This sample set makes one of the finest remaining Gottlieb Silbermann organs available for Hauptwerk. It has been sampled by Peter Ewers for his Gigastudio pipe organ series \"Symphonic Organ Libraries\" in 2001. Please have a look at the 'Details' tab for more information about the organ and the sample set.
The Gottfried Silbermann organ in Großhartmannsdorf has two manuals and pedal with 21 stops. It comprises 1178 sounding pipes, the prospect is completed by 26 silent pipes. The organ case is 5,50 m tall and 4,30 m wide, the middle tower of the prospect shows the emblem of the church patron, who signed the contract with Silbermann and paid a substantial part of the cost of the instrument. The organ was inaugurated on the 3rd December 1741.
This instrument is one of the best preserved organs of Gottfried Silbermann, it has been well maintained but never been modified significantly. First repairs had been carried out by Adam Gottfried Oehme from Freiberg in 1780, further works by Gebr. Jehmlich from Dresden. Since 1952 the organ is maintained by Eule Orgelbau from Bautzen. It is not known at what time the temperament of the organ has been changed. It is now tuned to equal temperament, but still nearly a full note higher than todays concert pitch. Analysis of the samples shows a tuning with a1=462 Hz.
The Sample SetThe organ has been recorded with high quality microfones and preamps in 16bit 44100Hz sample file format. The samples have been carefully denoised and prepared for use with Hauptwerk. Our own SampleLooper software has been used to compute loop points (up to nine/sample) and help setting the release markers. The original recordings have a lenght of 30 seonds/note for the manuals and 60 seconds/note for the pedal. These have been shortened to 8 seconds/note and 15 seconds/note resp.. The samples contan the original room reverbaration, which is about 1.5-2 seconds. As in our other sample sets we have created artificial staccato and portato release layers using convolution. The impulse response used in this process has been carefully designed to match the original reverb. If you do not want to use these artificial release layers, you can select to only use the default release sample in the rank audio output routing screen in Hauptwerk. Advanced Features:
... whenever I travel to Saxony, it is the organ of the Petrikirche that I faithfully visit. It is here that I have found \"the\" organ. It is here that I understood, for the first time, the meaning of the famous \"Gravität\" which young Bach was already asking for in his report on the Mühlhausen organ, back in 1708. The Petrikirche organ, smaller than its illustrious neighbour (the cathedral organ with 45 stops), sounds nonetheless bigger, for it has a magnificent Principal 16', of unequalled nobility and depth. Another feature of this organ, and not the least, is that it is the only completely preserved witness to Silbermann's last manner. (Jean Ferrard, from the CD booklet Orgue de la Petrikirche, Freiberg. Sic 004, 1998, p. 10)
The Lutherans owned the church since 1537, long before a wide spread of reformation in Saxony. The musical life prospered there. Beside the accompaniment of liturgy, figurative music and solo performances flourished. The first organ appeared in the church in the second half of the 16th century. Gottfried Fritz upgraded the organ into a three manual instrument with pedal and many solo voices (Dulcianbass, Bauernflöte). Christoph Schreiber arranged for alterations in 1629 and in this period the organ was the biggest and main one in the town because the Cathedral instrument (originating in 15th century) nearby was in poor shape.
However, this is not the original temperament of the organ when built by G. Silbermann. According to the positions of the hats of the Quintadena, the original temperament could be reconstructed with a great degree of certainty in January, 2007. It is modified meantone temperament, this is its table:
The church reconstruction and expansion from 1709 to 1727 - after the devastation of the Thirty Years War - is the work of the famous Baroque architect Peter Thumb of Vorarlberg. The present organ loft between the two main towers was built by him in 1725.
This famous Alsacian organ in a great acoustics is one of the only two still existing authentic Andreas Silbermann organs, which have survived the decades. It's a wonder that the instrument survived the French Revolution and all wars. The organ and the complete organ gallery were entered into the Heritage Trust in 1971/72.
The instrument with its three manuals and 29 stops is based on French organ building principles with Plein Jeu, Jeu de tierce and Grand Jeu. The pedal has, in contrast to the tenor function of period French pedal divisions with pedal stubs, a full compass and a Soubasse ouvert 16 stop behind the organ casework.
