DOCSLIB.ORG

Information on Organ Registration from a Student of J.S. Bach

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information on Organ Registration from a Student of J.S. Bach University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of June 1993 Information on Organ Registration From a Student of J.S. Bach Quentin Faulkner University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Faulkner, Quentin, "Information on Organ Registration From a Student of J.S. Bach" (1993). Faculty Publications: School of Music. 19. https://digitalcommons.unl.edu/musicfacpub/19 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. INFORMATION ON ORGAN REGISTRATION FROM A STUDENT OF J.S. BACH Quentin Faulkner tivityas an organist. Nevertheless, the article translated below reveals that Agricola re­ mained highly knowledgeable in organ mat­ ters, as does his contribution ten years later to Jacob Adlung's Musica mechanica or­ gancedi (1768). Agricola served as the final editor2 of that publication, and the notes he added to it confirm not only his understand­ ll. ing of organ construction and playing tech­ nique but also his acquaintance with a wide variety of organs and organ music, both ~amm(ung tiniger 'lacbricbten throughout Germany and (as a result of his reading) in France. "on berU~mten Dr~el",trrtn -in Xeutfd>~ * * * *** * ** ~Jlu~t e~ Here follows the translated text ofAgricola's lanb, mit t1idtt aufgefe6t \)on article. Original terms and phrases ofspecial Eieb~aber ~tetJ(au, interest are italicized. The translator's foot­ nem btt rotu»r. notes are in superscript numbers; super­ ~trlegt6 ~arl script letters identify Agricola's own foot­ (!;ottfrieb roteger. notes, contained in parenthetical statements in smaller type immediately following the 1757. 14 [iogen in 4t. letters. Boldface numbers in curly brackets identify the original pagination ofMarpurg's publication. ~iq,at( prAtoriu8 ~at 1m i~flJtfn t:~fft {486} A Collection of Some Reports about ~" feinr~ Famous Organs in Germany [Sammlung mufit4lifc1)en e,ntagma8, auf­ einigerNachrichten von beriihmten Orgel­ re~ 0e~retbun9 werken in Teutschland], drawn up with finer genu,*, aUer in ben Ot'gthl great effort by a musical amateur. Breslau, jU published by Carl Gottfried Meyer,3 1757. 14 signatures in quarto. In the second part of his Syntagma Mu­ The beginning (p. 486) ofAgricola's article sicum Michael Praetorius has furnished, in addition to precise descriptions and designs Despite two centuries of research into the The article falls into four sections: of each of the stops {487} normally found in life and music ofJ.S. Bach, there is little that I. A brief appreciation of the new publica­ the organs of his day, the stoplists or specifi­ can be said with certainty about his organ tion (not really a review, since there is no cations of 27 famous organs4 in Germany. registration practices. Aside from two short detailed critical examination), on pages Mr. von Mattheson, Secretary of Legation passages (quoted below) that merely assert 486-87. [Legationsrath 5 ], has published a far more Bach's understanding ofand skill at registra­ ambitious collection of stoplists in the ap­ tion, there is only J.F. Agricola's report that II. A classification and description of stops pendix to his new and expanded edition of Bach liked reed stops.t Up until now, it has found in organs of the time, from page Niedt's Handleitung zur Variation des Gen­ not been possible to identify sources, either 487 to page 501. eralbasses.6 Despite these efforts there were from Bach himselfor from his immediate cir­ III. Information on how to combine the many additional instruments in Germany cle, that offer precise instructions on organ stops, from page 502 to page 505. This (where one encounters a greater number of registration. The source described and trans­ section is of immediate relevance to or­ beautiful, large organs than in any other lated here provides such information. gan registration, and it contains the only country) that also deserved to have their de­ The source is an article found in Friedrich material evaluated in the analytical por­ scriptions published. This has prompted the Wilhelm Marpurg's Historisch-Kritische tion of this article. author of the collection here announced to Beytriige zur Aufnahme der Musik (Histori­ compile and publish (doubtless with great IV. The stoplists, unpublished elsewhere, of cal and Critical Contributions to the Recep­ effort and expense) an additional 124 stop­ six organs, from page 506 to page 518. tion of Music), Volume 3, Part 6 (Berlin: lists, including many very notable ones, These stoplists describe organs located Gottlieb August Lange, 1758), pages 486 to none of which are