"King of Music" - organ and organ music. Organ - musical instrument - history, photo, video Who invented the organ musical instrument

05.03.2020

Which sounds with the help of pipes (metal, wooden, without reeds and with reeds) of various timbres, into which air is pumped using bellows.

Playing the organ carried out using several hand keyboards (manuals) and a pedal keyboard.

In terms of sound richness and abundance of musical instruments, the organ ranks first among all instruments and is sometimes called the “king of instruments.” Due to its expressiveness, it has long become the property of the church.

A person who plays music on an organ is called organist.

Soldiers of the Third Reich called the Soviet BM-13 multiple launch rocket systems “Stalin’s organ” because of the sound made by the missiles’ tails.

History of the organ

The embryo of the organ can be seen in, as well as in. It is believed that the organ (hydraulos; also hydraulikon, hydraulis - “water organ”) was invented by the Greek Ctesibius, who lived in Alexandria, Egypt in 296 - 228. BC e. An image of a similar instrument appears on one coin or token from the time of Nero.

Organs large sizes appeared in the 4th century, more or less improved organs - in the 7th and 8th centuries. Pope Vitalian (666) introduced the organ into the Catholic Church. In the 8th century, Byzantium was famous for its organs.

The art of building organs also developed in Italy, from where they were exported to France in the 9th century. This art later developed in Germany. The organ began to receive its greatest and most widespread use in the 14th century. In the 14th century, a pedal appeared in the organ, that is, a keyboard for the feet.

Medieval organs, in comparison with later ones, were of crude workmanship; a manual keyboard, for example, consisted of keys with a width of 5 to 7 cm, the distance between the keys reached one and a half cm. They struck the keys not with their fingers, as now, but with their fists.

In the 15th century, the keys were reduced and the number of pipes increased.

Organ structure

Improved organs have reached a huge number of pipes and tubes; for example, the organ in Paris in the Church of St. Sulpice has 7 thousand pipes and tubes. An organ has pipes and tubes of the following sizes: at 1 foot, notes sound three octaves higher than written, at 2 feet, notes sound two octaves higher than written, at 4 feet, notes sound an octave higher than written, at 8 feet, notes sound as written, at 16 feet - the notes sound an octave lower than the written ones, at 32 feet - the notes sound two octaves lower than the written ones. Closing the pipe at the top lowers the sounds produced by an octave. Not all organs have large pipes.

There are from 1 to 7 keyboards in an organ (usually 2-4); they are called manuals. Although each organ keyboard has a volume of 4-5 octaves, thanks to the pipes sounding two octaves lower or three octaves higher than the written notes, the volume of a large organ has 9.5 octaves. Each set of pipes of the same timbre constitutes, as it were, a separate instrument and is called register.

Each of the push-in or pull-out buttons or registers (located above the keyboard or on the sides of the instrument) activates a corresponding row of tubes. Each button or register has its own name and corresponding inscription, indicating the length of the largest pipe of this register. The composer can indicate the name of the register and the size of the pipes in the notes above the place where this register should be used. (The choice of registers for performing a piece of music is called registration.) There are from 2 to 300 registers in organs (most often from 8 to 60).

All registers fall into two categories:

Registers with pipes without reeds(labial registers). This category includes registers of open flutes, registers of closed flutes (bourdons), registers of overtones (mixtures), in which each note has several (weaker) harmonic overtones.
Registers that have pipes with reeds(reed registers). The combination of the registers of both categories together with the mixture is called plein jeu.

Keyboards or manuals are located in the organs in a terrace, one above the other. In addition to them, there is also a pedal keyboard (from 5 to 32 keys), mainly for low sounds. The hand part is written on two staves - in the keys and as for. The pedal part is often written separately on one staff. The pedal keyboard, simply called a "pedal", is played with both feet, using alternately the heel and the toe (until the 19th century, only the toe). An organ without a pedal is called positive, a small portable organ is called portable.

Manuals in organs have names that depend on the location of the pipes in the organ.

