Christoph Bossert, 9/2019

Sound samples for the demonstration of the 2016 Klais organ in the concert hall of the University of Music Würzburg

The innovation of this instrument lies in the connection of the following three components:

electric and electronics / mechanical cone chest / proportional magnets

The cone travel can be controlled in nine steps

Keyboard I Unit chest

Keyboard II and III mechanical cone chest / transmission chest

On keyboards II and III as well as in the Pedal:

The stops indicated with an "A" follow the specification of the 1703 Wender organ in Arnstadt, Neue Kirche. This organ was examined by J. S. Bach; Bach was organist there from 170ß3-1707.

Right now 45 ranks are playing; 15 more are to be build.

I Test of the proportional magnets

Repetition of Principal 8', Viola di Gamba 8', Quintatön 8'

Short, improvised Sound samples

The so called "unterscheidlichen" (diversified) stops of south and middle German Baroque from ca. 1680 (diversity in design, speech attack and partials):

a) Basic: Principal 8', Viola di Gamba 8', Quintatön 8', Großgedackt 8'

b) additional (depending on organ size): Gemshorn 8', Flauten 8', Salicional 8', Schwebung 8' (genannt Piffaro; Unda maris; Voce umana; Cythara)

c) Important combinations:

- Viola di Gamba 8', Quintatön 8'

- Gemshorn 8', Salicional 8' as "delicate Principal"

- Flauten 8', Cythara 8'

- The so called "strange effect" (Adlung):

Viola di Gamba + Quintatön 8' + Gemshorn 8' + Flauten 8' + Principal 8'

d) Diversifying of the chorus kinds: +/- Third; suitability for polyphony / homophony

– III Gemshorn 8', Salicional 8', Spitzflöte 4', Rauschquint

– III 4' Stillged. 16', Gemshorn 8', Salicional 8', Spitzflöte 4', II/III: Cymbal 2f.

– III 4' + Tertia 3 1/5'

– III 4' + Rauschquint 2f

–––––––––––––––

– II Principal 8', Quintatön 8', Octav 4', Sesquialtera 2f., Cymbal 2f

vs.

– III 4' Stillged. 16', Gemshorn 8', Salicional 8', Spitzflöte 4', Tertia 3 1/5', Rauschquint 2f

– II Quintatön 16', Principal 8', Quintatön 8', Octav 4', 3', Sesquialtera 2f., Mixtur 4f.

vs.

– III 4' Stillged. 16', Gemshorn 8', Salicional 8', Spitzflöte 4', Tertia 3 1/5', 3', R.quint 2f

– II 16' Trp. 8', Quintatön 8', Octav 4', 3', Mixtur 4f., Cymb. // + I Pr 8'; 5 1/3'; 3 1/5'

vs.

– III 4' Stillged. 16', Gemshorn 8', Salicional 8', Spitzflöte 4', Tertia 3 1/5', 3', R.quint 2f

II Sound samples from the 16th, 17th and 18th century

Adam Steigleder (-) Toccata primi Toni big Mixturchorus

(„Blockwerk“)

Adam Steigleder Galliarda Vox humana, Rauschquinte

(Heilbronner Musikschatz,

Intavollierung Johann Woltz 1617)

Giovanni Gabrieli (-) Ex Psalmo 81 (Woltz 1617) Reeds, mutations

Hans Leo Hassler (-) Vater unser im Himmelreich Cornett 2' (Ped) as C.F.

Quarta pars

Correa de Arauxo (-) Quinto Tiento l.H.: Pr 8', Gemsh. 8'

de medio registro de tiple r.H.: Pr 8', Gemsh. 8',

Cornettmixtur

Heinrich Scheidemann (-) auff 2 clavir. Pedahl. l.H.: Fagott 8'

r.H.: Sesquialtera

Ped.:

Heinrich Scheidemann Praeambulum in G big Principalchorus after

Schnitger

Francois Couperin (-) Offertoire sur les Grands Jeux

Heinrich Scheidemann Praeambulum in G Registration like Couperin

Girolamo Frescobaldi (1583-) Toccata Prima (Buch II) Ripieno in III from 8', 4', 2',

1 1/3', 1' (Rauschqu. in III 4')

III Paradigm shift in South- and Middle Germany (Hermannstadt, Stadtkirche:

Vest 1672; Praque, Teynchurch: Mundt 1673)

Individual character of the Unterscheidliche and their blends;

the new quality of delicate colors and blends.

