King of musical instruments. The oldest organ in the world

“The King of Instruments” is what the wind organ is called for its enormous size, stunning sound range and unique richness of timbres. A musical instrument with a long history, which has experienced periods of enormous popularity and oblivion, it served both for religious services and secular entertainment. The organ is also unique in that it belongs to the class of wind instruments, but is equipped with keys. A special feature of this majestic instrument is that to play it, the performer must masterfully control not only his hands, but also his feet.

A little history

The organ is a musical instrument with a rich and ancient history. According to experts, the ancestors of this giant can be considered the syrinx - the simplest reed flute of Pan, the ancient oriental organ made of sheng reeds and the Babylonian bagpipe. What all these dissimilar instruments have in common is that to extract sound from them, a more powerful air flow is needed than human lungs can create. Already in ancient times, a mechanism was found that could replace human breathing - bellows, similar to those used to fan the fire in a blacksmith's forge.

Ancient history

Already in the 2nd century BC. e. The Greek craftsman from Alexandria Ctesibius (Ctesebius) invented and assembled a hydraulic organ - hydraulics. Air was pumped into it by a water press, and not by bellows. Thanks to such changes, the air flow was much more uniform, and the sound of the organ became more beautiful and smooth.

In the first centuries of the spread of Christianity, air bellows replaced the water pump. Thanks to this replacement, it became possible to increase both the number and size of pipes in the organ.

The further history of the organ, a musical instrument, quite loud and little regulated, developed in such European countries oh, like Spain, Italy, France and Germany.

Middle Ages

In the middle of the 5th century AD. e. organs were built in many Spanish churches, but due to their very loud sound they were used only on major holidays. In 666, Pope Vitalian introduced this instrument into Catholic worship. In the 7th-8th centuries the organ underwent several changes and improvements. It was at this time that the most famous organs were created in Byzantium, but the art of their construction also developed in Europe.

In the 9th century, Italy became the center of their production, from where they were distributed even to France. Later, skilled craftsmen appeared in Germany. By the 11th century, such musical giants were being built in most European countries. However, it is worth noting that a modern instrument is significantly different from what a medieval organ looks like. The instruments created in the Middle Ages were much cruder than later ones. Thus, the sizes of the keys varied from 5 to 7 cm, and the distance between them could reach 1.5 cm. To play such an organ, the performer used fists rather than fingers, hitting the keys with force.

In the 14th century, the organ became a popular and widespread instrument. This was also facilitated by the improvement of this instrument: the organ keys replaced large and inconvenient plates, a bass keyboard for the feet appeared, equipped with a pedal, the registers became noticeably more diverse, and the range was wider.

Renaissance

In the 15th century, the number of tubes was increased and the size of the keys was reduced. During the same period, a small portable (organetto) and a small stationary (positive) organ became popular and widespread.

By the 16th century, the musical instrument was becoming more and more complex: the keyboard became five-manual, and the range of each manual could reach up to five octaves. Register switches appeared, which made it possible to significantly increase the timbre capabilities. Each of the keys could be connected to dozens and sometimes hundreds of pipes, which produced sounds that were the same in pitch but differed in color.

Baroque

Many researchers call the 17th-18th centuries the golden period of organ performance and organ building. The instruments built at this time not only sounded great and could imitate the sound of any one instrument, but also entire orchestral groups and even choirs. In addition, they were distinguished by their transparency and clarity of timbre sound, most suitable for performance polyphonic works. It should be noted that most of the great organ composers, such as Frescobaldi, Buxtehude, Sweelinck, Pachelbel, Bach, wrote their works specifically for the “baroque organ”.

"Romantic" period

Romanticism of the 19th century, according to many researchers, with its desire to give this musical instrument the rich and powerful sound inherent in a symphony orchestra, had a dubious and even negative influence on both the construction of organs and organ music. Masters, and primarily the Frenchman Aristide Cavaillé-Cohl, sought to create instruments capable of becoming an orchestra for one performer. Instruments appeared in which the sound of the organ became unusually powerful and large-scale, new timbres appeared, and various design improvements were made.

