemble, and with behind (Photoshop alterations by David Rumsey) positive organs (photo: Jos van der Giessen) bells, more flexible than ours are today? Within limits, slight differences actually constant”—that can produce this effect. Winchester in the 10th century or Prae- thin to quite wide scaling, note the true make these organs more interesting, as do Essentially all early scaling practices do torius at Halberstadt in the 14th or 15th ranges available, and try out repertoire historical voicing techniques—particularly to varying degrees, but the more scaling century. Were some of these chroniclers, on them, for instance that spanning the the lack of total control with wide-open practice approaches modern schemes, like us, more impressed with size—or era between the Robertsbridge Codex footholes. The lowest generally work- such as Töpfer’s norms,31 the less marked hooked on hyperbole—than with mak- and Buxheimer Orgelbuch. If further able pitch from 27mm constant-scaled this effect becomes, and the music ends ing sober inventories of what was really funding were available, then some cop- lead pipes is about modern (A440) tenor up sounding relatively flat and lifeless. there? Certainly, the three-rank Rims per pipes might also be tried, not for E . With 33mm it extends down to B , a Metallurgy—copper, lead, tin, and organ was closer to many Blockwerks of keyboard repertoire before this, since it fourth♭ lower. Thus, pitches of organs pro♭ - alloys—plays a most critical role. The use that era than the concept of a “Lokaz of virtually does not exist, but for ensembles duce differing manual compasses, or a few of wood for pipes is another question, at least 50 ranks,” to cite Schlick at the (especially those commonly iconographi- low pipes with ears needed to make them particularly the issue of its first clearly end of the era around 1511. And the cally represented) and alternatim. speak. As Winold van der Putten pointed recorded use—Italy, late 15th century?32 Winchester organ: did this have copper Did some or all the music in Faenza out in Basel, “Medieval organ builders The Sion (Switzerland) Valeria organ has pipes? Presumably. Was that—apart assume copper pipes, lead pipes, tin were no fools: it only takes cupping a hand a “Copel” made from wood, now den- from its apparently anachronistically pipes, alloys? Constant or variable scal- around a pipe mouth to make it speak.” drochronologically dated from around large —another reason why it ing? Pitches equivalent to A440, A466, Iconography showing ears is, however, early 15th century.33 Of course, wood was was reported as being so loud? Prima A520 or something else? And where to extremely elusive—jury out, experimenta- introduced at some stage between the facie, sources and iconography prior to place the “wolf”? A520, lead pipes, early tion and investigation still in. If, as seems hydraulis and Arnaut de Zwolle as a mate- the 15th century indicate the existence of Pythagorean tempering, and constant likely, constant scaling was perpetuated rial replacing the earlier copper/bronze relatively few large Blockwerks compared scaling certainly seem to work very well. well after the 11th century, whence these variants used in making windchests.34 to the many Positives and Portatives. But are our criteria correct? The experi- “pigeon’s egg” figures derive, then diam- Similarly, early conical metal pipe-forms As with scaling, pitch, keyboard ence of beautifully pure major thirds eters could well have increased in time, and the potential confusion they cause in design, metallurgy, and everything else from Renaissance mean-tone temper- allowing lower bass ranges and even more the iconography with wood needs inves- about medieval organs, there were no ing, or major thirds ranging from pure blooming trebles. The iconography, inter tigation.35 The relics at Hamar, Norway, DIN specifications. Any investigative to mistuned in the circular temperings alia, suggests that this tendency could may eventually provide a key. path is flawed if standards like this are of the era, is very enticing to have persisted until early 15th century as The apparently sudden change from sought. A variety of options needs to be impressionable musicians travelling back diameters apparently became wider.38 A copper/bronze to lead at the turn of the tried within known tolerances, then opti- from an accustomed equal tempering. targeted study of this is overdue. 