to be found in Praetorius in the Freiberg Petrikirche, the Halber­ 518. Marpurg-an author, theorist, and crit­ or in Mattheson. And although this still falls ic closely associated with the circle ofBach's stadt Stiftskirche, the Halle Marktkirche, far short of describing all the good organs in the Konigsberg Domkirche, the Magde­ students in Berlin-published the Historisch Germany, yet there is no doubt that with it burg Johanniskirche, and the Meerane Kritische Beytriige as a periodical from 1754 Mr. Meyer has once again rendered an es­ Stadtkirche (Saxony). The present En­ to 1762 and again in 1778; it includes book timable service to all those who pursue reviews, biographies of musicians, discus­ glish translation omits these stoplists. greater knowledge of the organ. sions of problems in music theory, and re­ Neither the Table ofContents for Part 6 nor Perhaps some ofmy readers will not mind ports on musical inventions. The article un­ the heading of the article indicates its au­ my taking this opportunity to provide them der consideration falls into the first of these thor. Only the name"Agricola" at the end of with a rather more precise account of organ categories. Ostensibly it is a review ofa new the article identifies the author as Johann stops or registers, since they are so various collection of organ stoplists, the Sammlung Friedrich Agricola (1720-74), a student of and have so many different names. {488} I einiger Nachrichten, published in 1757. In J.S. Bach from 1738 to 1741. Thereafter, will endeavor to be of service to them here. fact, only a small portion ofthe article is de­ Agricola moved to Berlin, becoming part of Stops in organs are divided in general into voted to the new publication. That portion, the circle of Bach's students (including flues [Pfeifenwerkl and reeds [Rohr- oder however, begins the article, and this may be C.P.E. Bach and J.P. Kirnberger) active there. Schnarrwerkl. The distinction lies in the dif­ one reason why the significant information Frederick the Great, King ofPrussia, eventu­ ferent structure of the pipes, principally in on registration found later in the article has ally named him Royal Prussian Court Com­ their mouthpieces [Mundstiicks7l, which escaped previous notice. poser, a position that limited Agricola's ac- naturally results in a different sound. The 58 THE AMERICAN ORGANIST mouthpiece ofa reed is a short tube, usually cut-up ofthe lip-larger or smaller, wider or make, instead of, e.g., one ten-rank manu­ made of tin, cut in half lengthwise. Over its narrower-also contributes [to the differ­ al mixture, two mixtures, one having 6 open side there lies a movable sheet [Blatt], ence in timbre]. and the other4 pipes per note. The former called the tongue (languette (in French]), {491} The material used to make organ is then called Mixtur, the latter Scharf or which the wind can force up and down. Both pipes is either pure tin, pipe metal (a mixture Cimbel. are anchored at the top in a little block (noix8 of lead and tin), or wood. Brass, as men­ (in French]), through the middle of which tioned above, is used for reed tongues. It is All of these principals are actually the there is an opening. The lower part of the as unsuited for pipe resonators, though, as stops that one draws for the full organ [zum shallot [MundstiicJc9] and its reed are set into sheet iron [Blech], since it causes a far too vollen Werk], when the organ is to sound at a separate tube, called the boot, which con­ rattling, crackling, rustling sound. Our an­ its fullest power. All these stops in one divi­ stitutes the lowest section of the pipe. The cestors made their Regals of it, but with a sion [aufeinem claviere] must be built to the block sits atop this boot. Through [the block] poor effect. Tin sounds more brilliant [schiir­ same scale [von gleicher Mensur], or as or­ there passes a piece ofsteel or brass that ex­ fer], while wood sounds softer and duller ganbuilders say, "on the same basis" [aus tends about halfway down the tongue, and than pipe metal. einerley Fundament]. If there are several keeps the wind from lifting the tongue any Flues are again divided into so-called keyboards, however, each keyboard should higher than the correct pitch requires. The principals and flutes. The principals are by right have stops of different scaling and pipe is tuned either lower or higher by draw­ completely open and cylindrical [von voicing. For example, in the Hauptwerk and ing this piece of steel up or down, and thus gleicher Weite]. To this category belong: Pedal they are of broad and full scale. In the it is called the tuning wire [Stimmkriicke]. second manual they are voiced more keenly The upper part of the pipe, the part organ­ 1.