New time

The 20th century, especially at its beginning, was characterized by a desire for gigantism, which was reflected in organs and their scale. However, such trends quickly passed, and a movement arose among performers and organ builders that advocated a return to convenient and simple Baroque-type instruments with an authentic organ sound.

Appearance

What we see from the hall is the outside, and it is called the façade of the organ. Looking at it, it’s difficult to decide what it is: a wonderful mechanism, a unique musical instrument, or a work of art? The description of the organ, a musical instrument of truly impressive size, could fill several volumes. We will try to make general sketches in a few lines. First of all, the facade of the organ is unique and inimitable in each of the halls or temples. The only thing in common is that it consists of pipes assembled into several groups. In each of these groups, the pipes are arranged in height. Behind the austere or richly decorated facade of the organ lies a complex structure, thanks to which the performer can imitate the voices of birds or the sound of the sea surf, imitate the high sound of a flute or an entire orchestral group.

How is it arranged?

Let's look at the structure of the organ. The musical instrument is very complex and can consist of three or more small organs that the performer can control simultaneously. Each of them has its own set of pipes - registers and manual (keyboard). This complex mechanism is controlled from the executive console, or as it is also called, the lectern. It is here that the keyboards (manuals) are located one above the other, on which the performer plays with his hands, and below there are huge pedals - keys for the feet, which allow you to extract the lowest bass sounds. An organ can have many thousands of pipes, lined up in a row, and located in internal chambers, closed from the viewer's eyes by a decorative facade (avenue).

Each of the small organs included in the “large” one has its own purpose and name. The most common are the following:

• main - Haupwerk;
• top - Oberwerk;
• "ruckpositive" - ​​Rückpositiv.

Haupwerk - the "main organ" contains the main registers and is the largest. Somewhat smaller and softer sounding, the Rückpositiv also contains some solo registers. “Oberwerk” - “upper” introduces a number of onomatopoeic and solo timbres into the ensemble. “Rukpositive” and “overwerk” pipes can be installed in semi-closed chamber-blinds, which open and close using a special channel. Due to this, effects such as gradual strengthening or weakening of sound can be created.

As you remember, an organ is a musical instrument that is both keyboard and wind. It consists of many pipes, each of which can produce a sound of one timbre, pitch and strength.

A group of pipes producing sounds of the same timbre are combined into registers that can be activated from the remote control. Thus, the performer can select the desired register or a combination of them.

Air is pumped into modern organs using an electric motor. From the bellows, through air ducts made of wood, the air is directed into vinladas - a special system of wooden boxes, in the top covers of which special holes are made. It is in them that the organ pipes are strengthened with their “legs”, into which air from the vinlad is supplied under pressure.