This later work has wider scales and softer sounds than its previous instruments. Exceptional are the quality and beauty of the sound of the Cornet and Flûtes. The unusual Quarte de Nazard stop of the Grand Orgue allows sonorous foundation registrations. Silbermann has created a French Baroque organ type with a \"Southern German accent.\" These sound characteristics make it possible to play not only French but also other European baroque music.
The organ was recorded in June 2009 with 48 kHz, 24 bit, multi-channel for Hauptwerk 3, using the multi-release technique introduced by OrganArt. The stops were recorded with multiple release levels for short, medium and long key attacks for optimal acoustical mapping. All ranks were additionally recorded with the original tremulant sound.
ThanksSpecial thanks are due to the Association des Amis de l'eglise abbatiale d'Ebersmunster, represented by M. Keller and titular organist Bernard Chalté for local assistance and support. Last but not least special thanks to my wife, who assisted the project and was responsible for the photo documentation.
3) To load this organ into Hauptwerk you will need enough free memory in your computer, due to the amount of playable stops, not including the operating system or any other programs that may be running!
Manual (MA, C-c'''/g'''*) Principal 8' Quintadena 8' Rohrflöte 8' Octava 4' Spitzflöthe 4' Quinta 3' Octava 2' Mixtur IV Cornett (c'-c4) III Oberwerk (OW, C-c'''/g'''*) Gedackt 8' Rohrflöte 4' Nassat 3' Octava 2' Tertia 1 3/5' Quinta 1 1/2' Sufflet 1' Cimbel II Pedal (PD, C-c'/f'*) Subbass 16' Octavbass 8' Posaunenbass 16' Tremulant Koppel MA-PD Koppel OW-MA Koppel OW-PD* * Extensions of the 'premium' virtual organ Temperament: Workshop book Orgelbau RühleTuning : f(a')=465 Hz
The organ was built in 1729-31 by Gottfried Silbermann of Frauenstein/Sachsen, Germany. Gottfried Silbermann organ types can be divided into different architecture classes. This instrument represents a typical Silbermann middle-sized church organ and was one of the favourite instruments of Helmut Walcha and Herbert Collum/Kreuzkirche of Dresden.
Typical Gottfried Silbermann organ features are strong and sharp aliquote stops, such as the 1 1/2', 2' and 3', rich and warm 8' Principal stops and bright superoctave stops, such as the 4', 2' and 1'. There are very characteristic basic stops such as the Rohrflöte 8' and Quintadena 8'. The resulting sound is bright, clear and sonorous. The organist doesn't need many stops to achieve a rich plenum registration. The organ is tuned to the so-called historical \"Chorton\" (a1=465 Hz).
Nearly all pipes are original, especially the frontpipes (Principal 8') , whereas most historical organs lost them during world war I, because of increasing needs for weapon metals. Nevertheless, the instrument had to bear several modifications in 1852 (equal tuning (thereby shortening the pipes!), voicing modifications due to changing sound preferences, installation of a pedal coupler) and in late romantic period 1909, extension by a Salicional 8' with pneumatic tracking (!). In 1953, the wind pressure was strongly reduced from 94 mm to 70 mm and severe voicing changes were made, resulting in an extremely instable wind and totally altered weak sound characteristic with noticeable wind sag (listen to a small sound example of a Herbert Collums recording from 1965). In 1997, Kristian Wegscheider, organ workshop of Dresden, was entrusted with the historical reconstruction and renovation of the original wind system and pipe voicing. The wind pressure was again set to 94 mm. Because of the loss of original tuning, it was changed to a historical Silbermann like tuning system, which specially enables the accompanying of baroque chamber music, resulting in very clear basic keys.
The organ was first recorded in May 2003 originally for Hauptwerk V1 .A completely new recording took place in May 2010 with 48 kHz, 24 bit, multi-channel for Surround/Vario Audio Perspective (VAP), using the multi-release technique introduced by OrganArt. The stops were recorded with multiple release levels for short, medium and long key attacks for optimal acoustical mapping. All ranks were additionally recorded with the original tremulant sound.
The organ was recorded in May 2008 with 48 kHz, 24 bit, multi-channel for Hauptwerk 3, using the multi-release technique introduced by OrganArt.The stops were recorded with multiple releases for short, medium and long key attacks for optimal acoustical mapping. All ranks were additionally recorded with the original tremulant sound (except Bourdon16, Fourniture and Cymbale) 153554b96e