CATHEDRAL CATANIA
CATHEDRAL OF ST. AGATHA
The Cathedral rises in the heart of the ancient city, on the remains of an important thermal building dating back to the 2nd century AD, accessible from the parvis, and of which today only a quadrangular room remains, in the centre of which, carved into the floor, there is a small basin surrounded by four mighty pillars supporting a cross vault decorated with stuccoes with floral motifs. The current building is the result of numerous transformations undergone over the centuries following the disastrous natural disasters that struck the Etnean capital. The Basilica Cattedrale di Sant'Agata was built in 1094 under the Normans as an 'ecclesia munita' using the already squared blocks of the Roman Amphitheatre and its columns; of the original temple, it retains almost only the apses and the transept. Ruined by the 1169 earthquake, its façade was rebuilt in Apulian Romanesque style (the ancient entrance portal was recovered and inserted in the façade of the church of Sant'Agata al Carcere and is the only known example of this style in Sicily)
THE ORGAN
The project involved the reconstruction of the cathedral organ, originally commissioned by Cardinal Giuseppe Benedetto Dusmet to the French organ builder Nicolas Théodore Jaquot in 1877.
The instrument, with three manuals, was first moved from the chancel in the apse to the one above the portal and extended here in 1926 by the Palermo organ builders Alfio Laudani and Giovanni Giudici. The work in 1926 included the complete reconstruction of the organ machine with the replacement of the Jaquot organ boxes with new ones with pneumatic transmission operated by a new console.
After evaluating the various intervention hypotheses, it was decided not to consider restoring the existing plant due to the precarious condition of its structures, particularly the pneumatic transmissions, which by design and construction methods could not offer guarantees of safe and lasting operation.
With a view to a general renovation, it was deemed appropriate to conduct a preliminary census of the phonic arrangement in order to ascertain its consistency and provenance. Noting the presence of a good percentage of antique pipes from the Jacquot organ and considering the historical and artistic value of this material, our proposal was for the recovery of the 1877 phonic arrangement.
The project therefore included the reconstruction of the Jacquot organ on the basis of historical documentation: an organ in the French Romantic style, with mechanical transmission. In view of the size of the temple and the need for an adequate sound volume, it was considered appropriate to also maintain the sound extension made in 1926 by Laudani and Giudici.
This combination of ancient and 'modern' has been carried out following the criterion of logical completion of the different sound bodies while respecting the phonic characteristics of the organ, arranging and feeding the recent pipes independently from the ancient ones. The more recent material can be distinguished and used at the organist's discretion, in addition to or as an alternative to the original Jaquot core.
From these historical-artistic choices came the great technical challenge: to create an entirely mechanical instrument, both for the manuals and pedal as well as for the operation of the registers, by constructing independent sombers for each organ body and for each phonic while respecting the original characteristics.
This means that each organ body has double sombers: Jaquot's pipes are placed on a traditional 'pull' somber, while Laudani's and Giudici's are on an independent, still mechanical 'pull' somber, but equipped with pneumatic servo-assistance.
The control of the registers is mechanical and, given its complexity, realised with a very refined technique applying innovative solutions already used in the field of sailing. To assist the organist in the selection of registers, it was decided to flank the traditional mechanical controls with a servo-assistance device equipped with memories for the adjustable combinations. Once again, an innovative technique was adopted to guarantee fluidity, silence and synchronism in the movement of the transmissions, which is very useful in environments where climatic conditions can be particularly difficult.
The console, newly built but based on Jaquot measurements, is equipped with three 58-key manuals (Do-la) and a 30-pedal pedalboard (Do-fa); the registers are controlled by knobs with ceramic-painted inscriptions.
The instrument has over 3,000 reeds.
THE VIDEO
This video shows some technical details of the cathedral organ and lets you hear its mighty voice.
| Manual I - GR.ORGANO Jaquot | |
| Bourdon | 16′ |
| Flute | 8′ |
| Flute Harmonique | 8′ |
| Bourdon | 8′ |
| Salicional | 8′ |
| Prestant | 4′ |
| Flute cheminée | 4′ |
| Quinte conique | 2.2/3′ |
| Supplies 4/6 rangs | 2′ |
| Basson - Hautbois | 8′ |
| Manual I - GR.ORGANO Laudani and Judges | |
| Main I | 8′ |
| Main II | 8′ |
| Leg | 8′ |
| Ottava | 4′ |
| Fifteenth | 2′ |
| Stuffing 3 rows | 1.1/3′ |
| Trumpet | 8′ |
| Manual III - CLAVIER DE BOMBARDE Jaquot | |
| Cornet 5 rangs | 8′ |
| Bombarde | 16′ |
| Trompette | 8′ |
| Clairon | 4′ |
| Manual II - RECITATION ESPR. Jaquot | |
| Salicional | 16′ |
| Unda maris | 8′ |
| Bourdon | 8′ |
| Flute octaviante | 4′ |
| Doublette | 2′ |
| Clarinette | 8′ |
| Manual II - RECITATION ESPR. Laudani and Giudici | |
| Principal | 8′ |
| Quintaton | 8′ |
| Violin | 8′ |
| Principal | 4′ |
| Eolina | 4′ |
| Concert Violas | 8′ |
| Stuffing 5 rows | 2′ |
| Trumpet | 8′ |
| Voix Celeste | 8′ |
| Tremolo | |
| PEDAL - Jaquot | |
| Flute | 16′ |
| Flute | 8′ |
| Flute | 4′ |
| Gambe | 8′ |
| PEDAL - Laudani and Giudici | |
| Contrabass | 16′ |
| Fifth | 10.2/3′ |
| Principal | 8′ |
| Ottava | 4′ |
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