PRESS INFORMATION THE ELBPHILHARMONIE ORGAN: DETAILS Specification: Stops and Divisions No. Wood Metal % Tin Stop Remark / Character I. CHOIR / C-c 4, under expression, 8'/4' constructed to c 5 1. 24 49 75 Konzertflöte 8' solistic, slender body 2. - 73 75 Quintatön 8' mild 3. - 73 35 Bordun 8' firm, thick 4. - 73 82 Viola 8' airy, satiny 5. - 61 82 Vox angelica 8' from c 0, more subtle than Viola 6. - 73 75 Zauberflöte 4' overblown from c 1, well-marked 7. - 73 82 Violine 4' bright, exacting 8. - 61 75 Quintflöte 2 2/3' mixable 9. - 61 75 Piccolo 2' pearly 10. - 61 75 Terzflöte 1 3/5' mixable 11. - 61 75 Larigot 1 1/3' glassy, not jabbing 12. - 61 75 Septime 1 1/7' mixable 13. - 244 75 Harmonia aetheria IV 2 2/3' cutting, smoky 14. - 61 70 Orchesterclarinette 8' impinging, imitative 15. - 61 70 Corno di Bassetto 8' round cromorne Tremulant II. GREAT / C-c 4 16. - 61 82 Principal 16' facade, mellowy, bearing 17. - 61 75 Principal major 8' full, massive 18. - 61 75 Principal minor 8' clear, pointed 19. - 61 75 Geigenprincipal 8' mellowy 20. - 61 58 Flaut major 8' overblown from f 1, big 21. 24 37 35 Bordun 8' muted, plump 22. - 61 75 Octave 4' powerful, clear 23. - 61 58 Blockflöte 4' firm, elucidative 24. - 61 75 Quinte 2 2/3' principal 25. - 61 75 Octave 2' mild, marked 26. - 215 58 Cornett V 8' German, stopped 27. - 244 75 Mixtur IV 2' soft, rounded 28. - 61 70 Trompete 16' full, dark 29. - 61 70 Trompete 8' full, round 30. - 61 70 Trompete 8' blaring Tremulant 1
No. Wood Metal % Tin Stop Remark / Character III. SWELL / C-c 4 31. 36 25 35 Bordun 16' dark, low-pitched 32. - 61 75 Diapason 8' massive, bearing 33. - 61 58 Harmonieflöte 8' solistic, full 34. 24 37 35 Rohrflöte 8' slender, mild 35. - 61 82 Viola di Gamba 8' powerful, cutting 36. - 49 82 Vox coelestis 8' from c 0, suitable for gamba 37. - 61 75 Principal 4' clear, articulate 38. - 61 58 Traversflöte 4' round, pearly 39. - 61 75 Doublette 2' glassy, pointy 40. - 366 58 Nonencornett VI 2 2/3' bell-like, iridescent 41. - 244 75 Mixtur IV 1 1/3' gently elucidative, not sharp 42. - 61 70 Bombarde 16' soft, fundamental 43. - 61 70 Trompette harmonique 8' elegant, fiery 44. - 61 70 Hautbois 8' mixable 45. - 61 70 Vox humana 8' lyrical, mystical Tremulant IV. SOLO / C-c 4 46. 36 25 75 Claribel 8' solistic, bubbly 47. - 61 75 Stentorgambe 8' distinctive, cutting 48. - 61 70 Horn 8' dark, almost labial 49. - 61 70 Bombard Tuba 16' cranked forward, round, elementary 50. - 61 70 Tuba mirabilis 8' cranked forward, solistic ECHO (FERNWERK) / C-c 4, in the reflector 51. 12 - - Seraphonflöte 8' from c 0 combined with 4' 52. 48 13 75 Seraphonflöte 4' from E doubly labial, xylophone-like 53. - 12 70 Stentorklarinette 16' from c 0 combined with 8' 54. - 61 70 Stentorklarinette 8' resounding, adjustable wind pressure PEDAL / C-g 1 55. 12 - - Flöte 32' c 0 -g 1 combined with Flöte 16' 56. 12 - - Untersatz 32' c 0 -g 1 combined with Subbass 16' 57. - 32 82 Principal 16' facade, powerful, contoured 58. 32 - - Flöte 16' open, very broad, rolling 59. 32 - - Subbass 16' soft, gentle, pitch-dark 60. 12 - - Violon 16' c 0 -g 1 combined with Cello 8' 61. - 32 75 Octavbass 8' full-bodied, marked 62. - 32 82 Cello 8' stroking, contoured 63. 32 - - Gedecktbass 8' soft 64. - 32 75 Octave 4' powerful 65. - 128 75 Mixtur IV 2 2/3' brawling 66. 12 - - Contra Posaune 32' c 0 -g 1 combined with Posaune 16' 67. - 32 70 Trombone 16' very strong, firm 68. 32 - - Posaune 16' mild, dark, large amount of bass 69. - 32 70 Trompete 8' full of character, leading 380 4,385 Total: 4,765 2
COUPLERS 70. Choir sub-coupler sub in I, coupling through 71. Choir super-coupler super in I, coupling through 72. Choir unison off 73. Swell to Choir III I 74. Solo to Choir IV I 75. Choir to Great I II 76. Swell to Great III II 77. Solo to Great IV II 78. Swell sub-coupler sub in III, coupling through 79. Swell super-coupler super in III, coupling through 80. Swell unison off (mobile console only) 81. Solo to Swell IV III 82. Solo sub-coupler sub in IV, coupling through 83. Solo super-coupler super in IV, coupling through 84. Solo unison off 85. Echo (Fernwerk) sub-coupler sub in Echo (FW), coupling through 86. Echo (Fernwerk) super-coupler super in Echo (FW), coupling through 87. Echo (Fernwerk) unison off 88. Echo (Fernwerk) to Choir Echo (FW) I 89. Echo (Fernwerk) to Great Echo (FW) II 90. Echo (Fernwerk) to Swell Echo (FW) III 91. Echo (Fernwerk) to Solo Echo (FW) IV 92. Choir to Pedal I P 93. Great to Pedal II P 94. Swell to Pedal III P 95. Solo to Pedal IV P 96. Super Solo to Pedal super IV P 97. Echo (Fernwerk) to Pedal Echo (FW) P 98. Pedal super-coupler super in P Technical Details In Numbers 4,765 pipes, thereof 380 from wood, the rest from tin alloys Longest pipe: about 10 metres in length, produces a sound with 16 cycles per second; since the lower hearing threshold is about 20 vibrations, these sounds can be felt rather than heard Shortest pipe: about 11 millimetres in length, produces a sound with 15,600 cycles per second; this frequency is close to the upper threshold of hearing Maximum wind consumption: approx. 180m³ per minute Consoles Mechanical action console attached to the front of the organ Electric action console movable on the orchestra podium 3