The main manual (having the loudest registers) - in the German tradition is called Hauptwerk(French Grand orgue, Grand clavier) and is located closest to the performer, or on the second row;
The second most important and loudest manual in the German tradition is called Oberwerk(louder option) or Positive(light version) (French Positif), if the pipes of this manual are located ABOVE the Hauptwerk pipes, or Ruckpositiv, if the pipes of this manual are located separately from the other pipes of the organ and are installed behind the organist’s back; The Oberwerk and Positiv keys on the game console are located a level above the Hauptwerk keys, and the Ruckpositiv keys are located below the Hauptwerk keys, thereby reproducing the architectural structure of the instrument.
A manual, the pipes of which are located inside a kind of box that has vertical shutters in the front part, in the German tradition is called Schwellwerk(French Recit (expressif). Schwellwerk can be located either at the very top of the organ (the more common option) or on the same level with Hauptwerk. Schwellwerk keys are located on the gaming console at a higher level than Hauptwerk, Oberwerk, Positiv, Ruckpositiv.
Existing types of manuals: Hinterwerk(the pipes are located at the back of the organ), Brustwerk(the pipes are located directly above the organist's seat), Solowerk(solo registers, very loud pipes located in a separate group), Choir etc.

The following devices serve as relief for players and as a means to enhance or weaken sonority:

Copula- a mechanism by which two keyboards are connected, and the registers extended to them act simultaneously. Copula allows a player playing one manual to use the extended registers of another.

4 footrests above the pedal board(Pеdale de combinaison, Tritte), each of which acts on a known specific combination of registers.

Blinds- a device consisting of doors that close and open the entire room with pipes of different registers, as a result of which the sound is strengthened or weakened. The doors are driven by a step (channel).

Since the registers are in different authorities different countries and the eras are not the same, then in an organ part they are usually not indicated in detail: only the manual, the designation of pipes with or without reeds and the size of the pipes are written over one or another place in the organ part. Other details are provided to the contractor.

The organ is often combined with an orchestra and singing in oratorios, cantatas, psalms, and also in opera.

There are also electrical (electronic) organs, e.g. Hammond.

Composers who composed organ music

Johann Sebastian Bach
Johann Adam Reincken
Johann Pachelbel
Dietrich Buxtehude
Girolamo Frescobaldi
Johann Jacob Froberger
George Frideric Handel
Siegfried Karg-Ehlert
Henry Purcell
Max Reger
Vincent Lubeck
Johann Ludwig Krebs
Matthias Weckman
Dominico Zipoli
Cesar Frank

Video: Organ on video + sound

Thanks to these videos, you can get acquainted with the instrument, watch a real game on it, listen to its sound, and feel the specifics of the technique:

Selling tools: where to buy/order?

The encyclopedia does not yet contain information about where you can buy or order this instrument. You can change this!

When the inconspicuous door, painted beige, opened, only a few wooden steps were visible from the darkness. Immediately behind the door, a powerful wooden box, similar to a ventilation box, goes up. “Be careful, it’s an organ pipe, 32 feet, bass flute register,” my guide warned. “Wait, I’ll turn on the light.” I wait patiently, anticipating one of the most interesting excursions of my life. In front of me is the entrance to the organ. This is the only musical instrument that you can go inside.

The organ is over a hundred years old. It stands in the Great Hall of the Moscow Conservatory, that very famous hall, from the walls of which portraits of Bach, Tchaikovsky, Mozart, Beethoven look at you... However, all that is open to the viewer’s eye is the organist’s console turned to the hall with its back side and a slightly pretentious wooden “ prospect" with vertical metal pipes. Observing the façade of the organ, an uninitiated person will never understand how and why this unique instrument plays. To reveal its secrets, you will have to approach the issue from a different angle. Literally.

Natalya Vladimirovna Malina, an organ keeper, teacher, musician and organ master, kindly agreed to become my guide. “You can only move in the organ facing forward,” she sternly explains to me. This requirement has nothing to do with mysticism and superstition: simply, moving backwards or sideways, an inexperienced person can step on one of the organ pipes or touch it. And there are thousands of these pipes.

The main operating principle of the organ, which distinguishes it from most wind instruments: one pipe - one note. The Pan flute can be considered an ancient ancestor of the organ. This instrument, which has existed since time immemorial in different corners world, consists of several hollow reeds of different lengths tied together. If you blow at an angle at the mouth of the shortest one, a thin high-pitched sound will be heard. Longer reeds sound lower.

