長蔣士挺「兒童管風琴教育專欄」【初因初音】。
『Aristide Cavaille-Coll, part II』from the column【My First Sound】 by Justin Berg, the Executive Director of Orgelkids China. (In English below)
卡發耶科爾不但重新想像簧管的配置，還有許多創新和構想也造就出他出色的製琴生涯，這些特色可見於巴黎北邊的聖德尼大教堂裡的大管風琴，也就是他最早的重要管風琴作品。這座教堂是第十世紀以來法國王室成員的長眠之地，教堂建築本身是一座廣闊雄偉的中世紀建物，並且被視為最早的歌德式完整建築之一。卡發耶科爾搬到巴黎時才24歲，因為義大利作曲家Giocomo Rossini對於他早期的創新發明相當讚賞，催促他一定要去巴黎。
卡發耶科爾一抵達巴黎，便得知聖德尼教堂的新管風琴設計競賽正在進行，而且即將截止，於是他迅速地在兩天當中做出一份提案。他新穎的想法說服了多位評審，因而得到這份合約。他的設計裡有一些非常吸引人的細節，包括用新式的音栓來模仿管弦樂團的聲音，例如8呎雙簧管音栓（一種和真正的英國管同樣有球莖狀共鳴體的音栓），也包含可以製造出強有力變化的全音域調量鍵盤。此外，他的音栓組合強調8呎的基礎音色 (foundation sound)，將風室分隔成各個不同氣壓的區域，以不同的風壓供氣給笛管和簧管。他也提供了用腳操作的活塞，這個機械裝置可以控制簧管的氣流。(請參考我相機中珍藏的相片，在St. Denis的管風琴廂樓，欣賞法國管風琴樂派即興大師，風趣慧黠的駐堂管風琴師 Pierre Pincemaille，彈奏這台卡發耶科爾早期最重要、最初嶄露鋒芒的歷史名琴)。
上述的各種創新設計，使得卡發耶科爾後來被公認為創意十足的天才管風琴建造家，不過也為這個年輕的天才帶來一個嚴重的問題：增強的風壓、大量的規格設定，再加上觸鍵的傳動裝置，導致鍵盤太重而難以持續演奏。所幸卡發耶科爾得到天時地利人和，在最需要突破的時刻，他認識了來自英國的Charles Spackmann Barker，Barker擁有一項特殊裝置的法國專利（於1839年註冊），就是在機械傳動中加入氣動的輔助，以此緩和按鍵太重的問題。Barker宣稱是這項裝置的正牌發明者，有人質疑這樣的說法（也質疑他的工藝才能），但我們可以確定的是，Barker授權給卡發耶科爾，讓他從聖德尼教堂的管風琴建造開始運用這項專利。於是卡發耶科爾就能夠建造出極為龐大卻還能演奏的管風琴，他的第一個大型設計案也很幸運地沒有淪落成廢墟。
這樣的規格有幾個值得注意的地方。前面介紹過，卡發耶科爾繼承了法國古典傳統，所以現在要舉出他在聖德尼教堂的這部早期傑作的傳統特點。首先，手鍵盤（54個按鍵）和腳鍵盤（25個按鍵）的音域仍保有18世紀管風琴的特點，典型的音栓齊奏（主音管合奏）維持不變，手鍵盤有32個主音管（從低音F開始），一路延伸到四個混合音栓，製造出非常宏大的音響效果。而整批的加倍簧管音響更是雄偉，雖然仍是古典風格：每個獨立風琴都有8呎燦爛簧管，主風琴、蓬巴德音管和腳鍵盤也都有第一和第二燦爛簧管和法國小喇叭。(待續)
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〜Cavaille-Coll (Part II)--2
Just as with his reimagining of reed work, many of the innovations and ideas that would shape Cavaille-Coll’s career can be found in his first major instrument, the Grand Orgue at the Basilica of St. Denis, north of Paris. The burial place of French monarchs from the 10thcentury, St. Denis is a vast Medieval edifice, considered to be one of the first fully Gothic expressions of architecture. Aristide was a mere 24 years old when he moved to Paris, at the urging of the Italian composer, Giacomo Rossini, who had been impressed by one of Aristide’s early inventions.
Upon his arrival in the French capitol, Aristide learned that a competition was being held for the design of a new grand organ for St. Denis. Because the competition was about to conclude, Aristide worked swiftly to produce a proposal in just two days. His novel ideas convinced the judges, and thus he was awarded the contract. Some of the most intriguing details of his design were new stops intended to imitate orchestral instruments, such as the 8’ Cor-Hautbois (a stop with bulb-shaped resonators, like those of the actual English horn), and the inclusion of a full-compass Swell division for creating dynamic changes. Additionally, his stoplist emphasized 8’ foundation sound, while placing flues and reeds on different wind pressures. This was accomplished by partitioning the wind chests into separate areas for different pressures. He also provided a foot-operated mechanism, a ventil, for controlling
wind to the reeds.
Taken together, these innovations would ultimately secure Cavaille-Coll’s reputation as a creative genius. However, they also posed a serious problem for the young organ builder: the increased wind pressures and generous specification combined with the tracker action to make the touch of the keys too heavy for sustained playing. Fortunately for Aristide, he happened to be in the right place at the right time. Just when he needed a breakthrough, he met an Englishman, Charles Spackmann Barker. Barker held a French patent (registered in 1839) for a special device that alleviated the problem of heavy touch by incorporating a pneumatic assist into the mechanical action. While Barker’s claim as the true inventor of this machine is sometimes disputed (as is his competence as a craftsman), what is certain is that Barker licensed his patent to Cavaille-Coll for use in his instruments, starting with the organ at St. Denis. This bit of good luck saved Aristide’s first massive project from ruin by
allowing him to build an enormous organ that still felt playable.