Windchests For Choir For Great, section with low wind pressure For Great, section with high wind pressure For Swell, section with low wind pressure For Swell, section with high wind pressure For Solo For Echo (Fernwerk) For large pedal For small pedal Console Tracker Actions Mechanical To the Great, section with low wind pressure To the Swell, section with low wind pressure To the small pedal Electric To the Choir To the Great, section with high wind pressure To the Swell, section with high wind pressure To the Solo To the Echo (Fernwerk) To the large pedal Wind Pressure Choir Great, section with low wind pressure Great, section with high wind pressure Swell, section with low wind pressure Swell, section with high wind pressure Solo Echo (Fernwerk) Large pedal Small pedal 110 mm WC (water column) 130 mm WC 180 mm WC 120 mm WC 170 mm WC 380 mm WC 280 mm WC 180 mm WC 140 mm WC Adjustable Wind Pressure With the use of an expression pedal, wind pressure can be varied between the above mentioned normal pressure and 0 mm WC in the following registers, divisions, or parts thereof: Echo (Fernwerk) (Stentorklarinette) Choir Great, section with low wind pressure 4
Great, section with high wind pressure Swell, section with low wind pressure Swell, section with high wind pressure Furthermore, the electric fan blowers can be turned off via»general Wind ab«when all electric controls are running at full. This creates a»morendo«or»smorzando«effect. Artistic Details In its more than 2,000 years of development, the organ has not solely been used for religious and sacral purposes. The organ was first introduced in churches around 1,000 years ago. Unchained from its liturgical functions, the concert hall organ is intended to fulfil the following tasks: Blending with the orchestra. This includes the difficult task of adequately dealing with the orchestra s crescendo ability and at the same time never forcing the sound. Just like a top-class orchestra, the organ should be able to fill the hall with a warm and elegant sound that ranges from pianissimo to fortissimo. Blending with both small and large choirs. Perform solo organ literature from the 19 th and 20 th centuries, contemporary organ compositions and ideally future compositions, combined with the ability to adequately perform baroque organ literature. The special challenge is to create a versatile instrument with a unique personality. The amount of wind pressure applied accommodates the desired tone colour and intensity of sound. Compared to many other instruments intended only for sacral purposes, the wind pressure in this organ is much higher. This allows for a more dynamic range as well as more tone colours - not possible in lower wind pressures. The concept and specification of the new concert organ were developed by Manfred Schwartz who guided the project as organ expert from the first ideas to the finished instrument. The Klais Team for the Elbphilharmonie Organ Managing Director of Orgelbau Klais /Project Manager Technical Construction Intonation Intonation Assistant Team Leader for Organ Construction Workshop Management Bonn Organ Team in Hamburg Philipp Klais Klaus Flügel Bernd Reinartz Klaus Fischer Dominik Haubrichs Heinz-Günther Habbig Ralf Karrenbauer Norbert Wisnewski Carsten Bayer Heinz Bergheim Karsten Berke Horst Hoffmann Johannes Jamin Toni Kretzschmar 5
also in the workshop: Paul Neßling Ho Jung Noh Guido Rochner Martina Schlösser Jakob Wieser Theo Gast Elisabeth Geusen Oliver Hähne Marc Jackson Richard Kühn Klaus Schorn Marcus Stappen Setting The opening of the organ enclosure, which is located on the right side above the orchestra podium in the Grand Hall, is covered up by the so-called»facade«- the visible face of the organ. The facade is made up of the largest of the metal pipes. Three audience seating areas traverse the organ, allowing visitors to come in unusually close contact with the large organ. A special feature of the Elbphilharmonie organ is its Echo division (Fernwerk). It is integrated in the reflector that hangs above the orchestra podium. Press contact: Tom R. Schulz, Elena Wätjen and Julia Mahns Press and Public Relations phone: +49 40 357 666 258 / -249 / -245 presse@elbphilharmonie.de www.elbphilharmonie.de/en/press 6