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2010-02-14T14:12:36Z

Csaba:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio1.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left1.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

<youtube>uhn9iYwLASE&hd=1</youtube>
<youtube>9taRj19iPCs&hd=1</youtube>

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

{{#widget:Vimeo|id=9434240}}

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reintroduced by Pope St. Pius X only as recently as the year 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St. Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the belltower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 1930’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for a few more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished by high concentrations of ambient ammonia; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows, even today, who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmastime in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its holy property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south belltower, interior painted ornaments, and frescos were renovated once again. The general reconstruction, which had been interrupted by the War, however, did not continue. Unresolved technical problems led to a rapid deterioration of the structural integrity of the building in the 1990's. On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community carried it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the unchecked deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as detailing the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. By late 2007, Zsolnay had begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction project. In September 2008, one of the most challenging parts – the reconstruction of the gates – had started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the aforementioned fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ has deteriorated in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and components of the old instrument's action that could be salvaged, and combined romantic- and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart, repaired and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer capture system. Another stop, the Chamade 8’, was built into the organ's exterior case. The 5-manual 85-stop organ has slider-and-cone wind-chests powering 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture, who co-built for example the Palace of Arts Budapest 92-stop symphonic organ, and has had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded by Inspired Acoustics, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in such a way as to capture the sonic experience near the organ console. During the 2009 recording sessions, the church acoustic was partially damped due to the major inner reconstruction work occuring in the cathedral (the RT30 reverberation time was in average 3% shorter). The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.
* 1 February 2010: Shipping (Professional Edition)

The Extended Edition release dates are not announced yet.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple (8) [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3 supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (nave sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Console Stereo organ (near-the console sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3 supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

Files: 138787 individual sounds in all packages together (Professional Edition), 7111 image files

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

2009-12-16T14:33:20Z

Csaba:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, (abbreviated 'KO') from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument using the latest in audio recording technology and cutting edge spatial customization features.

<youtube>BY9r6EpNkPQ</youtube>
''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>PL1XM42euTo</youtube>
''Chant de Paix (Song of Peace)'' by Jean Langlais, courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
''Hornpipe'' from Handel's ''Watermusick,'' with modern cadenza, courtesy of Joseph Felice, USA.

== History of the Kispest organ ==
The beginnings date back to the 19th century. In the old, small church, because of its size – and also because of its poverty – only a small harmonium served the liturgy. A typical sign of the 19th century conditions listed the harmonium at a value of 500 crowns, while all the rest of the equipment (chalices, clothes for the liturgy, books, benches, etc.) were valued at not more than 800 crowns!
Construction of the Rudolf Votive Church was completed in 1904, and was consecrated on October 23 of the same year. The sheer cost of building the church placed a heavy financial burden on the parishioners in the form of loans, so at that time it was impossible to even think about an organ. The walls stood plain, only whitewashed; whatever little furniture they had was inherited from the old church. It is likely that the harmonium was borrowed from that place.

However, to a great joy of the Kispest congregation, the Capitol donated an organ to the Rudolph Votive Church. We have only indirect records of the event, because according to the November 23, 1906 minutes of the ’R.C. presbytery of Kispest-Szentlőrincz’, the secular chairman reports that the organ donated by the Capitol has been set up by public contributions”. We might conclude that the contributions were collected the same year. We have no further information about this instrument.

The parish probably received a used instrument, in the place of which a new organ was built. We do not know about its mechanism, but it is quite possible that – while pneumatic organs had become popular – it had mechanical action. It certainly did not have an electric motor, which would have provided the necessary wind for the pipes because the March 24, 1907 minutes of the presbytery ‘the church chairman [i.e. parson Antal Ribényi] asked for the establishment of the position of an organ-blower.’ According to the decision of the organization, ‘the position was established, and the salary of the organ-blower was set at 80 crowns a year.” The presumption that the instrument was a second-hand one, is also supported by the February 25, 1912 meeting, in which the ‘parish clerk reported that the organ needed large-scale repairs and asks for their implementation. The presbytery decided to have the organ repaired.’ The document consistently mentioned repairs and not maintenance. A mere five-year-old instrument would only require regular preventive maintenance; but here we read about repairs of a large scale. If it was a new instrument, it had to be of very low quality, both in terms of the materials used and the work of the so-called ‘master’ organ builder.

