The Trumpets

The trompette en chamade will extend out from the balcony with sixty-one horizontal flared brass pipes. These pipes will be voiced as English trumpets. Additionally, trumpets of French timbre will be located above the Gallery Great chamber.

In the 19th century, the evolution of trumpet reeds used in organs diverged, with English and French instruments taking on different forms and sounds.

English reeds are the reeds developed in 19th century England and brought to their height by the Willis firm. These reeds are broad, warm, and powerful. They range in color from just darker than French reeds to absolutely round and smooth. This class of reed includes powerful Tubas like the Tuba Major in the Solo division of the Chancel organ. Broad and penetrating, voiced on high wind pressure, this is the classic Austin example of the stop developed by Austin in the first decades of the 20th century.

The brass trompette en chamade which will be mounted on the balcony rail is an example of a small English Tuba. Voiced on a lower pressure of wind than the Tuba Major in the Chancel, it gains tremendous presence because of its location out in the open. It is ideal for soloing out a melody, leading congregational singing, and as a solo stop for much romantic organ literature. Both of these stops can be used to great effect to add tremendous punch and volume to the full organ if played in chords with the rest of the instrument instead of just one solo note at a time.

The French trumpet was an evolution in reed design and sound of the 18th and 19th centuries. To use the term “French” is in and of itself a bit of a misnomer as there are “French” reeds from different periods which differ from one another. Today most people referring to “French” reeds are usually talking about reeds which approximate the sound of mid to late 19th century reeds by the great French builder Aristide Cavaille-Coll. Cavaille-Coll was influenced by the reeds of the builder Cliquot. Cliquot's reeds are extremely bright, containing an abundance of harmonics soaring over the fundamental pitch at which the reed speaks. The result is brilliant, hard, and aggressive. The sound was spectacular and revolutionary in its day.

High above, in the dark space above the Gallery Great organ, there will be a very bright French chamade. Being physically remote from the congregation it will be voiced “full out” and will harmonically stand out above full organ. The French trumpets will not be visible, but they will certainly be audible!

weekly sermons

worship times

Worship Times

CHURCH SCHOOL 9:30 AM - 10:45 AM

SUNDAY SERVICE 11:00 AM - 12:00 PM

MOSAIC Saturday,
5:00 PM - 6:00 PM

this week in worship

SUNDAY - Eleventh Sunday After Pentecost

August 24, 2014

Sermon Title:Naming What Has Been; Claiming What Is To Be"
Text: Isaiah 51:1-6

Rev. Dr. Stan Hastey preaching

Scriptures

 

Isaiah 51:1-6

Psalm 124

Romans 12:1-8

Matthew 16:13-20

 

Music

Lawrence P. Schreiber, Organist-Choirmaster

Prelude:

"Pastorale"
Joseph Bonnet (1884-1944)

Introit:

"To the Members of Christ's Body"
Peter Cutts (1969)

Gradual:

"Jubilate Deo"
Erik Routley (1917-1987)

The Chancel Choir

Offertory:

"Improvisation on a Gregorian Theme"
Flor Peeters (1903-1986)

Postlude:

"Sortie"
Noel Rawsthorne (B. 1929)

 


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