Organs and Positive Tracker Organs


>> Organ Project in S t o c k w e r k®

>> Positive Tracker Organ, 4 Stops

>> Organ , I+P , 8 Stops

>> Claviorganum / II-manuals

>> Continuo Chest Organ, South German Style

>> Chest Organ, 3 stops, Italian Style


Here we show you organs and small organ instruments suited for chamber music or continuo play, developed according to our own designs or along the lines of historical instruments.



Organ Project in S t o c k w e r k® back


Specification Stockwerk

Basis: Duisburg – Walsum , Faust 1953

I. Division
Principal
Gemshorn
Octave
Nachthorn
Mixtur 4f
Dulzian






1 1/3´
16´
II. Division
Gedeckt
Chimney Flute
Octave
Nasat
Scharf 3f
Tremulant for II + Strings





1 1/3´
2/3´

Pedal Division
Subbaß
Offenbaß
Choralbaß
Quintadena
Dulzian

16´



16´(Trans.)

Enlargement: Harder-Völkmann 2005-08

III. Division: (without own keyboard)
Accordion
Gambette
Hörnlein
Flageolett
Glöckleinton


16´, 8´, 8´,8´



1/2´

-windswell

2ranks

3ranks
To I: (virtual from Harmonics)
Akuta


4/7´

4ranks
To II: (virtual from Harmonics)
Buntzymbel


8/19´

6ranks
To Pedal: (partly virtual , partly real)
Rauschbaß
Hintersatz

2 2/3´
5 1/3´

6ranks
3-4ranks

Free connectable to all divisions from 12 Unit ranks
Theborrowing hole is masked by a second attack of the hold note. Thus the crossing of runs is nearly not disturbed.

1.-3. Strings
Violon
Salizional
Cello
Gamba
Vox coelestis
Violin


16´
16´





1st rank
3rd "
1st "
2nd "
3rd "
1st "
4. Flutes
Untersatz
Flutebaß
Hohlflute
Traversflute
Zartflute
Quint
Flute harm.


32´
16´



2 2/3´

4th rank






5.+6. Trumpets
Trombone
Trumpet
Clarin
Liebl. Trumpet


16´



5th rank


6th rank
7.+ 8. Solo - Reeds
Schalmei
Schalmei
Krummhorn
Tremulant Schalmei/Krummhorn







7th rank

8th rank
9.-12. Harmonics:
(from pure tuned unit ranks )
Quint / Nasat
Tierce
Septime
None



5 1/3´, 2 2/3´, 1 1/3´
3 1/5´, 1 3/5´, 4/5´
2 2/7´, 1 1/7´
8/9´


9th rank
10th rank
11th rank
12th rank
Perkussion:
Glockenspiel
Marimbaphon
Piano




16´, 8´,4´


from tenor c
with swellshoe


Couplers

A
third virtual manual is added ( having no keyboard of its own) that allows to dispose a third division from the inserted unit ranks. It can be played by coupling it to the “second touch” of the first manual, or independently by changing the function of the then quiet 2nd keyboard (III=II). Its independent ranks are made available for traditional coupling to the other divisions, too. Both Extern couplers aim for driving non organ specific sound modules (Synthesizer, Drums etc.) via MIDI interface.

Coupler Extern1 is provided with some extra stop switches to steer an optional mobile "Echo" division

I –P II–P III–P Extern1–P Extern2–P
II – I II – 2nd touch III – I III – 2nd touch Extern1–1
I – II P - II III – II III = II Extern1 – II
Extern1 – III Extern2 – II



From the first moment it was purpose of the private organ project in the STOCKWERK (an office building next to Munich where concerts, exhibitions etc. take place) to built an instrument in this secular room that allows to play baroque and romantic organ works, arrangements of orchestral works, modern compositions and light music as well.

Normally these widespread demands ask for an organ of a size that usually is available in concert halls or large church buildings. On the one hand it should be playable by a musician in concert, on the other hand it should be enabled for selfplaying use per computer. Beyond that it was required to fit harmonically in the buildings architectural characteristic in means of size, design and sonority of sound.

