Tønsberg Domkirke
Greetings from Hamburg! I had the great pleasure last night of performing the opening concert for the Vestfold Organ Festival in Tønsberg, Norway. Tønsberg is considered to be the oldest town in all of Norway, established by the Vikings as early as the 9th century. Since 1948 is has been the episcopal seat of the Diocese of Tønsberg, elevating its parish church to become the Tønsberg Domkirke when it earned its autonomy from the Diocese of Oslo. The present building dates from 1858 and witnessed a complete cosmetic “facelift” in 1939 by the architect Arnstein Arneberg. Stripped of its Gothic Revival ornament, the striking signature geometric design – owing something to a loose interpretation of Deco – was then grafted onto it.
The organ began life in 1924 as a Th. Frobenius & Sønne of Copenhagen, dating from the prolific period immediately pre-dating the Orgelbewegung. It is during this same period that they built the giant organ for Aarhus Cathedral in 1928, arguably their most famous instrument. Presumably the particular technical apparatus that drives this organ is also preserved from this first phase of its life (albeit reorganized): a mechanical action from the console (complete with mechanical couplers) with long tracker runs into the case which activate a pneumatic Kegellade (cone chest) action just before the chests. I’m curious to know if this was a standard practice for Frobenius during this period (for example in Aarhus), as most actions have been modified over time. The organ was rebuilt in 1954 by J.H. Jørgensen of Oslo, and again in 2008 by Ryde & Berg, at which point its rather sprawling organization in the gallery was consolidated into a single, new case, incorporating architectural motifs from the 1939 renovation of the cathedral.
It is tonally a symphonic organ of German identity with certain reference points to France in its third manual. Manual I is gravitational with a dense and penetrating ensemble of five 8’ foundations, and a firm, but relatively transparent 16’ Principal and stringy 4’ Octave. The 2 2/3’ and 2’ raise some questions for me, especially to their origin and relationship to the 8’ and 4’ foundations; here there is some problem of integration. The 4-rank Mixture, by contrast, is grittier, relatively low-pitched, but somewhat stringy in its intonation, and therefore also sounds more intense than its low composition would suggest. A massive Kornet (12.15.17 in the bass) crowns this division, but admittedly is so extremely intense in the treble that it’s best reserved for special effects. I can imagine it is more useful in congregational hymn singing where its ascendant character in the mid-range of the keyboard could be advantageous. The 8’ 4’ Trompets are strong and somewhat ‘hotter’ than you might expect, but not to ringing to suggest a French “Anches G.O.” The foundations are the stars of this department, particularly the 8’ Hohlflöte, which really captured my attention. It’s a massive wooden flute with beautifully arched mouths immediately behind the 16’ Principal in the façade, with an intense, compressed sound, and easily represents the double (!) of the other combined four 8’ foundations (Principal, Gross Gedeckt, Violoncello, Gemshorn) in sheer dynamic output. It might be more aptly called “Seraphonflöte” based on its relationship to the balance of the instrument; indeed its presence and absence can be easily perceived in the context of the Tutti of the whole organ! It sports a certain ‘click’ at the onset of tone which is in no way unattractive, but this ‘speech’ isn’t to be confused with “chiff” – it’s more what you associate with certain very high-pressure stops (is it?!). The 4’ Offenflöte is another beguiling case. Octave by octave, you’d be inclined to rename it: 4’ Fugara in the bass, 4’ Octave in the lower-mid-range, 4’ Hohlflöte in the upper-mid-range, and 4’ Flauto Traverso in the treble.
Manual II is enclosed, and sports also now fewer than six 8’ ranks: Fløiteprincipal, Flûte harmonique, 8’ Cor de nuit, 8’ Salicional, 8’ Unda Maris (2 ranks). The 8’ Flûte harmonique is the poet here, though the Fløitenprincipal is admirable in its calm and reserve. The 4’ Fugara is higher voltage, and, combined with the 8’ free-reed Klarinet together create the illusion of mutations and 2 2/3’ and 2’ for a “full Manual II.” The actual 2 2/3’, 2’ and 1 3/5’ are of relatively narrow scale, and so the general effect of this division with this “sesqualitera” color, coupled to the intense 4’ Fugara and free-reed Klarinet is one of complex overtones, balanced two of the darkest 8’ foundations in the organ (Fløitenprincipal and Flûte harmonique), and a fine 16’ Kvintatøn.
Manual III presumably represents most of the newest pipe material, a sort of “Grand Récit” (16-8-8-8-8-8-4-4-2-VI Plein jeu– 16-8-8-4), with all the essentials: 8’ 4’ 2’ harmonic flutes, and the big (harmonic?) reeds. The reeds form a fine ensemble, and are somewhat mitigated compared to actual French reeds in speech and overtones, and therefore manage to integrate well into the whole. The Plein Jeu requires a certain care in use. Because of its quite pushed, stringy intonation, despite its relatively low composition, it can have a certain searing effect in the treble. I found it often better to use either the Plein Jeu OR the 4’ Clairon, but rarely both together if the box is open. The Flauto Traverso is a fine, textural stop – probably the most distinguished in this division.
Manual IV is a Fernwerk above the altar with delicate strings 8’ 8’ 4’ and a III Harmonia Aetheria with 3 1/5’, a lovely 8’ Bourdon doux, and a Vox Humana. It’s just what the doctor ordered for pianissimo effects in the more picturesque compositions at which this sort of instrument excels.
The Pedal is relatively moderate in its scaling, including even the 16’ and 8’ Fløitebass and 16’ Basun, but when the 10 2/3’ Qvintbass and the octave coupler for the entire pedal is added, it’s a very solid basis for the tutti above. The 16’ Violonbass is a superb solo stop which can be employed alone in a host of accompanimental contexts.
It was a pleasure to play a program with music by Widor, Mendelssohn, Wagner, and Reubke to illustrate various definitions of ‘symphonic.’ I’m grateful to Guy Poupart for the invitation to open what we all hope will be the first of many installations of the Vestfold Organ Festival, and Espen Melbø, the new organist of the Tønsberg Domkirke (formerly in Leipzig and St. Wenzel in Naumburg!), for his hospitality and really lovely conversation!
All best from Hamburg! Had a marvelous time performing this evening in the Dom St. Marien...post forthcoming!
Nathan