Load more

Recommended publications
  • Modern Organ Stops
    Modern Organ Stops MODERN ORGAN STOPS A practical Guide to their Nomenclature, Construction, Voicing and Artistic use W ITH A GL OSSARY OF TE CHNICAL TE RMS relating to the Science of Tone-Production from Organ Pipes B Y T H E R E V E R E N D N O E L A . B O N A V IA -H U N T , M.A. PEMBROK E COLLEGE, OX FORD (Author of ≈Studies in Organ Tone,∆ ≈The Church Organ,∆ & c.) ≈Omne tulit punctum qui miscuit utile dulci.∆ƒ HORACE: ≈Ars Poetica.∆ BARDON ENTERPRISES PORTSMOU TH First published by Musical Opinion, 1923. Copyright, © 1923 by Musical Opinion Copyright, this edition © 1998 by Bardon Enterprises This edition published in 1998 by Bardon Enterprises, reproduced by permission All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owners. ISBN: 1-902222-04-0 Typeset and printed in England by Bardon Enterprises. Bound in England by Ronarteuro. Portsmouth, Hampshire, England. Preface HE issue of this book is due wholly to the desire to place before the student a guide, sufficiently concise, and withal adequately Tcomprehensive, to the clearer understanding of the science of or- gan tone-production. To the casual observer the alphabetical ar- rangement of stop-names would seem doubtless to convey the impres- sion that yet a third dictionary of organ stops has been offered to the public. A closer scrutiny, however, should convince the reader that these pages do not seek to cover the same ground occupied by the ex- cellent treatises of W edgwood and of Audsley, but will, it is hoped, reveal the true aim and scope of the author.
    [Show full text]
  • Digital Console Short Manual.Pages
    THE DIGITAL CONSOLE AT THE ORGELPARK The digital console at the Orgelpark controls two organs: the Sauer organ (1922) and the Utopa Baroque Organ (2018). This manual covers only its basic functions. Please read the extended manual to learn more. Step 1: turning the console on Hold the RFID-tag over the right cheek of the upper keyboard. The procedure will take circa 1 minute. The console is ready when the touchscreen shows 16 boxes in four rows, named III.1, III.2, etc. The upper keyboard is keyboard III, the middle one keyboard II, the lower keyboard I. Step 2: the buttons in the cheeks You can have several registrations sound at the same time on each keyboard; we say that these registrations lay in ‘layers’ one over another. Each layer has its specific name. On keyboard III, for example, the names are layer III.1, layer III.2, etc. Each layer can be ‘opened’ by using the buttons marked with these names in the keyboard cheeks. Each of these layer button is joined by two other buttons: MUTE and ∞. • The button MUTE allows you to quickly turn on and off the respective registration layer • The button ∞ sustains notes until you strike a next key hard; striking next keys gently adds the respective notes to the sustained sound Step 3: opening layers Opening a layer, by pushing the corresponding layer button (the button starts blinking), makes the control panel over the upper keyboard show the registration contained in that layer. • If no registration has been made yet in that layer, all tabs and buttons will show their 0-position; you can now
    [Show full text]
  • The 1930 Skinner Organ 8 September 2006 — Page 
    JEFF WEILER PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS PLANNING & PROJECT MANAGEMENT VOICING & TONAL FINISHING 1845 SOUTH MICHIGAN AVENUE #1905 CHICAGO, ILLINOIS 60616 312.842.7475 [email protected] jlweilerpipeorgans.com t h e 1930 Skinner Organ i n Sinclair Auditorium, Coe College cedar rapids, iowa Site survey and visits: 7-11 august 2006 Report submitted: 8 september 2006 Sinclair Auditorium, Coe College — the 1930 Skinner Organ 8 September 2006 — page 2 INTRODUCTION This report comes at the request of Dr. Brett Wolgast. It comprises an historic overview, a survey the organ, a report of existing conditions, and recommendations for the immediate care and ultimate restoration of the Sinclair Auditorium organ. To prepare this document, Jeff Weiler and Jonathan Ambrosino spent August 6 