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Sonus Paradisi Zwolle St Michael Surround V2 v2.0.0 HAUPTWERK PROPER |
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支持系统：Windows.MAC |
音源厂商：https://www.sonusparadisi.cz/en/organs/netherlands/zwolle-st-michael.html |
使用采样器：Hauptwerk Virtual Pipe Organ 加载 |
文件大小：20GB |
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兹沃勒圣米迦勒教堂管风琴的历史和命运，在几乎所有重要的欧洲乐器中都颇具代表性：它由著名的巴洛克管风琴制作家族施尼特格（Schnitger）制作，后根据不同时期的流行趋势不断修改，最终恢复了其巴洛克风格。 最初，兹沃勒的圣米迦勒教堂（也称圣米迦勒教堂）拥有三架管风琴：两架小型管风琴和一架大型管风琴。关于主管风琴的最早记载可以追溯到1505年。当时，雷嫩的约翰内斯·雅各布斯·范·比尔斯汀（Johannes Jacobsz van Bilsteen）制作了一架带有三个键盘和一个踏板的大型管风琴：大型管风琴（Hoofdwerk）为块状管风琴（Blokwerk），所有32至34个音部同时演奏；回声管风琴（Bovenwerk）为4或5个音部；正音管风琴（Rugpositief）为4个音部。 1643年，阿纳姆的扬·莫莱特三世（Jan Morlet III）对这架管风琴进行了现代化改造，使布洛克沃克（Blokwerk）的主音可以通过踏板演奏。1669年，圣米迦勒教堂的塔楼（当时是荷兰最高的教堂，高128米）遭雷击后被烧毁，主管风琴也部分损毁。由于缺乏资金进行昂贵的维修，这架管风琴被拆除并存放起来。此后30多年，教堂的会众在没有管风琴的情况下举行礼拜，直到1718年，兹沃勒市市长兼医生伯纳德·胡特（Bernard Huthe）捐赠了12,000荷兰盾用于建造一架新管风琴。他的兄弟托马斯（Thomas）又捐赠了2,000荷兰盾。 当时，一位兹沃勒商人在汉堡经商时结识了汉堡圣尼古拉教堂的管风琴师文森特·吕贝克（Vincent Lübeck），后者向兹沃勒当局推荐了阿尔普·施尼特格（Arp Schnitger）作为新管风琴的建造者。这导致了在兹沃勒建造一架新管风琴的任务。1719年1月3日，阿普·施尼特格签署了一份合同，制造一架46音栓的管风琴，包括上部手动（Ober Manual，16英尺）、下部手动（Unter Manual，8英尺）、上部正音（Rückpositiv，8英尺）和踏板（Pedal，16英尺）。合同价格为11000荷兰盾，条件是兹沃勒市提供所需的石材、木材和铁材。兹沃勒闲置的天主教堂被赠予阿普·施尼特格和他的儿子弗朗斯·卡斯帕·施尼特格（Frans Caspar Schnitger）和约翰·格奥尔格·施尼特格（Johann Georg Schnitger），作为建造该管风琴的工坊。由于阿普·施尼特格（Arp Schnitger）于1719年去世，即建造开始几个月后，他的儿子们于1721年完成了这架新管风琴。三位著名的荷兰管风琴家在12天内对其进行了检查，发现施尼特格父子交付的管风琴拥有63个音栓（而1719年的合同只要求46个音栓，而第二份合同要求第四个键盘，即Borstwerk，额外增加了11个音栓），此外还进行了其他改进。在报告中，他们对这架管风琴赞不绝口，但也提出了一些批评。一些音色不够强劲，另一些音色并非模仿其他荷兰管风琴中的最佳音色。他们还就该管风琴与其他乐器配合使用时的音高和音律提出了异议。施尼特格父子将管风琴调至"chorton"音阶，但检查人员坚称荷兰普遍使用较低的音高。施尼特格兄弟在1721年10月6日的信中驳斥了这一批评，最终取消了修改提案。直至1729年去世，弗朗斯·卡斯帕·施尼特格一直负责这架管风琴的维护。这项任务由家族事业的继承人阿尔伯特·安东尼·欣斯（Albertus Anthoni Hinsz）接手，他娶了施尼特格的遗孀。他的继子弗朗斯·卡斯帕协助他，后来海因里希·赫尔曼·弗赖塔格（Heinrich Hermann Freytag）及其儿子赫尔曼·埃伯哈德（Herman Eberhard）也参与其中。 随着时间的推移，这架管风琴经历了多次有害的改造。尤其值得注意的是1837年由格罗宁根的彼得鲁斯·范·厄克伦（Petrus van Oeckelen）进行的大规模修复和改造，包括将管风琴改为平均律。后来，J.C. Scheuer（兹沃勒）于 1873 年、van Oeckelen 于 1883 年（包括对大部分混合物和一些簧片音栓的令人遗憾的改动）、J. Proper 于 1910 年和 Van Dam 于 1925 年对管风琴进行了修改。 The history and fate of the Zwolle St. Michaelskerk organ are fairly typical of almost all important European instruments: it was built by the prestigious Baroque organ-making family Schnitger, underwent modifications to reflect the changing fashions of different periods, and was eventually restored to its intended Baroque form. At first, the Grote Church in Zwolle, also called St. Michael's Church, had three organs: two small instruments and one larger one. The first mention of a main organ dates back to 1505. At that time, Johannes Jacobsz van Bilsteen of Rhenen built a large organ with 3 manuals and a pedal: the Hoofdwerk (Large) was built as a Blokwerk, with all 32–34 voices playing simultaneously, the Bovenwerk (Echo) with 4 or 5 voices and the Rugpositief (Positive) with 4 voices. In 1643, Jan Morlet III of Arnhem modernized this organ and made the main voices of the Blokwerk playable on the pedals. In 1669, the tower of St. Michael's (which was the tallest in the Netherlands at 128 meters) burned down after being struck by lightning, also partially destroying the main organ. Due to a lack of funds for expensive repairs, the organ was dismantled and stored. For over 30 years, the congregation held services without an organ, until in 1718, Bernard Huthe, a physician and mayor of Zwolle, donated 12,000 guilders for the construction of a new organ. His brother Thomas added another 2,000 guilders. At that time, a Zwolle merchant, in Hamburg on bussiness, met Vincent Lübeck, organist at St. Nicolai, Hamburg, who recommended Arp Schnitger to the Zwolle authorities as builder for the new organ. This resulted in the assignment to construct a new organ in Zwolle. On January 3, 1719, Arp Schnitger signed a contract to make an organ with 46 stops, consisting of Ober Manual (16 feet based), Unter Manual (8 feet based), Rückpositiv (8 feet based) and Pedal (16 feet based). The agreed price was 11.000 guilders, on the condition that the city of Zwolle would deliver the needed materials of stone, wood and iron. The unused Catholic church in Zwolle was given to Arp Schnitger and his sons Frans Caspar Schnitger and Johann Georg Schnitger as a workshop for the construction. Because Arp Schnitger died in 1719, some months after the beginning of the construction, his sons completed the new organ in 1721. It was examined by three well known Dutch organists over the course of 12 days and they found that the Schnitgers had delivered an organ of 63 stops (whereas the contract of 1719 called for only 46 and the second contract called for a fourth manual as a Borstwerk with 11 extra stops), in addition to other improvements. In their report, they were full of praise for the organ, but they also passed some criticism. Some of the voices were not strong enough and others had not been modeled after the best ones in certain other Dutch organs. They also objected to the pitch and temperament with regard to using the organ with other instruments. The Schnitgers had tuned the organ to "chorton", but the examiners asserted that a lower pitch was in general use in the Netherlands. In their letter of October 6, 1721, the brothers Schnitger refuted this criticism, resulting in the cancellation of proposed modifications. Up to his death, in 1729, Frans Caspar Schnitger took care for the maintenance of the instrument. This task was taken over by Albertus Anthoni Hinsz, the successor in the family undertaking, who married the widow of Schnitger. His stepson Frans Caspar assisted him and later on Heinrich Hermann Freytag and his son Herman Eberhard also. Over the course of time the organ experienced numerous detrimental modifications. Especially notable are the extensive restoration and modifications, carried out in 1837 by Petrus van Oeckelen (Groningen), including changing the organ to equal temperament. Later on modifications were carried out by J.C. Scheuer (Zwolle) in 1873, van Oeckelen in 1883 (including the deplorable alteration of most mixture and some reed stops), J. Proper in 1910 and Van Dam in 1925. |