“MITTELTÖNIGE HAUSORGEL”

HAUSORGEL Dalibor Miklavčič
Nach Entwürfen des Eigentümers gebaut 2004 (Op. 7 http://orglarstvo-mocnik.si )
Seit 2016 in der Stadtpfarrkirche St. Jacob/Ljubljana (Jesuitenkirche unter dem Schloßberg im alten Stadtkern), umtemperiert und intonatorisch verfeinert. Steht auf einem fahrbaren Podest, zum LKW-Transport geeignet.
Diese einzige mitteltönige Orgel Sloweniens findet internationale Beachtung wegen ihrer Klaviaturen mit fein differenzierten Anschlagsnuancen, der edlen Intonation sowie einer unerwartet flexiblen Disposition (fünf 8′-Register in Manualen als Grundlage für poetische “Mitteldeutsche” Klangeffekte) und perfekt funktionierenden Transmissionen. Als eine spätere Variante dieser Orgel wurde auch die Unterrichtsorgel am Staatlichen Konservatorium Ljubljana nachgebaut.

a = 440Hz
Tuning: 1/5sc-Meantone with c# g# d# a#  permanently freely adjustable

Hauptwerck:
FLÖTE 8′ (gedeckt C-H, offen ab c0)
VIOL DI GAMBA 8′ (offen, konisch)
PRINCIPAL 4′ (Silbermann)
NASSAT 3′ item
TERTIA 1 ½’  item
MIXTUR III-fach  item
VOX HUMANA 8′ (Silbermann, modifiziert)

Positiv:
GEDACKT 8′ (Lerche)
QUINTADEHN 8′ (Metall, Baß im Prospekt des POS)
HOLZFLÖTE 4 (offen, nach Ahrend)
PRINCIPAL 2′ (Silbermann)
ROSSIGNOL (Vogelgezwitscher)

Pedal:
SUBBAß 16′ (e-)
FLÖTBAß 8′  Transmission HW
VIOLONBAß 8′  item
CHORALBAß 4′  item
REGALBAß 8  item
BAß FORTE (Regler der Lautstärke für Subbaß 16′)

#Kanaltremulant »aufs gantze Werck«, vielfältig einstellbar
#Schiebekoppel II-I, Normalkoppeln I-P und II-P
#Hauptwerck wahlweise kurze Oktav/chromatische Oktav
#2 Keilbälge – wahlweise Motor oder Calcantenzüge
#verschiedene Grade der Windflexibilität frei einstellbar
#Klaviaturmaße nach Wender, Arnstadt (»Bachorgel 1703«)
#Flügeltürchen (je 2 für POS und HW) vor dem Prospekt: Lautstärkenproporzen zwischen HW & POS einstellbar; auch das Dach beweglich: diverse Klangausstrahlungsmodalitäten
#Perfekte Transmissionen HW-PED: erweiterte Klangfarbenvielfalt
#Gehäuse autonomes Tischlerkunstwerk, Fichte massiv, Dekorationen Nuß-Wurzelholz, Schleierbretter Weichholz
#Erweiterung mit selbständigen Pedalregistern und -windlade bereits technisch vorbereitet (Windkanal, Platz für Traktur etc)

WHO PLAYED THIS INSTRUMENT:
Hans Fagius, Royal Danish Academy of Music Kopenhagen, DK
Nathan Laube, Eastman School of Music, Rochester NY
Henry Fairs, Conservatory of Birmingham
Jürgen Essl, MHS Stuttgart
László Fassang, F.Liszt Music Academy budapest & CNSMD Paris
Jon Laukvik, MHS Stuttgart & Oslo Music Academy
Martin Kares, Orgelsachverständiger, Karlsruhe
Volker Lutz, MHS Stuttgart und Orgelsachverständiger
Lorenzo Ghielmi, SCB Basel / Accad.Internat. di Musica Antica, Milano
Paolo Crivellaro, UdK Berlin
Mattias Wager, Stockholm
Franz Danksagmüller, MHS Lübeck
Karl Bernhardin Kropf, Rostock
Martin Sander, MHS Heidelberg
Manuel Tomadin, Cremona Conservatory

Having had the opportunity to play several of Tomaž Močnik’s pipe organs, I can confidently say that he is a true artist among organbuilders, possessing a rare gift for voicing and the great technical skill to build refined, sensitive, and satisfying actions. Dalibor Miklavčič’s private instrument (Močnik, op. 7, 2man+ped, 15stops, flexible meantone temperament ) is a joy to hear, offering poetic individual stops for intimate accompanimental and coloristic purposes, while belying its petite disposition with a full, textured, sonorous sound.  It is this high quality of sound and craftsmanship that at once delights the ears of the music aficionado and pleases the connoisseur. Ljubljana is blessed to have such an instrument and I look forward to learning of the exciting possibilities its addition to Ljubljana’s musical scene will afford!  Congratulations!
Prof. Nathan LaubeThe Eastman School of Music, Rochester, New York, USA
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Con piacere ho suonato l’organo di Tomaž Močnik,
un organoaro fra i più interessanti della scena europea.
La delicatezza del tocco e la sensibilità dell’intonazione donano a questo piccolo strumento una grande versatilità e ne fanno una vera gioia per l’organista.
Sono sicuro che questo strumento sia e sarà un’arrichimento per la musica della città di Lubiana e un coronamento della liturgia celebrata nella chiesa dove è collocato.
Lorenzo Ghielmi
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It has been a great pleasure to get to know the work of the very fine organ builder, Tomaž Močnik during this, my first visit to perform in Ljubljana. I particularly enjoyed spending many rewarding hours getting to know Dalibor Miklavčič’s private instrument. Here one feels a direct connection with the sound, which is characterised by certain poetry as well as achieving a good presence in the building. The marriage of temperament, fine action and voicing is an extremely happy one. This organ is a great asset to the city of Ljubljana; a truly musical instrument with a clear identity that is deeply rewarding for player and listener alike.
Prof. Henry Fairs / Head or Organ, Birmingham Conservatoire
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I had the honor of playing Dalibor Miklavcic’s private organ in Ljubljana recently during a concert. The city of Ljubljana can be proud to have such a valuable and versatile instrument, where you can perform the music of Bach like on a small historic organ. A little jewel in the center of the city that will surely bring much tourism and many fans!
I find in this instrument a great accuracy in the voicing of the individual stops, more precisely every single stop of 15 available has a particular characteristics and blends very well with all others. You can find many combinations that make it a very interesting instrument – there is space for a lot of imagination to combine the many colors available. Even the Mixtur, despite having a few files is worthy of noting – in the execution of a prelude and fugue by Bach it provides austerity and at the same time very clear gloss and intelligible polyphony. The action, very quiet, is light and accurate; the pedal with its reed stop can be used for cantus firmus but also as enrichment of the “Mixturplenum”. The choice to have an variable meantone temperament is a very clever idea that allows to perform a very large repertoire from the Renaissance to the late 18. Century.
Prof. Manuel Tomadin, Conservatory in Cremona (Italy) & International concert artist
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