1. In Latin organum the stress falls on the first syllable (as in its Greek prototype).
2. The frequency range of wind organs, taking into account overtones, includes almost ten octaves - from 16 Hz to 14000 Hz, which has no analogues among any other musical instruments. The dynamic range of wind organs is about 85-90 dB, the maximum value of sound pressure levels reaches 110-115 dB-C.
3. Douglas E. Bush, Richard Kassel. The organ: An encyclopedia. New York/London: 2006. ISBN 978-0-415-94174-7
4. “The organ sound is motionless, mechanical and unchanging. Without succumbing to any softening finishing, he brings to the fore the reality of division, attaches decisive importance to the slightest temporal relationships. But if time is the only plastic material of organ performance, then the main requirement of organ technique is the chronometric accuracy of movements.” (Braudo, I. A., On organ and keyboard music - L., 1976, p. 89)
5. Nicholas Thistlethwaite, Geoffrey Webber. The Cambridge companion to the organ. Cambridge University Press, 1998. ISBN 978-0-521-57584-3
6. Praetogius M. “Syntagma musicum”, vol. 2, Wolffenbuttel, 1919, p. 99.
7. Riemann G. Catechism of the History of Music. Part 1. M., 1896. P. 20.
8. The connection between the Pan flute and the idea of ​​the organ is most clearly seen in the anthological epigram of Emperor Flavius ​​Claudius Julian (331-363): “I see reeds of a new kind growing separately on one metal field. They make sound not from our breath, but from the wind, which comes out of a leathery reservoir lying under their roots, while the light fingers of a strong mortal run through the harmonic holes...” (Quoted from the article “On the Origin of the Organ.” - “Russian” disabled person", 1848, July 29, No. 165).
9. “It has 13 or 24 bamboo tubes fitted with metal (bronze) reeds. Each tube is 1/3 smaller than the next. This set is called piao-xiao. The tubes are inserted into a tank made of a hollowed out gourd (later made of wood or metal). The sound is produced by blowing into the reservoir and drawing in air.” (Modr A. Musical instruments. M., 1959, p. 148).
10. Brocker 2005, p. 190: “The term organum denotes both polyphonic musical practice and the organ, which in the Middle Ages had drone pipes. It could serve as a model when it comes time to call hurdy-gurdy, since its type of polyphony is probably not very different from hurdy-gurdy. “Organistrum” can then be understood as an instrument identical or similar to an organ. Hugh Riemann interpreted the name this way when he saw it as a diminutive of "organum". He thought that, just as "poetaster" came from "poeta", "organistrum" came from "organum" and originally meant "small organ". The term "organum" denotes both a polyphonic musical practice as well as the organ, which in the Middle Ages had drone pipes. It could have served as a model when it came time to name the hurdy-gurdy, since its type of polyphony was probably not very different from that of the hurdy-gurdy. The "organistrum" then can be understood to be an instrument identical with or similar to the organ. Hug Riemann interpreted the name in this manner when he saw it as a diminutive of "organum". He thought that, similar to how "poetaster" came from "poeta", "organistrum" came from "organum" and meant originally "little organ")»
11. Each instrument has its own image, description of form and appearance, and allegorical interpretation, necessary for a kind of “sanctification” of biblical instruments so that they enter the Christian cult. The last mention of the Instruments of Jerome is in the treatise of M. Praetorius Sintagma musicum-II; he took this fragment from S. Virdung’s treatise Musica getutscht 1511. The description first of all emphasizes the unusually loud sonority of the instrument, which is why it is likened to the organ of the Jews, which is heard from Jerusalem to the Mount of Olives (paraphrase from the Talmud “From Jericho is heard...”) . Described as a cavity of two skins with twelve bellows pumping air into it and twelve copper tubes emitting a "thunderous howl" - a kind of bagpipe. Later images combined elements of bagpipes and organ. Furs were very often not depicted; keys and pipes could be depicted very conventionally. Virdung, among other things, also turns the image upside down, since he probably copied it from another source and he had no idea what kind of instrument it was.
12. Chris Riley. The Modern Organ Guide. Xulon Press, 2006. ISBN 978-1-59781-667-0
