Page 64 - Booklet

Johann Konrad Wörle, “German” or of the “Tyrolean nation,” – as an organ builder in Rome
The Uniqueness of the Wörle Organ – kept to the Roman model of positive organs, but compressed this and interpreted it in
his own personal way: he adopted the clear compactness and austerity of the Roman
The first organ in the Oratory of Crocifisso was built in 1582 by Francesco Palmieri and school, and their tuning pitch of A = 392 Hertz. This lies about one whole tone lower than
restored in 1660 by Giuseppe Testa. today’s normal A = 440. Following the usual construction style from north of the Alps, he
added the stop Flauto all’Ottava Bassa (elsewhere named Secondo Principale), which is
In 1774 the Wörle organ was placed in the middle of the external wall of the loft that similar to the German Gedackt.
had been constructed a short time before. The top of its case has a curved form typical
for the Tyrolean organ builder. The instrument was no doubt influenced by the form of In this way, Wörle was able to create valuable works of art. His work is extremely careful
the straight, tall and narrow loft. The playing direction lies on the narrow right side. This and precise. His plans are complete. His organ sonorities are lively, silvery and full-bodied.
construction is unique for Rome, as is also the fact that the registration stops are placed He used unequal temperament in tuning his instruments. They have intonation only at
in different positions. the core, when the full windway is in use. The complete sound is very pleasant and full of
character. Wörle’s organs are precious treasures, unique both in terms of historical worth
Of the 12 stops, ten are lined up horizontally above the music stand and two are placed and aesthetics. Large instruments do not come close to his quality of sound, especially
one above the other to the right side of the keyboard manual, in the following order: not modern ones using equal temperament.

th
Principale – Ripieno (XXII-XXVI-XXIX) – Vigesima Sesta – Vigesima Seconda – Decima N[ona] In Rome, hundreds of positive organs have been built since the 16 century. They were used
th
– Quinta Decima – Flauto in Va – Ottava – Voce Umana – Flauto ottava Bassa (Flauto 8’) for performances of multi-choir music into the 18 century. It is known that there were
great musical events using twelve choirs and twelve organs, or using ten of each – choirs,
Tiratutti – [Zampogna in Do (bagpipes in C, Bourdon)] organs and orchestras – respectively using eight choirs and eight organs. Rome’s larger
churches rented such extra instruments during Lent to be able to offer compositions with
This disposition could also suit a medium-sized organ (organo da muro) in Italy, just as two to four or more choirs with surprising stereo and quadraphonic effects.
Wörle had built in Rome for Santa Maria Maddalena (1735), Santa Maria in Via (1768), Santi
Vincenzo e Anastasio (1776) or for Otricoli (province of Terni, 1748), Leonessa (province of The Italian state protects artistic works of cultural value (decree passed on 22 January
Rieti, 1759), Montefiascone (province of Viterbo, 1777). Thus Wörle’s positive organs are 2004, no. 42, codex for cultural goods, ex lege 1089/39), thus also including the organs
quite compact in size. of Johann Konrad Wörle. Organs belong to cultural heritage for various reasons: they are
valuable testimonials to civilization from an artistic or historical point of view.
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