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Schnitger In Bolivia


DaveHarries
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Interesting. Here's a raw translation from Babelfish:

 

by Enrique Alexander Godoy.

 

Well the fact that is known in the year of 1701, the famous organero of Hamburg, Arp Schnitger, constructed for the crown of Portugal two almost twin organs, those that still today are conserved in Light (Portugal) and Mariana (Brazil). This last fué sent by Joao V, King of Portugal, at the moment of the creation of the Bishopric of the Post of captain-general of Gerais Mines, in 1747.

 

Many years ago the existence of a third instrument was not stated, also construído by Schnitger, although of more modest dimensions, which are in I carry (Portugal).

 

These organs, although followed the lines traditional of the instruments left the factory of the teacher of Hamburg, included certain changes that responded to the taste and usanza from the place to which they went destined: divided registries, composition of the plenty, cornetillas, nasardos, thirds...

 

Nobody, seeing some of these instruments, could doubt its responsibility then..., when entering the temple of "the Favor", in the city of Sucre - in the heat of heart of Bolivian plateau - and directing the glance towards the high choir, in where the magnificent organ is conserved that today occupies to us, one cannot less than to think about a name: Arp Schnitger.

 

Its facade, with its semicircular central tower, and its lateral small towers in triangular form, separated these by its individual windows to each side of that...

 

Its red box, elegant adorned of edged posters and peinetas in gold bread, shows its sober proportions giving facing the ship.

 

Bond to clarify in this point, that the organ belonged originally to the neighboring church of "San Felipe Neri"; there was it, also in the high choir, although placed of flank, showing the lateral ship its left one... until in the middle of last century XX, the transfer to its present location was decided.

 

Apparently, the intrumento still sang before its change, but to the reinstalado being - by hands evidently very little suitable - it let do it.

 

As far as its more excellent data, the organ counts on a keyboard of 49 notes, Do to do, the one that is located unfortunately - enough sunk - in a ventanita trimmed in the facade..., teclería that today is is not the original one: one is a keyboard of harmonium coarsely adapted. The eighth short one, which in the baroque instruments of the plateau it is the common thing, no longer is here, being the same one tended.

 

Another curiosodad, its "suspended" action by means of rods that hang of the valves, is not already of the type "in fan", but that count on their corresponding reduction of windlasses, the one that takes the movement of the keys until the interior of the secret investigation; this one last one, of the traditional system of tracks, supports the pipe that goes arranged in nonchromatic diatónica form..., as he is the traditional thing.

 

Of the main secret investigation, they rise to both small sides, two secretillas that take on himself the tubes pertaining to the registry "bugles"... can be observed robust tubes of plastic material - like which they are used nowadays for the water conduction - which they take the air until this secretillas and to the sonorous tubes of the facade; obvious added at the time of their reinstalación, these denote the crudeness of the one in charge of the change...

 

In addition to the logical pyramid of Flautados - that, with base in thirteen handspans (8´) it climbs until the Plenty - the organ counts on a registry of Tubes, to the bottom of the secret; in addition to already mentioned average game of Bugles, right hand.

 

The registries are driven by means of gunners that leave, in number of four to each side, to the height of the keyboard on the facade.

 

Like infaltables games, the instrument also takes in its interior two wood tubes corresponding to the Drum, and - in its front - two likeable muñequitos in form of children, that blew, each one, its cage of pajarillas.

 

(these cages were removed by the group of "French technicians" that already some years ago arrived at Sucre for "recovering (?)" the organ of the convent of Santa Clara of the same city).

 

Without a doubt which the instrument counted in its origin with its bellows of manual drive, but at the moment bellows are only conserved deposit, which it feeds on air an electrical moto-ventilator that is in a contiguous room the choir.

 

After this brief description of the organ, it is possible to ask itself: There is an organ of Arp Schnitger in Bolivia? ...

 

Let us think that no, but without a doubt his - until now - anonymous creator knew the works the teacher of Hamburg, and on them was based to shape its work... and as if they were left doubts still of the school by which his author was inspired, we can find to the closing of extreme the triangular towers, others smaller than they lodge tubes of conical form, of the type "spitzflöte", only examples known in the racially mixed colonial invoice... all a peculiarity.

 

We considered that the instrument today dates from the period 1795 - 1810 approximately (it is due to consider that the Church of the Oratorio of San Felipe Neri, of the Silver - Sucre - it was finished building by those years). At that time were assets in the zone a mercedario - Fray Pedro Matos - masterful hacedor of organs, that constructed in 1792 the instrument for the convent of Santa Clara; and which it made certain dressings in the organ that still today is conserved in the chapel of Guadalupe, in the sucrense cathedral... and probably del reformed also the instrument convent of Santa Mónica, in near Imperial Villa of Potosí... all it towards aims del century XVIII.

 

The possible responsibility of this mercedario friar is not due to discard, although the type of organ does not correspond absolutely with its only work until now verified - the organ of clarisas - typical racially mixed baroque instrument... a comparison of the pipe will show, however, that more likely the same hands built it.

 

It will be in more, to look for the documentation that us can reveal the exact date of construction and the name of the teacher that built this jewel, and to thus clarify - perhaps - the formation that it had... if it lived and it learned his art in the old world, or if - being Creole - simply it worked following the references which yes it knew the instruments left the factory hamburgués.

 

We hoped that the voices of the organ that occupies to us return to sing in a next future, filling the ship of the precious temple that today lodges it... thus also we will have the opportunity to establish - or not - parentezco not only aesthetic, but acoustic, with the instruments of the great Schnitger. -

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Guest delvin146
Interesting. Here's a raw translation from Babelfish:

 

by Enrique Alexander Godoy.