13. William Harrison Barnes. The Contemporary American Organ - Its Evolution, Design and Construction. 2007. ISBN 978-1-4067-6023-1
14. Apel 1969, p. 396: "described in a 10th century treatise entitled (G.S. i, 303, where it is attributed to Oddo of Cluny) is described in 10th-century treatise entitled Quomodo Organistrum Construatur (G.S. i, 303 where it is attributed to Oddo of Cluny))»
15. Orpha Caroline Ochse. The History of the Organ in the United States. Indiana University Press, 1988. ISBN 978-0-253-20495-0
16. Virtual MIDI system "Hauptwerk"
17. Kamneedov 2012: “Each key actuated switches connected to various register sliders, or drawbars.”
18. ? An Introduction to Drawbars: “Sliders are the heart and soul of your Hammond organ sound. There are two sets of nine sliders, sometimes referred to as tone bars, for the upper and lower manuals, and two pedal sliders located between the upper manual and the information center display. (English) The Drawbars are the heart and soul of the sound of your Hammond Organ. There are two sets of nine Drawbars, sometimes referred to as Tonebars, for the Upper and Lower Manuals and two Drawbars for the Pedals, located between the Upper Manual and the Information Center Display)»
19. HammondWiki 2011: "The Hammond organ was originally developed to compete with pipe organs. Sliders were a unique innovation of Hammond keyboard instruments (register buttons or shortcuts were used to control the air flow in the pipes of wind organs)... The Hammond organ was originally developed to compete with the pipe organ. Much of the discussion that follows is easier to understand if you have a little knowledge of pipe organ terminology. Here's a link to A Crash Course in Concepts and Terminology Concerning Organs. the hammond organ, pipe organs most commonly used stop buttons or tabs to control the flow of air into a specific rank of pipes. Pipes can sound flutey with few harmonics or reedy with many harmonics and many different tonal qualities in between The stops were two. position controls; on or off. The organist blended the sound produced by the pipe ranks by opening or closing the stops. The Hammond organ blends the relatively pure sine wave tones generated by the ToneGenerator to make sounds that are harmonically imitative of the pipe organ (obviously Jazz, Blues and Rock organists aren’t always interested in imitating a pipe organ). The Hammond organist blends these harmonics by setting the position of the drawbars which increase or decrease the volume of the harmonic in the mix. .
20. Orchestras include a variety of self-playing mechanical organs, known in Germany under the names: Spieluhr, Mechanische Orgel, ein mechanisches Musikwerk, ein Orgelwerk in eine Uhr, eine Walze in eine kleine Orgel, Flötenuhr, Laufwerk, etc. Haydn and Mozart wrote especially for these instruments , Beethoven. (Music Encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982.)
21. Spillane 1892, cc. 642-3: “The peculiarity of the American cabinet (salon) organ lies primarily in the reed structure system invented in this country, with the help of which the tone of the sound was changed, which distinguished this organ from reed instruments made abroad. Several other features in its internal structure and external decoration, however, distinguish it from reed instruments called harmoniums. The “free reed”, as it was first used in American accordions and seraphins, was by no means an internal invention, as writers rashly claim. It was used by European pipe organ builders for register effects, as well as in individual keyboard instruments before 1800. The "free reed" is named to distinguish it from the "breaking reed" of the clarinet and the "double reed" of the oboe and bassoon. The individuality of the American parlor organ rests largely upon the system of reed structure invented in this country, upon which a tone has been evolved which is easily distinguished from that produced by the reed instruments made abroad. Several other features in its interior construction and exterior finish, however, distinguish it from the reed instruments called harmoniums. The "free reed," as it was first applied in American accordeons and seraphines, was not by any means a domestic invention, as writers recklessly assert. It was used by European pipe-organ builders for stop effects, and also in separate key-board instrument, prior to 1800. The "free reed" is so named to distinguish it from the "beating reed" of the clarionet and the "double" reed" of the wallpaper and basson)»