13th century is an interesting phenom- mums and limits found. Assessments can Yet the sober reality is that pure thirds If we retain all the parameters noted enon: that lead was far more malleable then follow, which might be region-, col- were sometimes expressly avoided, e.g., above, then reduce the size of the pigeon’s than copper may have been a driving lection- or even specific work-oriented. by Bach using remote keys with dis- egg taken to 27mm, as with the Rims motivation clinching change. But the It would be wonderful if some day sonant thirds to represent crucifixion, organ, little of Robertsbridge and Faenza tonal effect was so strikingly softer and money could be found to build an entire or even just sheer doggedness as with at its notated pitch can be played satisfac- sweeter that this was expressly noted series of constant-scaled ranks from very Thomas Roseingrave’s self-proclaimed torily unless the instrument is higher than in many contemporary tracts.36 It must have come as a profoundly exciting development, part of the Ars Nova/ Ars Antiqua watershed. Notated organ music first consistently appeared just after the change—some of it might suit the sound of tin or copper but most of it plays remarkably well on lead pipework. Did the notion of accompanied voices rather than alternatim also receive some kind of stimulus here? And the desire to separate a single 8′ out from a Block- werk: was this also part of the switch to lead? Later register names, such as Doof, hint at this, for the softer tones of lead must have seemed “deaf” compared either to copper pipes or the presence of upperwork of any kind. It was mainly in the centuries after this change that the typical, relatively small, medieval organ began to share the stage with some increasingly multi-ranked Blockwerks. The facility of the larger Blockwerks to be reduced to a single, sweet founda- tion rank must have been very alluring, whether for accompaniment or contrast. Blockwerk registrations were some- times recommended for pieces played by participants in Rhede—but how many organs pre-15th century had more than about one, two, or three ranks? Two of these ranks were often enough simply a doubled unison. The most spectacular Blockwerks were reported by Wulstan at

WWW.THEDIAPASON.COM THE DIAPASON n MAY 2013 n 23 Medieval organbuilding

A440. The very low notes cannot be voiced reliably using known medieval tools and techniques. Yet Léonin, Pérotin, or the Felix Namque of the Oxford MS sound totally convincing here with their more agile trebles—everything just bringing this music to a radiant vitality. The same applies for other parameters with Bux- heimer, Ileborgh,39 or various regional- or even specifically single-work instances. Even so, did Léonin and Pérotin ever know lead pipes? Research and experimentation not possible hitherto has now shown that constant scaling with pigeons’ egg dimen- sions around 33mm, and a pitch of at least A465 makes the first Estampie from Robertsbridge sound simply magnificent when transposed up a tone. That equates Paris, Bibliothèque Nationale 13096, fol. Emulating Gerritsz, 1479 at Amsterdam Rodin’s organ thinker? A rare moment’s to A520—which should make some 46, Mer de cristal (used with kind permission Orgelpark (used with permission by Hans Fi- rest for Winold van der Putten, ready as of M. Moleiro) dom of the Amsterdam Orgelpark ) calcant for his “Rutland” organ (photo: players of medieval instruments happy, Jos van der Giessen) since many project that pitch for some of their repertoire. All this, or an even criticism of the Rhede Symposium was in the events described above. Winold costume from the National Institute of Dra- higher pitch, brings “43” from Faenza its predominance of talk over music. A van der Putten’s organs were not at all matic Art (AUS), and musicians playing period truly to life in 33mm constant scaling. four-way balance will always be needed alone in this, but he and his work were at instruments. He resigned his post in Sydney Lower that pitch and the bass notes of the with medieval organ cultures: talk, solo the center of two of these conferences.42 in 1998 and moved to Basel, Switzerland, Estampie are poor