There are several points of interest in this specification. Since our previous article was about the Classical tradition that Cavaille-Coll inherited, we can start by noting the conventional aspects of this early masterpiece at St. Denis. First, the manual (54 notes) and pedal (25 notes) compasses remain typical of late 18th century organs. The quintessential Plein jeu (principal chorus) is more than intact, with a manual 32 Montre (which only began at bass F), all the way up through four mixtures — a grand sound, indeed! Grander still, yet Classical, are the batteries of reduplicated reeds: 8’ Trompette in every division, as well as first and second Trompette and Clarion in the Grand Orgue, Bombarde and Pédale. (To be continued)
Your Friend,
Justin

上次我們已經預作準備，打算要探索19世紀管風琴建造大師卡發耶科爾所設計的管風琴了。我們回顧並且認識了17到18世紀的法國管風琴。你可能還記得，卡發耶科爾使管風琴的發展出現極為徹底的轉變，他的改革創新令管風琴設計的走上全新的方向。現在我們要介紹卡發耶科爾如何運用他從本國的管風琴傳統中學習到的元素，開創出一個嶄新的傳統，因而不只取代了古典管風琴，更自此影響了全世界的管風琴演奏家和建造家。
上一篇介紹中已經提到，卡發耶科爾出生時的法國充滿相當多的社會和政治革新，許多偉大的科技變化就發生在他在世期間。我們現在對於工業世界習以為常，而19世紀正是工業如火如荼擴展到歐洲各地的時代，蒸氣火車也使旅遊和交通運輸發生重大的變革。這些變化最後便開始衝擊傳統工藝形式，包括管風琴製造的某些基本步驟，例如木工和金屬工藝。不過在卡發耶科爾還在世的期間，這些變化都還很遙遠，所以他沒有受到科技和大量製造的阻礙，他找到了一些很有創意的方法，將這些元素都結合在他的管風琴作品中。
卡發耶科爾家族代表一種精巧的工藝傳統，他的祖父、父親、兄長都是管風琴建造家。他出生於1811年，當時歐洲各地的管風琴建造幾乎沒有脫離古典概念而轉變的跡象。例如，孟德爾頌(1809-1847)在德國各邦所認識的管風琴，大部分的手鍵盤都還保有主音管和笛管的合奏音栓，而他在英國所彈奏的管風琴多半仍按照「中全音律」(Meantone temperament,以純大三度為基礎，可以因調性關係移動純大三度的位置，巴洛克時期常用，不適用所有的調式）來調音。而義大利、西班牙和葡萄牙的管風琴，仍是按照相當古老的概念所建造的，雖然作曲風格已有巨變。
這個時期的法國管風琴，同樣是根據18世紀的古典管風琴來擴充，在規格、送氣、機械結構上甚少創新。19世紀早期的法國管風琴建造，最值得注意的方向或許就是沿襲了18世紀的加倍簧管傾向。上一篇文章提到過，整批的燦爛簧片音管、法國小喇叭音管和強而有力的簧片蓬巴德音管(Bombardes)愈來愈成為法國管風琴的標準配備，並且帶來日後的革命性進展，甚至超越這個成果。這種對於強大簧管的偏好，不僅非常適合現代人對於莊嚴雄偉的鑑賞力，也符合用聲音把又大又深的教堂空間填滿的需要。卡發耶科爾後來便將這一種趨勢發揮到邏輯上最淋漓盡致的結果。
通常一想到卡發耶科爾製作的管風琴，就會想起簧管的主音管合奏。你可能記得，齊奏(主音管和混合音管)由於發聲和供氣的緣故，是無法與古典法國管風琴的簧管合奏(燦爛簧片音管及法國小喇叭音管)結合的，但是卡發耶科爾發明一種方法，既可以維持簧管的光輝亮麗，又可以結合到音栓齊奏裡。他運用較高的風壓，採用一種不同的整音方式，於是克服了過去的限制，而這個相當巧妙的解決方法，也導致後世的管風琴建造家能夠進行各種方式的實驗，讓單一管風琴的各個鍵盤或相關聯管件運用不同的風壓。(待續)
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〜Cavaille-Coll (Part II)
Last time, we prepared to explore the organs of the 19th century master builder, Aristide Cavaille-Coll, by looking back and listening to French organs of the 17th and 18th century. You may recall from the previous article that Cavaille-Coll altered the development of the organ so profoundly that his innovations redirected the very path of organ design. Today then, we will consider how Cavaille-Coll used what he learned from his native country’s tradition to create a new tradition; one that not only replaced the Classical organ, but also impacted organists and builders the world over.
As mentioned before, Aristide was born at a time of great social and political innovation in France. His life also spanned a period of great technological change. The world of manufacturing, so familiar to us today, was rapidly spreading across Europe throughout the 19th century. At the same time, the steam locomotive revolutionized travel and transport. Such changes would eventually begin to impact traditional forms of craftsmanship, including some of the processes essential to organbuilding, such as wood and metal working. But those changes were far enough off during his lifetime that, rather than be hindered by the advent of technologies and mass manufacturing, Cavaille-Coll found creative ways to incorporate them into his own work.
The Cavaille-Coll family represented a tradition of craftsmanship, with Aristide’s grandfather, father and older brother all working as organ builders. At the time of Aristide’s birth in 1811, organ building throughout Europe still showed little evidence of a transition away from Classical ideals. For instance, the organs that Felix Mendelssohn (1809-1847) knew throughout the German states largely retained choruses of principles and flutes in each manual division, while those he played in England were still mostly tuned in Meantone temperament. For that matter, organs throughout Italy, Spain and Portugal were still built according to rather old-fashioned ideals, despite upheavals of compositional style. Similarly, French organs of this period continued to expand upon the Classical instruments of the 18th century with little innovation in their specifications, winding or mechanism.
Perhaps the most notable direction in early 19th century French building was the
continuation of the previous century’s penchant for reduplicated reeds. You may recall from the previous article that batteries of Trompettes, Clarions and Bombardes became increasingly standard fare for French organs, leading right up to, and beyond, the Revolution. This predilection for powerful reeds suited not only the contemporary sensibilities of grandeur, but also the need to fill cavernous churches with sound. This was a trend that Cavaille-Coll would later exploit to its logical and extreme conclusion.
When people think of Cavaille-Coll organs, often the first sound that comes to mind is the full principal chorus with reeds. You might recall that the plenum (principals and mixtures) could not be combined with the reed chorus (Trompettes and Clarion) in Classical French organs because of their voicing and wind supply. However, Cavaille-Coll found a way of both maintaining the brilliance of the reeds while simultaneously incorporating them into the Plein-Jeu. He overcame previous limitations by adopting a different style of voicing based on higher wind pressures. This rather ingenious solution would lead to all manner of experiments by later builders who wanted to place ranks and whole divisions of a single organ on highly different wind pressures. (To be continued.)
