Specification
of
the Ottes organ in Móstoles

(green has been added for Hauptwerk)

Man. I: Coplado
(Coupler manual) C-f'''
(for Hauptwerk
extended to g''')
Man. II: Organo Mayor
(Hoofdwerk) C-f'''
(for Hauptwerk
extended to g''')
Man. III: Organo Expresivo
(Borstwerk) C-f'''
(for Hauptwerk
extended to g''')
Pedal: C-f'
No stops

Playing aids:
Coupler Pedal - Organo Mayor
Coupler Pedal - Organo Expresivo
Coupler OM - OEX +
(When using 2 manuals)
Tremulant Organo Expresivo
Zweltrede Organo Expresivo
Flautado
Flauta
Octava
Flauta Conica
Quinta
Quincena
Lleno
Trompeta
Trompeta
8'
8'
4'
4'
2 2/3
2'
II - III ranks
8' bas
8' discant
Violon
Gamba
Voz Humana
Voz Celeste
Flauta chimenea
Nasardo
Corno
Decisetena
Decinovena
Cimbala
8'
8'
8'
8'
4'
2 2/3'
2'
1 3/5'
1 1/3'
I ranks
Subbas
Bajo
Flautado
Octaaf
Quintatón
Fagot
16'
8' (Transmission Subbas)
8' (Transmission OM)
4'
4'
16'



Construction and composition of the stops

Organo Mayor (Great):

Flautado 8' (Prestant) C - F stopped, Fis - f3 in the front.
Flauta 8' (Spitsfluit) C - e oak, f - f3 metal open 55% lood, hammered.
Octava 4' (Oktaaf) scale slightly smaller then Prestant.
Flauta conica 4' (Koppelfluit) cylindrical with open conical caps (no tuning shade ) 55% lead, hammered.
Quinta 2 2/3' not present in the actual organ, for hauptwerk composed of Quincena 2' and Octava 4'.
Quincena 2' (Superoktaaf) prestant scale, slightly smaller than Oktaaf 4'.
Lleno II-III (Mixtuur, breaks at: C 1 1/3 + 1; e 2 + 1 1/3; gis1 2 2/3 + 2 + 1 1/3; c3 4 + 2 2/3 + 2.
Trompeta 8' horizontally placed trumpet Fis - g2, C - F inside organ case, gis2 - f3 implemented as tapered flue pipes (2 ranks) The shallots of the reed pipes are made of cherry wood.

Organo Expresivo (Brustwerk):

This division of the organ has five small doors wich can be operated by the swell pedal.
Violon 8' (Stopped) C - e oak, f - f3 75% lood hammered.
Gamba 8' (enge Salicinaal) C - e combined with Violon 8' f - h as Quintadeen, c1 - f3 normal length 55% lead hammered.
Flauta chimenea 4' (Roerfluit) C - g2 with relatively long chimneys, gis2 - f3 conical open pipes 75% lead hammered.
Nasardo 2 2/3' (Nasard) C - h stopped, c1 - f3 open.
Flauta conica 4' (Gemshoorn) lightly tapered pipes, in the bass somewhat string-like and in the treble principal-like in character.
Decisetena 1 3/5' (Terts) lightly tapered pipes (Sesquialter-scale).
Decinovena 1 1/3' (Quint) lightly tapered pipes (Sesquialter-scale).
Cimbala I (Cymbel) with nine breaks on every c and fis: C-1/8'; Fis-1/6'; c-1/4'; fis-1/3'; c1-1/2'; fis1-2/3'; c2-1'; fis2-1 1/3'; c3-2'.
when the cimbala is used with additional stops, it sounds like a small mixture!
Voz Humana 8' (Vox Humana) Cylindrical construction with lid.
Voz Celeste 8' not present in the actual organ, for hauptwerk made from flautado 8' of the organo mayor.

Pedal:

Subbajo 16' (Subbas) C - f1 Pine, C - F Horizontally in upper part of organ case.
Flautado 8' derived from Flautado 8' of the Organo Mayor.
Bajo 8'(Bourdon) derived from Subbas 16', f - f1 stopped 75% lead.
Octava 4' not present in the actual organ, for hauptwerk coupled with Octava 4' of the Organo Mayor.
Quintaton 4' (Quintadeen) principal scale, this voice is very suitable as a cantus-firmus stop.
Fagot 16' (Fagot) resonators and boots of solid oak. C - B 1/4 length, c1 - f1 1/2 length.


