由 Piotr Grabowski 采样制作的 Oloron-Sainte-Marie 大教堂虚拟管风琴，是基于法国著名管风琴制造大师 Aristide Cavaillé-Coll 于1870年所建的经典作品。原始管风琴可追溯至17世纪，但在法国大革命时期被拆除，直至19世纪才由 Cavaillé-Coll 重新设计并安装在原有教堂结构中。这台拥有三个键盘的管风琴，结合了典型法式浪漫风格，特别配备罕见的 suboctave 键盘耦合系统与 Barker 助力机结构，音色丰富、表现力强，尤其适合演奏 César Franck、Widor、Vierne 等法国浪漫主义作品。
本音源为 6 通道高保真采样，24bit/48kHz 音质，内置采样颤音与多麦位支持，完整捕捉了 Oloron 大教堂原声的宏伟与细腻。无论是演奏法国古典音乐、巴洛克风格，还是电影原声和现代管风琴改编曲目，该音源均能提供极其真实、动态丰富的表现力，是 Hauptwerk 用户不可错过的专业级法式管风琴音色库。
Piotr Grabowski Oloron-Sainte-Marie Hauptwerk-ARCADiA
Team ARCADiA | Hauptwerk | 20.34 GB
The great organ of Sainte-Marie cathedral in Oloron-Sainte-Marie (France) was built in 1870 by the famous organ builder Aristide Cavaillé-Coll. The original organ dates back to the 17th century. It was most likely built by a member of the Clicquot dynasty. However, during the French revolution of 1789 the organ was emptied of its pipes. Undoubtedly, the pipes were melted down to make ammunition. In 1870, Aristide Cavaillé-Coll built a new organ in the existing place. At the same time, he painted it brown. In 1982 Danion-Gonzalez organbuilding company removed the brown paint to let appear magnificent blue original paint. He also cleaned the instrument.
Today the organ is in the same condition as in 1870 when Cavaillé-Coll finished building it.
The instruments has 3 manuals, from which two are speaking ones (have stops assigned to them) and one is a coupling one. The couplers are controlled by pedals above the pedal keyboard. This feature, supplied by a Barker machine, is relatively unique in Cavaillé-Coll history and gives more coupling possibilities, especially suboctave coupler for the first keyboard. There are 24 stops distributed into three divisions, which are structured in the French traditional organ construction.
Récit expressif – It’s an 8 stops model that we find in may A.C.C pipe organs at that time. Reeds and Octavin 2 stops are activated by the foot pedal. It has a sweet and slow tremulant, and all stops are enclosed. Shades of the swell box are mounted on three sides of the case. It has a chromatic wind-chest. The swell box is situated behind the central part at the altitude of the Grand-Orgue section.
Grand-Orgue – This 12 stop disposition is pretty standard for A.C.C organs, but their low-pitched Plein-Jeu Harmonique based on 16 feet is uncommon as well as 16, 8 and 4 feet reeds in a small-medium instrument like this. It is situated in the main case, split into C and C# sides. This section starts at an altitude of prospect pipes (the lower part of the organ case contains the Barker machine and bellows).
Pédale – It consists of 4 stops. Bombarde 16 and Trompette 8 are pretty loud in reality. It is supposed that the leather part of the shallots was removed or just worn out over time, what resulted in louder sound, so the volume of these stops was slightly reduced in the sample set to recover the original sound balance. This section is split into C and C# sides on the opposite sites of the enclosure box.
It is worth noticing that the positive case is empty, dating back to the antique organ. It was too small for A.C.C pipes.
This organ is very eclectic. It is possible to play the 17th French classical pieces, or J.S. Bach works. It is also perfect for playing French romantic and symphonic composers, such as César Franck, Louis Vierne or Charles-Marie Widor.
In France, this organ has extraordinary fame, and it is a precious testimony of Aristide Cavaillé-Coll organ building.
Technical details:
Sample rate 48 kHz
Bit resolution 24 bit
Channel count 6 (3 × Stereo)
Tremulant model sampled chromatically
Compatible software Hauptwerk v. 4.2 or higher GrandOrgue
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