L to R: Marc Lewon (lute), Eva Kopli (soprano), Brett Leighton (organ),
Nicolas Savoy (tenor), Elizabeth Rumsey (viola d’arco)
Some additional notes for visitors to/participants in the masterclass given on August 6th 2013 for the Early Music Centre, Melbourne/Australia.
As general background it might be of interest to refer to my recent article on this subject in “The Diapason” (May 2013) - http://www.davidrumsey.ch/DIAP0513p20-25.pdf
For sources and bibliographies etc. see http://www.davidrumsey.ch/Bibliography.htm.
Much detail is on my web-site under the “medieval” banner (www.davidrumsey.ch
More detail on the van der Putten medieval organ can be found on my web-site, especially at http://www.davidrumsey.ch/Gothic_Organ.pdf
☛ repertoire centred mainly on Robertsbridge-Faenza-Buxheim collections (14th/15th centuries)
☛ appearance: a mix of -
Ange jouant de l’orgue/Angel playing the organ Hugo van der Goes - second from left)
the Norrlanda remnants in Stockholm
Praetorius’ descriptions of Halberstadt (pedals)
Rutland and Peterborough Psalters (see below)
La Dame à la licorne tapestry and similar items
☛ pipe manufacture:
lead cast on sand, hammered, voiced at the pipe mouths (completely open footholes)
bellows supply, wind pressure and quality
☛ physical attributes:
pedal design, simple suspended action and chest design with two sliders
two variable-scaled ranks
8' and 6' (after Arnaut de Zwolle - halving diameters on the octave + an addition constant)
one constant-scaled (33 mm) 8' rank interchangeable with the 6'
The Arnaut de Zwolle 8' is always present.
With constant-scaled (“pigeon’s egg”) pipes in façade
Another entirely constant-scaled instrument (8' + 8' + 6')
☛ constant-scaled ranks:
Constant scaling: an initial statistical-analytical review of tracts and iconography so far shows that of 140 pre-mid-15th century sources surveyed up to 80% of them could be representing constant scaling.
Detail found at www.davidrumsey.ch/Technology.htm
a variety of Pythagorean temperaments was required to cover repertoire and scaling paradigms of the era. (a1=466 Hz.)
see also http://www.davidrumsey.ch/tempering.pdf (You may have to download this and make sure it reads in “Adobe-Reader” - sometimes other readers put numbers in instead of lines).
☛ positions of ranks on the windchest:
the iconography variously gives what is apparently the higher-pitched rank on either the organist or the calcant side.