Your Friend,
Justin

​
Orgelkids China執行長蔣士挺(Justin Berg)「兒童管風琴教育專欄」【初因初音】。
『Aristide Cavaille-Coll』from the column【My First Sound】 by Justin Berg, the Executive Director of Orgelkids China. (In English below)
古典法國管風琴的建造風格上比較一致，形成相對標準化的設計發展 (以凡爾賽宮的皇家管風琴為例，圖1)。雖然簧管加上疊高的短號(8呎+4呎+2 2/3呎+2呎+1 3/5呎）發出的聲音很容易傳入耳中，古典法國管風琴真正的獨奏聲音是——使用全部音栓組合（Plein jeu，圖2），就是主音管基礎音栓合奏加上混合音管。Plein jeu是15-18世紀法國最主要的混合音栓裝置，音響既莊嚴又優美。Plein jeu與簧管和短號音管不同，並不會模仿例如小號之類的樂器聲音，其特有的音色，是結合音管的材質、尺寸排列、整音與調音，加上混合音栓而得到的。古典的八呎主音管在法文稱為Montre（意思是「表現」，因為這些音管可以從外觀看到，圖3），是用錫合金製造的，管形偏窄，聲音較溫和從容。四呎主音管Prestant的形狀也類似。因為這兩列音管的製作原料都含有大量的錫，別的國家的管風琴主音管則是含鉛量較高，可以擦亮而讓管風琴的外觀亮麗，而較窄尺寸的音管產生的音色就是有豐富泛音的明亮音色。（尺寸就是指音管的寬度相對於長度的比例，通常較窄的音管會突顯泛音，較寬的音管則會加強基礎音或單音的音高。）我們知道，Plein jeu是十七世紀和十八世紀的管風琴家非常重視的音栓組合法，因為當時幾乎所有法國音樂組曲（除了聖誕頌歌以外）慶典儀式都是用這種典型的混合主音栓組合開展。
Plein jeu除了會使用所有的八呎、四呎、二呎的主音音管，還會加上混合音栓，包含較低音的基礎音栓和較高音的泛音系列音管組合。或許你還記得，混合音栓通常都是高音，在十七世紀和十八世紀的管風琴上，八呎管風琴（主風琴上最低的基礎音栓是八呎音栓，不同於十六呎或三十二呎的手鍵盤基礎音栓）所用的混合音栓通常是從1 1/3呎開始（比同度音更高兩個八度加一個完全五度）。法國管風琴的基礎音栓也與其他國家的管風琴相同，通常是從兩呎的高音音栓開始，但是法國泛音高頻音管組合的音高就比德國低。將明亮的主音管與較低的混合音栓結合起來而得到的效果，就是較低的混合音栓可以強化主音管的低音。換言之，這個時期的法國管風琴主音管的低音很容易失去些許清晰度，要加上混合音栓使之變得清楚，這樣的Plein jeu音栓合奏得到的效果就很莊嚴雄偉。主音管加上混合音栓的基礎音效並不適合複音音樂織體，這也成為法國管風琴不同於歐洲其他傳統的另一個特點。的確，為這種音栓組合法而譜寫的樂曲，會把這種低沉的聲音運用在緩慢行進的和弦中，有時會以腳鍵盤的八呎燦爛簧片音管獨奏來強調（見圖2, pedale）。
將這些法國管風琴與其他國家同時期的管風琴相比，就會看到腳鍵盤也有一些很有意思的現象。這些腳鍵盤通常很短，只能以腳趾演奏（圖4），不像德國管風琴可以用到腳趾和腳跟。這種設計曾造成誤解，讓人以為這個時期的法國管風琴在腳鍵盤部分並沒有高超的技藝，不像布克斯特胡德和巴哈等大師的作品。但我們只要看看馬尚 (Marchand)的雙音腳鍵盤卡農 (Plein jeu with a canon in double pedals)，或是葛里尼 (Grigny)的賦格四聲部對位，就會了解如果想在腳鍵盤上優美地演奏這些形式的樂曲，都會明白其中所需要的技巧極具挑戰性，確實要有相當精湛的技藝。(待續)
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〜Aristide Cavaille-Coll (part I) continued (2)〜
Though the sound of these reeds with the mounted Cornet easily captivates the ear, the true voice of the Classical French organ is the Plein jeu, the principal chorus with mixtures. In these organs, this registration is distinguished by a sound that is as serious as it is elegant. Unlike the reeds and Cornet, the Plein jeu does not imitate other instruments, such as the trumpet. It is a sound unique to these organs that results from a marriage of pipe material, scaling and voicing, and the composition of the mixtures. The classic 8’ principal stop, called Montre (meaning”to sho”, as these pipes were visible in the façade), was made from a metal alloy rich in tin, with relatively narrow scales, and somewhat gentle, unhurried voicing. The 4’ principal, Prestant, was similarly fashioned. Because both of these ranks of were made with a generous amount of tin, as opposed to the high lead content typical in other countries’ organs, they could be burnished to make them shine in the organ’s facade. This fact combined with their narrow scaling to produce a bright timbre with plentiful overtones. (Note: Scaling just means how wide or narrow pipes are compared to their length. Generally, narrower scaling highlights overtones, while wider scaling emphasizes the fundamental, or unison pitch.) We know that the Plein jeu was a highly prized registration by organists throughout the seventeenth and eighteenth centuries because virtually every suite of French music from that time (except suites of Noëls) began with this combination of stops.
Above the 8’ Montre, 4’ Prestant and 2’ Doublette (all principals), two mixtures were added to create the Plein jeu: the lower-pitched Fourniture and its higher counterpart, the Cymbale. You probably remember that mixtures are generally high-pitched anyway. In seventeenth- and eighteenth-century organs, the mixtures used on 8-foot organs (i.e. organs wherein an 8-foot stop is the lowest principal on the Great, as opposed to a 16 or 32-foot manual principal) typically began at 1⅓’ (that is two octaves and a perfect fifth above unison). It was also often the case that the French Fourniture began at a pitch just above the 2’ Doublette, much like organs in other countries. By comparison, however, the French Cymbale was pitched somewhat lower than its Germanic counterparts. The effect of combining bright principals with relatively low mixtures was that the latter could help to reinforce the bass of the former. In other words, French principals from this time tended to lose some of their definition in the bass, which was then clarified by the addition of the mixtures. The musical effect then of this Plein jeu is a sound that is majestic. This fundamental sound of principals and mixtures together was not suited to polyphonic textures, which is another aspect distinguishing these organs from those of other traditions throughout Europe. Indeed, the music written for this registration employs the gravity of this sound for slow-moving chords, sometimes punctuated by a pedal solo played on an 8’ Trompette.
Again comparing these French instruments to those of other national schools of the same time, we find some interesting facts regarding their Pedale divisions. The pedal keys themselves were typically rather short, and thus only playable by the toe of the foot, rather than both toe and heel as was the case in German instruments. This design has prompted the misconception that French organ music from this period does not make virtuosic use of the pedals, as was the case with composers such as Buxtehude and Bach. However, we have only to look at the double pedal movements composed by Marchand or the contrapuntal textures of a Quatuor or a de Grigny Fugue: anyone who has attempted to play these pieces beautifully on pedals of such size and shape knows how challenging the required technique can be. Indeed, they demand a virtuosity all their own. (To be continued.)
