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Report 5: the New Baroque Organ 5/1 ORGELPARK RESEARCH REPORTS VOLUME 5 / PART 1 VU UNIVERSITY PRESS VU UNIVERSITY THE NEW BAROQUE ORGAN At the Orgelpark THE NEW BAROQUE ORGAN At the Orgelpark Orgelpark Research Report 5/1 SECOND EDITION (2017) EDITOR HANS FIDOM VU UNIVERSITY PRESS Orgelpark Research Report 5/1 Contents Practical information 11 Introduction 13 The Project Hans Fidom [§21] Digital Historicism: the New Baroque Organ at the Orgelpark 17 Peter Peters [§55] How to Build an Authentic Replica? The New Baroque Organ in the Orgelpark as a Research Organ 33 Temperament Kristian Wegscheider VU University Press De Boelelaan 1105 [§84] The “Secret” of Tuning Methods in Organbuilding 49 Jos de Bie 1081 HV Amsterdam The Netherlands [§140] The New Baroque Organ at the Orgelpark: Temperament 107 Koos van de Linde www.vuuniversitypress.com [§183] What Temperament should the New Baroque Organ have? 135 Ibo Ortgies [email protected] [§224] Johann Sebastian Bach and Temperament 153 © 2014 (first edition) and 2017 (this edition) Orgelpark Live Electronics Jacob Lekkerkerker ISBN e-book/epub 978 94 91588 11 2 (available at www.orgelpark.nl) ISBN (this) paper edition 978 90 86597 14 7 [§271] Am I an Organist or do I play the Organ? 181 Robert van Heumen NUR 664 [§294] The New Baroque Organ as a Hybrid Electro-Acoustic Instrument 191 Anne La Berge All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, [§321] Proximity and Communication with the New Baroque Organ 205 Ernst Oosterveld mechanical, photocopying, recording, or otherwise, without the prior written consent of the publisher. [§368] Baroque Organ Additions at the Orgelpark 221 Orgelpark Research Reports Practical information Orgelpark and VU University [§1] The Orgelpark is a concert venue in Amsterdam. Its aim is to integrate the organ into musical life in general. The Orgelpark initiated the Orgelpark Research Program in 2008. [§2] The Orgelpark Research Reports are published in cooperation with the Chair of Organ Studies at VU University Amsterdam. The Orgelpark Foundation established the Chair in 2010. E-books [§3] Publications about music gain when they include sound examples and short movies. Therefore, the Orgelpark Research Reports are “electronic books”: E-books, to be read (and listened to) on tablets, computers and comparable devices. Please use the latest versions of applications such as iBooks (Mac OS), or Readium (Windows). [§4] Since full-text search is standard in e-books, the Research Reports do not contain indices. [§5] The Orgelpark Research Reports are available for free at www.orgelpark.nl. Paper copies [§6] Paper copies of the Orgelpark Research Reports can be ordered at additional cost. Paper copies include only the basic information contained in the original e-book versions: sound examples and movies are lacking. Paper copies do not include indices either (see §3). More information [§7] For more information on the Orgelpark Research Program and Organ Studies at VU University, please visit www.orgelpark.nl, www.vu.nl or send an e-mail to [email protected]. PLEASE USE THE PARAGRAPH NUMBERS TO REFERENCE TEXTS IN THIS BOOK (CF. §8-11) Orgelpark Research Report 5/1 Introduction Orgelpark Research Report 5/1: Second Edition [§8] This is the second edition of Orgelpark Research Report 5/1. Since the publication of the first edition in June 2014, electronic publishing technology has advanced quickly. As a result, the e-book versions of the Orgelpark Research Reports do no longer have to have a so-called reflowable format, which meant that the reader herself had to decide the size of the pages and the amount of text per page, to name just a few details. Therefore, the Reports had to have paragraph numbers instead of page numbers; otherwise, referencing (identifying) text fragments would be impossible. [§9] From now on, however, the Reports can and will have a fixed layout. Paragraph numbers are no longer necessary: each page will have its own page number, just like in a “normal” book. References [§10] However, since the first edition of Report 5/1 worked with paragraph numbers instead of with page numbers, and since nothing in the texts has been changed, Report 5/1 will retain them. [§11] It is strongly advised to use the paragraph numbers to reference text fragments in this Report. The New Baroque Organ [§12] The Orgelpark is equipped with impressive organs for music both of the 15th and 16th centuries and the 19th and 20th centuries. The Orgelpark has decided to build a Baroque organ to facilitate historically informed performances of Johann Sebastian Bach’s organ works as well. [§13] At the same time, the Orgelpark aims to inspire musicians, composers and other artists to make new music with its organs; each year, PLEASE USE THE PARAGRAPH NUMBERS TO REFERENCE TEXTS IN THIS BOOK (CF. §8-11) the Orgelpark commissions several compositions. As the digital console the aspect of the New Baroque