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34. North European Organ after Godfried Silbermann and others, mid 18th century (digitally enhanced replica)

This organ is a major technological breakthrough, combining a digital electronic instrument of 63 voices based on stops from some of the world’s greatest pipe organs, and a 23-stop conventional pipe organ. The digital component, by Ahlborn-Galanti, comprises four alternative complete organs, each based on a specific national style, eg. north European 18th century (J.S.Bach), French (Franck) and English (Mendelssohn) 19th century, and “American Classic” of the 20th Century (as exemplified by the work of Aeolian-Skinner), as well as a “default” voicing which the organist can vary at will.

The pipe organ, culmination of work by a number of Australian organ builders, most recently Brown Associates, around a “core” of pipework by Ronald Sharp, creator of the Sydney Opera House grand organ, is a tonal replica of a medium-sized church organ by Gottfried Silbermann (1683-1753), the East German builder most familiar to J.S.Bach (1685-1750). Both pipe and digital instruments may be used separately or together from a state-of-the-art moveable three-manual and pedal oak console by Ahlborn-Galanti.

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The specification is as follows (pipe stops are indicated p):

(R jamb)                   (R jamb)
p bordun             16′      quintaton          16′
p prinzipal            8′      prinzipal               8′
holzprinzipal        8′    p gedackt               8′
p rohrflote           8′      quintadena           8′
p gedackt            8′    p oktav                   4′
gamba                 8′    p koppelflote          4′
p oktav                4′    p nazat             2 2/3′
p spitzflote          4′    p oktav                   2′
quint             2 2/3′    p blockflote             2′
superoktav          2′    p terz               1 3/5′
p waldflote          2′    p klein nazat    1 1/3′
p mixtur              III      scharf                  III
kornett                 V       krummhorn          8′
p trompete          8′    p vox humana        8′
klarine                 4′      fest trompete       8′

SWELL                        PEDAL
(L jamb)                     (L jamb)
bourdon doux      16′     untersatz         32′
montre                  8′      contraviolone   32′
flute                      8′      prinzipal           16′
flute celeste          8′    p subbass          16′
viole de gambe     8′       violone            16′
voix celeste          8′    p oktav                 8′
prestant               4′    p bassflote           8′
flute conique        4′    p choralbass         4′
octavin                 2′       nachthorn          4′
cymbale              III       mixtur                 IV
plein jeu              IV      contrabombarde  32′
basson               16′   p posaune            16′
haurbois              8′      dulzian               16′
trompette            8′      trommet               8′
chalumeau           4′     schalmei               4′

 

Accessories:

  • zymbelstern, glockenspiel, tympani
  • tremulants to Swell and Choir/Positive
  • superoctave, suboctave and unison off couplers to Swell and Choir/Positive
  • Swell to Great, Chir/Positive to Great, Swell to Choir/Positive, Swell to Pedal, Great to Pedal, Choir/Positive to Pedal couplers
  • interactive stop lists: pipe only, digital only, pipe plus digital
  • combination pistons: 20 general, 8 divisional to each manual, 4 divisional to Pedal
  • balanced expression pedals to Swell and Choir/Positive, general crescendo pedal
  • automatic transposition by semitonal step
  • tracker touch to manuals
  • reverberation and general loudness correction for room acoustic
  • selection of termperaments: meantone, equal, Werckmeister, Kirnberger, Neidhardt, Vallotti, d’Alembert, Kellner
  • direct electric stop and key action

Pipe voicing and tuning: Ian and Jenny Brown
Electronic voicing and preparation: Ian Sell
Chest construction and pipe refurbishment: Mark Fisher
Frame and case construction: Tony Brebner

The instrument is extremely versatile, and has been used in concerts in a wide range of music from Bach to the virtuoso 19th centure oragns works of Liszt, Rheinberger, Reubke, Franck and Guilmant.

 

Concert Use:
M.Brimer : 05.07.09
M.Brimer : 06.06.10
M.Brimer : 05.06.11
M.Brimer : 01.07.12
M.Brimer : 18.03.13
M.Brimer : 11.05.14
M.Brimer : 02.08.15
M.Brimer : 05.06.16
M.Brimer : 23.07.17

 

 

 

 

 

 

 

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    • Harpsichords
      • 1. Flemish Double Virginals (“muselar”) by Hans Ruckers jnr, Antwerp c,1623, copy by Frank Hubbard, Boston, Mass; assembled by Alastair McAlister, Melbourne, Vic
      • 2. Italian Virginals by J.B.Boni, Cortona 1617
      • 3. French Harpsichord by Pascal Taskin, Paris c. 1769
      • 4. English Virginals (transverse or bentside spinet) by Baker Harris, London, 1776
      • 5. English Harpsichord by Burckat Shudi, London, c, 1775
      • 6. Italian Harpsichord by Roberto / Federigo Cresci, Livorno 1778
    • Fortepianos
      • Fortepianos “Viennese” action
        • 7a. Viennese Grand Fortepiano by Johann Andreas Stein, Augsburg c. 1780
        • 7b. Viennese Grand Fortepiano by Johann Andreas Stein, Augsburg c. 1780
          • Test2
        • 8. Viennese Grand Fortepiano by ? Josef Johann Brodmann or ? Louis Dulcken c.1810
        • 9. Viennese grand fortepiano by Franz Marschick c.1825
        • 10. Viennese Grand Fortepiano by Ignaz Bosendorfer c.1843
        • 11. Viennese Square Fortepiano by Johann Christian Gottlieb Irmler, Leipzig, c.1845
      • Fortepianos “English” action
        • 12. English Grand Fortepiano by Matthew and William Stodart, London, 1793
        • 13. English grand fortepiano by Muzio Clementi, London, c.1805
        • 14. English grand fortepiano by John Broadwood and Sons, London, 1817
        • 15. English upright grand fortepiano by John Broadwood and Sons, London 1816
        • 16. English compensating grand fortepiano by William Stodart, London, c.1820
        • 17. English downstriking grand fortepiano by Robert Wornum and Sons, London c.1851
        • 18. Anglo-French concert grand fortepiano by Pierre Erard, London, c.1862
        • 19. English square fortepiano by Jacob and Abraham Kirckman 1778
        • 20. English square fortepiano by John Broadwood and Son, London, 1797 identical to Clinkscale I,34.34
        • 21. English square fortepiano by George Astor, London, c.1805
        • 22. English square fortepiano by Muzio Clementi, London c.1808
        • 23. English square fortepiano by John Broadwood, London c.1851
        • 24. English cabinet fortepiano by John Broadwood, London c. 1812
        • 25. English cabinet fortepiano by John Broadwood and Sons, London c. 1850, No. 8698
        • 26. English ‘piccolo’ upright fortepiano by Robert Wornum, London c.1850
        • 27. Grand fortepiano by Ignaz Pleyel, Paris 1841/2
        • 28. Grand fortepiano by Pierre Erard, Paris, 1841
        • 29. French square fortepiano by Erard freres , Paris 1814
        • 30. Square fortepiano by Henri Pape, Paris 1834
        • 31. Grand pianoforte by Bluthner, Leipzig, c.1870
    • Organs
      • 32. John Avery: English bureau organ, c.1800 (original)
      • 33: English Church Organ by William Hill and Sons, London, 1860-1890
      • 34. North European Organ after Godfried Silbermann and others, mid 18th century (digitally enhanced replica)
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