The manner to provide a compact instrument that is nevertheless attended by orchestral sound volume and richness was found in the recourse to principles developed by British organ builders in the beginning of the last century and brought into action in the “Imperial Cathedral Organ” as well as in the “Theatre Organs” employed for light music and film accompaniment during the 1920s.

Especially the cinema organ aimed to reach symphonic sound effects in a restricted space – connected with an extreme spectrum of tone colours.

These inventors created the so-called “ Multiplex – or Unit-system” that drew out a huge number of stops from only a few ranks of pipes by a well balanced multifunctional use in so-called “extractions”.

The single pipe is used in different stops several times to spare place and material.

In the first line there is to be mentioned Robert Hope-Jones who succeeded by a very intelligent employ of the opportunities of the electro-pneumatic action to combine the practices of extension, duplexing and borrowing.

For explanation:

extension – a rank of pipes is used in several ( octave ) pitches
duplexing – a stop is enabled to be draw in different divisions
borrowing – the bass pipes of a rank are used to serve as the bottom notes of another one

In a more moderate form these principles were applied by nearly every famous British organ builder of the concerning area to the pedal division ( the weak points of the system falling flat in the pedal – see bellow).

Examples are:
Harrison & Harrison / Ely Cathedral 1908
Henry Willis & Sons / Liverpool Anglican Cathedral 1912

The idea of “floating divisions” with their special timbre ( strings, harmonics, …) and the possibility of being joint to all traditional divisions like Great or Swell has to be referred in this connection, too.

T.C.Lewis already employed these in 1884 in his organ in The People´s Palace, Mile End, London .

However the technique of the extension organ is misleading in some aspects.

In polyphonic forms so-called „borrowing holes“ come to exist in the runs by pipes already blown on per octave coupling from the accompaniment

Extractions of harmonics (quints, tierces etc.) from fundamental ranks are not useable because of their tempered tuning and by that their inability to melt into the plenum. There is need for specific pure tuned ranks for all the partials.

By giving up the „Werksprinzip“ (each division is formed in its own characteristic sound idea and is somehow an independent organ that can be played in contrast to the other divisions) and by the parallelism of the measurements of all stops extracted from one rank the sound is getting intransparent and uniform.

The application of extension to the principal chorus and the renunciation of (repeating ) mixtures takes force and brilliancy from the plenum


To balance the described restrictions of these systems for the accordic play of classical music we decided to integrate a middle-sized and traditional disposed church organ (neobaroque style) and by that to create a hybrid structured organ concept. It uses the flexibility of the unit system to enrich the basical “Werksprinzip” –specification with the “stop families” missing there.

After a nearly one year lasting search we decided in favour of a “Faust”–organ built in 1953, which we could purchase in good condition in Duisburg , worthy for restoration.

Its 16 ranks are planted on electro – pneumatic purse chests and form in a way the backbone of the new instrument.

Divers multiplex ranks on all electric cone chests were disposed in addition to it, that (in moment) provide 43 extra stops by extension – enriched by two tremulants.

One of these tremulants effects the II.Manual division, the other one the added solo – reeds chest.

All the attached stops can freely be assigned to the several divisions by the organ player.

This new elements extend the sound spectrum of the instrument as well in the range and power of the flue bass (32´) as to the stop families of open flutes ( some harmonic), plenum corresponding reeds, solo reeds, harmonics and other colourful
solistic voices.

An integrated accordion, upright
piano and percussion bring the orchestral concept to its climax.

Even that fits the organ for concertante use.



Both organ parts were combined to a new musical and architectonic concept.

Being sourced by a completely new build wind supply ( now having
six different pressures) they are spread all over the room by sound-functional considerations.

The generally
opened design gives deliberate insight into the structure and the technical complexity of the musical instrument “organ”.

In matters of style we took up ideas the German organ builder Johannes Klais invented in exchange with architects from the “Bauhaus” since about 1930 in his “
Offene Prospekte” (organs without any facades or frontpipes) – the “form follows function”-aspect.

He aimed to accentuate and develop further the Werksprinzip the yet new organ movement discovered as integral part of the baroque organ..