Johann Pachelbel (1653-1706) Toccata in g Gh 8', Gb 8', Fl 8'

from bar 3: + Cythara 8' (Celeste)

IV States in the work Joh. Seb. Bach (1685-1750)

Ohrdruf? Lüneburg? Arnstadt? Durch Adams Fall Blends incl.:

Vox humana, Rauschquint

(from the hymns of the Neumeister-Sammlung)

Mühlhausen? Praeludium D-Dur big chorus with Trp. 16'

(in II 16')

Weimar Concerto G-Dur, Satz 1 Version I

(Joh. Ernst, Prince of Sachsen-Weimar)

Concerto G-Dur, Satz 1 Version II

Leipzig Triosonate G-Dur, Satz I

Triosonate G-Dur, Satz II

Triosonate G-Dur, Satz III r.H. with Terz 3 1/5'

Triosonate c-Moll, Satz I l.H. with Holzh. 16' (in III 16')

for comparison: Mozart, Sonate B-Dur KV 570 in same registration

1722, Notenbüchlein für A.M.Bach Fantasia pro Organo (Fragment)

Reg. I as "Consort":

Trp. 16', 5 1/3', 3 1/5'

Reg. II in big Plenum

Praeludium Es-Dur Reg. in big Plenum

V Test on the question of temperament using the example

Felix Mendelssohn Bartholdy Sonate 1 f-Moll, Satz 1 Test I: Pr 8'; you hear "sour" sounds

Following: Build up of Principals 8', 4', 16', 2', 1' Test II: all Principals

Build up of Thirds Test III: all Principals and Thirds

Test IV: elaborated Registration

Subjective impression:

More color, and especially the purity of the third, creates more brightness;

There are beats for very different reasons;

F minor now seems much more convincing.

VI Sound colors of the German Romantic until ca. 1850:

Holzharmonica 8', Traversflöte 8', Salicional 16', Doppelgedackt 8', Principal (I), Physharmonica 8',

Violonbass 16' (also playable on Manual)

Important combinations:

- Stillgedackt 16', Holzharmonica 8' (Play on III)

- Salicional 16', Traversflöte 8' (Play on III)

- Physharmonica 16', Holzharmonica 8' (Play on III with wind swell vs. swell shades)

- Physharmonica 8', Holzharmonica 8'

- Physharmonica und Holzharmonica 32', 16', 8', 4' as “Keysound”

- steady "magnification" of this Keysound

Design of a „Walcker-sound starting 1850“, beginning with the Keysound

Labial-Klarinette 8'

Start:

in III: Lab.Kl. 8'

in II: III/ II 16' Traversfl. 4'

in I: Doppelged 8'

in Ped: Violonbass 16'

VII Four more sound samples

Christian Fink (1831 – 1911) Moderato C-Dur Physharmonica 8', Holzharmonica 8'

Franz Liszt (18 – 1886) B-A-C-H, opening romantisches Plenum

Julius Reubke (18 – 1856) Sonate c-Moll, opening Physharmonica mit Crescendo

Max Reger (1873 – 1916) Choralphantasie Stillged. 16', Holzharm. 8'

„Wachet auf“ op. 52, 2

VIII New sounds

So far worldwide nowhere else except in the University of Music Würzburg the connection of electronics with mechanical cone chest and proportional magnets in the scale of a large organ was realised. Despite the electrically now possible coupling system, the instrument remains quasi-mechanically playable; Even when using the octave coupling, the cone stroke is controlled quasi-mechanically.

Thesis:

By means of the connection of electronics with mechanical cone chest and

proportional magnets in the scale of a large organ now an almost unlimited number of circuits create completely new sound connections as well as a maximum flexibilization of the wind.

It follows that no other instrument in the world can do so much at the same time.

Sound samples:

-various steps of cone travel; Test: I: Bd. 32'; II Vdg. 8'; III Holzh. 8'

-+ Invers in I; Invers in III

-Äqual I off / + II / I

-Play on III: Physh. 8' and Holzh. 8' + Invers III; Example: J. S. Bach, WK I, Prael. C-Dur

-The organ composes itself: Sostenuto function of all manuals / Swell-function in III /

Here and there: (1) Usage of Invers-coupler in I or/and III; (2) Usage of mutations

The hands briefly touch the keys: (1) Extinction of a sound / (2) Reconstruction of a sound