塞弗特管风琴Piotr Grabowski Goch Hauptwerk

Hauptwerk | 24.46 GB

在德国北莱茵-威斯特法伦州戈赫的圣玛丽亚·玛格达莱纳教堂，我们发现了一架由凯韦拉尔的罗马努斯·塞弗特父子公司于 2015 年制造的新管风琴。在 1993 年尖顶倒塌之前，教堂一直使用着一架 1958 年制造的塞弗特管风琴，直到它被埋在倒塌的塔楼残骸下。

如今在戈赫教堂看到的这台管风琴是一架法式交响乐风格的管风琴，拥有42个音栓，与哥特式教堂的悠长混响完美契合。此外，仔细观察管风琴的琴箱，我们会发现其左右两侧的脚踏塔架与教堂塔楼的风格相呼应，因此可以被视为对塔楼坍塌的一种纪念。

这台管风琴由四个部分组成：大管风琴（I）、表现力叙事管风琴（II，封闭式）、独奏管风琴（III）和脚踏管风琴。除独奏管风琴采用电子控制外，其余各部分均采用机械式机械结构。大管风琴拥有从16英尺到2英尺的完整主音管风琴音栓，音色饱满清澈，为簧管音栓的加入奠定了完美的基础。表现力叙事管风琴功能多样，其由谐波音栓组成的分解短号音栓、优美的弦乐音色以及诸如8英尺人声独奏音栓等独奏音色，都展现出极高的音乐性。为了获得最逼真的音色，表现力叙事管风琴的每个音栓都经过颤音器激活的采样。至于独奏管风琴部分，其设计理念与鲁昂圣旺修道院的卡瓦耶-科尔管风琴颇为相似。事实上，大管风琴本身只有一个簧管音栓，因此，如果管风琴演奏者想要将合唱簧管音栓连接起来（不使用大管风琴中的混合音栓），则需要将第三键盘与第一键盘连接起来。此外，大管风琴中缺失的泛音长笛音栓在独奏音栓中可以找到，还有一个相当有趣且罕见的音栓：8英尺大提琴音栓。脚踏音栓中有两个32英尺的笛管音栓：低音管和低音大提琴音栓。后者的最低八度由16英尺和10又2/3英尺的音管同时演奏组成。由于空间限制，最低音管位于琴箱外部，嵌入墙壁或地板中（水平放置）。得益于Super II和Super III以及Super P耦合器，脚踏音栓可以作为独奏音色，并发出丰富的音域。

示例集中新增了踏板分割功能（可从 Simple Jamb 页面访问）。该功能将踏板键盘分为两个区域：较低区域（CH (C2-B2)）仅使用踏板音栓，忽略踏板耦合器；较高区域（c-g1 (C3-G4)）不使用踏板音栓，仅使用耦合器。

另一项新功能是“管乐延迟”选项。它会为簧管等乐器添加少量延迟，以达到更逼真的效果。此功能可在“设置”选项卡中禁用。

键盘的原始音域为 C-g3 (C2-G6)（在采样集中扩展至 c4 (C7)），踏板的原始音域为 C-f1 (C2-F4)（在采样集中扩展至 g1 (G4)）。

Situated in the St. Maria Magdalena church in Goch, a region in Nordrhein-Westfalen Germany, we find a new organ built by Romanus Seifert & Sohn from Kevelaer in 2015. Before the spire collapse in the year of 1993, a Seifert organ built in 1958 had been used until it was buried under the remains of the collapsed tower.

The instrument we find in Goch today is an organ conceived in the French symphonic style with 42 stops, which makes perfect use of the long reverb in its gothic church. Furthermore looking at the casework of the organ, one can see that the pedal towers to the left and right of the organ resemble the style of the church tower and therefore can be seen as a reminder of the tower collapse.

The organ consists of 4 divisions: Grand Orgue (I), Récit expressif (II, enclosed), Solo (III) and Pédale. All divisions have tracker action apart from the Solo, which is controlled by electric action. The Grand Orgue features a full principal chorus from 16′ to 2′. It has a full and clear sound, which makes a perfect foundation to add the reed stops. The Récit is very versatile with its cornet decomposé made of harmonic stops, beautiful strings and solo voices such as the Voix Humaine 8′. Each of the stops from Récit were sampled with the tremulant engaged to get the most realistic impression. As for the Solo division, it has been conceived in a rather similar manner as the Cavaillé-Coll organ in Saint-Ouen Abbey in Rouen. In fact the Grand Orgue has only one reed stop on its own, so if the organist wants to couple the chorus reeds (without the mixture which is found in the GO), it’s necessary to couple the 3rd manual to the 1st. Also the missing harmonic flute in the Grand Orgue is found in the Solo division as well as a rather interesting and rare stop: Violoncelle 8’. In the pedal division there are two 32′ flue stops: Sousbasse and Violonbasse. The latter’s lowest octave is made of 16′ and 10 2/3′ ranks playing together. Because of space issues the lowest pipes are outside the organ case and can be found built into the wall and into the flooring (placed horizontally). Thanks to Super II an P and Super III an P couplers, the pedal division can be used as a solo voice with a wide range of sounds.

In the sample set Pedal split function was added (accessible from Simple Jamb page). It divides the pedal keyboard into two zones: the lower one (C-H (C2-B2)) uses only pedal stops and ignores pedal couplers, the higher one (c-g1 (C3-G4)) doesn’t play pedal stops, but uses only coupled divisions.

Another new feature is Pipe delays option. It introduces small delays, mostly to reed pipes, to achieve more realistic effect. It can be disabled in the Settings tab.

The keyboards have an original range from C-g3 (C2-G6) (extended to c4 (C7) in the sample set) and the Pédale from C-f1 (C2-F4) (extended to g1 (G4) in the sample set).