Walter Holtkamp experimented in a similar way in USA.

For the realisation of the complex – and in this combination of both systems never before employed – organ control the electronic engineer
Jürgen Scriba conceived a completely new electronic action that we build in cooperation with him.

Stop and note control as well are sent all over the organ by a
data bus.

Decentral and modular steering-units command the new single rank chests as well as the historical soundboards.

The discussed disadvantages of the multiplex system (see above) can be avoided as far as possible by evading widespread simultaneous use of a specific pipe.

Where this is impossible ( by absolutely needing a pipe in double function at the same moment) the “
borrowing hole” is masked by a second attack of the hold note. Thus the crossing of runs is nearly not disturbed.

Still during the intonation works in the concert room a change in the specification is possible without any change in the planting of the pipes on the soundboards or in the cable connections.

The STOCKWERK ORGAN can be played concertante by a musician or per midi–data-stream by a computer.

The
modular concept of the electronic action enables an enlargement of the instrument by new tone colours at any time.


There is no difference if this might be classical pipe ranks, mechanical percussion instruments, a piano etc. or an extern electronic sound creator ( synthesizer). Thus this organ represents a system open to further musical development.


See also „Stockwerk“-Console and www.kunst-im-stockwerk.de
as well as comprehensive descriptons in Wikipedia.





Positive Tracker Organ, 4 Stops
back




- Compass C to f³
- Slides divided b/c¹

Size
(height x width x depth)
1,96 x 1,21 x 0,82 m
(incl. keyboard)


The disposition:

The contemporary disposed instrument is especially suited for chamber music. Its disposition allows also proper accompaniment function as well as solo performance demands. It includes:

I Stopped 8', ash
bass und discant; bass foundation of Plenum and transparent
accompaniment register

II Gems flute 4', maple, conical, open
bass and discant; leading melody voice with gentle bowing

III Principal 2', 75% tin
bass and discant; bright, singing cernterpiece of the Plenum

IV Octave 1', 75% tin
brightening of the bass range
Small mixture 1¹/3' + 1', 60%/75% tin
top of discant with subtle tembre

The blower supplies enough air to allow for an additon of an independent pedal stop with coupler.

Characteristics:
- keyboard coverd with Pock wood and Ebony
- light precise action
- stop register easily accessible on the left (bass) side
- quick responding and pressure-stable double-rise-bellow
- quiet blower in silencing cabinet
- temperature and humidity resistant wind chest
- body made from resonating maple in traditonal
frame and panel fashion

All parts are exclusively handmade.




Organ , I+P, 8 Stops
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-Compass : Manual C to g´´´
Pedal C to f ´
-Sliders divided b/c´(if devided)
-Coupler I/P
-Size (height x width x depth)
2,29 x 2,00 x 0,81
(+0,13 Keyboard) m
-Moveable on castors



Please click on picture for enlargement


The disposition:

Manual

IStopped 8´; bass und discant
C to f ´: alder/spruce ; from fis ´: metal
bass foundation of Plenum and transparent accompaniment register
IIGamba 8', 75% tin
c ´ to g ´´´
leading melody voice with gentle bowing or alternative 8´-base
IIIPrincipal 4', 75% tin
bright, singing centerpiece of the Plenum
IVChimney flute 4´; bass and discant ; metal
voiced in a worm and colourful sound with subtle overtone
VOctave 2', 75% tin
moderate sharpness in sound to brigthen the plenum
VITwelfth 1 1/3´, 60% tin
smooth voicing with subtle timbre

Pedal
VIISubbass 16´, alder/spruce
dark and worm foundation
VIIIStopped Flute 8´, alder/spruce
Transmission from manual 8´
leading voice of pedal
IXCoupler I/P

Characteristics:
-keyboard covered with Pock wood and Ebony
-light precise action
-stop register easily accessible on the left (bass) side
-quick responding and pressure-stable bellow
-quiet blower in silencing cabinet
-temperature and humidity resistant wind chests
-casework made from massive oak and alder in traditonal frame
and panel fashion




