Скачать с ютуб Enregistrament amb el claviorgue de Hauslaib в хорошем качестве

Enregistrament amb el claviorgue de Hauslaib

En aquest petit documental expliquem com es va enregistrar la música de Cabezón amb el claviorgue de Hauslaib, entrevistant (gràcies a Pere Andreu Jariod) a totes les persones que han format part del procés, des de la restauració i manteniment de l'instrument, fins als sonòlegs que han dut a terme l'enregistrament i, com no, l'intèrpret. Així, escoltarem Òscar Laguna, Paul Poletti, Pere Casulleras i Juan de la Rubia. English transcription: Òscar Laguna For me it is certainly one of the most beautiful jobs in which I have had the fortune to participate. Returning a few years later to work on the instrument reminds me of the restoration project, relive the grandeur of this small instrument, its importance, to be overwhelmed seeing how it is built, the delicate, the subtle at the same time, the fragile too. It's a great job. The organ consists of four registrations with 41 notes and 41 pipes, one for each key. The main rank is a four-foot wooden stop. There are two more bright registers with one-foot and two-foot octave harmonics. In addition there is a regal built in brass located just below the keyboard, which is a very unique recording aspect. The lip pipes sing behind the organ, while the regal and the spinet, the most sonorous and delicate resources, sing to the organist. There has been a previous phase of preparation of the instrument. It is well preserved so it was only a small review. When recording it is necessary to work with maximum care in order to minimize the noise from the mechanical action or the bellows, noises that are nevertheless part of a 400 year-old instrument and of its music. After restoring the instrument for many months, to feel the experience of re-creating a similar music (if not the same) that was played at the time, gives us many explanations to our work and allows us to understand the instrument better. Paul Poletti It has special challenges: the unique combination of instruments, the climatic situation that may cause problems... is always an adventure! In this particular case, the combination of a stringed and a wind instrument always brings problems. The sounds are so different in nature that finding the tuning between the two instruments is a challenge. Pere Casulleras Even if it is a small instrument, the sound is quite powerful and striking. We are trying to acoustically compensate this sharp sound and proximity with the great recordin space, which makes it more friendly. This is a wooden ball, made of Pyrenees beechwood, 22 centimeters in diameter. I am convinced that if we had a 50 or 60-centimeter marble ball it would work much better but it would be unwieldy. It captures very well the situation in distance. Precisely for this organ and also for the Poblet organ (the organ is an instrument not intended to be heard too close) we need a microphone that is designed just for the exact distance without altering the character or the sound spectrum but instead giving a sense of reality. Juan de la Rubia The Hauslaib claviorganum is closely linked to the history of Antonio de Cabezón. The instrument was in the Madrid Court a few years after Antonio’s death. His son Hernando, who edited his father’s works, probably played this instrument, so it is very interesting to have this bond with music, history and the composar himself. Normally we hear this music with organs, harps or harpsichords, but a claviorganum is a very unfrequent combination that brings different timbres. It seems a novelty to play a claviorganum, but in the 16th century it was not exactly new. We are not used to feel the music with an instrument that combines the two: a harpsichord and an organ. Antonio de Cabezón was an extremely important composer for understanding the evolution of music in Spain in the sixteenth century. We often think that everything comes from Italy, but Cabezón’s influence on his disciples and everyone who knew his music was very deep. Cabezón travelled across Europe receiving influences from other musicians, and at the same time greatly affecting the musicians he met.