New   Fatima

THE SANCTUARY ORGAN

The reconstruction of the large five-keyboard organ, originally built in 1952 by the Ruffatti company and in a state of disrepair for several years, has seen our organ-building company involved in the realisation of the instrument, preserving part of the original phonic structure supplemented by new registers of substance and colour (reeds, cornets, etc.).

In reviewing the phonic composition in agreement with the commission of organists appointed by the Shrine, we tried to characterise the five manuals more specifically by moving towards the symphonic instrument.

We have assumed a Grand Organ with a good 16-foot base and 8-foot fundamental registers. These are flanked by the classic Italian-style 'Ripieno' pyramid and, in addition, a French-style 'Plein Jeu'. In addition, we have included three grave mutations Quinta 5.1/3, Terza 3.1/5 and Settima 2.2/7 useful both for forming a Cornetto grave and for solo effects in various textures. A classic French-inspired 5-row cornet fits well into the phonic framework of this keyboard. The 16-, 8- and 4-foot reeds form the fundamental "Grand Coeur" of the Grand Organ.

The Positive has been rethought more classically and very close to the Italian tradition. A 'Ripieno' on an 8-foot base is flanked by a decomposed Cornetto, the Unda Maris (which picks up on the ancient sonority of the 'Fiffaro') and a 16-foot 'Quintaton' required by much of the symphonic literature. The reeds are represented here by a 16-foot Regale, the Trumpet and the Chromorn with a sonority close to that of the Clarinet.

In the case of the third keyboard, we wanted to move towards a symphonic-type "Recitativo". The presence of 'violating' and 'graceful' registers strongly characterises this manual. The 3/6-row forniture is required by the French organ literature of the first half of the 20th century, while the reeds meet the symphonic requirements of the 19th century. The 'Terziana' deserves its own discourse; a far cry from the homonymous register of German extraction, it is a compound mutation of considerable effect. Rich in 'resultant' or 'acoustic' sounds, it lends itself well to giving depth in the amalgamations with basses and reeds, as well as being a fascinating soloist in the medium-high tessituras. We have already included this register in other organs with excellent results.

The fourth keyboard was conceived as a true 'Clavier de Bombarde': two flutes full of character, a cornet also full of character, and the battery of reeds. The 'Concert Oboe', on the other hand, is a register of more recent conception and great 'charisma'. The fifth keyboard, Echo Organ, will be located in two expressive cases specularly positioned on the side matronei and practically "invisible" from the church floor. For this manual, we opted for an organ with sonorities that are not overbearing but nevertheless well characterised. In particular, a newly conceived register is present here, the "Flauta do Francisco" of the harmonic type with double mouth.

The Pedal has a 32-foot base with Contrabass, Subbass and Contrabass and its derivatives. To these is added a 16-foot Principal, an 8-foot Flautone and Cello, 4-foot Octave and Flute and a 5-row Mistura. As a 16′ second reed a Contrabassoon.

Collaboration with the architect commissioned by the Shrine resulted in the definition of a new 'aesthetic appearance' for the instrument based on the principle of respect for the architecture and the harmonious and modern incorporation of the new organ elevation. With the removal of the two previous side organ bodies, a certain 'aesthetic cleanliness' of the chancel area was achieved, which is also reflected in the 'new look' of the central organ body.