It's amazing to see two organ nerds exploring the works of the machine, pointing out the changes, differences, distribution, design choices, etc. Great video!
This is so fascinating, I'm almost speechless! Thanks SO much for doing this. We are so fortunate that money was limited; A-S would have sacked a lot more historical material if they could have.
I'm so happy you uploaded the tour of this organ! It's a fascinating instrument that I've done a fair amount of research on. I apologize in advance if I'm incorrect in the following information: In regards to the pitch, this organ was originally built at A=435 and raised to 450 in the 1870s by cutting the pipes shorter. When it was lowered back to its original pitch and the new bottom CC of each rank was added, it effectively increased the scale of the entire organ. A few minor notes on the free reed ranks. The 16' Bassoon in the pedal has always been in the pedal, but originally part of the Pedal "Piano Abtheilung" section, which was enclosed with the second manual Swell. Beginning with his Stuttgart instrument, it wasn't uncommon to have even a second pedalboard to control this enclosed section. The most notable surviving Walckers with this Schwell-Pedal are the Votivekirche and Riga Dom instruments, where they were both played on the main pedalboard like the Boston instrument. The original resonators of this Bassoon were wood and were replaced with metal resonators by the Methuen Organ Co in 1902 when the pedal was reinstalled as one unenclosed division. The free-reed Bombardon 32' was also standard practice for Walcker, who built free-reed 32s all the way up through the 1930s. The original 32' free reed Bombardon survives in the Ulm Minster organ, similar in proportion to the Boston rank (low CCCC is roughly 10' boots and 20' resonators). Several American builders, including Frank Roosevelt also build free-reed pedal ranks-the most famous of which was the second-hand Roosevelt 32' Euphone incorporated by G. Donald Harrison in the Church of St. Mary the Virgin, although that rank was replace with a metal, striking-reed 32' later on. The Boston Walcker included a few other free reeds, including the 16' Basson/Ophycleide on the Hauptwerk (several reed ranks were split treble/bass with separate knobs and names), the Corno Bassetto and Vox Angelica on the third manual, and the Physharmonika on the fourth. E.M. Skinner was inspired for a time to include Physharmonika ranks on several of his organs after acquiring the hall. One strange detail is that in original Walcker notes, the Vox Humana was to be a "double free reed" with the reeds inverted, but when installed was actually two separate ranks-one of wood and one of metal. It was replaced fairly early by Hook and Hastings, and that's the stop moved to 16' in the current instrument.
The book The American Classic Organ: A History in Letters contains extensive pipe shop notes for the work Æolian-Skinner did on the instrument if anyone is interested. Walcker's own website contains some archival information on the original instrument.
This is great! My wife and I were married here 2 years ago and I got to play the organ before the ceremony. There's a pamphlet avaliable during concerts that has the the specifications of the instrument including builders and mixture compositions. It also has a short history for anyone who is interested!
Some interesting stops on this organ, I have never seen wooden horn shaped resonators before. Also is the difference between normal and free reeds clear now for me, so that's why a harmonium sounds not as harsh as a regal, its the reed being free to move (harmonium) or hitting the shallot (regal) when it vibrates. You're going to do a stop list demo or is there already a video out which I missed?
What's the "Veni Creator Spiritus" setting in the background? It sounds kind one of like Durufle's variations on that tune: ruclips.net/video/zZOKBeKis-0/видео.html (EDIT: fixed link)
I hate to ask a dumb question, but at about 10:39, why are there metal pipes alongside wooden pipes in the same row? I've never seen that before in any pipe organ I've encountered.
I'd assume bottom C of the Walcker pipes added to change the pitch of the organ. Most stops in the Choir are Walcker except the 16 Quintaten, II-III Cymbal and 8 Clarinet.
It's amazing to see two organ nerds exploring the works of the machine, pointing out the changes, differences, distribution, design choices, etc. Great video!
Great tour of the organ! Thank you for taking the time and sharing that! This is a good educational and introduction to this organ.
I appreciate you doing this tour. I will be playing there in May and this gives me some insight on what I'll have at my fingers and feet.
Wonderful tour! Thank you. Thank you for climbing the creaky ladder so we can see the size of the pipes.
This is so fascinating, I'm almost speechless! Thanks SO much for doing this.
We are so fortunate that money was limited; A-S would have sacked a lot more historical material if they could have.
