Pipe Organ MapRochester, Christ Church
| Builder | M. Yokota |
|---|---|
| Year | ca. 2008 |
| Period/Style | Baroque |
| Stops | 33 |
| Keyboards | 2+P |
| Keyaction | tracker/mechanical |
| Tuning | Neidhardt 1732 Dorf, modified at 468 Hz |
The pipe organ is a collaborative project involving the Göteborg Organ Art Center, led by Mats Arvidsson and Munetaka Yokota, alongside organ builders Steven Dieck, Paul Fritts, Bruce Fowkes, Martin Pasi, and George Taylor. Intonation was carried out by Munetaka Yokota. Constructed between 2000 and 2008, including the planning phase, this instrument holds a significant historical context as it stands as a reconstruction of the Casparini organ of the Dominican Church of the Holy Spirit in Vilnius. The aim of the project was to recreate the sound of the Vilnius organ, providing an approximation of its original full tonal character.
This organ represents a meticulous effort to revive the sonic essence of the historic Casparini organ, offering a glimpse into the musical heritage of Vilnius. Through the expertise and collaboration of various organ builders and the meticulous intonation process, the instrument seeks to recreate the full spectrum of sounds that would have resonated through the halls of the Dominican Church. This reconstruction project not only honors the legacy of the original instrument but also serves as a testament to the artistry and dedication of contemporary organ builders in preserving and revitalizing historical musical traditions.
This organ represents a meticulous effort to revive the sonic essence of the historic Casparini organ, offering a glimpse into the musical heritage of Vilnius. Through the expertise and collaboration of various organ builders and the meticulous intonation process, the instrument seeks to recreate the full spectrum of sounds that would have resonated through the halls of the Dominican Church. This reconstruction project not only honors the legacy of the original instrument but also serves as a testament to the artistry and dedication of contemporary organ builders in preserving and revitalizing historical musical traditions.
| I. Claviatura Prima | II. Claviatura Secunda | Pedal |
|---|---|---|
| Bourdon. á 16 | Principal Amalel. á 8 | Principal Bass. á 16 |
| Principal. á 8 | Jula. á 8 | Violon Bass. á 16 |
| Hohlflaut. á 8 | Flaut Major. á 8 | Full Bass. á 12 |
| Qvintathon. á 8 | Unda Maris. á 8 | Octava Bass. á 8 |
| Octava Principal. á 4 | Principal. á 4 | Flaut & Quint Bass. á 8 |
| Flaut Travers. á 4 | Spiel Flet. á 4 | Super Octava Bass. á 4 |
| Qvinta. á 3 | Flaut Minor. á 4 | Posaun Bass. á 16 |
| Super Octava. á 2 | Octava. á 2 | Trompet Bass. á 8 |
| Flasch Flot. á 2 | Wald Flot. á 2 | |
| Tertia. á 1 3/5 | Mixtura. á 4 Choris | |
| Mixtura. á 5 Choris | Dulcian. á 16 | |
| Trompet. á 8 | Vox Humana. á 8 | |
| Vox Campanarum (Glockenspiel, g0–d3) |
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