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Gentofte/Jægersborg, Jægersborg Kirke (Quelltext anzeigen)
Version vom 29. Dezember 2023, 08:26 Uhr
, 08:26, 29. Dez. 2023keine Bearbeitungszusammenfassung
Slider chest and tracker action, an essential part of the aesthetics of the Jægersborg organ, was still relatively new. In his lecture from 1952, Zachariassen explains, that ''Everyone knows that the tone attack by this is much more noble and steady than by the pneumatic chest. Just as well-known is that the tones merge much better, when the pipes stand at ine channel and – if I may say so – breathe from a joint supply of air.''<br>
When building the organ, the specification of stops went through certain alterations.<br>
Work on the organ in the concert hall of the Danish State Radio led to the decision of giving the Jægersborg organ a chamade trumpet; , too. Originally Rankett 16' stood in the Hauptwerk, but when the horizontal trumpet was added, the Compenius-inspired Rankett was moved to the Brustwerk, at the same time adding Cymbel 1'. Because of acoustic problems, several stops of the Brustwerk had to be changed in order to make the werk sing with the proper ''delicate sharpness.'' The Pedal had a Regal 4' instead of Spidsfløjte 4', and only three weeks before the inauguration the shape of the resonators of Fagot 16' was decided.<br>
You could want string stops and a tremolo in the organ, and a greater richness of flute stops than as much as four Gedakt-stops. But the idea of the organ first and foremost was to be a counterpart of the 19th century romantic instruments, and to create the strongest possible contrast between the four werks. Unfortunately there was no room, or money, for more Pedal stops, or for a Sesquialtera.<br>
Scaling and voicing were, on Viderø's initiative, inspired by Spanish organbuilding and by the Stellwagen organ in Lübeck, but the organbuilders adapted the stops to the acoustics of the church room (viz, Jægersborg Church is not a Spanish cathedral). Viderø thought that the Stellwagen organ had an especially soft intonation, but probably this was also due to a romantic re-intonation, made before his visit in 1929. In Jægersborg the so-called „nicks“ (small vertical grooves at right angles to the flue) were used only sparsely, and voicing with open pipe toes had not yet come into use. These voicing devices later became a dogma that marked the Danish Organ Reform Movement, and resulted in organs that sometimes had so hard a sound that the audience, in the words of organ-consultant Rung-Keller, ''ought to wear sunglasses on their ears.''<br>