Your Friend,
Justin

Orgelkids China執行長蔣士挺(Justin Berg)「兒童管風琴教育專欄」【初因初音】。
『Aristide Cavaille-Coll』from the column【My First Sound】 by Justin Berg, the Executive Director of Orgelkids China. (In English below)
在卡發耶科爾出生之前一百多年，也就是十七世紀末，法國的管風琴建造已經達到一種成熟的風格，現在我們稱之為古典時期。這個稱呼可能會造成混淆，因為在討論音樂時，「古典」是指十八世紀後半的音樂，尤其是海頓、莫札特，還有貝多芬年輕時的作品，在此之前一百年當中的音樂通常稱為「巴洛克」。但是基於多種原因，法國此時的音樂通常稱為「古典」而不是「巴洛克」，這有一部分是因為十七和十八世紀的法國音樂已經達到一種穩定性和獨特性，因而後來發展出融合法國和義大利品味的「混合樂風」。姑且不論用甚麼名稱，這個時期的法國管風琴建造也展現出一些穩定的特點，形成獨特的樂器建造派別。為了瞭解卡發耶科爾的管風琴作品，我們就先探索古典管風琴設計的特色。
古典法國管風琴最聞名的特點應該就是簧管的音色，這些簧管的法文是anches (附圖1的紅字)，意思是簧片音管，最珍貴的特點就是喧鬧的音色，由於這些音栓所呈現的感覺非常強烈，所以在古典管風琴中無法與主音管和基礎音合奏音管結合，尤其是不能與混合音栓搭配，否則會變得很難聽。基於這些簧管的威力和明亮音色，法國的管風琴建造家就詳細載明將它們的使用從個別的音栓（例如同度音高的燦爛簧片音管和古雙簧管）擴展到包含幾支小號，可能是在不同鍵盤，或在單一鍵盤內的加倍音管：有時是16呎（低八度）、8呎（同度）、4呎（高八度）音管。這種整列簧管的齊奏非常流行，到了1789年法國大革命時期，有些最大型的管風琴在好幾個鍵盤都有8呎小號和四呎法國小喇叭音管 (附圖1)，並且在單一鍵盤就有第一和第二小號 (附圖1的主鍵盤)。例如，1774年在南法St. Maximin的Isnard管風琴就是這樣。在1783年，法國國王的管風琴建造廠François-Henri Clicquot重修巴黎聖母院的管風琴 (附圖2)，甚至為回聲鍵盤加上8呎小號音栓和4呎法國小喇叭音栓；為了要頻繁的更換音樂性格來保證皇帝對音樂的新鮮感與注意力。
儘管如此出色，法國古樂簧管在比較高的音栓配置就會開始失去力度和飽滿，這是簧管普遍的情形。意思就是，當管風琴家彈到愈高音的鍵盤，簧管的聲音就開始變得愈微弱，這也讓我們看到古典管風琴另一個值得注意的特點：疊高的短號。為了強化簧管合奏的右手音栓組合又不使音質改變太大，這個時期的法國製琴師通常會在主鍵盤加上這組特殊的音栓。一個短號音栓通常包含五排笛狀音管，會發出不同音高的自然泛音系列，這個音栓包含了下列五種管列：同度（8呎）、高八度（4呎）、高八度加完全五度（2 2/3呎）、兩個高八度（2呎），最後則是兩個八度加一個大三度（1 3/5呎）。這些數字看起來有點怪，但是製造出的聲音卻組合成大膽又亮麗的美妙樂音，使簧管音栓的高音更飽滿有力。為了讓短號音管的聲音格外明顯，法國製琴師會把這些音管排得比主鍵盤的其他部分更高，立在高過主鍵盤其餘部分的一個小型風箱上 (附圖3)，這種設計與低地國（現今的比利時和荷蘭）的管風琴相同，由於高度增加，這個音栓就擁有更威風凜凜的聲音。(待續)
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〜Aristide Cavaille-Coll (part I) continued〜
By the close of the 1600s, more than a century before Aristide’s birth, French organ building had arrived at a mature style known today as its Classical period. Sometimes, this name is confusing: When talking about music, we use ‘Classical’ to refer to music of the late eighteenth century — especially the work of Haydn, Mozart and the young Beethoven. Music from 100 years earlier is typically called ‘Baroque’ but, for various reasons, music in France during that same time is often termed ‘Classical’, rather than ‘Baroque’. In part, this designation reflects the view that French music of the seventeenth and eighteenth centuries achieved a stability and uniqueness that later would contribute to the development of the so-called ‘Mixed Style’, which wedded French and Italian tastes. Regardless of the name we use, French organ building from this period also exhibited a stable set of features that identified it as a unique school of instrument building. To help us understand Cavaille-Coll’s work, we need to explore the features of Classical organ design.
Arguably the most famous characteristic of Classical French organs is the sound of their reeds. These reeds, or anches, as they are known in French, are prized for a kind of raucous quality. So fiery are these stops that, in the Classical organs, they cannot be played in combination with principal stops and choruses, especially not with mixtures — doing so just sounds ugly. Given the power and brilliance of such reeds, French organ builders expanded their use in organ specifications from individual stops (such as Trompettes and Cromornes at unison pitch) to choruses that included multiple Trompettes, either across different keyboards or duplicated within a single manual division — sometimes at 16’ (suboctave), 8’ (unison) and 4’ (superoctave) pitches. Such batteries of reeds became so popular that by the French Revolution in 1789 some of the largest organs boasted 8’ Trompette and 4’ Clairon on multiple divisions, as well as first and second Trompettes in a single division. This is the case in the 1774 Isnard organ at St. Maximin in southern France, for example. Indeed, in 1783 the King’s organ builder, François-Henri Clicquot, worked on the organ at Notre Dame, Paris, even adding 8’ Trompette and 4’ Clairon stops to the Echo division!
Despite their brilliance, and as with reeds generally, French Classical reeds begin to lose power and fullness in their higher registers. In other words, as the organist plays higher and higher toward the top of the keyboard, the reeds begin to sound thinner. And this fact brings us to another noteworthy feature of the Classical organ: the mounted Cornet. To strengthen the treble register of the reed chorus without changing the quality of their sound too much, French builders of this period routinely included this special stop on the Grand Orgue A Cornet stop is often composed of five ranks of pipes, all of them flute-like in character, but playing different pitches of the natural overtone series. Nearly always, this means a stop composed of the following five ranks: unison (8’), octave above the unison (4’), octave plus a perfect fifth above (22/3’), two octaves above (2’), and finally two octaves plus a major third above (13/5’). While all these numbers look a bit strange, the sounds they produce combine into a wonderfully bold yet beautiful tone that helps the trebles of the reed stops sound fuller and stronger. To help the Cornet sound especially pronounced, French builders placed these pipes higher than all the others on the Grand Orgue. Standing on a small windchest that was elevated above the rest of the Grand Orgue — a design feature shared with organs from the Low Countries (present-day Belgium and Holland) — this stop enjoyed a more commanding sound thanks to this added height. (To be continued.)