The organ is a musical instrument that is called the “king of music”. The grandeur of its sound is expressed in its emotional impact on the listener, which has no equal. In addition, the world's largest musical instrument is the organ, and it has the most advanced control system. Its height and length are equal to the size of the wall from the foundation to the roof in a large building - a temple or concert hall.

The organ's expressive resource allows it to create music with a wide range of content: from thoughts about God and the cosmos to subtle intimate reflections of the human soul.

The organ is a musical instrument with a unique history. Its age is about 28 centuries. In one article it is impossible to trace the great path of this instrument in art. We have limited ourselves to a short outline of the genesis of the organ from ancient times to those centuries when it acquired the appearance and properties known to this day.

The historical predecessor of the organ is the Pan flute instrument that has come down to us (named after the one who created it, as mentioned in the myth). The appearance of the Pan flute is dated to the 7th century BC, but the actual age is probably much older.

This is the name of a musical instrument consisting of reed tubes of different lengths placed vertically next to each other. Their side surfaces are adjacent to each other, and across they are united by a belt made of strong material or a wooden plank. The performer blows air from above through the holes of the tubes, and they sound - each at its own height. A true master of the game can use two or even three pipes at once to extract simultaneous sounds and obtain a two-voice interval or, with special skill, a three-voice chord.

The Pan Flute represents man's eternal desire for invention, especially in art, and the desire to improve the expressive capabilities of music. Before this instrument appeared on the historical stage, available ancient musicians there were more primitive longitudinal flutes - simple pipes with holes for fingers. Their technical capabilities were small. On a longitudinal flute it is impossible to produce two or more sounds at the same time.

The following fact also speaks in favor of the more perfect sound of the Pan flute. The method of blowing air into it is non-contact, air jet It is supplied by the lips from a certain distance, which creates a special timbre effect of mystical sound. All predecessors of the organ were wind instruments, i.e. used the controlled living power of breathing to create Subsequently, these features - polyphony and a ghostly-fantastic “breathing” timbre - were inherited in the sound palette of the organ. They are the basis of the unique ability of organ sound to put the listener into a trance.

Five centuries passed from the appearance of the Pan flute to the invention of the next predecessor of the organ. During this time, experts in wind sound production have found a way to infinitely increase the limited time of human exhalation.

In the new instrument, air was supplied using leather bellows - similar to those used by a blacksmith to pump air.

There is also the ability to automatically support two-voice and three-voice. One or two voices - the lower ones - continued to draw sounds without interruption, the pitch of which did not change. These sounds, called “bourdons” or “faubourdons,” were extracted without the participation of the voice, directly from the bellows through the holes open in them and were something like a background. Later they will receive the name “organ point”.

The first voice, thanks to the already known method of closing holes on a separate “flute-shaped” insert in the bellows, was able to play quite diverse and even virtuosic melodies. The performer blew air into the insert with his lips. Unlike bourdons, the melody was extracted using the contact method. Therefore, there was no touch of mysticism in it - it was taken over by Bourdon echoes.

This instrument has gained great popularity, especially in folk art, as well as among traveling musicians, and began to be called bagpipes. Thanks to her invention, the future organ sound acquired an almost unlimited extension. While the performer pumps the air with the bellows, the sound does not interrupt.

Thus, three of the four future sound properties of the “king of instruments” appeared: polyphony, mystical uniqueness of timbre and absolute length.

Since the 2nd century BC. designs appear that are increasingly closer to the image of an organ. To pump air, the Greek inventor Ctesebius creates a hydraulic drive. This makes it possible to increase the sound power and provide the nascent colossal instrument with rather long sounding pipes. The hydraulic organ becomes loud and harsh to the ear. With such properties of sound, it is widely used in mass performances (hippodrome horse racing, circus shows, mysteries) among the Greeks and Romans. With the advent of early Christianity, the idea of ​​pumping air with bellows returned again: the sound from this mechanism was more alive and “human”.

In fact, at this stage the main features of the organ sound can be considered formed: polyphonic texture, imperiously attracting attention, timbre, unprecedented length and special power, suitable for attracting a large mass of people.

The next 7 centuries were decisive for the organ in the sense that the Christian Church became interested in its capabilities, and then firmly “appropriated” them and developed them. The organ was destined to become an instrument of mass preaching, as it remains to this day. To this end, its transformations moved along two channels.

First. The physical dimensions and acoustic capabilities of the instrument have reached incredible levels. In accordance with the growth and development of temple architecture, the architectural and musical aspect rapidly progressed. They began to build the organ into the wall of the church, and its thunderous sound subdued and shocked the imagination of the parishioners.

The number of organ pipes, which were now made of wood and metal, reached several thousand. The timbres of the organ acquired the widest emotional range - from the likeness of the Voice of God to the quiet revelations of religious individuality.

Sound capabilities previously purchased on historical path, were needed in church life. The polyphony of the organ allowed the increasingly complex music to reflect the multifaceted interweaving of spiritual practice. The length and intensity of the tone exalted the aspect of living breathing, bringing the very nature of organ sound closer to the experiences of human life.

From this stage, the organ is a musical instrument of enormous persuasive power.

The second direction in the development of the instrument followed the path of enhancing its virtuoso capabilities.