Demos
of
the Ottes organ in Móstoles


Composer:

Organist:


E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OM: Flautado 8'; Octava 4'; Quincena 2'
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OM: Plenum
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OM: Flauta 8'; Flauta conica 4'
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OM: Flauta 8'; Quincena 2'
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OM: Flauta conica 4'
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OEX: Violon 8'
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OEX: Violon 8'; Flauta chimenea 4'
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OEX: Violon 8'; Corno 2'
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OM: Flauta 8'; Flauta conica 4'
OEX: Violon 8'; Flauta chimenea 4'; Nasard0 2 2/3'; Decisetena 1 3/5'
PED: Subbajo 16'
Organist: Eppo R. Ottes
E.R. Ottes - Trio, Improvisation
Observations: Live recording
Registration:
Divers
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OEX: Voz Humana 8'
Organist: Eppo R. Ottes
E.R. Ottes - Choral Improvisation
Observations: Live recording
Registration:
Tutti (zonder Cimbala I; Quint 1 1/3; pedaalkoppels)
Organist: Eppo R. Ottes
E.R. Ottes - Choral Improvisation
Observations: Live recording
Registration:
Tutti met pedaalkoppels
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OM: Trompeta 8' als c.f.
Organist: Eppo R. Ottes
E.R. Ottes - Improvisation
Observations: Live recording
Registration:
OM: Trompeta 8'; PED: Fagot 16'
Organist: Eppo R. Ottes
J.S. Bach - Arioso
Observations: HW 3.30 recording
Registration:
OM: c.f. Flautado 8';
OEX: Violon 8'; Tremulant
PED: Subbas 16'
Copl. PED-OEX
Organist: Christian Boogaard
G.F. Haendel - Arrival of the queen of Sheba
Observations: HW 3.30 recording
Registration:
Divers
Organist: Christian Boogaard
W.A. Mozart - Ave Verum
Observations: HW 3.30 recording
Registration:
OM: Flauta 8';
OE: Gamba 8'; Voz Celeste 8';
PED: Subbas 16'
Copl. PED-OM; PED-OEX; OM-OEX
Organist: Christian Boogaard
J. Rheinberger - Cantilena
Observations: HW 3.30 recording
Registration:
OM: Flauta 8'; Fl. conica 4'
OEX: Violon 8'; Fl. chimenea 4'; Voz Humana 8'
PED: Subbajo 16'; Flautado 8'
Organist: Christian Boogaard
A. de Klerk - Fugato
Observations: HW 3.30 recording
Registration:
OM: Flauta 8'; Fl. Conica 4'; Quinta 2 2/3'
OE: Violon 8'; Fl. chimenea 4'; Nasardo 2 2/3'; Decisetena 1 3/5'
PED: Subbas 16'; Flautado 8'; Bajo 8' Octaaf 4'
Organist: Christian Boogaard
J. Brahms - Hertzlich tut mich verlangen
Observations: HW 3.30 recording
Registration:
OM: Flauta 8'
OEX: Gamba 8'
PED: c.f. Quintaton 4'
Organist: Christian Boogaard
J.S. Bach - Hertzlich tut mich verlangen
Observations: HW 3.30 recording
Registration:
OM: Flauta 8'
OE: Violon 8'; Flauta chimenea 4'; Nasardo 2 2/3'; Tremulant
PED: Subbas 16'
Copl. PED+OM
Organist: Christian Boogaard
J. Clarke - Trumpet tune
Observations: HW 3.30 recording
Registration:
0:00
OM: Flauta 8'; Fl. conica 4'; Trompeta 8'
OEX: Violon 8'; Fl. chimenea 4'; Corno 2'
PED: Subbajo 16';Bajo 8';Flautado 8'
Copl. PED-OEX
0:19
OM: - Trompeta 8' + Flautado 8' + Octava 4' + Quinta 2 2/3' + Quincena 2'
