小圣灵管风琴与大圣三一管风琴OrganArt Media 1766 Karl Joseph Riepp Dreifaltigkeits Organ Hauptwerk

Hauptwerk | 21.3 GB

本笃会奥托博伊伦修道院（德国下阿尔高州，始建于764年）的小圣灵管风琴与大圣三一管风琴，是卡尔·约瑟夫·里普（Karl Joseph Riepp）现存的唯一作品，且两者均几乎完全保持原貌。凭借其精巧的构造、卓越的工艺，尤其是独特的架构与音色，它们是国际管风琴遗产中极为重要的组成部分。

这两台管风琴融合了法国与南德的音色理念，堪称永恒的管风琴瑰宝。洛可可风格的圣灵管风琴更偏向南德风格，而大型的大圣三一管风琴则更具典型的法国特色。

里普的管风琴制作风格以大量音色温暖饱满的基础音栓为特点，搭配部分音高偏低的混合音栓、带完整共鸣管长的强力簧片音栓、宽音域的Aliquot与Cornet音栓，以及优美的长笛类音栓。尤为突出的是所有音栓之间的融合度极佳。

“任何文字描述都无法传达奥托博伊伦大圣三一管风琴的完美——它是一朵在法国播种、却在德国培育的绝美之花，其感性的辉煌从簧片与变化音栓的独奏（锋芒毕露），到或许是同时期最出色的Organo Pleno（全体音栓）” —— 彼得·威廉姆斯（Peter Williams），《欧洲管风琴，1450-1850》

这座洛可可风格的巴西利卡圣所混响时间长达6秒。

录音技术

管风琴于2012年10月/2013年1月采用OrganArt推出的多释放录制技术，以48kHz、24位、多通道规格完成录制。所有音栓均录制了短、中、长三种键击释放级别的采样，以实现最优的声学映射；同时额外录制了最多三种原生颤音效果（非模拟！）

本采样集支持4通道环绕声和/或可变音频视角（VAP）。

规格

II：主键盘 Hauptwerk (C–d³)*

编号	音栓名	音高/类型
01	Copel 16	16尺
02	Princip 8	8尺
03	Copel 8	8尺
04	Flauta 8	8尺
05	Gamba 8	8尺
06	Salicet 8	8尺
07	Prestant 4	4尺
08	Flet 4	4尺
09	Tertz 3	2 2/3尺
10	Quint 3	2 2/3尺
11	Waldflet 2	2尺
12	Tertz 1 1/2	1 3/5尺
13	Cornet (5排, 从c1起)	混合音栓
14	Mixtur (4排, 2 2/3尺)	混合音栓
15	Cimbal (4-6排, 1尺)	混合音栓
16	Trompet 8	8尺簧片
17	Clairon 4	4尺簧片

I：胸墙键盘 Brüstungs-Positiv (C-f#, g–d³)*

编号	音栓名	音高/类型
01	Princip 16	16尺（Dirck Hoyer, 1581）
02	Copel 8	8尺
03	Flauta 8	8尺
04	Octav 4	4尺
05	Flet 4	4尺
06	Gamba 4	4尺
07	Nazard 3	2 2/3尺
08	Quart 2	2尺
09	Tertz 1 1/2	1 3/5尺
10	Quint 1 1/2	1 1/3尺
11	Fornit (5-6排, 1尺)	混合音栓
12	Trompet 8	8尺簧片
13	Cromor 8	8尺簧片
14	Voxho 8	8尺簧片
15	Clairon 4	4尺簧片

III：独奏键盘 Récit (C-f#, g–d³)*

编号	音栓名	音高/类型
01	Cornet Resi (5排, 从g起)	混合音栓
02	Copel 8	8尺
03	Flet 4	4尺
04	Quint 3	2 2/3尺
05	Quart 2	2尺
06	Tertz 1 1/2	1 3/5尺
07	Hoboi 8	8尺簧片

IV：回声键盘 Echo (C-e, f–d³)*

编号	音栓名	音高/类型
01	Copel 8	8尺
02	Flet 4	4尺
03	Quint 3	2 2/3尺
04	Quart 2	2尺
05	Tertz 1 1/2	1 3/5尺
06	Larigot (2 2/3尺+2尺)	混合音栓
07	Tertz (1 3/5尺+1尺)	混合音栓
08	Hoboi 8	8尺簧片

踏板 Pedal (C-c¹)*

编号	音栓名	音高/类型
01	Princip 16	16尺
02	Copel 16	16尺
03	Octav 8	8尺
04	Gamb 8	8尺
05	Quint 6	5 1/3尺
06	Flet 4	4尺
07	Mixtur (3排)	混合音栓
08	Bomba 16	16尺簧片
09	Trompet 8	8尺簧片
10	Trompet 4	4尺簧片