Fun tool - harmonica with bells unusual for this instrument. But almost exactly the same design can be found in any large organ (like the one shown in the picture on the right) - this is exactly how “reed” organ pipes are designed

The sound of three thousand trumpets. General diagram The diagram shows a simplified diagram of the organ with a mechanical structure. Photographs showing individual components and devices of the instrument were taken inside the organ of the Great Hall of the Moscow State Conservatory. The diagram does not show the magazine bellows, which maintains constant pressure in the windlade, and the Barker levers (they are in the pictures). There is also no pedal (foot keyboard)

Unlike a regular flute, you cannot change the pitch of an individual tube, so the Pan flute can play exactly as many notes as there are reeds in it. To make the instrument produce very low sounds, it is necessary to include tubes of long length and large diameter. You can make many Pan flutes with tubes of different materials and different diameters, and then they will blow the same notes with different timbres. But you won’t be able to play all these instruments at the same time—you can’t hold them in your hands, and there won’t be enough breath for the giant “reeds.” But if we put all our flutes vertically, equip each individual tube with a valve for air inlet, come up with a mechanism that would give us the ability to control all the valves from the keyboard and, finally, create a structure for pumping air with its subsequent distribution, we have just it will turn out to be an organ.

On an old ship

The pipes in organs are made of two materials: wood and metal. Wooden pipes used to produce bass sounds have square section. Metal pipes are usually smaller, cylindrical or conical in shape, and are usually made from an alloy of tin and lead. If there is more tin, the pipe is louder; if there is more lead, the sound produced is dull, “cotton-like.”

The alloy of tin and lead is very soft, which is why organ pipes are easily deformed. If a large metal pipe is placed on its side, after some time it will acquire an oval cross-section under its own weight, which will inevitably affect its ability to produce sound. When moving inside the organ of the Great Hall of the Moscow Conservatory, I try to touch only the wooden parts. If you step on a pipe or awkwardly grab it, the organ builder will have new troubles: the pipe will have to be “treated” - straightened, or even soldered.

The organ I am inside is far from the largest in the world, or even in Russia. In terms of size and number of pipes, it is inferior to the organs of the Moscow House of Music, the Cathedral in Kaliningrad and the Concert Hall. Tchaikovsky. The main record holders are located overseas: for example, the instrument installed in the Convention Hall of Atlantic City (USA) has more than 33,000 pipes. In the organ of the Great Hall of the Conservatory there are ten times fewer pipes, “only” 3136, but even this significant number cannot be placed compactly on one plane. The organ inside consists of several tiers on which pipes are installed in rows. To allow the organ builder access to the pipes, a narrow passage in the form of a plank platform was made on each tier. The tiers are connected to each other by stairs, in which the role of steps is performed by ordinary crossbars. The organ is cramped inside, and moving between tiers requires a certain amount of dexterity.

“My experience suggests,” says Natalya Vladimirovna Malina, “that it is best for an organ master to be of a thin build and light weight. It is difficult for a person of different dimensions to work here without causing damage to the instrument. Recently, an electrician - a heavyset man - was changing a light bulb above an organ, tripped and broke a couple of planks from the plank roof. There were no casualties or injuries, but the fallen planks damaged 30 organ pipes.”

Mentally estimating that my body could easily fit a pair of organ makers of ideal proportions, I glance warily at the flimsy-looking stairs leading to the upper tiers. “Don’t worry,” Natalya Vladimirovna reassures me, “just go forward and repeat the movements after me. The structure is strong, it will support you.”

Whistle and reed

We climb to the upper tier of the organ, from where a view of the Great Hall from the top point, inaccessible to an ordinary visitor to the conservatory, opens up. On the stage below, where a string ensemble has just finished rehearsing, little people with violins and violas are walking around. Natalya Vladimirovna shows me close to the pipe of the Spanish registers. Unlike other pipes, they are located not vertically, but horizontally. Forming a kind of canopy over the organ, they blow directly into the hall. The creator of the Great Hall organ, Aristide Cavaillé-Col, came from a Franco-Spanish family of organ builders. Hence the Pyrenean traditions in the instrument on Bolshaya Nikitskaya Street in Moscow.

By the way, about Spanish registers and registers in general. “Register” is one of the key concepts in organ design. This is a series of organ pipes of a certain diameter, forming a chromatic scale corresponding to the keys of their keyboard or part of it.

Depending on the scale of the pipes included in their composition (scale is the ratio of the most important pipe parameters for the character and sound quality), the registers produce sound with different timbre colors. Being carried away by comparisons with Pan's flute, I almost missed one subtlety: the fact is that not all organ pipes (like the reeds of an ancient flute) are aerophones. An aerophone is a wind instrument in which the sound is formed as a result of vibrations of a column of air. These include the flute, trumpet, tuba, and horn. And here is the saxophone, oboe, harmonica They belong to the group of idiophones, that is, “self-sounding”. It is not the air that vibrates here, but a tongue flown around by the air flow. Air pressure and elastic force, counteracting, cause the reed to tremble and spread sound waves, which are amplified by the bell of the instrument as a resonator.

