CEWT dimarts 28 de novembre 2023  
Jocs de mostres / Sample sets
format HW1 / MyOrgan / GrandOrgue

Programari recomanat / Suitable software:
Hauptwerk (HW1-import)

Creative_Commons_Attribution-NonCommercial-NoDerivs_3.0_Unported_license +
Sample Sets by Pere Casulleras,
In collaboration:
Museu de la Música de Barcelona
Tecnologies ESMUC
Claviorganum from Lorenz Hauslaib 1590 - Museu de la Música de Barcelona

The present sample set was recorded in Barcelona on the original Lorenz Hauslaib Claviorganum from 1590 at the Museu de la Música de Barcelona - http://www.museumusica.bcn.es/ under the supervision from one from the Restaurators, Joan Martí i Llobet, the Conservator Oriol Rossinyol and co-workers from the Museum in col·laboration with the Escola Superior de Música de Barcelona www.esmuc.cat - Sonology Department.
Thanks to:
Dr. Jaume Ayats (Museum), Dr. Josep Borràs (Esmuc) and Dr. Enric Guaus (Sonology dep.) for the support and permission to make the necessary sample recordings.
Oriol Rossinyol and Manel Barcons for his help on the whole recording process.

Per mio ben ti vederei, frottola, Bartolomeo Tromboncino

Susanne un jour, glosa de Francisco Correa de Arauxo
Síguese la muy célebre canción Susana glosada de a treinta y dos números al compás, re y sol, por delasolrre de el género diatónico. Vbo en esta santa Iglesia de Seuilla vun sacabuche llamado Gregorio de Lozoya, hombre memorable en sciencia, y especialmente en glosar este instrumento y dixo un crítico, de el; que auia echado a perder muchos sacabuches, de su tiempo, porque por imitarle glosando, descubrían las faltas que encubrían callando, esto es, tañendo llano : no quisiera que sucediera lo mismo, a mis organistas en estas obras muy glosadas y en las muy dificultosas : que por sacar fuerças de flaqueza en ponerlas, se enflaqueciesen más, perdiendo el toque, limpieza, y otras partes buenas, si es que las tienen. Y assí aconsejo (sino tienen el natural y el saber que se requiere) que las dexen para quien lo tiene, y echen mano de las más factibles.

Col·lecció del Museu de la Música de Barcelona - fitxa Claviorgue Hauslaib
Lorenz Hauslaib Claviorgan

This is one of the few existing examples of a 16th-century claviorgan, an instrument formed by an organ (wind instrument) and a spinet (string instrument).In the spring of 2013 we completed the restoration and recovered its unique sound so the audience can hear today.

Claviorgue Hauslaib Claviorgan. Lorenz Hauslaib, Nuremberg, c. 1590. MDMB 821. Photo: J. Parer, 1999  Claviorgue Hauslaib_nova_g Hauslaib Claviorgan

Nuremberg (?), c. 1590.
In the course of the 16th century, the claviorgan became an instrument which was highly esteemed by the Spanish courts as a symbol of technological and social ostentation.

It is a positive organ integrated in a square cabinet in the shape of a chest with drawers in front. The decoration of the cabinet is made with tortoiseshell platings on a red background and with ebony, featuring silver applications and two bronze figures inside the doors. The bellows are integrated into the upper part of the cabinet; the keyboard, of 41 keys, is plated with ebony and ivory. The composition of the instrument is of three ranks of pipes and one of reeds. Inside the organ is the inscription which reads in translation: "This Organ is of the Most Excellent Gentleman Mr Baltasar de Zuñiga, Marqués of Aguilafuente, Count of Villalba". This, the organ's first owner, was born in the mid 16th century and died in Madrid in 1622. Among other offices, he held that of ambassador to Flanders and to France, subsequently becoming Philip IV's first minister.

Made at the organ workshop of Lorenz Hauslaib in Nuremberg, this claviorgan is a magnificent example of a Renaissance musical instrument which has reached our days without alterations of its original timbre, arrangement and tuning. The study and restoration of the claviorgan, carried out in the in the last years, posed new questions about the relations between the Flemish organ-builders and the earlier Hispanic schools, allowing the organ's recovery for musical use.

The organ building workshop in El Papiol Grenzing Gerhard, who has restored the claviorgan, and the historical keyboard specialist Joan Martí, who rebuilt the small harpsichord, have made possible a unique recovery Barcelona claviorgan.

Since the Spring of 2013 the claviorgan Hauslaib is a living testimony of its time to tell us about the composition and the sound of music of XVI century. Your can hear it here: the work is Differences with Breaded Gallant Antonio de Cabezon played by Juan de la Rubia.

The claviorgan Hauslaib is permanently exposed in the museum.

For the study process, restoration and recovery of the claviorgan and harpsichord, and also to hear some tracks with the claviorgan, we have published an e-book available in www.documentauniversitaria.cat

The "Realejos", a reed stop, can be played on the original with and without a wooden protection. For this sample set it has been recorded two times, with protection ("realejos") and without ("realejos de batalla") wich results on a brighter sound. Obviously on the original only one from them can be played at a time.
There are two downloads provided: one with the original tuning (a=415) and temperament (MeanTone), another converted to equal tempered at a=440 so you can via software apply other tunings and temperaments.

Download links

Connexió Wicat - l'Internet del Pallars