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The Style

For decades now, the replica of historical instruments has been a basic tool for the study, research and interpretation of ancient music.

From our experience and coexistence with the Castilian barroque organs, we would like to present a model for an instrument both strictly accurate to the style of the ones our ancestors built in the towns of Castille, and affordable and viable in its size and features.

From our Tordesillas workshop, we have boosted the Clarín Project, which tries to offer an instrument suitable for the study and interpretation of the spanish organ repertory, aiming at those spheres that lack an instrument of this kind.

About the Style

In the 17th century, in the very heart of Castile strengthened a new style of organ, come up as a response both to the wishes of the previous century organists and to the new technical achievements. The new manners got along with the taste of the time, and they would keep their more characteristic features well into the 19th century.

Stops in the Salamanca Cathedral Organ

The different families of craftsmen laid down and improved their own style within the characteristics common to the period organs: divided stops and horizontal reeds. So, they shaped a profile that spread during the 18th century from the small castilian villages to all the sphere of influence of the Crown of Castille, and whose more specific feature, the horizontal reeds, is universal today.

One of these castilian craftsmen families was the Ortega, who worked from the 18th century on to the middle of the 19th: Pérez Molero, Francisco Ortega, Juan de Inés y Ortega, Leandro Garcimartín de Inés.

To us, settled our workshop in Tordesillas, and devoted to the restoration of ancient organs both in Castilla and in other areas, the defining features of these organs are not limited to their structure or stops´s nomenclature. Furthermore, they lie on the techniques and materials, on the size of the mechanical components, on the pipes geometry and construction, on the shape of the wind, on the case’s aesthetics, and above all, on the unmistakable taste of their voices, which allows us to listen to a tiento of Correa de Arauxo in its more appropriate dimension.

The small organ in Marugan´s church was built by Juán de Inés y Ortega, in his village and for his village, and it was funded “with the alms of the residents”. Consequently, it could be said that it bears the austerity of his land and time, but it has all the elements an organ of his kind should have. Its solid workmanship, inherited from its predecessors, and the wide range of colours put at the service of the organist, turn it to be a synthesis of the castilian organ at its smallest possible size.

For all these reasons, and some other personal ones, we think of this organ as a basic but complete instrument for the purposes of the study and interpretation of the spanish organ music and the recreation of its appropriate atmosphere.

Maybe are we unable to reproduce the mysterious acoustics of the castilian churches or the charm of these organs, but pervaded by their spirit, we try honestly to state it with quality and warmth, with technical rigour and sensibility.

The Clarín Project is a proposal from our workshop that seeks to offer an instrument suitable for the study and interpretation of the iberian organ music, aiming at those spheres in which they lack the appropriate instrument for this style. We hope that its features, size, cost and conditions will be the best for the intended purpose.

Correa de Arauxo
Facultad Orgánica, Francisco Correa de Arauxo, 1626.)

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