or missing, while the organ, alternatim, and in ensemble. In His 1999 realization of the copy of the where he continues working as an organist and consultant, and as a Senior Researcher at overall effect of “43” is relatively dull from a way, these instruments were born to Rutland Psalter organ was an important the University of Bern. Since 2007 he has been trebles that simply do not bloom so well. work in alternation with speech, chant- trailblazer. This instrument was featured responsible for the editing and CD-production Of necessity, these assessments will ing, silence, and possibly bells. It is at the Rhede conference, along with of historic organ recordings released under the always have a component of subjectivity particularly in ensemble that the iconog- some portatives for Jankees Braaksma OehmsClassics label using the historic Welte in them. But not entirely: low pitches and raphy, literature, and extant music seems and his group, Super Librum.43 These organ and its player-rolls at Seewen (SO-CH) constant scaling yield bass notes that do to be signposting the way ahead. Both were prototypes for most of what has and is regarded as an authority on aspects of not repeat promptly, and others that will Basel and Rhede showed that all four followed as van der Putten and others medieval organ culture. He is organist at Herz not speak properly, if at all—indicators are needed for a completely balanced investigated, experimented, and cracked Jesu Kirche in Laufen (BL-CH) and in-house that either pitch is too low, scaling too presentation of this highly fascinating the codes of medieval organbuilding and consultant and organist to the Museum der Musikautomaten, Seewen (SO-CH).45 narrow, or later scaling practices could be culture. Basel strongly promoted alter- voicing. His recent constant-scaled ranks appropriate. The physical limits of medi- natim and ensemble, and so did Rhede, for myself and the Rims instrument were eval organ compasses and pitch now need the latter chiefly in concerts where essayed only after much investigation Acknowledgements probing and defining. Any temptation to dance was also represented. Would the and experimentation. In their own way, (*) Seemingly the only images currently a general conformity of anything—pitch, miracle or mystery plays of the era be a they alone deserved their rightful share available, taken here from Stein Johannes scaling, metal alloy, tempering, finger- good suggestion for some future events? of those standing ovations. Medieval Kolnes, Norsk orgelkultur—Instrument og ing—must be addressed as a range or The Mainzer Hoftag of 1184 is usually organ scaling of this kind now seems set miljø frå mellomalderen til I dag, Det Norske Samlaget, Oslo, 1987. tolerance, given a specific set of param- reckoned as the greatest medieval festi- to be one of the next “revelations” in the Thanks to John Liddy, Jos van der Giessen, eters. This expressly includes repertoire val in history. It was here that Friedrich performance of this music—not least Marc Lewon, and Elizabeth Rumsey for their and ensemble playing. Barbarossa knighted his sons, Heinrich in portatives where, oddly enough, it help with this article, and to all who contrib- Standardization was a new concept VI and Friedrich V. A contemporary remains relatively untried. ■ uted photos and good advice. My apologies to that had to wait for Arnolt Schlick and description of it included these lines:41 Walter Chinaglia for not writing more about later centuries. Interestingly, Schlick, David Rumsey44 was born and educated his organo di legno—space allocation just relatively modern by comparison to the Dâ was spil end gesanc in Sydney, Australia. He studied with Anton became too acute and this instrument really End behurt ende dranc, belongs to a slightly later epoch than the one main thrust of these conferences, barely Pîpen ende singen Heiller and Marie-Claire Alain in Europe made it into the discussions. Vedelen ende springen, 1963–66, then returned to a position at the mainly under discussion here. A fuller report Orgeln ende seitspelen, University of Adelaide. Moving back to Sydney on it can be seen at http://www.davidrumsey. A sequel? Meneger slachten frouden vele. in 1969 he established a Department of Organ ch/Chinaglia.htm. and Church Music, which survives