In an organ, most of the pipes are aerophones. They are called labial, or whistle. Idiophone trumpets constitute a special group of registers and are called reed ones.

How many hands does an organist have?

But how does a musician manage to make all these thousands of pipes - wooden and metal, whistle and reed, open and closed - tens or hundreds of registers... sound at the right time? To understand this, let’s go down for a while from the upper tier of the organ and go to the pulpit, or organist’s console. The uninitiated, at the sight of this device, is filled with awe, as if in front of the dashboard of a modern airliner. Several hand keyboards - manuals (there may be five or even seven of them!), one foot keyboard, plus some other mysterious pedals. There are also many pull levers with inscriptions on the handles. Why all this?

Of course, the organist has only two hands and will not be able to play all the manuals at the same time (there are three of them in the organ of the Great Hall, which is also a lot). Several manual keyboards are needed in order to mechanically and functionally separate groups of registers, just as in a computer one physical hard drive is divided into several virtual ones. For example, the first manual of the Great Hall organ controls the pipes of a group (German term - Werk) of registers called Grand Orgue. It includes 14 registers. The second manual (Positif Expressif) is also responsible for 14 registers. The third keyboard is Recit expressif - 12 registers. Finally, a 32-key footswitch, or “pedal,” works with ten bass registers.

Speaking from the point of view of a layman, even 14 registers for one keyboard is somehow too much. After all, by pressing one key, an organist is able to make 14 pipes sound at once in different registers (and in reality more due to registers like mixtura). What if you need to play a note in just one register or in several selected ones? For this purpose, the pull levers located to the right and left of the manuals are actually used. By pulling out a lever with the name of the register written on the handle, the musician opens a kind of damper, allowing air access to the pipes of a certain register.

So, in order to play the desired note in the desired register, you need to select a manual or pedal keyboard that controls this register, pull out the lever corresponding to this register and press the desired key.

Powerful blow

The final part of our excursion is dedicated to the air. The very air that makes the organ sound. Together with Natalya Vladimirovna, we go down to the floor below and find ourselves in a spacious technical room, where there is nothing from the solemn mood of the Great Hall. Concrete floors, white walls, antique timber support structures, air ducts and an electric motor. In the first decade of the organ’s existence, calcante rockers worked hard here. Four healthy men stood in a row, grabbed with both hands a stick threaded through a steel ring on the stand, and alternately, with one or the other foot, pressed on the levers that inflated the bellows. The shift was scheduled for two hours. If a concert or rehearsal lasted longer, the tired rockers were replaced by fresh reinforcements.

The old bellows, numbering four, are still preserved. As Natalya Vladimirovna says, there is a legend going around the conservatory that once they tried to replace the work of rockers with horsepower. A special mechanism was allegedly even created for this. However, along with the air, the smell of horse manure rose into the Great Hall, and the founder of the Russian organ school, A.F., came to the rehearsal. Goedicke, having struck the first chord, moved his nose displeasedly and said: “It stinks!”

Whether this legend is true or not, in 1913 muscle power was finally replaced by the electric motor. Using a pulley, he spun the shaft, which in turn, through a crank mechanism, set the bellows in motion. Subsequently, this scheme was abandoned, and today air is pumped into the organ by an electric fan.

In the organ, the forced air enters the so-called magazine bellows, each of which is connected to one of the 12 windladas. Vinlada is a container for compressed air that looks like a wooden box, on which, in fact, rows of pipes are installed. One windlad usually accommodates several registers. Large pipes that do not have enough space on the vindlad are installed to the side, and an air duct in the form of a metal tube connects them to the vindlad.