I'm so happy you uploaded the tour of this organ! It's a fascinating instrument that I've done a fair amount of research on. I apologize in advance if I'm incorrect in the following information:
In regards to the pitch, this organ was originally built at A=435 and raised to 450 in the 1870s by cutting the pipes shorter. When it was lowered back to its original pitch and the new bottom CC of each rank was added, it effectively increased the scale of the entire organ.
A few minor notes on the free reed ranks. The 16' Bassoon in the pedal has always been in the pedal, but originally part of the Pedal "Piano Abtheilung" section, which was enclosed with the second manual Swell. Beginning with his Stuttgart instrument, it wasn't uncommon to have even a second pedalboard to control this enclosed section. The most notable surviving Walckers with this Schwell-Pedal are the Votivekirche and Riga Dom instruments, where they were both played on the main pedalboard like the Boston instrument. The original resonators of this Bassoon were wood and were replaced with metal resonators by the Methuen Organ Co in 1902 when the pedal was reinstalled as one unenclosed division.
The free-reed Bombardon 32' was also standard practice for Walcker, who built free-reed 32s all the way up through the 1930s. The original 32' free reed Bombardon survives in the Ulm Minster organ, similar in proportion to the Boston rank (low CCCC is roughly 10' boots and 20' resonators). Several American builders, including Frank Roosevelt also build free-reed pedal ranks-the most famous of which was the second-hand Roosevelt 32' Euphone incorporated by G. Donald Harrison in the Church of St. Mary the Virgin, although that rank was replace with a metal, striking-reed 32' later on.
The Boston Walcker included a few other free reeds, including the 16' Basson/Ophycleide on the Hauptwerk (several reed ranks were split treble/bass with separate knobs and names), the Corno Bassetto and Vox Angelica on the third manual, and the Physharmonika on the fourth. E.M. Skinner was inspired for a time to include Physharmonika ranks on several of his organs after acquiring the hall. One strange detail is that in original Walcker notes, the Vox Humana was to be a "double free reed" with the reeds inverted, but when installed was actually two separate ranks-one of wood and one of metal. It was replaced fairly early by Hook and Hastings, and that's the stop moved to 16' in the current instrument.
The book The American Classic Organ: A History in Letters contains extensive pipe shop notes for the work Æolian-Skinner did on the instrument if anyone is interested. Walcker's own website contains some archival information on the original instrument.
This is great! My wife and I were married here 2 years ago and I got to play the organ before the ceremony. There's a pamphlet avaliable during concerts that has the the specifications of the instrument including builders and mixture compositions. It also has a short history for anyone who is interested!
Thank you Balint for this interesting and amazing glimpse inside this historic instrument. Well done.
Having heard this organ several times in the hall, it was great to see it from the inside. Thanks!
Very informative, thanks!
Hey Balint, been waiting for this video for a while now. Really interesting to see a free reed 32 bombarde. Does the old console still play?
No, the old console has been disconnected by Skinner
Brilliant! Thank you!
Out of curiosity, How much would a free reed, 32' Contre Bombarde cost to have made? I mean to have all 32 pipes made.
Some interesting stops on this organ, I have never seen wooden horn shaped resonators before.
Also is the difference between normal and free reeds clear now for me, so that's why a harmonium sounds not as harsh as a regal, its the reed being free to move (harmonium) or hitting the shallot (regal) when it vibrates.
You're going to do a stop list demo or is there already a video out which I missed?
what is the piece being played at the beginning. it sounds beautiful.
War sehr interessant super mit der Orgel von innen herrlich super.👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍
Great instrument!
Супер ангел музыка органа 😎😍🤩😃😄
That's amazing
Thanks for sharing movie.
I'd like to ask to you. Do you have opportunity to play anything but Baroque's?
I play all kinds of repertoire. Check out my Reubke Sonata on this organ!
Checked another side.
Einfach genial klasse.👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍
What's the "Veni Creator Spiritus" setting in the background? It sounds kind one of like Durufle's variations on that tune: ruclips.net/video/zZOKBeKis-0/видео.html (EDIT: fixed link)
It is my improvisation
It's an Aeolian-Skinner now, not a Skinner.
I hate to ask a dumb question, but at about 10:39, why are there metal pipes alongside wooden pipes in the same row? I've never seen that before in any pipe organ I've encountered.
Probably two different stops or a celeste
I'd assume bottom C of the Walcker pipes added to change the pitch of the organ. Most stops in the Choir are Walcker except the 16 Quintaten, II-III Cymbal and 8 Clarinet.
NOT "SKINNER", AEolian-SKinner.
Hair raising, handeling pipes barehanded, blowing on pipes, never on my Organ i‘ll chase you out