Your Friend,
Justin

​
Orgelkids China執行長蔣士挺(Justin Berg)「兒童管風琴教育專欄」【初因初音】。
『Aristide Cavaille-Coll』from the column【My First Sound】 by Justin Berg, the Executive Director of Orgelkids China. (In English below)
過去一百年當中，有許多發明徹底改變了我們的生活，你知道是哪幾項嗎？大多數的現代人已經無法想像，如果沒有電腦、智慧型手機或網路，要怎麼活下去；那個沒有現代化交通工具或居家設備的世界，已經離我們非常遙遠了，根本無法想像。有太多嶄新又複雜的東西，是藉著融合和改造原有的東西和技術而創造出來的，智慧型手機就是一例，是把先前的技術和製造過程加上全新的想法和新興的科技，得到極為創新的結果，徹底改變人際溝通和社會互動的過程。
雖然我們不常想到，但樂器也在過去幾個世紀裡經歷無數的創新，其中有一些是漸進式的，也有一些則是激烈發生，而19世紀管風琴的情形就是後者，雖然有許多人與這個演變有關，但當中有一位法國人格外重要，他將原有的管風琴建造技術結合當代的創新方法，發展出前所未有的管風琴，獲致極為特別的成就，無法在此簡述。要真正了解他對於管風琴工藝的獨特貢獻，我們需要實地走訪幾個目前尚存的管風琴實品，尤其是在法國各地的管風琴。但是在此之前，我們還得先回到更早的年代，了解法國17世紀和18世紀的管風琴，這些管風琴的聲音啟發了這位19世紀的才子，所以我們需要先對這些管風琴有點認識。因為我們要探索的是兩個不同世代的法國管風琴建造方式，我打算把這篇簡介分成兩個部分，本文先介紹舊式的管風琴，再用另一篇文章探討19世紀管風琴建造大師卡發耶科爾的作品。
在拿破崙勢力鼎盛的時候，也就是他在1812年進攻俄國之前，法國已熬過二十多年的社會和政治劇變。拿破崙重新建造了法國社會的傳統結構，他計畫要藉著各種不同的政治聯盟，使法國的版圖和影響力激增。而在這陣混亂當中，音樂與藝術都持續蓬勃發展，部分原因就是拿破崙的支持，此外則是因為人類永遠渴望美感。其實拿破崙本身也很愛好義大利歌劇，經常觀賞歌劇演出，他也很喜愛熱鬧的號角聲和軍事盛典。因此我們不難想像，拿破崙對管風琴也很有興趣，即使不是因為管風琴在法國教堂裡的宗教功能，至少會因為管風琴的莊嚴雄偉的音色。無論真正的原因有哪些，管風琴建造家在拿破崙所統治的19世紀前25年相當活躍。
在那個政治社會都不確定的年代，誕生了一位日後大大改變法國管風琴製琴過程，也改變全世界管風琴家和聽眾品味的小男孩。卡發耶科爾在1898年辭世之前，就已經是有史以來最具影響力的管風琴建造天才，他在1811年2月4日出生於一個管風琴建造家的家庭，他父親製作的樂器在南法的隆格多克地區相當聞名，而卡發耶科爾也向兄長學習管風琴建造的相關工作。他在22歲時前往巴黎就學，不久後就贏得聖德尼教堂管風琴重建競賽，這座教堂正是法國歷代君王的陵墓 (附圖)。為了符合這項挑戰，他父親就把管風琴建造工廠遷到巴黎，開始進行工作，於是卡發耶科爾很快就把事業發展到法國各地甚至全世界。
卡發耶科爾最早期的重要成就即為重建聖德尼大教堂的管風琴，這座教堂就在巴黎近郊，現在已被指名為他最初嶄露鋒芒的地點，也預示著他將對管風琴建造家、演奏家和聽眾正在發展的品味造成權威式的影響。在探索聖德尼教堂和後續管風琴的創新設計之前，我們卻需要先回顧十九世紀初法國管風琴建造的情形，以及造成那個情況的傳統，因為卡發耶科爾為聖德尼教堂建造的管風琴有一部分的靈感是來自古典法國管風琴建造的某些成分，並且重新思考另一些成分。(待續)
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〜Aristide Cavaille-Coll (part I)〜
Think of all the inventions over the past century that have revolutionized the way we live: How many can you name? For most of us, life without computers, smart phones or the internet is barely imaginable. Even a world without modern transportation or the comforts of a modern house is so long gone that it’s basically intangible. In many instances, new and complex things have been created through the fusion and adaptation of existing items and technologies. Smart phones are one example of the intersection of earlier technologies and manufacturing processes with new ideas and emerging technologies. The result has been monumentally innovative, changing the course of communication and social interaction.
Though we don’t often think about it, musical instruments have also undergone numerous innovations over the centuries, sometimes incremental, other times radical. The latter was the case with the organ throughout the nineteenth century. Though many people were involved in that transformation, it was one Frenchman in particular who consolidated previous organ building achievements with the innovations of his time to develop an instrument unlike any organ that had been heard before. So extraordinary were his achievements that they cannot easily be summarized here. To truly understand the importance of this person’s contributions to the art of the organ, we would need to visit several of his surviving instruments around the world, particularly throughout France. Before we do that, though, we need to travel back even further in time to visit French organs from the seventeenth and eighteenth centuries. The sounds of those organs inspired our nineteenth-century genius, so we first need to learn a little about them. Since we are exploring two different eras of French organ building, I have decided to divide this article into two parts: first we will look at those older organs, and then in the next article turn our attention to the work of the nineteenth-century master, Aristide Cavaille-Coll.
By the time Napoleon reached the apex of his powers, just prior to his invasion of Russia in 1812, France had already survived some two decades of drastic social and political upheaval. Napoleon himself had reengineered the traditional structure of French society and had schemed to balloon the country’s size and influence through various political alliances. Yet amidst all this turmoil, music and the arts continued to thrive, thanks in part to Napoleon’s patronage, but also to the enduring human desire for beauty. In fact, the Emperor was a great admirer of Italian opera, frequently attending performances, and he was also a lover of raucous fanfare and military pageantry. Given this aspect of his character, perhaps it is not much of a stretch to imagine that Napoleon appreciated the organ, if not for its religious function in French churches, at least for the sheer grandeur of its sound. Whatever the reason, organ builders remained active during his turbulent reign in the first quarter of the century.
Into this world of political and social uncertainty was born the boy who would greatly alter the course of French organ building and the tastes of organists and their audiences the world around. Up to 1898, the year before his death, Aristide Cavaille-Coll remained one of the most influential geniuses the organ building world has ever produced. On February 4, 1811, Aristide was born into a family of organ builders. In fact, his father’s instruments were well known in the Languedoc region of southern France, and Aristide actually learned the trade of organ building from his brother. By the age of 22, he moved to Paris for studies, and very shortly after his arrival won the competition to rebuild the organ at St. Denis, the famed church of French kings in generations past. To meet this challenge, his father’s organ building firm relocated to Paris to begin the work. And so Aristide’s career swiftly soared across France and eventually the world.