the recent Thus, there was a consensus that intel- There was playing and song, Australian educational and research funding Notes lectual and musical exchange should not And pushing and shoving, cuts. For over 25 years, until 1998, he was the 1. Some details are available at www.david simply vanish after this flush of medieval Piping and singing, regular organist with the Sydney Symphony rumsey.ch/Medieval.php. Fiddles and dancing, 2. www.ostfriesischelandschaft.de/1097.html organ symposia during the European Organs and strings playing, Orchestra and as such frequently presided over 3. Kimberly Marshall, Iconographical Evi- summer of 2012. Several events are Many joyful things mingling. the Grand Organs of Sydney Opera House and dence for the Late-Medieval Organ in French, already known to be foreshadowed. Of Sydney Town Hall. Associations with multime- Flemish, and English Manuscripts (New York: considerable interest will be a major Epilogue dia events have included performances of the Garland Publishing, 1989), ISBN 0-8240- Saint-Saëns “Organ Symphony” to 100,000 2047-2. symposium planned for the Amsterdam The standing ovations in Groningen 4. A description of the background to this, 40 people with the orchestra in the Sydney Orgelpark, June 6–8, 2013. Wherever mentioned above had something of a Domain, the organ via microwave link from including mention of an earlier instrument by future events are held, it would be cathartic feel to them, reflecting the Yves Cabourdin, is available in Marcel Pérès, Sydney Town Hall. In 1998, he wrote, pro- editor, Les orgues gothiques: Actes du Col- most welcome if they were not primar- exegesis in medieval organbuilding and duced, acted, and performed in a highly suc- loque de Royaument, 1995 (Paris, Editions ily talk-fests, but also included strong musical performance that has taken place cessful 14-hour musical and dramatic spectacle Créaphis, 2000). performance components. One small over the past several decades, especially on the life of J.S. Bach, with actors in period 5. www.organa.it

24 n THE DIAPASON n MAY 2013 WWW.THEDIAPASON.COM 6. www.marcus-stahl-orgelbauer.com Peter Williams, ed., The Organ Yearbook #7 7. Wolkenstayn Orgelbau—also represent- (Laaber: Laaber-Verlag 1976), pp. 4–15. ed at the Basel event—www.wolkenstayn.de. 26. With a B–G wolf giving near-pure ma- He is arranging a course March 8–10, 2013, jor thirds (really ♭diminished fourths) on A, the “13. Etappe zur Frühen Musik,” dealing D, E and B as opposed to the four (from a with Organetto/Portative playing, to be held G –E wolf tuning) quasi-pure major thirds at Burg Fuersteneck. Details on his website. on♯ B,♭ G , F , C (see also endnote 22). This 8. www.davidrumsey.ch/Bibliography.htm awakens ♯interest♯ ♯ in the potential adaptation of (see under 11th century) Pythagorean/B–G tempering—seen as part 9. Anonymous of Bern(e) or Codex Bern, of a transition to meantone—bearing,♭ e.g., on Anonymus Bernensis etc., excerpt De fistulis the E-major/e-minor tuning dilemma in some organis/De organis. Bruhns and early Bach organ works. 10. In Michael Praetorius, Syntagma Musi- 27. Das Buxheimer Orgelbuch, MS 3725, cum, Volume II, Wolfenbüttel 1618 (1619/20), Bayerischen Staatsbibliothek, München. section V, and Volume III 1619, section 7: 28. Leighton’s point of departure is that Buch- “Das I. und II. Diskant-klavier.” ner was a Hofhaimer pupil, barely outlived his 11. Oxford Douce MS 381 master, and most likely merely codified what he 12. An alternatim (Veni creator spiritus) had been taught. The “good” fingers are 2 and from an ad hoc Rhede performance can be 4, with scales played on lower keys executed, heard at http://www.youtube.com/watch?v=P r.h. ascending and l.h. descending, as 2-3-2-3 gtszdCw91o&feature=youtu.be. (starting on strong beats), r.h. descending and 13. John Addington Symonds (1840–1893), l.h. ascending as 4-3-2-3-2-3, turn figures r.h. trans., The Autobiography of Benvenuto Cel- high-middle-low-middle and l.h. low-middle- lini, Chapter V. It is now available online as high-middle as 4-3-2-3. The hand can be part of the “Gutenberg” project (see www. turned in the direction of travel when using gutenberg.org/ebooks/4028). paired fingerings (turning the hand in the di- 14. Further details at: www.organa.it/page1/ rection of movement and