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José Gallardo Alberni

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Everything posted by José Gallardo Alberni

  1. Another photo of this organ: (I know it's offtopic but I cannot resist) http://galeon.hispavista.com/alf_esteban/tamara.htm
  2. My source is the books of Jesús Ángel de la Lama, S.J. called "El órgano barroco español" (something like a bible...) It seems that the first swell box was built, as I said, by Fr. Joseph de Echavarria in Eibar (Guipuzcoa) in 1659. He did this task since this year to 1692 (when he died). He put in this swellbox two stops: a stopped flute and a cornet (another bad known stops outside and inside Spain). The web site could be interesting, but... I am not scholar in organbuilding (only an amateur) and my english is very very bad. Do you want to see an astonishing organ? Look at this: http:
  3. According to my acounts, the first horizontal reed stop in Spain was built in 1659 (built by Josep Echevarría in Alcalá de Henares) and in the same year (1659) and the same organbuilder built the first swell box (in spanish, more or less "echo box").
  4. Well, for example you have the following organists: Joan Cabanilles (1644-1712) Gabriel Menalt (1657-1687) Josep Elies (1687-1755) Miguel López (1669-1723) and many more... Cabanilles was organist at Valencia Cathedral. His organ was this one: http://www.carolinaclassical.com/paco/cabanilles.html nowadays destroyed. As you can see, it had reed stops. In any case, it's likely that Cabanilles's organ would have chamades. Take into account that one of the first reed stops of Spain was built at Huesca's Cathedral in 1588. And yes, perhaps French music (baroque) is more suita
  5. It is supposed that if you go to the cathedral no sunday morning (moreover at 12 o'clock) you should hear the organ. But if you go there in August, it could be hard (seasons are seasons!) About what did the organists play... not only Cabanilles but Correa and much more. These reed stops are "very Spanish" (or Iberian) and the composers wrote a lot of pieces. For example, the Tientos (both left and right hand). Moreover, I almost think that spanish baroque organs are only suitable for this music. If you heard a Franck piece in a iberian organ, it looks horrible. The three main features of i
  6. As far as I know, they are twin organs nowadays, both inside and outside. But, Epistle side is the organ which is played normally. The one in Gospel side needs a restoration also. (Granada's cathedral have twin cases but the contents are different.) Yes I have listened to this organ and its sound is really astonishing. The reeds are powerful. It is a shock when you hear Cabanille's "Batalla Imperial"! Though Goggle translation is amuzing, as you realize it is "a bit" different. Basically, a "Octava tapada" is a eight foot stop which is stopped. I apologize for my poor english. Wishes!
  7. It is not necessary. You can have a look here (in Spanish, if help needed, please say it): http://www.orgacitores.com/restauraciones.htm
  8. I can write Granada and Malaga's organs original disposition if you want. They are far long...
  9. I have the impression (and it's only an impression) that this label has no distributior anywhere. I think you'll have to buy the DVD directly in the web.
  10. Thank you very much for your complete accounts!
  11. I am sorry! Obviously, I didn't write but I read! Thank you.
  12. Oh, yes! I wrote in German pages it's known as Tontentanz Orgel. Do you know why?
  13. And these? http://www.heimatsammlung.de/motiv_unter/o...elorgan_103.jpg http://home.arcor.de/accra/kaisertag/luebe...rienkirche.html
  14. Is perhaps the photo the one of this link? http://www.schnitgerorgel.de/html/idee.html I don't understand the German very well! It's very possible I'm wrong!
  15. I apologises for the delay. I think that if you review the first link I gave, on which there is a history of the organ in English, you can get the answer. Thank you very much.
  16. I've found some accounts. First, one detail: I think (only think!) that "San Petonio" is not Bologna's Cathedral. This is "San Pietro". Here (in Italian) http://www.organiantichi.org/organi_fr.html you can see some photos of this and another italian organs. Here (in English) http://www.aec2000.it/organum/artec/ar-tipol.htm you can read information about the organ. There's a recording on this organ by Liuwe Tamminga (Accent). I reckon it is a poor information. If I found some new I will post is! Wishes!
  17. Do anyone know what is the true reason for not restoring the front pipes? Money? It would be absurd for not restoring them! Moreover if they are painted or decorated in some way. Perhaps the RAH organ interests but is not pleasing? Thank you!
  18. I think that it's problem of money and culture; but mainly of culture. If you realise, the authorities think that to restore or to build an organ is not profitable. The cost for a restoration is almost as expensive as a new building. The authorities think that is not profitable to restorate something which will be used in the masses at sundays (sad but true!). The church (both anglican and catholic) has money for everything and has not any money for nothing. After the restoration you have to pay for someone who plays the instruments and (depends on the weather) two times per year to tune it.
  19. Something similar in Spain. How difficult is to see an organ with its "trompetería de batalla" well seated! Perhaps, the outer part of the organ (I mean its case) is better conserved but it inner one! My God!
  20. Perhaps this did not fill well to the British humor! What an idea! An organ is a serious thing to take it as a joke! With such intentions, your fame will plummet!
  21. Thank you for your replies. I listened to Barber's Toccata in the Last Night of the Proms. What a sound of the organ! Sometimes, it sounded louder than the orchestra! Really the sound is very powerful, the bass astonishing! When I said that the organ does not look an organ I ment from the point of view of the case, rather far from Iberian Organ. About the organ itself, its a masterwork (its restoration of course!). I have noticed that the restoration has been made conscientiously. Not only restoring but changing what is necessary for improve the sound. Moreover, if the restorers are happy wit
  22. Since I am Spanish, I can manage a bit with Italian language. I've found the following: On this page http://www3.chiesacattolica.it/santuari/sm...i-mi-duomo4.htm you can see a photo of this organ and as you realise it is on the chancel. Here http://vrm.vrway.com/issue16/DUOMO_DI_MILA...AL_REALITY.html you can see an impressive 3d panomaric of the cathedral's transept. You can see the organ with its doors opened. Here http://milano.arounder.com/PROJECTS/DUOMO/home_java.html you can read a lot of information about the organ, both in Italian and English. WIth photos. Here
  23. I ask another question (only one?) about RAH Organ. I would rather like to participate in the discussion more frequently. Unfortunately, England takes me rather far from Spain (despite Internet). Also you are people so expert that who can dare to say something? In any case, as I have said, I would like to know how has been the reception of the restoration of this organ among the londoners (or the English people in general). Sadly, I know that the restoration of an organ in not a matter of breaking news but... what is the opinion of the people? Perhaps has this restoration been the biggest i
  24. September 7 (10:00 UK time) Program: TELEMANN: Sonata in F minor LANGLAIS: Hymne d'Action de Grâces "Te Deum" VAUGHAN-WILLIAMS: Six Studies in English Folksong BUXTEHUDE: Tocata in D minor VIVALDI: Sonata V in E minor M. CASTILLO: Fantasía para un libro de órgano MARAIS: Les Folies d'Espagne S. García Lastra - organ (Leon's Cathedral) S. Bishop (oboe) Link for "Radio Clásica": http://www.rne.es/envivo.htm
  25. Thanks to BBC I've listened to that concert (Saint-Saens symphony) and I do agree. The sound is very powerful in Saint-Saens sympohy and the swell sounds lovely. Congratulations! Perhaps I mistake, but I think this organ doesn't fit very well to Messiaen's music. Of course the instrument is a masterwork but I think the piece sounded somewhat harsh (it's only an impression). Perhaps the problem is Dame Gillian Weir (really I don't know). What do you think? I've never read the score of this piece so I don't know what kind of stops did Messiaen write. Perhaps the problem is on the microphones.
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