The windlades of the Great Hall organ (the “stackflad” design) are divided into two main parts. In the lower part, constant pressure is maintained using a magazine bellows. The upper one is divided by airtight partitions into so-called tone channels. All pipes of different registers have output into the tone channel, controlled by one key of the manual or pedal. Each tone channel is connected to the bottom of the vinlada by a hole covered by a spring-loaded valve. When you press a key, movement is transmitted through the tracture to the valve, it opens, and compressed air flows upward into the tone channel. All pipes that have access to this channel should, in theory, begin to sound, but... this, as a rule, does not happen. The fact is that so-called loops pass through the entire upper part of the windlady - flaps with holes located perpendicular to the tone channels and having two positions. In one of them, the loops completely cover all the pipes of a given register in all tone channels. In the other, the register is open, and its pipes begin to sound as soon as air enters the corresponding tone channel after pressing a key. The control of the loops, as you might guess, is carried out by levers on the remote control through a register structure. Simply put, the keys allow all pipes to sound in their tone channels, and the loops define the chosen ones.

We thank the management of the Moscow State Conservatory and Natalya Vladimirovna Malina for their assistance in preparing this article.

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. 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. When you hear the word organ, you want to throw superlatives and epithets like “majestic,” “unearthly,” “divine.” And for many decades and even centuries this is what determined the development of the instrument.

A person who plays music on an organ is called an organist.

The organ is a musical instrument with a unique history. Its age is about 28 centuries.

Organ (lat. organum) is the largest keyboard wind musical instrument, which sounds using pipes (metal, wooden, without reeds and with reeds) of various timbres, into which air is pumped using bellows.

The organ is played using several hand keyboards (manuals) and a pedal keyboard.

The embryo of the organ can be seen in the Pan flute, as well as in the bagpipes. It is believed that the organ was invented by the Greek Ctesibius, who lived in Alexandria, Egypt in 296 - 228. BC e. An image of a similar instrument appears on one coin or token from the time of Nero.

Large organs appeared in the 4th century, more or less improved organs - in the 7th and 8th centuries. Pope Vitalian (666) introduced the organ into the Catholic Church. In the 8th century, Byzantium was famous for its organs.
The art of building organs also developed in Italy, from where they were exported to France in the 9th century. This art later developed in Germany. The organ began to receive its greatest and most widespread use in the 14th century. In the 14th century, a pedal appeared in the organ, that is, a keyboard for the feet.
Medieval organs, in comparison with later ones, were of crude workmanship; a manual keyboard, for example, consisted of keys with a width of 5 to 7 cm, the distance between the keys reached one and a half cm. They struck the keys not with their fingers, as now, but with their fists.
In the 15th century, the keys were reduced and the number of pipes increased.
Improved organs have reached a huge number of pipes and tubes; for example, the organ in Paris in the Church of St. Sulpice has 7 thousand pipes and tubes.

The organ is used in Catholic and Protestant services as an accompanying and (less often) solo instrument. Often Catholic or protestant church used in some sense as a decorated concert hall; in such “halls” concerts of non-liturgical church music are held (for example, in the Moscow Cathedral Immaculate Conception), where, along with other instruments (up to a symphony orchestra), the organ is also used. Organs are installed in secular concert halls, as a rule, opposite the stalls, along the wall bordering the stage (for example, in the Great Hall of the Moscow Conservatory). It is often used not only as a solo instrument, but also as an ensemble and accompanying instrument, in combination with other instruments of a chamber ensemble, orchestra, vocalists and choir, used in various cantata-oratorio musical genres, and rarely in opera. In addition, the instrument is widely used to play the basso continuo part in Baroque music. Many composers wrote for the organ.

By the time of Bach, organ music in Germany already had long-standing traditions that had developed thanks to Bach’s predecessors - Pachelbel, Böhm, Buxtehude and other composers. During his lifetime, Bach was best known as a first-class organist, teacher and composer of organ music. He worked both in the “free” genres traditional for that time, such as prelude, fantasy, toccata, passacaglia, and in more strict forms - chorale prelude and fugue. Throughout his life, Bach not only composed music for the organ, but also consulted in the construction of instruments, examined new organs and was well versed in the peculiarities of their tuning.

Bach. Passacaglia and fugue.

Handel. Sarabande.

Handel. Passacaglia for organ and orchestra.

Just recently, a wonderful and subtle composer Mikael Tariverdiev lived among us. Most people know him primarily as a melodist, songwriter, and film composer. His music for the cult “Seventeen Moments of Spring” and “Enjoy Your Bath” is known to everyone. And they are iconic largely thanks to Tariverdiev’s music.

And I personally learned that the composer was also an excellent organist and wrote works for the organ after the Master’s death.
Unfortunately, organ works Tariverdiev doesn't have much. But what is there is enough to talk about the composer’s discovery of a new facet of this instrument.

Tariverdiev. Chorale prelude.