To manage an arsenal of thousands of pipes, a fundamentally new mechanism was needed, allowing the performer to cope with this countless wealth. History itself suggested the right solution: the idea of ​​keyboard coordination of the entire sound array appeared and was superbly adapted to the device of the “king of music”. From now on, the organ is a keyboard-wind instrument.

The control of the giant was concentrated behind a special console, which combined the colossal capabilities of keyboard technology and the ingenious inventions of organ masters. In front of the organist there were now placed in a stepped order - one above the other - from two to seven keyboards. Below, near the floor under your feet, there was a large pedal keyboard for extracting low tones. They played on it with their feet. Thus, the organist's technique required great skill. The performer's seat was a long bench placed on top of the pedal keyboard.

The combination of pipes was controlled by a register mechanism. Near the keyboards there were special buttons or handles, each of which simultaneously activated tens, hundreds and even thousands of pipes. To prevent the organist from being distracted by switching registers, he had an assistant - usually a student who had to understand the basics of playing the organ.

The organ begins its victorious march in the world artistic culture. By the 17th century he had reached his peak and reached unprecedented heights in music. After the immortalization of organ art in the work of Johann Sebastian Bach, the greatness of this instrument remains unsurpassed to this day. Today, the organ is a musical instrument of modern history.

The organ is one of the most ancient musical instruments. The first prototypes of wind musical instruments appeared in ancient Mesopotamia. Mentions of organ-like instruments are found in the cultures of Ancient Egypt, Greece and Rome, but the organ acquired its modern appearance during the Middle Ages.

The art of building organs in those days was rapidly developing in Italy, France and Germany. The musical instrument was increasingly increasing in size, so they began to build it into churches, and a team of several people had to maintain the instrument while playing. One can imagine what impression the organ made on the medieval listener: the majestic sound of its pipes sends a shiver through the body, and thoughts are carried away somewhere far away... Even a small organ in the chapel amazes with its wide sound range, but the greatest interest among the kings of musical instruments is caused by real giants, installed in concert halls.

Boardwalk organ console

The largest organ in the world is considered to be the instrument at the Boardwalk Concert Hall in Atlantic City, New Jersey. This organ, built in 1932, has 33,112 pipes and holds records in several categories: “largest organ”, “largest musical instrument in the world” and “loudest musical instrument in the world”. And these titles are quite fair: at a distance of one meter from its pipes, the sound volume can reach 120 dB - enough to feel pain in the ears. To force air flow into the pipes at a speed of 1050 cubic meters per minute, the organ uses an electrical system with a capacity of 600 horsepower. Such a high volume is permissible for a concert hall, where up to 42,000 people can gather on performance days.

Unfortunately, the world's largest organ is not used as often as viewers would like. The active period of concerts using it lasted until 1944, when destructive hurricane, which hit Atlantic City, caused significant damage to the concert hall and the organ itself. Since then, the musical instrument of the Boardwalk Concert Hall has been reconstructed and has given several concerts a year. Last time it was used during a public performance in 1973, after which the organ was mothballed for a long time.

In 1988, experts examined the instrument and recognized its poor technical condition, after which a long period of restoration began. Only in 2013, after a long period of silence, the organ pipes began to sound again before the audience. However, restoration of part of the pipes of the largest musical instrument in the world continues to this day.

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The king of instruments is the name often given to an organ whose appearance evokes a feeling of delight, and whose sound fascinates and inspires. A large, heavy stringed keyboard instrument with a wide range of sound, it is rightfully considered something of a “legend in the flesh.” Who invented the organ and what makes this heavyweight unique?

Who invented the unusual instrument?

The history of the legendary instrument, which not every professional musician can learn to play, goes back hundreds of centuries.

The name “organum” is mentioned in the ancient writings of the great Aristotle and Plato. But it is not possible to answer exactly who invented this miracle. According to one version, its ancestor is the Babylonian bagpipe, which produces sound by directing air jets towards the edges of the tube. On the other hand, there is a pan flute or a Chinese shen, which operate on the same principle. Playing pipes connected to each other was not very convenient, since the performer sometimes did not have enough air in his lungs. The idea of ​​pumping air while playing with bellows was a real salvation.