0:37
OM: als 0:00
0:56
OM: Volledig - Trompeta 8'
OEX: + Nasardo 2 2/3
PED: + Fagot 16
Copl. PED-OM
1:09
OM: + Trompeta 8'
Organist: Christian Boogaard
J. Bonefaas - Thema O God van hemel zee en aard
Observations: HW 3.30 recording
Registration:
OM: Flauta 8'
OEX: Violon 8'
PED: Subbajo 16'
Copl. PED-OEX; OM-OEX
Organist: Christian Boogaard
J. Bonefaas - Variatie 1 O God van hemel zee en aard
Observations: HW 3.30 recording
Registration:
OEX: Violon 8'; Fl. chimenea 4'
Organist: Christian Boogaard
J. Bonefaas - Variatie 2 O God van hemel zee en aard
Observations: HW 3.30 recording
Registration:
OM: Flautado 8'; Octava 4'; Quinta 2 2/3'; Quincena 2'; Lleno
OEX: Violon 8'; Fl. chimenea 4'
PED: Subbajo 16'; Flautado 8'
alle copl.
Organist: Christian Boogaard
J. Bonefaas - Variatie 3 O God van hemel zee en aard
Observations: HW 3.30 recording
Registration:
OM: Trompeta 8'
OEX: Violon 8'; Fl. chimenea 4'; Corno 2';
PED: Subbajo 16'; Flautado 8'; Bajo 8'
copl. PED-OEX
Organist: Christian Boogaard
J. Bonefaas - Variatie 4 O God van hemel zee en aard
Observations: HW 3.30 recording
Registration:
OM: Flautado 8'
OEX: Gamba 8'; Voz Celeste 8'
PED: Subbajo 16'; Bajo 8'
copl. PED-OEX
Organist: Christian Boogaard
J. Bonefaas - Variatie 5 O God van hemel zee en aard
Observations: HW 3.30 recording
Registration:
OM: Flautado 8'; Fl. conica 4';
OEX: Violon 8'; Fl. chimenea 4'; Voz Humana 8'
PED: Subbajo 16'
copl. PED-OM
Organist: Christian Boogaard
J. Bonefaas - Variatie 6 O God van hemel zee en aard
Observations: HW 3.30 recording
Registration:
Divers
Organist: Christian Boogaard
E. Dalest - Improvisatie over Slaap kindje slaap
Observations: HW 4.0 recording
Registration:
Divers
Organist: Eric Dalest
E. Dalest - Improvisatie over "Aan d'oever van een snellen vliet"
Observations: HW 4.0 recording
Registration:
Divers
Organist: Eric Dalest
E. Dalest - Moderne improvisatie
Observations: HW 4.0 recording
Registration:
Divers
Organist: Eric Dalest
D. Buxtehude - Auf meinen lieben Gott BuxWV179
Observations: HW 4.0 recording
Registration:
Temperament Werckmeister III
0:00
Flauta 8';
0:56 + Fl. Chimenea;
1:48 c.f. Gamba 8' Nasardo 2 2/3';
2:35 Flautado 8' Quinta 2 2/3' Quincena 2';
3:12 + Lleno + Trompeta 8'
Organist: Gerard de Wit
J.S. Bach - Auf meinen lieben Gott
Observations: HW 4.0 recording
Registration:
Temperament Werckmeister III
OM: Trompeta 8'
PED: (c.f.) Octava 4' Quintaton 4'
OEX: Fl. Chimenea 4' Corno 2' Cimbala
Organist: Gerard de Wit
Anonymus - Batalha de 6 Tom
Observations: HW 4.0 recording
Registration:
Temperament Meantone quarter comma
Divers
Organist: Gerard de Wit
J.P. Sweelinck - Mein junges Leben hat ein End
Observations: HW 4.0 recording
Registration:
Temperament Meantone quarter comma
Divers
Organist: Gerard de Wit
D. Buxtehude - Fuga in C
Observations: HW 4.0 recording
Registration:
Temperament Werckmeister III
Flauta Chimenea 4'
Organist: Gerard de Wit
J.S Bach - Smücke dich, o lieben Seele
Observations: HW 4.0 recording
Registration:
Temperament Werckmeister III OM: Flautado 8'
c.f. Gamba 8' Violon 8' Corno 2' Nasardo 2 2/3' Decis. 1 3/5' Decin. 1 1/3'
PED:Subbajo 16' Bajo 8' Flautado 8'
Organist: Gerard de Wit

