Charles Fermalvento
E 'was inaugurated Thursday, December 17 2010, the new pipe organ, entirely mechanical, the Church of the Transfiguration of the Lord of San Miniato Basso. Dozens of people attended the ceremony attended by the Bishop of San Miniato Bishop Fausto Tardelli. Also present were the Bishop Emeritus of Volterra, and Chairman Emeritus of the National Association Santa Cecilia, Vasco Giuseppe Bertelli and the Mayor of San Miniato Vittorio Gabbanini.
Father Theo Flury, monaco Benedictine Abbey of Einsiedeln and professor at the Pontifical Institute of Sacred Music in Rome and the Choir of St. Genesius, directed by Charles Fermalvento have entertained the audience with a beautiful liturgy is the experience of concert- San Filippo Blacks.
The Body of the Church of the Transfiguration by Nicola Puccini
Father Theo Flury during the concert
The Chorale San Genesio during the concert
Built with passion and skill by the artisan builder Migliarino Nicola Puccini (Pisa), the massive instrument, with its 1500 pipes, is placed to the left of the altar, to the right as you enter. Is added, thus, a fundamental element for the new church designed by the architect. Silvia Lensi and opened in April 2009.
This body is not a normal instrument of its kind. It is indeed a Anticum Organum, ie a front body, kind, patent-pending, designed by Nicola Puccini own. This revolutionary model pipe, and second only to Tuscany in Italy, provides the position of organist facing the altar and the assembly, so as to follow the liturgy without giving away the celebrant and, if necessary, direct the choir.
The peculiarities of the new body of San Miniato Basso does not end there. They have been included, in addition to the traditional sound system, as well as some special effects accessories such as nightingales, timpani, tremolo, music boxes and bagpipes, making possible the carrying out of the repertoire of nineteenth-century Italian and read in the church musical fable.
Nicola Puccini, a master builder, along with his work
Voice Liturgical Organ
History teaches us that the participation of the instruments for the performance of religious rites is a phenomenon found, without limitation of geographical areas or types of cultural and religious needs, at times well prior to the advent of Christianity.
writes in his study Mgr Giuseppe Liberto, around the Catholic liturgy, as well as in the rites of other faiths, to speak of sound event, be it vocal or instrumental, can not be separated from an awareness of this psychological bond that leads us, through music, to a better perception of the moods we are subjects.
The term "instrument" means "half" in this case "medium", in our case "appropriate means" to express the liturgical event.
The body of the Church of the Transfiguration, detail
From an early period, which is known to all the distrust of some of the Fathers of the Church against any musical instrument in the celebrations liturgical, it has gradually come to accept the organ inside the church. He lost the connotations that tied him to the debauchery of Roman society, were tangible benefits inherent in supporting the body of the entries. The use or reuse of the body can not lose, however, its initial purpose.
The church organ was created with a destination in mind: that of the worship service and not the other concert purposes, although these will then be charged with a fascinating creative explosion.
from the ninth century., The court consolidated its presence in the Catholic rites. Little by little, then were joined by other instruments, wind instruments from the Renaissance to the great orchestras and baroque romantic. The Popes had to call for greater simplicity in music the liturgy because the music always took up more space or sound unduly obscuring the natural course of the rites.
The body of the Church of the Transfiguration, detail
E 'known action of Benedict XIV Annus here with his encyclical of 1749 in which the Pope gives the necessary general warnings about the true style of music from the church. The concert and then the opera house had taken the field in the liturgy and style. Pius X had the same purpose in 1903 with his well-known Motu Proprio. The organ, meanwhile, remains the newspaper of liturgical celebrations. The its practical value and artistic remains strong today.
The turning point of the conciliar liturgical reform will make it clear that use of the organ in the liturgy documents with precise and clear rules. Obviously no longer acceptable that the organist domains arbitrarily celebration, as is often made before the Council, but will be equally unacceptable that the body is considered to be the stopgap of the situation. The challenge is to coordinate the tasks of the various liturgical ministries and diversified, while respecting the roles and norms operate the celebratory ritual spaces with specific skills. The exercise of a ministry always involves carrying out a service.
The primary target organ is the worship, the only one that justifies the existence of the instrument within the churches. The department is primarily to service the assembly in prayer. The music that accompanies the songs should be perfectly suited to its function and expression of worship, is therefore not an end in itself, but is intended to serve as the celebration of the mystery revealed by God and implemented by the Church.
The body of the Church of the Transfiguration, detail
not enough to know the music to interpret the prayer must be known inside and experience the nature of this liturgical prayer. The house-church is not a concert hall or art gallery, but a sacred place where the praying community gathers to worship God, sanctifying them. The organ is the instrument which, in its own way, helps to achieve these primary purposes.
The second is the cultural destination. Over the centuries, the body has undergone changes and mutations aimed at the natural evolution of the same instrument, with particular attention given to technical and audio, more in keeping with his role in the liturgical service.
Without these changes with the different types that exist in every age and every place with precious and polyphonic epoch-making and environmental adaptation, now playing more of the hydraulic organ Ctesibus.
The body of the Church of the Transfiguration, detail
So we have a story that shows us how almost a thousand years have always been fruitful for the evolution of the variegated interplay between organ techniques and aesthetics from different eras and different places. This meant that each type of organ literature and historical stylistic tool had to be able to reproduce it aesthetically suitable. So
instructed the Congregation for Divine Worship, "in churches Creino environment beauty and meditation to support and encourage, even in those who are far from the church a provision to incorporate spiritual values. "
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