to August 10, and the morning of August 11: • playing the organ, inspecting the pipework, surveying mechanism and photo- The organ contains thousands of pipes, most of metal but documenting conditions; some of wood. These are in the Swell organ. • opening up windchests to determine the state of the internal leather; • creating an inventory of pipes stored in the basement; • removing the non-original Great Trumpet and reinstating the original First Open Diapason, formerly stored in the basement (the Trumpet stop was put into a storage box and arrayed in the basement storage area); • through-tuning all 57 ranks; • meeting with Brett Wolgast, Bill Carson and Dick Harmon to discuss the organ’s history, present and future. This document is a prolonged snapshot of the organ over a week’s visit. Our impressions here blend with experience from other Skinner organs to appreciate and describe its present condition.
    [Show full text]
  • Basic Organ Registration by Margot Ann Woolard
    Basic Organ Registration By Margot Ann Woolard Example 1 Introduction and Pitches Great: Spitzprincipal 8’ Swell: Rohrflöte 16’ & Great: Praestant 4’ Swell: Nazard 2-2/3’ & Swell: Blockflöte 2′ Swell: Tierce 1 – 3/5’ & Positiv: Larigot 1–1/3’ Positiv: Sifflöte 1′ Example 2 Principal (Diapason) Chord Progression and Scale Great: Spitzprincipal 8’ Praestant 4’ Spitzprincipal 8’ & Praestant 4’ Example 3 Flutes (open and stopped) Chord Progression and Scale Open Flute - Choir: Hohlflöte 8’ Stopped Flute – Swell: Rohrflöte 8’ Example 4 String Stops Chord Progression and Scale Swell: Viole de Gambe 8’ Example 5 Reed Stops Chord Progression and Scale Solo Reed – Choir: Cromorne 8’ Chorus Reed – Swell: Trompette 8’ Example 6 Principal Chorus Prelude in C Major (Eight Preludes and Fugues), J.S. Bach Great: Spitzprincipal 8’, Praestant 4’, Octave 2’ Pedal: Principal 16’, Octave 8’, Choral Bass 4’ Example 7 Stopped Flutes Number Six (Seven Pieces in E flat Major and E flat Minor, L’Organiste) Franck 1. Great : Bourdon 8’ 2. Swell: Viole de Gambe 8’ 3. Great: Bourdon 8’ Swell: Viole de Gambe 8’, Swell to Great coupler Example 8 Open Flutes Minuet (Musical Clocks), Haydn Positiv: Nachthorn 4’ Allein Gott in der höh sei Her, Zachau 1 Open Flute Chorus – Choir: Hohlflöte 8’, Positiv: Nachthorn 4’ Swell: Blockflöte 2’ Swell to Choir coupler Example 9 String Stops All Glory be to God on High (79 Chorales), Marcel Dupré Swell: Viole de Gambe 8’ (accompaniment) Great: Bourdon 8’ (melody) Pedal : Rohrflöte 16’. Rohrflöte 8’ (bass) Example 10 Voix Celeste
    [Show full text]
  • Theatre Owner's Manual
    TH-202/TH-302 Theatre Models IMPORTANT! Organs which contain GeniSys™ technology no longer include the GeniSys™ Controller Guide within the model specific Owner’s Manual. The correct GeniSys™ Controller Guide must be downloaded and/or printed separately. Please check the CODE version of the software installed within the organ to determine which version of the GeniSys™ Controller Guide is required. The CODE version is briefly displayed within the GeniSys™ Controller’s LCD display when the organ starts up. Copyright © 2016 Allen Organ Company All Rights Reserved AOC P/N 033-00221-1 Revised 10/2016 ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs-- Allen Organ Company has built the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first electronic oscillator organ. The tone generators for this instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops. By 1959, Allen had replaced vacuum tubes in oscillator organs with transistors. Thousands of transistorized instruments were built, including some of the largest, most sophisticated oscillator organs ever designed. Only a radical technological breakthrough could improve upon the performance of Allen’s oscillator organs. Such a breakthrough came in conjunction with the United States Space Program in the form of highly advanced digital microcircuits. In 1971, Allen produced and sold the world’s first musical instrument utilizing digitally sampled voices! Your organ is significantly advanced since the first generation Allen digital instrument.
