{"id":1927,"date":"2023-03-30T07:40:24","date_gmt":"2023-03-30T07:40:24","guid":{"rendered":"https:\/\/test.mihaomejc.com\/organistica\/documenting-the-gorsic-pipe-organ-in-the-church-of-st-ingenuin-and-st-albuin-in-koroska-bela\/"},"modified":"2024-06-24T11:22:26","modified_gmt":"2024-06-24T11:22:26","slug":"documenting-the-gorsic-pipe-organ-in-the-church-of-st-ingenuin-and-st-albuin-in-koroska-bela","status":"publish","type":"post","link":"https:\/\/organistica.si\/en\/documenting-the-gorsic-pipe-organ-in-the-church-of-st-ingenuin-and-st-albuin-in-koroska-bela\/","title":{"rendered":"Documenting the Gor\u0161i\u010d Pipe Organ in the Church of St. Ingenuin and St. Albuin in Koro\u0161ka Bela"},"content":{"rendered":"

The Gor\u0161i\u010d organ from 1893, his 60th work, still graces the church of St. Ingenuin and St. Albuin in Koro\u0161ka Be\u0142a. It was also described by Fr. Hugolin Sattner in the publication Cerkveni glasbenik<\/a> (CG 1893, No. 9, p. 69).<\/p>\n

“I found that all the tones responded with urgency and decision, including the Salicional in the low position, which is rarely quoted. All the registers are characteristic, and it is only in consequence of this that various combinations can be made which show the organ in all its splendour.”<\/p>\n

Fr. Hugolin Sattner<\/p><\/blockquote>\n

In August 2020, as part of the project of researching the Franc Gor\u0161i\u010d organ legacy, the condition of the organ in the parish church of St. Ingenuin and St. Albuin in Koro\u0161ka Be\u0142a was documented.<\/p>\n

\"\"
Original inscription on the console of organ in the church of St. Ingenuin and St. Albuin in Koro\u0161ka Bela (Franc Gor\u0161i\u010d, Op. 60, 1893)
Photo: Organistica<\/figcaption><\/figure>\n

Scope of documentation<\/h2>\n

Technical documentation<\/strong> included the following measurements:<\/p>\n

    \n
  • basic dimensions of the church, choir, organ case, and console<\/li>\n
  • tuning and temperature<\/li>\n
  • wind system<\/li>\n
  • windchests and the pipes arrangement on the windchests<\/li>\n
  • measurements of the pipes and pipe scales<\/li>\n<\/ul>\n

    Sound documentation<\/strong> of the instrument<\/p>\n

    Photodocumentation<\/strong> of the individual parts and details of the organ<\/p>\n

    \"\"
    Organ console in the church of St. Ingenuin and St. Albuin in Koro\u0161ka Bela (Franc Gor\u0161i\u010d, Op. 60, 1893)
    Photo: Organistica<\/figcaption><\/figure>\n

    Data and findings<\/h2>\n

    Documented: August 8, 2020<\/p>\n

    Number of pipes:<\/strong> 744 (wood: 120, metal: 624)<\/p>\n

    The organ is mechanical with a cone chest:<\/strong><\/p>\n

      \n
    • Number of windchests:<\/strong> 3 (I. manual: 1, II. manual: 1, pedal: 1)<\/li>\n
    • Wind pressure:<\/strong> 75 mm water column<\/li>\n
    • Tuning:<\/strong> a1<\/sup><\/span> = 435,5 Hz<\/li>\n
    • Wind system:<\/strong> double bellows with onefeeder bellows (electric blower), concussion bellows, bellows for Pianobas 16′<\/li>\n<\/ul>\n

      The following modifications to the organ are known:<\/p>\n

        \n
      • On April 11, 1917, the Austrian authorities removed 54 kg of tin pipes from the organ, which were then replaced in 1919 by Derni\u010d from Radovljica.<\/li>\n
      • In 1954, the organ builder Franc Jenko added an electric blower to the organ.<\/li>\n
      • In 2012, the organ was restored by Bo\u0161tjan \u010cerne.<\/li>\n<\/ul>\n

        Notes:<\/p>\n

          \n
        • When the Mixtur III-IV 2 2\/3′ drawstop is pulled, the Superoctav 2′ is mechanically engaged.<\/li>\n
        • The manual pipes are difficult to access.<\/li>\n
        • The Pianobass 16′ drawstop activates the Subbass 16′ register via an additional bellows at lower air pressure.<\/li>\n<\/ul>\n