The organ's close brother, its water counterpart, was invented by the Greek craftsman Ctesibius back in the 200s BC. It's called hydraulics. Later, the hydraulic design was replaced by bellows, which made it possible to significantly improve sound quality.

Musical instruments of a more familiar size and appearance began to appear in the 4th century. During this period, thanks to the efforts of Pope Vitalian, organs began to be used to accompany Catholic services. Starting from the first half of the 5th century, the stringed keyboard instrument became an invariable ceremonial attribute not only of the Byzantine, but also of the entire Western European imperial power.

The legendary “keyboard player” became widespread in European countries by the middle of the 14th century. The instrument of that time was far from perfect: it had fewer pipes and wider keys. For example, in a manual keyboard, with the width of the keys themselves being about 50-70 mm, the distance between them was 15-20 mm. To extract sounds, the performer had to not “run” his fingers over the huge and heavy keys, but literally bang with his elbows or fists.

Organ building acquired its greatest scope in XVI-XVII centuries. In the famous Baroque era, masters learned to create instruments that could easily compete with the whole world with their powerful sound. symphony orchestra. The sound capabilities of the instruments made it possible to imitate the ringing of bells, the roar of rockfalls, and even the deep singing of birds.

The apotheosis of organ building is rightfully considered to be 1908, when a model including 6 manuals was presented at the world exhibition. The world's largest working organ weighs just over 287 tons. It now graces the Macy's Lord & Taylor shopping center in Philadelphia.

What a connoisseur of organ music observes from the hall is the façade of the instrument. Behind it lies a spacious room, sometimes including several floors, filled with mechanical elements and thousands of tubes. To understand the principle of operation of this miracle, it is worth considering at least its brief description.

The organ is one of the loudest musical instruments. This effect is achieved through registers that include several rows of organ pipes. These registers, based on the color of their sound and a number of other unifying characteristics, are divided into several groups: mixtures, aliquots, gambas, flutes, principals. Register pipes sound in accordance with musical notation. They can be turned on individually or simultaneously. To do this, use the handles located on the side panels of the keyboard.

The control panel of the performer working at the instrument is the manuals, pedal keyboard and the registers themselves. The number of manuals, depending on the modification of the “keyboard player,” can vary from 1 to 7. They are located on a terrace: one directly above the other.

A pedal keyboard can include from 5 to 32 keys, through which the registers that form low sounds are activated. Depending on the fingering of the musical instrument, the performer presses the pedal keys with his toe or heel.

The presence of several keyboards, as well as all kinds of toggle switches and levers, makes the game process quite complicated. Therefore, often his assistant sits at the instrument with the performer. For ease of reading notes and achieving synchronized performance, the part for the feet is traditionally located on a separate staff directly below the part for the hands.

In modern models, the function of pumping air into the bellows is performed by electric motors. In the Middle Ages, this work was performed by specially trained calcantes, whose services had to be paid separately.

Despite the widespread use of organs, today it is almost impossible to find two identical models, since they are all assembled according to individual projects. The dimensions of installations can vary from 1.5 m to 15 m. The width of large models reaches 10 m, and the depth is 4 m. The weight of such structures is measured in tons.

Record holders in various nominations

The oldest representative of the legendary instrument, whose “life” dates back to 1370-1400 years, can be found in the Stockholm Museum. It was brought from a church parish on the Swedish island of Gotland.

The leader in the "loudest organ" category graces the Concord Hall in Atlantic City. The record holder includes 7 manuals and a fairly extensive timbre set, formed by 445 registers. You won’t be able to enjoy the sound of this giant, since its sound can cause listeners to rupture their eardrums. This musical instrument weighs over 250 tons.

The instrument, which adorns the Church of St. Anne, which is located in the Polish capital, is notable for containing the longest pipes in the world. Their height reaches about 18 meters, and the sound produced can literally deafen. The frequency range of the instrument is within limits that even cover the ultrasonic region.