    [Show full text]
  • The Rodgers 579Is the Most Full-Featured 2 Manual Organ You'll
    The Rodgers 579 is the most full-featured 2 manual organ you’ll find in its class, built with the same high-quality cabinet and extra features that come in larger models, including double expression, crescendo pedal, 10 toe pistons, expanded voicing capability and powerful tone generation system. Organists will appreciate the useful Organ Type piston that instantly calls up any of four sets of stops, while still allowing the selection of any desired alternative from Voice Palette™ or User Voices. Manual I (Great) Couplers: II/I (SW to GT) Specifications Tablet VP1 VP2 VP3 29 stops / 241 total voices Bourdon 16’ Violone 16’ Principal 16’ Quintaton 16’ 29 primary voices Principal 8’ Open Diapason 8’ Montre 8’ Prinzipal 8’ 87 Voice Palette™ voices Gemshorn 8’ 2nd Diapason 8’ Voce Umana II 8’ Aeoline 8’ 92 User pipe organ voices Gedackt 8’ Clarabella 8’ Flûte Harmonique 8’ Bourdon 8’ 32 User orchestral voices Octava 4’ Principal 4’ Flûte à Bec 4’ Fugara 4’ Chimes Rohrflöte 4’ Open Flute 4’ Lieblichflöte 4’ Kleine Gedackt 4’ General Pistons: 10 Quinte 2-2/3’ Twelfth 2-2/3’ Nazard 2-2/3’ Quintaden 8’ Divisional Pistons: 5 Great, 5 Swell Superoctav 2’ Fifteenth 2’ Doublette 2’ Piccolo 2’ Toe Pistons: 10 configurable Mixtur IV Tierce Mixture V Cornet V Rauschquint IV Couplers: 3 plus 6 User/MIDI Controls Trumpet 8’ Waldhorn 8’ Trompette 8’ Cromorne 8’ Bass and Melody Couplers Chimes Tremulant: 2 Tremulant Shoes: 2 Expression, Crescendo Manual II (Swell) Memory: 20 levels x 20 pistons (400) Tablet VP1 VP2 VP3 Console dimensions: Spitz Geigen 8’
    [Show full text]
  • From Basement to Barcheston Paul Hale
    something old, something new FROM BASEMENT TO BARCHESTON Paul Hale This is the story of the organ now to be found in the delightful Warwickshire church at Barcheston. It begins in 1973, when Longstaff & Jones (Telford-based organ-builders and maintainers) advertised in the organ press that they would like to build a new, small pipe organ. Geoffrey Holroyde had yearned for some time for a small house organ for regular practice, so Longstaff & Jones were soon engaged to build for him a compact instrument, using direct-electric action. The successful design consisted of four ranks of pipes (and a quiet electronic pedal Bourdon) providing two manuals and pedals, with no couplers thereby avoiding too much extension with its attendant ‘missing notes’. Tickell case design for Barcheston The carefully chosen vintage ranks of pipes were: A Wooden stopped Gedackt 8ft extended to 4ft 68 pipes B Open metal (stopped from TC down) 8ft 56 pipes C Smaller scale open metal 4ft extended to 2ft 68 pipes D Oboe (for the Pedal Organ) 8ft 30 pipes Specification: Lower manual B8ft A8ft C4ft A4ft C2ft Upper manual C8ft (bottom octave from B) A8ft C4ft A4ft Barcheston Church looking East Pedal 16ft D8ft B8ft A8ft B4ft A4ft C2ft 48 • March 2020 something old, something new The opening recital in Geoffrey’s house was given by the youthful Edward Higginbottom, who before Cambridge had played for Geoffrey’s flourishing choir at St Mary’s Collegiate Church, Warwick. In 1979, Geoffrey and his, by then, large family moved to a spacious Victorian four-storey house.