Organ project. The first colloquium, on March Orgelpark developed to play the pneumatic Sauer organ in new ways has 22, focused on general and artistic research aspects of the project; the second turned out to be a success, it has been decided to provide the New Baroque one, on May 3, discussed temperament issues; the third one, on May 17, Organ with a similar 21st century “interface” as well. was dedicated to questions regarding the electronic devices the organ might [§14] The New Baroque Organ will therefore have two consoles: A include. mechanical action console integrated in the organ case, and a detached 21st [§17] The lectures on March 22 were given by two members of the project century digital console. Applying the 16th century innovation of the spring team: Hans Fidom and Peter Peters. Both introduce the project in extensive chest makes such dual action possible. Electro magnets on each pipe valve essays, addressing artistic, aesthetical, technological, and historical issues. allow extended control of the organ from the digital console. [§18] The lectures on May 3 addressed the question whether the organ should have two temperaments, for example by providing it with more than Sharing knowledge twelve pipes per octave, and what temperament(s) would be preferable. We [§15] The Orgelpark published a first press release about the project of invited four experts to discuss this issue: Jos de Bie, Koos van de Linde, Ibo the New Baroque Organ in October 2013. In order to develop the plan as Ortgies, and Kristian Wegscheider. In light of their valuable contributions, transparently as possible, the Orgelpark started a series of colloquia and the discussion showed that choosing “just” one temperament might be symposia. Furthermore, it kept a blog for a few years, aimed at including more appropriate, the main argument being that pipes that would have to anyone interested in joining in the discussion. One of the main shifts that function in two temperaments require a slightly different voicing than the could be witnessed, was our decision to skip the original idea of a North other pipes. German Baroque organ inspired by Arp Schnitger (1648-1721) as our main [§19] The discussions during the colloquium on May 17 were as well reference. Instead we took the work of Zacharias Hildebrandt (1688-1757) inspired by a question posed by the Orgelpark, this time to four musicians, as a point of departure. The main argument was that Johann Sebastian Bach composers, and improvisers who are using electronic equipment in addition knew Hildebrandt and his organs personally, and that he even might have to organs. We asked Jacob Lekkerkerker, Robert ten Heumen, Anne La been involved in planning the large Hildebrandt organ at Naumburg. Berge, and Ernst Oosterveld, which features the new organ would need [§16] The New Baroque Organ project at the Orgelpark is carried out in order to facilitate the way they would like to make music on it. They all by a team comprised of Loek Dijkman [Orgelpark, president], Sylvia de are experienced users of the Sauer organ and the options its digital console Munck [Orgelpark], Johan Luijmes [Orgelpark, artistic leader], Hans Fidom offers them. [Orgelpark Research / VU University Amsterdam], Peter Peters [Maastricht University], and Hans Elbertse [Organ builder]. A reference group has been Orgelpark Research Report 5/1 set up as well, in which organ builders, musicians, composers, musicologists, [§20] For practical reasons, this Report will consist of several parts. E-books art historians, philosophers etc. take part; the authors included in this Report should not become too large, and we prefer to publish the contributions are members of the reference group. to the discussions concerning the New Baroque Organ project as soon as possible. Contributions [§16] This is Part 1 of Orgelpark Research Report 5. It presents extended text versions of the ten lectures given at the three colloquia that took place in the spring of 2014 at the Orgelpark. Each of these colloquia addressed a different 14 15 I Hans Fidom - Digital Historicism: the New Baroque Organ at the Orgelpark [§21] The Orgelpark is to build a new organ with a dual function: to facilitate historically-informed performances of baroque organ music, more specifically the music of Johann Sebastian Bach, and to inspire composers and musicians to create new music. This essay addresses the ways in which this initiative has developed so far. Introduction: The Challenge of the 21st Century [§22] Organs are not only musical instruments but also machines. Given that many organs have been preserved, in some instances for as long as six centuries, this duality allows them to render an especially fascinating aspect of Western history literally audible: their sounds provide clues as to how artistic wishes may have played a role in prompting technological developments through the centuries and vice versa.
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