联键音栓

• POS-HW（移位联键）

特殊功能

• 颤音 I：中等（dous）
• 颤音 II、III、IV：慢速（dous）
• 颤音 I-IV：快速（forte）
• 可切换音域扩展：手动键盘 C–f³，踏板 C–f¹
• 从IV键盘（C-f#）传输低音音栓，扩展Cornet Resi

音高与调律

轻度非均等调律，a1 = 422 Hz

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📦 主页：https://www.organartmedia.com/en/karl-joseph-riepp-2

The smaller Holy Ghost organ and the large Holy Trinity organ of the Benedictine Abbey of Ottobeuren/Unterallgäu, founded in 764, are the only surviving instruments built by Karl Joseph Riepp and are both almost completely original. Due to their construction, quality craftsmanship and especially unique architecture and sound, they are an extremely important part of our international organ heritage.

They combine French and Southern German sound ideals and can be regarded as timeless organ treasures. The Rococo Holy Ghost organ is more Southern German orientated, while the large Holy Trinity organ has a more typical French character.

Riepp’s organ building style is characterized by numerous warm and full sounding foundation stops, partially lower pitched mixtures, powerful reeds with full resonator lengths, aliquots and cornets with wide scales and beautiful flutes. Exceptional is how well all the stops blend together.

“No verbal description could ever convey the perfection of Ottobeuren Trinity organ, a fine flower sown in France, but cultivated in Germany,
its sensual splendour, ranging from reeds and mutations solos of excellent piquancy to perhaps the best Organo Pleno of its period” (Peter Williams, “The European organ, 1450-1850”).

The Rococo basilica sanctuary has a reverberation time up to 6 seconds.

Recording Technique
The organ was recorded in Okt. 2012/Jan. 2013 with 48 kHz, 24 bit, multi-channel, using the multi-release technique introduced by OrganArt. All stops were recorded with multiple release levels for short, medium and long key attacks for optimal acoustical mapping. Additionally recorded were up to three native tremulant sounds (no simulation!)
The set supports 4-channel (Surround and/or Variable Audio Perspective VAP).

Specification

II: Hauptwerk (C–d3)*
01. Copel 16
02. Princip 8
03. Copel 8
04. Flauta 8
05. Gamba 8
06. Salicet 8
07. Prestant 4
08. Flet 4
09. Tertz 3
10. Quint 3
11. Waldflet 2
12. Tertz 1 1/2
13. Cornet (5f, from c1)
14. Mixtur (4f, 2 2/3′)
15. Cimbal (4-6f, 1′)
16. Trompet 8
17. Clairon 4

I: Brüstungs-Positiv (C-f#, g–d3)*
01. Princip 16 D
02. Copel 8 B/D
03. Flauta 8 B/D
04. Octav 4
05. Flet 4
06. Gamba 4 B/D
07. Nazard 3 B/D
08. Quart 2 B/D
09. Tertz 1 1/2 B/D
10. Quint 1 1/2 B/D
11. Fornit (5-6f, 1′) B/D
12. Trompet 8 B/D
13. Cromor 8 B/D
14. Voxho 8 B/D
15. Clairon 4 B/D

III: Récit (C-f#, g–d3)*
01. Cornet Resi (5f, from g)
02. Copel 8 B +
03. Flet 4 B +
04. Quint 3 B +
05. Quart 2 B +
06. Tertz 1 1/2 B +
07. Hoboi 8 B +

IV: Echo (C-e, f–d3)*
01. Copel 8 B/D
02. Flet 4 B/D
03. Quint 3 B
04. Quart 2 B
05. Tertz 1 1/2 B
06. Larigot (2 2/3’+2′) D
07. Tertz (1 3/5’+1′) D
08. Hoboi 8 B/D

Pedal (C-c1)*
01. Princip 16
02. Copel 16
03. Octav 8
04. Gamb 8
05. Quint 6
06. Flet 4
07. Mixtur (3f)
08. Bomba 16
09. Trompet 8
10. Trompet 4

Couplers
POS-HW (Shift Coupler)

Facilities
Tremolo I dous (medium)
Tremolo dous II, III, IV (slow)
Tremolo forte I-IV (fast)

* Switchable compass extension: Manuals C–f3, Pedal C–f1
+ Transmission bass stops from IV (C-f#), extension Cornet Resi

Pitch and Temperament
Slightly non-equal temperament, a1= 422 Hz

home page

https://www.organartmedia.com/en/karl-joseph-riepp-2