    [Show full text]
  • Owner's Manual Rodgers Classic Series 200/205
    OWNER'S MANUAL RODGERS CLASSIC SERIES 200/205 ovJNER' s MANUAL FOR RODGERS CLASSIC SERIES 200/205 RODGERS ORGAN Marketing Offices 100 Wilmot Road · Deerfield, Illinois 60015 A Member of CBS Musical Instruments, A Division of CBS, Inca CONTENTS In traduction ............................................... 1 The Musical Resources of the Rodgers Classic Series 200/205 ...... 2 The Principal (or Diapason) Family. 3 The Flute Family .......... 3 The String Family and Celestes .. 4 The Reed Family ............... 5 Specification List ............................................... 6 Special Features. • . 7 Couplers ........... 7 Combination Action. 7 Flute Chiff. 8 Tremulant .... 8 Expression Pedal .. 9 • Stops Enclosed .. 9 Tuning Control ........ 9 Stop Lamps Control .....••. 9 Organ Case ........ ..10 Completely Solid-State. 10 Care and Maintenance .........................•..........•....•... 10 Console and Pedalboard ... ... .. .11 Keyboards and Stop Tabs .. 11 Pipes ................ ..11 Five-Year Limited Warranty ......••..........••...........••••.... 12 Registration Suggestions. ••••••••••••••-•••••••,••••e•. .. ••••P.•• .•. 12 Manual I .. .• 13 Manual II.. 14 Pedal Organ. ..15 Suggested Memory Settings ... ..................... 16 Rodgers Classic Series 200/205 Memory I ..................... l7 _______I~l~l.L.-us _tr.ati .o. n-.-----·-----.-.-.-.-.--.-.-.-.-.-.-.-.-.-. ..... ............. 2-Q----- RODGERS CLASSIC SERIES 200/205 The RODGERS CLASSIC SERIES 200/205 combines the finest pipe organ tradition and classical tonal schemes with
    [Show full text]
  • The Mormon Tabernacle Organ
    The Church of Jesus Christ of Latter-day Saints Salt Lake City Tabernacle Salt lake City, Utah, United States of America Organ Built by: Aeolian Skinner Company Boston, Mass, United States of America Renovated by: Schoenstein & Co. San Francisco, California 5 Manuals, 147 Voices – 206 Ranks The Mormon Tabernacle Organ The Church of Jesus Christ of Latter-day Saints Æolian-Skinner Organ CO., Boston, Massachusetts – Renovated by Schoenstein & Co., San Francisco, California ~ 147 Voices-206 Ranks, 11, 623 Pipes Feet Stop name ............................... # of Pipes Choir I (Enclosed) 4 3/4” wind, 1536 pipes Great II (Unenclosed) 3 1/2”, 3 10/12”, 4 16’ Gamba ..................................................... 68 3/4”, 4 10/12” winds, 2564 pipes 8’ Principal ............................................... 68 16’ Subprincipal ........................................ 61 8’ Concert Flute .................................... 68 16’ Quintation ........................................... 61 8’ Viola ....................................................... 68 8’ Principal ............................................... 61 8’ Viola Celeste ...................................... 68 8’ Diapason ............................................... 61 8’ Dulcet II ................................................ 68 8’ Montre .................................................. 61 8’ Klein Erzähler II ................................. 68 8’ Bourdon ............................................... 61 4’ Prestant ..............................................