Handel. Passacala for organ.

Sheet. Fantasy and fugue.

The structure, principles of sound production and other characteristics of a particular organ directly depend on its type and type. In acoustic organs (wind, hydraulic, mechanical, etc.), sound is generated due to the vibration of air in special organ pipes - metal, wood, bamboo, reed, etc., which can be with or without reeds. In this case, air can be forced into the pipes of the organ in various ways- in particular, with the help of special bellows. For several centuries, for the performance of almost all church music, as well as musical works, written in other genres, used exclusively wind organs. However, it is known about the church and secular use of not a wind instrument, but a stringed keyboard instrument with organ properties. The electric organ was originally created to electronically imitate the sound of wind organs, but then electric organs, according to their functional purpose, began to be divided into several types: Church electric organs, the capabilities of which are maximally adapted for the performance of sacred music in religious churches. Electric organs for concert performance of popular music, including jazz and rock. Electric organs for amateur home music playing.

The text is compiled from various sources.

In Latin organum the stress falls on the first syllable (as in its Greek prototype).
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.
Douglas E. Bush, Richard Kassel. The organ: An encyclopedia. New York/London: 2006. ISBN 978-0-415-94174-7
“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)
Nicholas Thistlethwaite, Geoffrey Webber. The Cambridge companion to the organ. Cambridge University Press, 1998. ISBN 978-0-521-57584-3
Praetogius M. “Syntagma musicum”, vol. 2, Wolffenbuttel, 1919, p. 99.
Riemann G. Catechism of the History of Music. Part 1. M., 1896. P. 20.
The connection between the flute of Pan 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).
“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).
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")»
Each tool has its own image, description of shape and appearance and the 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.
Chris Riley. The Modern Organ Guide. Xulon Press, 2006. ISBN 978-1-59781-667-0
William Harrison Barnes. The Contemporary American Organ - Its Evolution, Design and Construction. 2007. ISBN 978-1-4067-6023-1
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))»
Orpha Caroline Ochse. The History of the Organ in the United States. Indiana University Press, 1988. ISBN 978-0-253-20495-0
Virtual MIDI system "Hauptwerk"
Kamneedov 2012: “Each key actuated switches connected to various register sliders, or drawbars.”
? 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)»
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. .
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. (Musical Encyclopedia. - M.: Soviet Encyclopedia, Soviet Composer. Edited by Yu. V. Keldysh. 1973-1982.)
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 the largest musical instrument, a unique human creation. There are no two identical organs in the world.

The giant organ has many different timbres. This is achieved by using hundreds of metal pipes of varying sizes, through which air is blown, causing the pipes to hum, or “sing.” Moreover, the organ allows you to continue the sound for as long as you like at a constant volume.

The pipes are located horizontally and vertically, some are suspended on hooks. In modern organs their number reaches 30 thousand! The largest pipes are over 10 m high, and the smallest are 1 cm.

The organ management system is called the department. This is a complex mechanism controlled by an organist. The organ has several (from 2 to 7) manual keyboards (manuals), consisting of keys, like on a piano. Previously, the organ was played not with fingers, but with fists. There is also a foot keyboard or just a pedal with up to 32 keys.

Usually the performer is assisted by one or two assistants. They switch registers, the combination of which gives rise to a new timbre, not similar to the original one. The organ can replace an entire orchestra because its range exceeds the range of all the instruments in the orchestra.

The organ has been known since ancient times. The creator of the organ is considered to be the Greek mechanic Ctesibius, who lived in Alexandria in 296–228. BC e. He invented a water organ - the hydraulos.

Nowadays, the organ is most often used in religious services. Some churches and cathedrals hold concerts or organ services. In addition, there are organs installed in concert halls. The largest organ in the world is located in the American city of Philadelphia, in the McCays department store. Its weight is 287 tons.

Many composers wrote music for the organ, but it was the genius composer Johann Sebastian Bach who revealed its capabilities as a virtuoso performer and created works of unsurpassed depth in its depth.

In Russia, Mikhail Ivanovich Glinka paid significant attention to organ art.

It is almost impossible to master playing the organ on your own. This requires a lot of musical experience. Learning to play the organ begins in schools, if you have the skills to play the piano. But it is possible to become proficient in playing this instrument by continuing your studies at the conservatory.

MYSTERY

The tool has been around for a long time

Decorated the cathedral.

Decorates and plays

The entire orchestra replaces