Today, Cavaille-Coll’s first major achievement, the rebuilding of that organ at the Basilica of St. Denis, just outside Paris, is typically cited as the initial manifestation of his brilliance as well as a harbinger of his magisterial influence on the developing tastes of builders, performers and listeners alike. Before exploring the innovations found at St. Denis and in subsequent organs, however, we need to survey the state of French organ building at the turn of the nineteenth century and the tradition that led to that point, since Cavaille-Coll’s organ for St. Denis drew inspiration from certain aspects of Classical French organ building while reimagining others.
(To be continued.)
Your Friend,
Justin

2018年10月28日，Justin Berg在寧波天一廣場天主教堂舉行管風琴獻琴感恩彌撒。儀式中Justin Berg演出他為唱詩班和管風琴創作的新曲。同日晚上7點的音樂會，Justin Berg的老師，美國華盛頓特區聖母院大學管風琴教授Craig Cramer博士為大家演奏了巴赫、孟德爾頌和布拉姆斯的樂曲，以及一首由荷蘭著名作曲家Ad Wammes委創的管風琴獨奏曲《寧波》(“Peaceful Waves”）。
Justin Berg現任Orgelkids China執行長，是我非常倚重的同工。他是如何讓110歲的管風琴從美國大西洋漂到了寧波三江口，讓百年管風琴再次喚發歷史的迴響？大家一起來看看吧!
Justin Berg，美國管風琴演奏天才，早在美國歐伯林音樂學院、聖母院大學和杜克大學求學時，Justin就對古典音樂情有獨鍾。古老的管風琴厚重緬邈的音色，讓年輕的Justin感受到了，純真和素樸背後的音樂哲學。
在2009, 11年前，Justin來到寧波，當他看到三江口高聳的天主教堂時，最讓他感慨的是：為什麼這麼高大漂亮的教堂，卻沒有管風琴——天主教堂標配的物件。
"我覺得這個城市⼀定會因為引入管風琴藝術而贏得聲望，因為這裡的人們如此喜歡音樂。我相信管風琴音樂能夠以獨特的方式把人們聯繫起來，所以我總是在尋找機會向人們介紹全新的音樂體驗。並且我一直認為我受的教育使我背負了、盡可能向更多的人推廣管風琴及其音樂的使命，特別是從來沒有聽過管風琴的人。"。
於是，他開始了滿世界的尋找。終於，在2018年的3月，他從一座美國的教堂，找到了一台免費贈送、110年前的管風琴。這台琴有足夠的音栓能用於音樂會演奏，又有專門為支持人聲歌唱而設計的笛管，能在彌撒中引領會眾唱詩的古琴，讓Justin欣喜不已。在Justin的精心安排下，穿越12000公里的距離，這位“世紀老人”飄洋過海來到寧波的三江口。然而，等候在天主教堂的人們，最初見到的並不是完整的管風琴，而是被拆分的巨量、無法計算的零件。21天後，這些零件將被組裝成豎立的管風琴，重新發出110年的歷史迴音。
從每一個螺絲釘、每一塊木條到一台完整的管風琴，從替換每一個受損的管件，到調合新的聲學構造，Justin和管風琴建造專家Halbert Gober組成的志願團隊，從每天晚上7點工作到第二天早上4點，連續工作18小時。終於，在音樂會開始前的1個小時，這台管風琴站了起來 。
110年的古老管風琴終於發出了優雅的樂音，巴赫、孟德爾頌和布拉姆斯的音樂，飄蕩在寧波上空，這也許是寧波市民第一次聽到管風琴的聲響，厚重而深情，帶著古老的記憶，帶著文化的交融。
在管風琴界中，邀請自己的教授演奏管風琴落成首演音樂會，並在音樂會中演出一首新創作的管風琴獨奏曲已是慣例。通過這種方式，管風琴家既表達了對前輩的尊敬，又為不斷發展的管風琴音樂作品做出了貢獻——這兩方面都遵從了管風琴音樂和表演的傳統。
"Craig Cramer博士既是我的良師，也是益友，也是一位在國際上受到認可的演奏家，因此當他願意為這場首演音樂會演奏時，我很高興。由於他知道這台管風琴會提升寧波的聲譽，而我又已經在這個項目中自願付出了我大量的時間和精力，Cramer博士欣然放棄演出費用，單純的為了能與新管風琴一起彈奏的樂趣而參加演出。他對我們的慷慨奉獻將被長久地銘記為寧波近代史上的一個音樂亮點"。
荷蘭知名作曲家Ad Wammes，為寧波委創的管風琴作品《Peaceful Waves寧波》裡，有三江口繁忙穿梭的都市文化，也有水巷縱橫的歐洲風情。
"為了給管風琴一首新的獨奏曲，我聯繫了幾位管風琴和其他樂器的著名作曲家。他們都很有興趣為寧波的管風琴首演創作一首曲子。經過反覆溝通，我選擇了荷蘭知名作曲家Ad Wammes創作的五分鐘的管風琴演奏曲。近年來，Wammes先生的音樂特別受歡迎，僅在2017年間就有超過400場演出。
(註: Orgelkids荷蘭的主題曲也是Ad Wammes的創作)。
我不想過分影響他的創作過程，只是簡單地問他是否願意以一個船歌的風格寫作。因為他在荷蘭所處的城市河流和水道阡陌縱橫，就像寧波一樣，他立刻愛上了這個建議。我非常感激他的合作精神、專業精神、耐心和善意。在網上搜索了“寧波”的英語和荷蘭語翻譯之後， Wammes選擇了“Peaceful Waves （寧靜的波濤）”作為作品的標題，此曲當晚受到全體觀眾熱情地接納、鼓掌與喝采。關於這首新曲的消息已經傳遍了歐洲、北美洲和亞洲，消息流傳之廣以至於我接連收到有關這首樂曲以及演出版權的詢問"。
管風琴是高大的樂器，它們是需要“站立”起來的；這就是為什麼管風琴建造師說“豎立”一台管風琴。我很榮幸能把這個音樂禮物帶給美好的寧波，為此，我將舉辦一系列的管風琴音樂會，均免費向公眾開放，為的是向人們介紹管風琴及其樂曲。因為音樂有跨越文化將人們相連的潛能，讓所有人都能享受它變得至關重要"。
音樂，是沒有國界的語言。而音樂人的使命，也許就是讓一台琴，一段音樂串聯起，人類對於幸福和美好的嚮往。Justin 今年暑假將再度來協助「2020屏東演藝廳兒童管風琴夏令營」，讓學員又可以學習和享受Justin《探索、游藝管風琴》的樂趣。

本刊委請Dr. Alain Truche (DMA, student of Dr. George Ritchie at UNL.) 聯繫本文作者 Dr. Paul Barte與TAO雜誌授權翻譯轉載，在此一併致謝。
『You have the Guild's permission to post the article on the Orgelkids Taiwan Facebook page. Copyright 2020, by the American Guild of Organists.
