An organ is a musical instrument called the âking of musicâ. The grandeur of its sound is expressed in the emotional impact on the listener, which has no equal. In addition, the largest musical instrument in the world is the organ, and it has the most advanced control system. Its height and length are equal to the size of the wall from the foundation to the roof in a large building - a temple or concert hall.
The expressive resource of the organ allows you to create music for it with a wide range of contents: from thoughts about God and the cosmos to subtle intimate reflections of the human soul.
An organ is a musical instrument with a unique history in its duration. His age is about 28 centuries. In the framework of one article, it is impossible to trace the great path of this instrument in art. We limited ourselves to a short sketch of the genesis of the organ from ancient times to those centuries when it acquired the appearance and properties known to this day.
The organâs historical predecessor is the instrument of Pan, which has come down to us (after the Greek god who created it, as mentioned in the myth). The appearance of Pan's flute dates back to the 7th century BC, but the real age is probably much larger.
This is the name of a musical instrument consisting of vertically placed side by side reed tubes of different lengths. Side surfaces they are adjacent to each other, and across joined by a belt of strong fabric or wooden plank. The performer blows air from above through the openings of the tubes, and they sound - each at its own height. A true craftsman of the game can use two or even three tubes at once to extract simultaneous sound and get a two-part interval or, with special skill, a three-part chord.
Flute Pan personifies the eternal desire of man to invent, especially in art, and the desire to improve the expressive capabilities of music. Before this instrument appeared on the historical stage, the most ancient musicians had at their disposal more primitive longitudinal flutes - the simplest pipes with holes for the fingers. Their technical capabilities were small. On a longitudinal flute, it is impossible to simultaneously extract two or more sounds.
The following fact also speaks in favor of a more perfect sound of Pan's flute. The method of blowing air into it is non-contact, the air stream is supplied by the lips from a certain distance, which creates a special timbre effect of a mystical sound. All organ precursors were spiritual, i.e. used guided breathing power to create artistic images. Subsequently, these features - polyphony and the ghostly fantastic "breathing" timbre - were inherited in the organ's sound palette. They are the basis of the unique ability of organ sound - to introduce a listener into a trance.
Five centuries have passed from the appearance of Pan's flute to the invention of the next organ precursor. During this time, connoisseurs of wind sound production have found a way to infinitely increase the limited time of human exhalation.
In the new instrument, air was supplied using leather bellows - similar to those used by the blacksmith to pump air.
There is also the ability to automatically support two-voice and three-voice. One or two voices - the lower ones - pulled sounds without interruption, the pitch of which did not change. These sounds, called âbourdonsâ or âphobourdonsâ, were extracted without the participation of a voice, directly from the bellows through the openings in them and were something like a background. Later they will be called the "organ point".
The first voice, thanks to the already known method of closing holes on a separate âflute-likeâ insert in bellows, got the opportunity to play quite diverse and even virtuoso melodies. The performer injected air into the insert with his lips. Unlike bourdons, the melody was extracted in a contact way. Therefore, there was no raid of mysticism in it - bourdon echoes took it upon themselves.
This instrument gained great popularity, especially in folk art, as well as among wandering musicians, and became known as the bagpipe. Thanks to her invention, the future organ sound has acquired an almost unlimited length. While the performer pumps air with bellows, the sound is not interrupted.
Thus, three of the four future sound properties of the âKing of Instrumentsâ were manifested: polyphony, mystical uniqueness of the timbre and absolute length.
Beginning in the 2nd century BC constructions appear that are increasingly approaching the image of the organ. To inflate the air, the Greek inventor Ktesebiy creates a hydraulic drive (water pump). This allows you to increase the power of sound and provide the nascent colossus instrument with fairly long sounding pipes. By ear, the hydraulic organ becomes loud and sharp. With such properties of sound, it is widely used in mass performances (racetracks, circus shows, mysteries) among the Greeks and Romans. With the advent of early Christianity, the idea of ââblowing air with furs returned: the sound from this mechanism was more lively and âhumanâ.
In fact, at this stage, the main features of the organ sound can be considered formed: a polyphonic texture, a timbre that imperiously attracts attention, an unprecedented extension and a special power suitable for attracting a large mass of people.
The next 7 centuries were decisive for the body in the sense that it became interested in its capabilities, and then firmly âappropriatedâ them and developed the Christian church. The body was destined to become an instrument of mass preaching, which it remains to this day. To this end, his transformations moved along two channels.
The first one. The physical dimensions and acoustic abilities of the instrument have reached incredible values. In accordance with the growth and development of temple architecture, the architectural and musical aspect was rapidly progressing. The organ began to be built into the wall of the temple, and its thundering sound subjugated and shook the imagination of the parishioners.
The number of organ pipes that were now made of wood and metal reached several thousand. The timbres of the organ found a wide emotional range - from the likeness of the Voice of God to the quiet revelations of a religious individuality.
The possibilities of sounding, previously acquired on the historical path, were needed in church life. The polyphony of the organ allowed sophisticated music to reflect the multifaceted interweaving of spiritual practice. The length and inflating tone magnified the aspect of living breathing, which brought the very nature of organ sound closer to the experiences of the destinies of human life.
From this stage, the organ is a musical instrument of tremendous persuasive power.
The second direction in the development of the instrument went along the path of enhancing its virtuoso capabilities.
To manage the thousandth arsenal of pipes, a fundamentally new mechanism was needed, enabling the contractor to cope with this myriad wealth. History itself suggested the right solution: keyboard instruments appeared . The idea of ââkeyboard coordination of the entire sound array was perfectly adapted to the device of the âking of musicâ. From now on, the organ is a keyboard and wind instrument.
Management of the giant focused on a special remote control, combining the colossal capabilities of clavier technique and the ingenious inventions of organ masters. Before the organist, they were now arranged in stepwise order - one above the other - from two to seven keyboards. Down below, right under the floor, was a large pedal keyboard to extract low tones. It was played with legs. Thus, organist technique required great skill. The performerâs seat was a long bench, placed on top of the pedal keyboard.
The pipe pool was controlled by a register mechanism. Near the keyboards there were special buttons or handles, each of which powered tens, hundreds and even thousands of pipes at the same time. So that the organist would not be distracted by switching registers, he had an assistant - usually a student who had to understand the basics of playing the organ.
The organ begins a victorious procession in world art culture. By the 17th century, it reached its peak and unprecedented heights in music. After perpetuating organ art in the work of Johann Sebastian Bach, the greatness of this instrument remains unsurpassed to this day. Today, an organ is a musical instrument of recent history.