There is a ten-year-long silence in the documents about the organ, but it is quite likely that larger and smaller repairs were needed. Nevertheless, even these could not prevent the degradation – and the final ruin – of the instrument. This must have happened in the first years of the 1920’s. Sometime later, an organ fund was created, which first aimed at the total reconstruction of the old organ, but later the goal was to have especially a new instrument.

From the November 15, 1925 minutes: “The mayor as chairman discussed in a long speech that in such a large town as Kispest, it is intolerable that the Roman Catholic church has a bad harmonium for an instrument instead of an organ. It is the moral duty of the presbytery to have an organ built.”

Three months later, on February 15, 1926, “Dr. Gyula Válya deputy mayor, secular chairman presses the matter of organ-building. He proposed that the Church ask for a quote from a few organ builders until the meeting next month and then they should decide about the order of the new organ.” The body of representatives approved the proposal and later on everybody tried to help the case of organ-building as much as they could. Sándor Lanther cantor and choir master, for example, organized a collection among the members of the male choir of the Church, and the revenue from their church concert was also put into the organ fund.
An agreement was made with Viktor Sugár, government counselor, the organist of the Matthias Church, about the professional management and supervision of the works, and the actual building of the organ was awarded to the Rieger company, which also had an office in Budapest. By the autumn of 1927, after much hard work and sacrifices, the new 29-stop instrument -- Opus 2256 – was finished. The October-November issue of the Catholic Cantor carried an article that praises the organ in Kispest and prints the acceptance statement of Viktor Sugár, together with the original disposition.
It is basically the very same organ that was used in the church until November 1997, but in the intervening decades, so many things were rebuilt that the instrument’s original state can only be guessed.
One thing is for sure, this was not an entirely new instrument, some of the structural elements (e.g. pipes) of the old organ was kept or reconstructed. The windchest became a pneumatic membrane chest, which has a number of advantages, but is very cumbersome to maintain and repair. The organ received a new console, and the pipes spoke with a mainly German Romantic overall sound. The invitations and programs still in existence are proof that the concert life was blooming in the first half of the 20th century. Famous organists visited the Rudolph Votive Church in Kispest and they played the very best pieces of the organ literature for the congregation.

The original Rieger organ underwent many changes and reconstructions, much of which did not help with the instrument’s sound, reliability or playability. Perhaps in the 1940’s, the unified disposition of the organ was significantly altered: in the spirit of some organ movement of the time, re-builders tried to adjust the instrument to suit a neo-Baroque taste. Some pipe ranks were moved to different parts of the organ, other pipes were sliced in half, and still others were simply removed from the instrument. Naturally, these “enhancement” blunders had exactly the opposite effect than expected: the artistic value of the instrument had been irrevocably diminished; combined with the inevitably gradual but continual degradation, the organ could fulfill its role less and less.
By the middle of the 1970’s, a total renovation was planned but was constantly postponed. It was about this time that the organ could still be fiddled about, but not repaired any more. At the beginning of the eighties, a total examination and cleaning brought forth some small repairs, but none of this “patch-up” work yielded the expected results.
By the nineties, the organ had become worthless in providing meaningful musical support of the liturgy; worse yet, it was totally useless regarding any artistic work. The instrument has become extremely unreliable: the pipes played very inaccurately, -- they either spoke very late, or not at all; none of the combination pistons worked, about two-thirds of the switches were unusable, and the crescendo roll was broken. Because of the wear and tear on those aging parts that did remain intact, notes frequently stuck open (in the form of ciphors), making not only the masses ‘hard to forget’ but also the weddings. Just as in 1925, it was inevitable that the organ must be totally rebuilt.

The body of representatives considered the renovation first on February 25, 1995. During the year the presbytery appointed Bertalan Hock, organist of the Matthias Church to assess the technical state of the instrument, to design the new organ, and to perform the technical management and supervision of the renovation. In November 1995, the body of representatives decided to establish the Centenary of our Church Foundation, the goal of which is to promote and financially support the organ-building and the renovation of the church.

The presbytery appointed master organ builder László Varga with the renovation and reconstruction of the instrument, who transported some of the pipes into his workshop already in December. While the renovation lasted, for some time the stops of the organ not yet repaired were used. However, on Sunday, November 30, 1997, during the evening rosary prayer-meeting, the organ gave up: keys got stuck one after another, altogether some eight of them wailed simultaneously in a dissonant death cry, so any further play became impossible. Then – just as 75 years earlier –, for about one and half years, the harmonium substituted for the mute organ. According to the agreement, the renovation was implemented in phases, so the instrument would be missed for the shortest time possible. The blowers were built, the original Swiss blower motor from 1927 was fully renovated; the swellwork was installed with its pipes, together with the nearly new console, which only reused the original wooden case. Thus, after long weeks of intonation and tuning, the first 16 stops sounded on Easter 1999, which were gradually followed by the remaining ones, first the stops of the main work, then the pedal work.