    [Show full text]
  • Equalizing and Voicing Understanding the Power of the Inspire Menus
    EQUALIZING AND VOICING UNDERSTANDING THE POWER OF THE INSPIRE MENUS RODGERS INSTRUMENTS US LLC TABLE OF CONTENTS INTRODUCTION ..........................................................................................................................2 PREPARING THE ORGAN FOR EQUALIZING ....................................................................3 Quick Menu User and Service Menu .........................................................................................3 Speaker Setup ............................................................................................................................5 Channel Volumes .......................................................................................................................6 Audio Test ..................................................................................................................................7 Master Volume ...........................................................................................................................7 Matrix Mixer ..............................................................................................................................8 Room Type and Reverb Volume ................................................................................................9 Default Voices ..........................................................................................................................10 Save Settings ............................................................................................................................12
    [Show full text]
  • JANUARY 2017 First United Methodist Church Dalton, Georgia Cover
    THE DIAPASON JANUARY 2017 First United Methodist Church Dalton, Georgia Cover feature on pages 24–25 CHRISTOPHER HOULIHAN ͞ŐůŽǁŝŶŐ͕ŵŝƌĂĐƵůŽƵƐůLJůŝĨĞͲĂĸƌŵŝŶŐ performances” www.concertartists.com / 860-560-7800 Mark Swed, The Los Angeles Times THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eighth Year: No. 1, In this issue Whole No. 1286 The Diapason begins its 108th year with Timothy Robson’s JANUARY 2017 report on the Organ Historical Society’s annual convention, Established in 1909 held in Philadelphia June 26–July 2, 2016. We also continue Joyce Robinson ISSN 0012-2378 David Herman’s series of articles on service playing. John Col- 847/391-1044; [email protected] lins outlines the lives and works of composers of early music www.TheDiapason.com An International Monthly Devoted to the Organ, whose anniversaries (birth or death) fall in 2017. the Harpsichord, Carillon, and Church Music John Bishop and Larry Palmer both examine the year and editor-at-large; Stephen will now take the reins as editor of The the season. Gavin Black is on hiatus; his column will return Diapason. I will assist behind the scenes during this transition. CONTENTS next month. Our cover feature is Parkey OrganBuilders’ Opus We also say farewell to Cathy LePenske, who designed this 16 at First United Methodist Church, Dalton, Georgia. journal during the past year; she is moving on to new respon- FEATURES sibilities. We offer Cathy many thanks for her work in making Thoughts on Service Playing Part II: Transposition Transitions The Diapason a beautiful journal, and we wish her well. by David Herman 18 As we begin a new year, changes are in process for our staff OHS 2016: Philadelphia, Pennsylvania at The Diapason.
    [Show full text]
  • Protégé™ LD-34 Owner's Manual
    Protégé™ LD-34 Owner’s Manual Copyright © 2012 Allen Organ Company LLC All Rights Reserved AOC P/N 033-00169 Revised 04/2012 ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs-- Allen Organ Company has built the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first electronic oscillator organ. The tone generators for this instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops. By 1959, Allen had replaced vacuum tubes in oscillator organs with transistors. Thousands of transistorized instruments were built, including some of the largest, most sophisticated oscillator organs ever designed. Only a radical technological breakthrough could improve upon the performance of Allen’s oscillator organs. Such a breakthrough came in conjunction with the United States Space Program in the form of highly advanced digital microcircuits. In 1971, Allen produced and sold the world’s first musical instrument utilizing digitally sampled voices! Your organ is significantly advanced since the first generation Allen digital instrument. Organs with Renaissance technology are the product of years of advancements in digital sound and control techniques by Allen Organ Company. This system represents the apex of digital technology applied to exacting musical tasks. The result is a musical instrument of remarkably advanced tone quality and performance. Congratulations on the purchase of your new Allen Organ! You have acquired the most advanced electronic organ ever built, one that harnesses a sophisticated custom computer system to create and control beautiful organ sound.
    [Show full text]