keeping the fingers page14/page41/page41.html. parallel to the keys were techniques used in the 15. Hugo van der Goes, Ange jouant de outgoing 16th century, their relative employ- l’orgue (Angel playing the organ), Flemish ca. ment before that is a matter of speculation; 1480, Sir Edward Bonkil, Holyrood Castle, Santa Maria and Diruta were in disagreement Edinburgh collection. For a sample (sec- about this). Thumbs and fifth fingers are used ond from left) see https://d30dcznuokq8w8. in both hands (especially the left) when larger cloudfront.net/works/r/bal/6/8/0/399086_ intervals require them. The iconography indi- full_1024x520.jpg. cates use of left thumb when that hand played 16. www.schuke.com/pages/de/ longer note values in three parts. Impractical projects#reconstructions passages sometimes need rule-breaking ex- 17. www.hydraulis.de ceptions. Prohibition of using the same finger 18. Remains of a hydraulis were excavated twice in succession is not endorsed in Quem David Rumsey about to play the Rysum organ Sunday September 9, 2012 (photo: Jos in Dion, Greece, in August 1992. A recon- terra pontus (which seems to have been fin- van der Giessen) struction has since been toured. See Peter gered by a scribe rather than Buchner) and in Williams and Jean-Paul Montagnier, eds., The polyphony, finger repetition is often the best Wolf B–G : G D A E B F C G D A E B 40. www.orgelpark.nl/pages/home Organ Yearbook #33 (Laaber: Laaber-Verlag, musical and technical solution. (E-mail corre- E /D and ♭ B /A♭ ♭choices♭ ♭ ♭ (not yet built 2012) 41. Quoted in Jean Perrot, The Organ, 2004), p. 163; Michael Markovits, Die Orgel spondence of 12.11.2012-3.12.2012). would♭ ♯ further♭ increase♯ these options with: from Its Invention in the Hellenistic Period in Altertum (Leiden: Brill, 2003); and web- 29. Robertsbridge Codex/Robertsbridge Wolf D –B : B F C G D A E B F C G D to the End of the Thirteenth Century (Lon- sites: www.culture.gr/2/23/232/epked/en/00_ fragment, London, British Library Add. Wolf A ♯–F:♭ F C♭ G D A E B F C ♯G ♯D ♯ A ♯ don: Oxford University Press, 1971, ISBN standard_menu/00a_ydraulis/00a.htm and MS 28850. So far a♯ lack of available time has♯ ♯ allowed♯ ♯ ♯only 0 19 318418 4), trans. Norma Dean, p. 268. www.mlahanas.de/Greece/Cities/Dion.html. 30. Faenza Codex, Faenza, Biblioteca Co- limited exploration of these variants. Perrot is sourcing this from Th. Gérold, La 19. See Peter Williams, ed., The Organ munale, ms. 117. 38. www.davidrumsey.ch/Iconography.pdf Musique au Moyen Age (Paris: Champion, Yearbook #41 (Laaber: Laaber-Verlag, 2012), 31. See J.G. Töpfer, Lehrbuch der Orgel- 39. Incipiunt praeludia diversarium nota- 1932), p. 419. pp. 7–35. Program at www.david rumsey. baukunst, in 4 volumes (Weimar, 1855, and rum secundum modernum modum subitliter 42. www.orgelmakerij.nl ch/index.pdf, images at www.david rumsey. Mainz: Rheingold-Verlag, 1955–60). et diligentor collecta cum mensuris diversis 43. www.superlibrum.nl ch/2012/album/index.html. 32. See www.davidrumsey.ch/Technology.htm. hic infra annexis by Adam Ileborgh of Sten- 44. www.davidrumsey.ch/index.php 20. www.renaidanse.org/page/de/act.html 33. See Friedrich Jakob et al. in Die Valeria- dal, 1448 (Ileborgh: Paris, private collection 45. www.bundesmuseen.ch/musikautomat 21. The sizes of pigeons’ eggs are dis- Orgel. Ein gotisches Werk in der Burgkirche [‘Ileborgh ’]). en/index.html?lang=en cussed in a footnote to Part II, Section 1, of zu Sitten/Sion (Zurich, Verlag der Fachver- Christhard Mahrenholz, Die Berechnung der eine, 1991), ISBN 3-7281-1666-1 and the Orgelpfeifenmensuren vom Mittelalter bis updates in La Tribune de L’orgue, ed. Guy zur Mitte des 19. Jahrhunderts (Bärenreiter, Bovet (Geneva), in numbers 56/3 and 61/2. A 1968); also in English translation (Oxford: subsidiary issue here is that many of the older Positif Press, 1975). metal pipes at Sion appear not to have been 22. See also www.davidrumsey.ch/ hammered, but retain a thick, rough—even tempering.pdf. slightly porous?—post-casting appearance. 