Reproduced by permission of The American Organist magazine.』
Barte：你還參與過一項記錄片及錄音專輯，就是巴哈《賦格的藝術》的CD/DVD，巴哈學者Christoph Wolff也在其中擔任主角。請描述這項工作是怎麼開始的，以及你對做出來的成品有哪些印象。
Rithcie：我這一生最重要的音樂體驗之一，就是1965年在慕尼黑的University Church裡，聽Helmut Walcha用Beckerath管風琴彈奏《賦格的藝術》。當時我整個人完全被震撼到無法形容：因為這些作品的美感，也因為巴哈竟能將知性和感性的表現如此完美融合，並且達到旋律水平層面（持續行進的各個旋律）和垂直層面（讓各個旋律共同創造出一連串豪華的和諧）的驚人平衡。我鄭重立志總有一天要學會這部作品，但我會等到自己覺得準備就緒的時候。我確實也等到錄完巴哈管風琴作品全集的時候。就在我學習並演奏《賦格的藝術》之後，我認識了Will Fraser，他是個英國管風琴家，畢業於劍橋大學英文系，又在University of Mississippi攻讀創意寫作的藝術創作碩士。他到林肯市來參加一場以Willa Cather為主題的研討會，想找我談談向Walcha學習的經驗，作為他正在撰寫的小說的背景。他完成碩士學位之後開了一家名叫Fugue State Films的公司，專門製作管風琴錄音，也拍攝管風琴音樂的記錄片。他在2006年邀請我去錄製《賦格的藝術》，要用亞歷桑那州Scottsdale的Pinnacle Presbyterian Church裡由Richards-Fowkes建造的管風琴，這座琴是按照巴哈時代德國中部的管風琴所建造的。這套雙CD錄音還包含附贈曲目，就是巴哈在譜寫《賦格的藝術》同時所創作的管風琴曲，選自我所錄製的全套巴哈管風琴作品。錄製《賦格的藝術》把我數十年來的作品串在一起，這尤其是因為我運用了Christoph Wolff針對《賦格的藝術》所做的研究，而且我錄完巴哈最後那首未完成的賦格之後，還錄製了我以前的導師Helmut Walcha將這部作品補完的版本。Will Fraser除了雙CD錄音還做了一張DVD，裡面是兩支記錄片，第一支影片是《Desert Fugue》，記敘《賦格的藝術》的歷史背景、我在Scottsdale的管風琴錄音的經過，以及我向Walcha學習的經驗。為了製作這支影片，Fraser訪談了Wolff（他當時是萊比錫的巴哈檔案中心館長），以及Ralph Richards和Bruce Fowkes這兩位管風琴建造家，也有一段是訪問我。第二支影片就是拍攝我介紹《賦格的藝術》的每一個樂曲，除了聆聽樂曲時對情感產生的影響，這套CD/DVD裡面所有的資料，會令聽眾/觀眾對這整部作品得到更多知識上的了解，更詳細認識這部西洋複音音樂的巔峰之作。
https://m.youtube.com/watch?feature=youtu.be&v=RCns3WVwHEg
https://m.youtube.com/watch?feature=youtu.be&v=B1JQIc3e14Y
Barte：你退休後雖然沒有繼續經常公開演奏管風琴，但我知道你並沒有閒著！你曾提到正著手學習巴哈的大鍵琴作品，可以請你多談談嗎？包括，是哪些具體作品，還有你進行的步驟，甚至是一開始的動機？你曾經公開演奏過大鍵琴音樂嗎？還是純粹為了樂在其中？
Ritchie：與別的音樂家相比，我們演奏鍵盤樂器的人最美妙的一點就是，我們可以一坐下來就彈出巴哈那麼多作品，與有史以來最偉大的心靈之一有這麼親密的聯繫。我熱愛管風琴曲，但是我大半輩子都投入管風琴曲的演奏、錄音、教學，既然只有一輩子可活，我決定退休後每天都要撥時間盡量學習他的大鍵琴作品，這純粹是為了自娛而樂在其中。我所謂「學習」是指真正將音樂內化在心裡，所以我每天至少用一個小時專心練習某個樂曲或樂章，分別記誦每一段旋律（就如Helmut Walcha教我的方法），學著在彈其他旋律的時候把這段旋律唱出來，最後再把全部組合起來。我沒辦法過目不忘，但是這種練習方式讓我可以把整個樂曲連同所有複音的聲線牢記在腦中，就算我不在鍵盤旁邊、例如出遠門踏青的時候，也可以在腦中瀏覽、隨時思索。每個作品都是雙手的實體拼圖練習，也是知性上的挑戰、美學上的珠寶，能夠在心中翻來覆去玩賞這個珠寶，研究各個旋律如何彼此關連、樂思如何發展、整個作品的結構是什麼、各個樂章如何在理論上彼此相連結，這一切都具有永無止境的吸引力。我決定按照巴哈可能用來教學的順序逐一練熟所有曲目，迄今我已經背完了創意曲、交響曲、法國組曲、英國組曲，正要進入《平均律曲集》。每天的這一個小時，以及我用來思索音樂的時間，都帶給我極大的樂趣和難以言喻的收穫。其實我並沒有完全放棄公開演奏，我退休後還曾與另一位大鍵琴演奏家一起在四場音樂會中演奏雙大鍵琴作品，曲目包括巴哈的協奏曲，還有他的兒子Wilhelm Friedemann、Carl Phililpp Emanuel、Johann Christian的作品，以及Nicholas Krebs和Antonio Soler的作品。
Barte：退休之後，除了音樂方面的活動，你們夫妻也經常去旅行，你願意分享當中最精采的部分嗎？
Ritchie：我們很愛好旅行，我還沒退休的時候，除了到歐洲和亞洲的一般文化之旅，我們也很喜歡戶外活動，例如到Wyoming的Wind River Mountains背包旅行，還去過冰河國家公園、奧林匹克國家公園，也會去Salmon River的Middle Fork泛舟，也曾去過阿拉斯加的Tatshenshini River，也曾沿著科羅拉多河遊大峽谷。還有一次我們到厄瓜多爾的亞馬遜盆地生態保護區，後來又去加拉巴哥群島浮潛和賞鳥。退休後我們也持續進行這類的活動。三年前，我們徒步60英哩穿越Oregon東北部壯麗的Wallowa Mountains，用美洲駱駝幫我們載運比較重的行李。我們最近也當志工，在遙遠的密克羅尼西亞群島協助科學家進行綠蠵龜築巢的研究，還有一次到古巴最西端旅行、浮潛和賞鳥。我們非常幸運能在Oregon的波特蘭生活，這裡有豐富的文化資源，也能每星期都和其他退休人士一起健行和穿雪鞋走雪地，享受Columbia River Gorge、Mount Hood、Oregon海岸絕美的風光，只要健康狀況允許，我們就會繼續。(全文完)
〜Dr. George Ritchie和George Stauffer合著的《Organ Technique: Modern and Early》中文版即將付梓。
這本厚達380頁的教科書，為美國管風琴界近幾十年來影響力最大，引用率最高的音樂論著，在管風琴音樂書中的地位不可撼動。請關注本刊預購優惠與贈書活動。
中譯: 劉思潔 (專業翻譯，Orgelkids Taiwan文字同工)

本刊委請Dr. Alain Truche (DMA, student of Dr. George Ritchie at UNL.) 聯繫本文作者 Dr. Paul Barte與TAO雜誌授權翻譯轉載，在此一併致謝。
『You have the Guild's permission to post the article on the Orgelkids Taiwan Facebook page. Copyright 2020, by the American Guild of Organists.