Claviorganum / II-manuals
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- Compass C – d3
- Sliders divided with variable parting
line from a/b flat to c1/cs1
- Couplers I/II and II/I
- Transposer 415 / 440 / 465 Hz

Size (width x height x depth)
- organ 0,95 x 0,92 x 0,52 m
- harpsichord 0,82 x 0,23 x 2,06 m



The claviorganum is a combination-instrument from the Renaissance and Baroque times that connects a positive tracker organ to a stringed keyboard instrument. Harpsichord or virginal as well as a square piano are possible partners to the organ. Several historical examples still exist in divers collections of musical instruments within Europe or world-wide. In the first place serving Continuo demands it is provided to be prominent in soloist parts by its solemn sound, too.

We would like to introduce a small II-manual model linking an Italian disposed organ of three ranks to an Italian harpsichord of two ranks to you. It offers the opportunity to vary the brittle transparency of the harpsichord and the warm and full sound pattern of the organ just as to melt both to a new timbre by a manual coupler.

By the harpsichord being simply plugged up , both parts can easily be devided in means of solo use (or as a duet) or transportation. The demand for different pitches and temperments in ancient music is regarded to by a transposing mechanism and large-scale tuning applications.


The disposition:

I – manual organ:

I Gedackt 8´, pear/spruce
Bass and descant; foundation of plenum, smooth accompaniment
register

II Flute 4´, pear/spruce
Bass and descant; cubic open for a brightly drawing of the organ
passages

III Principal 8´, 75% tin
Descant; alternative 8´-basis that can be tuned as a Voce
Humana as well

II- manual harpsichord:

I 8´ Principal, brass

II 8´ Nasat, brass (also available as 4´)

Characteristics:
- Keyboards covered with boxwood and ebony
- Light and precise action
- Organ- and harpsichord-stops easily accessible on the bass side
- Shove coupler
- Quiet blower and pressure stable bellow combined in the seat
- Organ case made from pear, harpsichord from cypress - both with high quality historical amber finish
- Temperature and humidity resistant wind chest
- Easy to transport in three parts, plugged in a few minutes

Of course we offer to build claviorgani in different regional constructions - as there are Flemish, French and German traditions– and deviating disposition and number of ranks, too.




Continuo Chest Organ / 1-2 stops, South German Style
back



-Compass C -g3
-Transposer 415 / 440 / 465 Hz

Size (width x height x depth) Organ 1,07 x 0,87 (1,02 including Regal) x 0,31 m
Weight 61/67 kg (without/with Regal) +12 kg(blower in seat)

The instrument is in first place conceived for continuo use.


The disposition:

I Gedackt 8´ cherry / spruce
Founding and smooth accompaniment stop

Optional:
II Regal 8´ wooden shallots, resonators from walnut


Characteristics:
-
Keyboards covered with olive and ebony
-
Light and precise action
-
Stop action easily accessible by foot
-
Quiet blower and pressure stable bellow combined in the seat
-
Organ case made from el; oiled and waxed
-
Temperature and humidity resistant wind chest
-
Easy to transport in two parts, plugged in a minute

Please click on picture for enlargement





Chest Organ, 3 Stops, – Italian Style back



- Compass C – d3
- Sliders divided with variable parting line from a/b flat to c1/cs1
- Transposer 415 / 440 / 465 Hz
- Size (width x height x depth) 0,95 x 0,92 x 0,52 m

Specification:

I Gedackt 8´, pear/spruce
Bass and descant; foundation of plenum, smooth accompaniment register

II Flute 4´, pear/spruce
Bass and descant; cubic open for a brightly drawing of the organ passages

III Principal 8´, 75% tin
Descant; alternative 8´-basis that can be tuned as a Voce Humana as well

Characteristics:
- Keys covered with boxwood and ebony
- Light and precise action
- Stop knobs easily accessible on the bass side
- Quiet blower and pressure stable bellow combined in the seat
- Casework made from pear with high quality historical amber finish
- Temperature and humidity resistant wind chest
- Easy to transport in two parts, plugged in a few minutes

Of course we offer to build chest organs in different regional constructions - as there are Flemish, French and German traditions – and deviating disposition and number of ranks, too.