 

Well the fact that is known in the year of 1701, the famous organero of Hamburg, Arp Schnitger, constructed for the crown of Portugal two almost twin organs, those that still today are conserved in Light (Portugal) and Mariana (Brazil). This last fué sent by Joao V, King of Portugal, at the moment of the creation of the Bishopric of the Post of captain-general of Gerais Mines, in 1747.

 

Many years ago the existence of a third instrument was not stated, also construído by Schnitger, although of more modest dimensions, which are in I carry (Portugal).

 

These organs, although followed the lines traditional of the instruments left the factory of the teacher of Hamburg, included certain changes that responded to the taste and usanza from the place to which they went destined: divided registries, composition of the plenty, cornetillas, nasardos, thirds...

 

Nobody, seeing some of these instruments, could doubt its responsibility then..., when entering the temple of "the Favor", in the city of Sucre - in the heat of heart of Bolivian plateau - and directing the glance towards the high choir, in where the magnificent organ is conserved that today occupies to us, one cannot less than to think about a name: Arp Schnitger.

 

Its facade, with its semicircular central tower, and its lateral small towers in triangular form, separated these by its individual windows to each side of that...

 

Its red box, elegant adorned of edged posters and peinetas in gold bread, shows its sober proportions giving facing the ship.

 

Bond to clarify in this point, that the organ belonged originally to the neighboring church of "San Felipe Neri"; there was it, also in the high choir, although placed of flank, showing the lateral ship its left one... until in the middle of last century XX, the transfer to its present location was decided.

 

Apparently, the intrumento still sang before its change, but to the reinstalado being - by hands evidently very little suitable - it let do it.

 

As far as its more excellent data, the organ counts on a keyboard of 49 notes, Do to do, the one that is located unfortunately - enough sunk - in a ventanita trimmed in the facade..., teclería that today is is not the original one: one is a keyboard of harmonium coarsely adapted. The eighth short one, which in the baroque instruments of the plateau it is the common thing, no longer is here, being the same one tended.

 

Another curiosodad, its "suspended" action by means of rods that hang of the valves, is not already of the type "in fan", but that count on their corresponding reduction of windlasses, the one that takes the movement of the keys until the interior of the secret investigation; this one last one, of the traditional system of tracks, supports the pipe that goes arranged in nonchromatic diatónica form..., as he is the traditional thing.

 

Of the main secret investigation, they rise to both small sides, two secretillas that take on himself the tubes pertaining to the registry "bugles"... can be observed robust tubes of plastic material - like which they are used nowadays for the water conduction - which they take the air until this secretillas and to the sonorous tubes of the facade; obvious added at the time of their reinstalación, these denote the crudeness of the one in charge of the change...

 

In addition to the logical pyramid of Flautados - that, with base in thirteen handspans (8´) it climbs until the Plenty - the organ counts on a registry of Tubes, to the bottom of the secret; in addition to already mentioned average game of Bugles, right hand.

 

The registries are driven by means of gunners that leave, in number of four to each side, to the height of the keyboard on the facade.

 

Like infaltables games, the instrument also takes in its interior two wood tubes corresponding to the Drum, and - in its front - two likeable muñequitos in form of children, that blew, each one, its cage of pajarillas.

 

(these cages were removed by the group of "French technicians" that already some years ago arrived at Sucre for "recovering (?)" the organ of the convent of Santa Clara of the same city).

 

Without a doubt which the instrument counted in its origin with its bellows of manual drive, but at the moment bellows are only conserved deposit, which it feeds on air an electrical moto-ventilator that is in a contiguous room the choir.

 

After this brief description of the organ, it is possible to ask itself: There is an organ of Arp Schnitger in Bolivia? ...

 

Let us think that no, but without a doubt his - until now - anonymous creator knew the works the teacher of Hamburg, and on them was based to shape its work... and as if they were left doubts still of the school by which his author was inspired, we can find to the closing of extreme the triangular towers, others smaller than they lodge tubes of conical form, of the type "spitzflöte", only examples known in the racially mixed colonial invoice... all a peculiarity.

 

We considered that the instrument today dates from the period 1795 - 1810 approximately (it is due to consider that the Church of the Oratorio of San Felipe Neri, of the Silver - Sucre - it was finished building by those years). At that time were assets in the zone a mercedario - Fray Pedro Matos - masterful hacedor of organs, that constructed in 1792 the instrument for the convent of Santa Clara; and which it made certain dressings in the organ that still today is conserved in the chapel of Guadalupe, in the sucrense cathedral... and probably del reformed also the instrument convent of Santa Mónica, in near Imperial Villa of Potosí... all it towards aims del century XVIII.

 

The possible responsibility of this mercedario friar is not due to discard, although the type of organ does not correspond absolutely with its only work until now verified - the organ of clarisas - typical racially mixed baroque instrument... a comparison of the pipe will show, however, that more likely the same hands built it.

 

It will be in more, to look for the documentation that us can reveal the exact date of construction and the name of the teacher that built this jewel, and to thus clarify - perhaps - the formation that it had... if it lived and it learned his art in the old world, or if - being Creole - simply it worked following the references which yes it knew the instruments left the factory hamburgués.

 

We hoped that the voices of the organ that occupies to us return to sing in a next future, filling the ship of the precious temple that today lodges it... thus also we will have the opportunity to establish - or not - parentezco not only aesthetic, but acoustic, with the instruments of the great Schnitger. -

 

Are you sure this isn't some old translation from the old testament? I like the bit about the secret investigations and the curiosodad.

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