Reproduced by permission of The American Organist magazine.』
Barte：要錄製管風琴音樂，這個行動似乎充滿著特別的挑戰，畢竟現實條件就是並不理想的聲音環境，樂器本身偶爾也很不合作，然後還有別的問題。你錄製巴哈管風琴全集的過程中遇到過甚麼特殊的挑戰嗎？
Ritchie：對我而言，最困難的挑戰就是在教堂錄音，因為教堂和錄音室截然不同，有太多東西無法掌控。例如有幾座最好的管風琴是在鬧市街區的教堂裡，車水馬龍的聲音在教堂內也可以清楚聽到，所以至少那些比較輕柔的樂章和段落就必須在半夜錄製，但即使是在半夜裡，一段完美的錄音最後也可能因為大卡車或機車呼嘯而過導致功虧一簣。就算沒有車輛噪音的問題，可能隔壁卻忽然開動割草機，或是忽然有一陣暴雨打在屋頂上，或是冷暖空調系統噪音太大。在聖保羅用House of Hope裡面那座Fisk建造的管風琴錄音時，遇上熱浪來襲，雖然可以開空調，但是一到早上九點，屋頂就會嚴重受熱，造成管風琴最高的部分和別的部分變得不合調，於是我們就得在每天凌晨四點到上午九點之間進行錄音。最後一次錄音時，我和錄音工程師Ed Kelly一走進教堂，就發現前一天晚上有人把冷氣關掉，而整座管風琴都走音了，幸好我們可以多待一天來完成錄音。由於管風琴永遠有可能出現突發狀況，例如某個故障造成音管連響、某個鍵盤按下去就會卡住，所以一定要有管風琴技師隨時待命。有一次，我在錄製某個樂章時，每次彈完某個鍵盤就必須再把它推上來。此外，教堂的音響效果也可能很難處理，一個音響環境對梅湘這樣的作曲家而言可能很完美，對巴哈的複音音樂就可能太多殘響了。我第一次在萊比錫的巴哈教堂也就是聖湯瑪斯教堂聽到有人演出巴哈清唱曲的時候，很意外那裡的殘響那麼大，複音的聲線都變模糊了，實在很難相信他是為那個空間創作這麼複雜的複音音樂。後來我才發現，在巴哈的時代教堂裡有很多供人就坐的木箱，還掛著許多旗幟，這些東西使殘響減少到只有三秒鐘，這樣就很完美了。我錄製管風琴作品時，最關注的是一定要讓聽眾聽到所有對位的線條，所以如果教堂裡殘響太大，我和工程人員就會讓麥克風比較靠近管風琴，如此可使收錄的琴聲比較像是教堂裡坐滿人的時候聽到的聲音。
Barte：你應該就是在錄製巴哈管風琴作品的期間，與George Stauffer合著了《Organ Technique: Modern and Early》，這本書的由來是什麼呢？ George最為人所知的身分其實是巴哈學者而不是管風琴家，很難想像他會是這本書的共同作者，你們怎麼會合作寫書？是否可以請你描述這種管風琴方法的獨特之處？
Ritchie：其實是這本書先完成，然後我才從1992年開始進行巴哈管風琴作品全集的錄音。這本書最先是在1990年由Prentice Hall出版，後來才在2000年改由Oxford University Press出版。我和George Stauffer是在1980年代後期撰寫這本書，當時我正要完成三項比較早期的錄音（Titanic label）。George的現職是Rutgers University的梅森‧格羅斯藝術學院院長，但許多人並不知道，他曾有很多年的時間在Columbia University的St. Paul’s Chapel擔任管風琴師和教會音樂系主任，在管風琴教學之外，也經常用那座Aeolian-Skinner管風琴開演奏會，他是跟隨John Weaver和Vernon de Tar學習管風琴的。在1980年代中期，我們談到合作撰寫探討管風琴技巧的著作，介紹一些系統性的方法，讓讀者不僅可學習適合「早期」管風琴音樂（1750年之前創作的音樂）的技巧，也可認識適用於在此之後創作的音樂的技巧。由於管風琴家彈奏的樂曲的創作年代前後相距將近600年，我們希望盡可能包含並整合最多的相關資訊，可以介紹歷史上各種音樂風格和演奏慣例、管風琴曲目、歷史上各種管風琴類型、管風琴的音栓配合法。由於巴哈的音樂對管風琴家而言是最重要的，我們便決定把早期的手鍵盤和腳鍵盤技巧鎖定在巴哈本人可能採用的方式，這是根據許多歷史資料所顯示的。我們兩個人都很熟悉各個歷史時期的管風琴技巧的原始資料，而我也曾在演奏和錄音的經驗中，把「早期」的技巧運用在文藝復興和巴洛克時期的音樂上，也會運用現代技巧於比較晚期的音樂。這本書也包含針對裝飾法和司琴法的章節，還有一章特別探討彈奏二十世紀晚期比較前衛的作品所需要的新式演奏技巧。我們先是分配每章的內容由誰撰寫初稿，然後再大力合作加以發揮和修潤，而這部著作也成為當代第一部有系統闡述「早期」管風琴技巧教學的教本，也是最早以專章介紹二十世紀晚期管風琴音樂新式技巧的著作。此外，書中還包含大量歷史資料和實用資訊，使這部作品具有相當特殊的地位。(待續)
〜Dr. George Ritchie和George Stauffer合著的《Organ Technique: Modern and Early》中文版即將付梓。
這本厚達380頁的教科書，為美國管風琴界近幾十年來影響力最大，引用率最高的音樂論著，在管風琴音樂書中的地位不可撼動。請關注本刊預購優惠與贈書活動。
中譯: 劉思潔 (專業翻譯，Orgelkids Taiwan文字同工)