          Organ disposition<\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
          I Manual (C – f3<\/sup><\/b>)<\/b><\/td>\nMaterial<\/b><\/td>\n<\/tr>\n
          Principal 8\u2019<\/span><\/td>\nwood: C-DIS, metal: E-f3<\/sup><\/span><\/td>\n<\/tr>\n
          Viola di Gamba 8′<\/span><\/td>\nwood: C-FIS, metal: G-f3<\/sup><\/span><\/td>\n<\/tr>\n
          Hohlfl\u00f6te 8′<\/span><\/td>\nwood: C-h0<\/sup><\/span>, metal: c1<\/sup><\/span>-f3<\/sup><\/span><\/td>\n<\/tr>\n
          Octav 4′<\/span><\/td>\nmetal<\/span><\/td>\n<\/tr>\n
          Superoctav 2′<\/span><\/td>\nmetal<\/span><\/td>\n<\/tr>\n
          Mixtur III-IV 2 2\/3′<\/span><\/td>\nmetal<\/span><\/td>\n<\/tr>\n
          <\/td>\n<\/td>\n<\/tr>\n
          II Manual (C – f3<\/sup><\/b>)<\/b><\/td>\n<\/td>\n<\/tr>\n
          Geigenprincipal 8′<\/span><\/td>\nwood: C-FIS, metal: G-f3<\/sup><\/span><\/td>\n<\/tr>\n
          Salicional 8′<\/span><\/td>\nwood: C-H, metal: c0<\/sup><\/span>-f3<\/sup><\/span><\/td>\n<\/tr>\n
          Zartgedeckt 8′<\/span><\/td>\nwood: C-H, metal: c0<\/sup><\/span>-f3<\/sup><\/span><\/td>\n<\/tr>\n
          Fl\u00fbt. Harm 4′,\u00a0<\/span><\/td>\noverblows from c1<\/sup><\/span>, metal<\/span><\/td>\n<\/tr>\n
          <\/td>\n<\/td>\n<\/tr>\n
          Pedal (C \u2013 d1<\/sup><\/b>)<\/b><\/td>\n<\/td>\n<\/tr>\n
          Subbass 16′<\/span><\/td>\nwood<\/span><\/td>\n<\/tr>\n
          Pianobass 16<\/span><\/td>\nfrom Subbbass 16′<\/span><\/td>\n<\/tr>\n
          Cello 8′<\/span><\/td>\nwood<\/span><\/td>\n<\/tr>\n
          <\/td>\n<\/td>\n<\/tr>\n
          Manualkoppel II\/I<\/span><\/td>\n<\/tr>\n
          Suboctavkoppel II\/I<\/span><\/td>\n<\/tr>\n
          I Man. Pedalkoppel<\/span><\/td>\n<\/tr>\n
          II Man. Pedalkoppel<\/span><\/td>\n<\/tr>\n
          <\/td>\n<\/tr>\n
          Mechanical fixed combinations<\/b><\/td>\n<\/tr>\n
          Mezzoforte<\/b><\/p>\n

          Principal 8′, Viola di Gamba 8′, Hohlfl\u00f6te 8′, Salicional 8′, Zartgedeckt 8′, Subbass 16′, Cello 8′<\/span><\/td>\n<\/tr>\n

          Forte<\/b><\/p>\n

          Principal 8′, Viola di Gamba 8′, Hohlfl\u00f6te 8′, Octav 4′, Geigenprincipal 8′, Salicional 8′, Zartgedeckt 8′, Fl\u00fbt. Harm 4′, Subbass 16′, Cello 8′<\/span><\/td>\n<\/tr>\n

          Tutti<\/b><\/p>\n

          Principal 8′, Viola di Gamba 8′, Hohlfl\u00f6te 8′, Octav 4′, Superoctav 2′, Mixtur III-IV 2 2\/3′, Geigenprincipal 8′, Salicional 8′, Zartgedeckt 8′, Fl\u00fbt. Harm 4′, Subbass 16′, Cello 8′, Manualkoppel II\/I, I Man. Pedalkoppel, II Man. Pedalkoppel<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

           <\/p>\n

          Mixtur III-IV 2 2\/3′<\/b><\/p>\n\n\n\n\n\n\n\n
          <\/td>\nC<\/span><\/td>\nc0<\/sup><\/span><\/td>\nc1<\/sup><\/span><\/td>\nc2<\/sup><\/span><\/td>\nfis2<\/sup><\/span><\/td>\nc3<\/sup><\/span><\/td>\nf3<\/sup><\/span><\/td>\n<\/tr>\n
          Row I<\/span><\/td>\n2 2\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n<\/tr>\n
          Row II<\/span><\/td>\n1 3\/5′<\/span><\/td>\n1 3\/5′<\/span><\/td>\n1 3\/5′<\/span><\/td>\n1 3\/5′<\/span><\/td>\n1 3\/5′<\/span><\/td>\n1 3\/5′<\/span><\/td>\n1 3\/5′<\/span><\/td>\n<\/tr>\n
          Row III<\/span><\/td>\n1 1\/3′<\/span><\/td>\n1 1\/3′<\/span><\/td>\n1 1\/3′<\/span><\/td>\n1 1\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n2 2\/3′<\/span><\/td>\n<\/tr>\n
          Row IV<\/span><\/td>\n<\/td>\n1′<\/span><\/td>\n1′<\/span><\/td>\n1′<\/span><\/td>\n2′<\/span><\/td>\n2′<\/span><\/td>\n2′<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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