Sonus Paradisi - Santanyi - Hauptwerk Virtual Pipe Organ Project
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J. Bosch
1762, 40 stops (divided)
Spanish type



"L'Orgue de Jordi Bosch" - Santanyi, Mallorca (1762)

     The two manual organ with 40 divided ranks of Jordi Bosch is a real gem among the Mallorcan organs. Its monumental and splendidly decorated facade (by Fra Albert Borguny) resembles the imperial pomposity of the time and adds to the brilliant sound of its stops.

The organ of Santanyi is one of the best preserved works of Jordi Bosch. It has a rich "Trompeteria" composed of 9 ranks of horizontal trumpets, so typical for the Iberian organbuilding school. It spreads its sound to every corner of the church thanks to the fan-shaped (radial) spacing of the trumpets: Baixon faces the east, the Trompa magna the west. The Trompa reial occupies the central position of the Trompeteria. Above the head of the organist there are two ranks of horizontally positioned reed stops with short resonators: Regalies and Dolcaina. The Grand Orgue is built on a wide 16 feet Principal (Flautat maior) which gives sonorous and warm sound to the pleno. The organ preserves the largest existing mixture (Ple) in the world, composed of 25 ranks and 1.104 pipes! It is built on a separate windchest and each tone is fed by its own 2.5 m long wind conduit. One of the special features of the instrument is its great Cornet (10 ranks) which was built "elevated" on a special windchest to give "better sound". The organ positiv (Cadireta) hides Schalmey-like Saboiana, together with other typical stops like Nasards or Corneta, Flautat tapad (actually a RohrFloete) and some aliquotes - Dinovena and Siurell. There are some stops like the Bordo which were used for the first time in the Mallorcan organbuilding tradition.

The windchests of the instruments are divided to the bass and discant parts giving to the organist wide range of combination possibilities.



Jordi Bosch (1739-1801) was a renowned Mallorquin organ builder who lived in 18th century. His work gradually gains the recognition it deserves in the European organ building tradition. Among his works we find also the celebrated organ of the Cathedral of Seville (1792) or the organ in the royal palace in Madrid (1778) where we find many technical innovations like double windchest, call-ups (later called "appels"), bellows with pressure compensation and other.  Bosch abandoned the pure Mallorcan organ building style in order to develop an innovatory style and new techniques, getting so some two generation ahead of the central European evolution. Some  researchers point out Bosch's influences on young Aristide Cavaillé-Coll who might have studied Bosch's organ in the royal palace in Madrid.

The Santanyi organ was one of his first works. He built it at the age of 26 for the monastery of Santo Domingo in Palma. After the Dominican monastery was abolished in 1837 the organ was translated to Santanyi. Because the church was smaller than the St. Domingo the organ was reassembled by Guillem Puig only partially. Later visitors of Santanyi claim that "the pipes and trumpets were lying in corridors and elsewhere". Only in 1873 the Cadireta was reinstalled. In the 1888 the great Corneta was installed. But the organ was still only partially functioning since in 1932 an article appeared in a local newspaper describing the deplorable state of the instrument. The visiting organist reports that not all the stops were present and that there were old labels on the stop jambs reminding of past drawstops which were no longer there, only holes remained. From his report we also know that most probably the organ had originally three manuals. Unfortunately, his report is a bit confused at this point and no further specifications are given. In 1957 the organ underwent further alterations (pneumatic action introduced and some new stops). The organ was carefully restored by Gerhard Grenzig in 1984-6.



Characteristics:

    * A 2 manual organ of the Spanish type with the characteristic Trompeteria consisting of ranks of horizontal trumpets (a "Bombardwerk"). The reverberation time is high (4-5 sec) but the reverberation level is such that it does not really disturb the performance even in the quickest passages.
    * The noise samples (tracker action, blower noise, stop action noise) are included but can be disabled by the user.
    * Some combination pistons (not originally present) were added digitally to facilitate the performance.
    *  The samples are available in 24 bit / 48kHz depth but may be loaded to Hauptwerk at 16 bit to save RAM.
    * Initial chiff of pipes may be controlled via MIDI velocity sensitive keyboard.
    * User adjustable per stop voicing available.
    * Requires 1182 x 537 px screen resolution, i.e. you need at least 1200 x 800 px resolution (standard on modern laptops) or 1280 x 1024 on PC monitors.
    * For more details about the stops available, you should consider reading the article on the historical registration on the Santanyi organ.

RAM Consumption:

    * full organ at 16 bit, 48kHz ... 2.75 GB (without the tracker noise)
    * if multiple looping disabled: 2.87 GB (with the tracker noise)
    * Compressed, all loops: 1.9 GB
    * The RAM consumption when loaded dry: 1.80 GB (with the tracker noise).
      

Wet or dry?

The original ambience was faithfully captured during the recording process. The sample set is naturally very wet. However, if you like more the dry sample sets, this sample set is for you very well suitable. Thanks to carefull positioning of the release points, this sample set performs very well also when loaded dry. Hauptwerk is capable of loading wet organ in dry way. To compare wet and dry load, listen to the two versions of Cabanilles Xacare on the demonstration page.
 
Santanyi - Specification

    * The organ has 2 manuals of 48 keys. The low C# is missing but was added digitally, so the Hauptwerk version has 4 full octaves - 49 keys. The pedal has 10 buttons, two of which are dedicated to "Terremotto" - a subtonic beating sound and 8 buttons form the diatonic scale C - D - E - F - G - A - B (=A#) - B.



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Demos:

Batalla Famosa - Anonimo. This is a 14 minute long piece that is full of Clarins and Llamadas; uses all the reeds and both beating stops "Terremoto".

Andante fur eine Walze in eine kleine Orgel - W.A. Mozart (1756-1791) G.O. Tap4

Fugue  from Veni Creator - DeGrigny.G.O. Fl16 Fl 8 Bd 8 Tp 4 played by pedals, G.O. treble Bd 8 Tp 4 Corneta, Cad 8 4 Sab 8.

Voluntary in D - John Alcock (1715-1806) tuned in Valotti and transposed to C

Little Harmonic Labyrinth BWV 591 - J. S. Bach (1685-1750) G.O. Bordo, Cad Flutes 8+4; G.O + Flautada and Octava; - Octava; + Flautada 16.   tuned in Werckmeister III

The Galliard (con moto vigoroso) - WIlliam Byrd (1543-1623) G.O. Flaut 8 Oct 4, Cad Fl 8, 4 Saboina; G.O. + Ple.   6th Comma Meantone

Captain Piper's Pavan - William Byrd.  G.O. Flaut 8 Bordo 8, Cad Flutes 8, 4.  6th Comma Meantone

Voluntary II - G. F. Handel (1685-1759) G.O. Flaut 8 Bordo 8; G.O. Bass + Flaut 16 Oct 4 Treble + Trompa Batalla, Cad Flutes 8, 4 Saboiana. Werckmeister III

Voluntary VI - G. F. Handel. G.O. Flaut 8 Bordo 8; Bass + Flaut 16, Treble + Oct 4, Tr Real, Clarins; G.O. Bordo 8.  Werckmeister III

Voluntary in G Minor - Samuel Long (18th century) Valotti

Trumpet Voluntary - John Travers (1703-1758)

+ demos aquí:

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Sonus Paradisi - Virtual Pipe Organ project




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