G.F. Handel | MARCH | Diane Bish at the Basilica of Weingarten Abbey in Germany скачать в хорошем качестве

G.F. Handel | MARCH | Diane Bish at the Basilica of Weingarten Abbey in Germany

The Gabler Organ in the Basilica of St. Martin at Weingarten Abbey is one of the most important South-German Baroque organs and among the most famous historical instruments in Europe. It was built by the German organ builder Joseph Gabler between 1737 and 1750, after a contract dated 6 July 1737; the project took thirteen years because of design revisions, financial problems at the abbey, and a monastery fire. The completed instrument was consecrated on 24 June 1750, and the immense effort financially ruined Gabler. The organ was designed to fit the west gallery without blocking the six large basilica windows, forcing an unusual architectural layout that became influential for later organs. Pipes and cases are distributed in towers and bridges across the façade, integrating the windows into the visual design. The structure includes main towers, positives, a Kronpositiv high under the vault, and connecting pipe bridges; the console stands between the towers with long mechanical linkages running through the structure. Technically the instrument is enormous for its time: about 63 stops, 169 ranks, and roughly 6,600–6,900 pipes spread across four manuals and pedal, with mechanical key and stop action and a freestanding console with ivory keys and stop knobs. The long mechanical action makes the touch unusually heavy. The pitch standard is around A ≈ 430 Hz, and the wind system originally used large bellows feeding slider chests. Tonally the organ represents the South German Baroque tradition but on a monumental scale. Gabler used relatively narrow pipe scaling that produces a restrained, intimate tone rather than overwhelming power. To compensate, he used many multi-rank mixtures and duplicated ranks, creating richness without excessive loudness; the overall character is often described as mild, refined, and chamber-like even at full registration. Several features are unique. The pedal contains the famous “La Force”, a 49-rank mixture sounding only on the lowest pedal C. Decorative and theatrical stops include Cuculus (cuckoo), Rossignol (nightingale), Tympanum (timpani), and carillons, with grape-shaped bells above the console referencing the name “Weingarten.” These effects were intended for ceremonial moments in the liturgy. The instrument also contains a very large number of foundation and string stops, unusual for the period. Gabler attempted ambitious features such as a suspended Kronwerk and a 32-foot Bombarde, though some of these were never fully realized due to wind supply limitations or technical difficulties. A widely repeated legend surrounds the Vox Humana stop, claiming Gabler obtained the secret of its lifelike tone through a pact with the devil; although apocryphal, the story became part of the organ’s folklore and reputation. The organ underwent several alterations and restorations over the centuries: repairs in the early 1800s, mechanical changes in the 19th century including Barker levers, mid-20th-century work affecting wind supply, and a major restoration by Orgelbau Kuhn (1981–1983) aimed at returning the instrument as closely as possible to its 1750 condition while slightly modernizing temperament and extending the pedal compass. Because of its scale, architecture, and tonal design, the Weingarten instrument became one of the most studied organs of the Baroque era and influenced later southern German organ building. Contemporary accounts, including those by Dom Bédos in the 18th century, helped spread its reputation throughout Europe.