Compared to the original ideas, the works have been quite delayed, some of the plans have changed and some changes were needed in the budget as well. The great amount of sacrifices, patience, and the financial support of the congregation, the local government and the foundation finally yielded the expected result: on February 25, 2001, during the even mass at 6 o’clock, Bishop Dr. Miklós Beer blessed the organ. After the holy mass, Bertalan Hock organist gave a very successful concert. He created a program to show the versatility and the virtues of the organ. This was when everybody realized that they managed to exceed their originally intended goals: besides modernization and renovation, a new sonic quality was born – the overall sound of the organ showed many features of the French Romantic style.

When the renovation work started, the parishioners could not even think about financing a new organ, so the goal was to achieve the most from what was available. Therefore the years of the renovations were spent in constant compromises. The parts used (e.g. the valve magnets) were built in Hungary instead of buying very expensive ones from abroad. The whole console is the work of the organ builder. Only some very special, impossible-to-replace materials were imported from abroad, such as the three new reed stops. When designing the overall sound and the disposition, the available pipe materials had to be considered, but this significantly limited the possibilities, as they originated from an instrument of a very different style, much of which had been tampered with and generally ruined several times. Especially in the light of these, we can safely say that the result is exceeding the expectations by far, and is a work of lasting artistic value.

What changes were implemented during the renovation? In general, the only part that stayed in its original state and place is the case of the organ. The construction and the action of the organ is brand new: it received a large, common blower and two balancing small blowers (wind reservoirs). Brand new electric slider chests were built for the main and swellwork, a totally redesigned electric membrane chest for the pedal work, and a new, combined electric cone chest for the principal stops of the pedal. A new swell case was built, with a large row of lamellae in the front, currently positioned in the middle. All the pipes were renewed, the missing ones replaced; some stops resumed their original functions, and some brand new stops were built into the organ, among them the aforementioned three reed stops. Some stops were radically rebuilt: there was a pedal stop which now works in the swellwork! (The lower two octaves of Gamba 8’ were created from the Cello 8’.) The instrument has now 38 stops instead of the original 27. Because of the expansions, the old case has proven too small, so the pedal work was moved behind the organ. The console’s inner workings are entirely new; its case was only kept for staying in style. The old, totally worn out and impossible-to-repair manuals were replaced by new ones, and the performance helpers were placed while taking ergonomic aspects into account. The case was veneered and varnished again on the inside, painted on the outside. The electric action received a totally new control system, with a special computer, allowing the storage of 576 different combinations. A fully programmable Tutti and 3 different crescendo roll programs are also available.

The renewed organ cannot deny its German Romantic heritage, but because of the careful planning, the significant changes and especially the excellent, artistic intonation (which is the joint work of the master organ builder and Bertalan Hock), it became capable of portraying the gems of the French Romantic organ literature. Not only can it perform its duties in the liturgy, but those interested could hear its versatile and beautiful sound at many memorable concerts. Besides the Hungarian organists, artists even from as far as South Korea appeared as guest performers.
Some intended parts of the renovation could not be finished, due to the lack of funds. These unsettled matters include a missing rank of pipes, plus major and minor mechanical issues of pipework, infrastructure and the console. For example: The Trompette 8’ stop from the Pedal is still missing, as is the Tremulant motor. Smaller remaining details include swell shutters that creak when they move. In addition, there are a few missing pipes waiting, still today, for their final place in the organ case (already of which is packed densely with pipes, due to the case’s original limited volume). Although the salvaged original pipework was lovingly reworked and restored by professional craftsmen, they remain more prone to changes in humidity and temperature than new pipes. As such, these particular pipes require more frequent adjustments – a good example is the Flute 8’ on the 2nd manual. Regarding the console, due to its regular use over the decades since the previous restoration, its keyboards require yet another replacement. In summary, even though the restoration has been signed off as being completed in 2001 (with the funds then available), continuous work must be conducted as funds allow, maintaining the organ’s restored 2001 state as much as possible. All of the above issues are real and many are serious, but they are very likely to diminish once the organist experiences “the sound” that this magnificent instrument is capable of producing.

== Sample set details ==

The KO sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-09T05:26:50Z

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