23. Really not a quint at all, but a diminished 34. As noted, e.g., by Markovits in Die Or- sixth, which has to function as a quint on the gel in Altertum. See, e.g., pp. 342, 418, and vast majority of keyboards where no split keys especially p. 444, where metal scarcities in the provide any better-tuned alternatives. This also middle ages are said to have driven the change applies to diminished fourths, which, in the Py- to wood, etc. (cf. pp. 198). Note also the tin- thagorean temperings under discussion here, or copper/bronze-veneered wooden plates more accommodatingly or even fortuitously of windchests. This book is also available for provide a near-pure major third. viewing online at http://books.google.ca/book 24. An important essay on this subject by s?id=p7amFlH7Bg0C&pg=PA401&source=g Mark Lindley can be found online at http:// bs_toc_r&cad=4#v=onepage&q&f=false. independent.academia.edu/MarkLindley/ 35. A need to be cautious here is under- Papers/242254/Pythagorean_intonation_and_ scored by an illusion in some representations, the_rise_of_the_triad. See particularly Table such as that of the Dame à la Licorne tapestry 2, page 27, and the general discussion involv- (http://www.davidrumsey.ch/Iconography.pdf, ing Odington, Spechtshart, et al. Certainly he p. 5), where the pipe tops appear cylindrical, presents much evidence for the B–G wolf but lower down, under the bar, seem square. having more than a century’s demonstrable♭ 36. E.g., see www.davidrumsey.ch/index. currency from 1413 to 1513 and correctly re- pdf—the Jerome de Moravia quote. In that minds us that the organ’s tuning cultures were connection a question (cf. Markovits endnote often at variance with those of other instru- 33 above) that needs raising may well be: If ments. The only significant assertion he makes metal was scarce, then what drove the change for a G –E wolf is for Robertsbridge (p. 33). to lead so strongly (and e.g., not to wood)? Another♯ essay,♭ by Margo Schulter, can be 37. Lindley (op. cit., p .5) for example claims viewed at www.medieval.org/emfaq/harmony/ that most of Buxheim seems “. . . in certain cas- pyth4.html#1. See especially around “4.5 Py- es at least, to require some form of meantone thagorean tuning modified: a transition around temperament for its proper effect” but gives no 1400,” where she assumes a G –E wolf. In the clear criteria. My own experience is contrary to final analysis, these do not argue♯ ♭very convinc- this, having tried both, and I am mostly very ingly for a wolf at G –E on purely statistical comfortable with a Pythagorean/B–G wolf for grounds. Of course, this♯ ♭only became a press- Buxheim. Criteria of this kind are difficult♭ to ing issue when keyboards came to be divided formulate, save to note that resting points in into 12 or more discrete notes. the music, apart from open fifths and octaves, 25. E.g., in a series of e-mail exchanges be- seem often enough to occur with the near-pure tween Rahbee and the author dating June 28 thirds of e.g., an A-major or D-major triad (a to July 22, 2012. He is particularly interested feature also noted by Lindley, pp. 42–43). in 15th- and 16th-century tempering prac- We have to face the fact that medieval musi- tices and takes such relatively new material cians themselves applied no consistent criteria as the Cambrai MS into account (see Patrizio here—a proposition that Lindley gives cre- Barbieri, “An Unknown 15th-century French dence to with his quotation (p. 4) of the Spa- Manuscript on and Tuning,” in taro/Gaffurio and many other bitter contem- Peter Williams, ed., The Organ Yearbook #20 porary conflicts around such issues. By virtue [Laaber: Laaber-Verlag, 1989]). Rahbee is also of its three additional pipes per octave, the exploring a hypothesis that meantone temper- medieval organ built by Winold van der Putten ing may have come into widespread use some- for me in 2010 is capable of playing in a variety what later than is commonly believed. The of early Pythagorean temperings. With options apparently dual-tempered instruments of late of pipes to play either D or C , G or F , and A 15th century, e.g., the Lorenzo da Pavia style or G , this currently allows♭ any♯ of ♭the following♯ ♭ of organ, may yet have much to offer on this tempering♯ configurations: topic. See http://www.david rumsey.ch/Iconog- Wolf G –E : E B F C G D A E B F C G raphy.pdf, pp. 7 and 8, and Marco Tiella, “The Wolf C♯–A♭: A ♭ E♭ B F C G D A E B♯ F♯ C♯ Positive Organ of Lorenzo da Pavia (1494),” in Wolf F♯–D♭: D♭ A♭ E♭ B F C G D A E B♯ F♯ ♯ ♭ ♭ ♭ ♭ ♭ ♯ WWW.THEDIAPASON.COM THE DIAPASON n MAY 2013 n 25