Download Information
of
the Ottes organ in Móstoles


Important : Before download, first read the comments below at "General".

Download files : As soon as we receive your payment, you will receive access to the download files via email.



General:


Before download and install, note the following:

  1. Download all .CompPkg.Hauptwerk files.
  2. Load these files in the same folder and
  3. Do not change the file names and
  4. Do not unpack by hand.
  5. Check the MD5 checksums with the WinMD5 program, free to download from
    http://www.winmd5.com or http://www.fastsum.com
    If a checksum is incorrect, throw the wrong download file away from the PC and download that file again.
  6. Start Hauptwerk (File/Install organ....), select in the folder where you just downloaded the files the file with extension .CompPkg_Hauptwerk_rar in Hauptwerk's component installer.
    Hauptwerk automatically finds the other files.
  7. If you get error messages, scroll to the end of the log file (this opens automatically if something goes wrong when unpacking) to see what goes wrong.
    Usually a file is missing, or there is a file in the wrong folder or a file is damaged.
  8. Before loading the organ, first have a look at the system requirements regarding the expected memory usage etc.

Note: Please contact us via the Contact form if you encounter any issues, we will try to assist you.

System requirements
of
the Ottes organ in Móstoles



The computer

To play the full version of this sample set without restrictions requires a modern, fast computer with, for example, Windows 10 64 bit installed and around 12 GB of RAM.
Obviously Hauptwerk must also be installed with the latest version 5 (or higher) Advanced.
It is said that the best results are achieved using Apple-MacIntosh computers; however, we have no experience with this.
It is difficult to make exact statements about what is needed. The "mother" website
hauptwerk.com
provides much information about this issue.
Prerequisites
.
Please note: This information applies to the newest version of Hauptwerk.
This virtual Ottes organ can be downloaded.
Below is a table of memory usage .
On other systems, these values can vary considerably! Please note that your Operating System also requires considerable memory.


The sound card

A good internal or external sound card. For more information go to: hauptwerk.com .


Manuals/keyboards/pedal òr complete organ with MIDI out

2 manuals/keyboards and a (at least 25 keys) pedal òr a complete electronic organ with MIDI out.
Beautiful consoles specifically designed for Hauptwerk are commercially available.
In the Netherlands these are available through, for example,

Those who are technically inclined can provide their keyboard with MIDI capability using hardware from, for example, WIRA, MIDI-Hardware.com or MGB . We ourselves have done this using a Heyligers organ dating from around 1975 (using WIRA hardware). The conversion was about 300 Euro and everything has worked perfectly for years.


Speakers/headphone

The superb sound quality of Hauptwerk is best experienced through high-quality headphones, such as AKG or Sennheiser.
We prefer connecting the sound card to a (possibly multi-channel) sound system. The above mentioned companies can also advise you on any purchases in this area.
What you definitely should not do is listen to Hauptwerk through the built-in speakers of the monitor or a set of €10 computer speakers!





Table of memory usage
of the Ottes organ in Móstoles


Hauptwerk 5 (space needed on the hard drive ca. 6 GB)

Loading method Memory requirements
Operating system not included
Completely loaded 24 bit 48 kHz, uncompressed, multi loops, multi release, sounds. 7,8 GB
Loaded 24 bit 48 kHz, compressed, multi loops, multi release, sounds. 5,6 GB
Loaded 16 bit 48 kHz, compressed, single loop, single release, sounds not loaded. 2 GB

Screen layout
of
the Ottes organ in Móstoles



Tab 1 : Fotografias (Photos)

mostoles_12.jpg
Text and Organ facade
mostoles_13.jpg
The church

By clicking on the image, the photo will alternate



Tab 2 : Consola (Console HW 4)

mostoles_16.jpg
The virtual console for HW 5

On the right you see the console for Hauptwerk, version 5. The small squares above the pedals indicate which key is activated. The five small doors above the manuals move in conjunction with the swell pedal.




Tab 3 : Registros (Stops)

mostoles_14.jpg
Stop panel

On the left you will see the representation of the stop knobs and combination pistons.
The knobs outlined in blue have been added for Hauptwerk users.
The knobs outlined in pink are playing aids such as couplers and the tremulant.
Please Note: the coupler Organo Expresivo to Organo Mayor has been added for Hauptwerk users with a two manual console. Drawing this coupler automatically deactivates manual I.
The gold coloured area labelled C5 indicates which combination piston was last pushed.



Tab 5 : Aire (Wind)

mostoles_15.jpg
The windmodel

On the right you will see the virtual representation of the wind supply. In addition you will see the buttons that control the key and stop-action sounds. (Tirantes sonido = Stop action sounds and Teclados sonido = Key action sounds)
Underneath you can see two images of the bellows. We have made use here of actual video footage so that one sees the actual movement of the bellows.
Both bellows are spring loaded wedge-bellows with the one for the Organo Expresivo being mounted upside down.



The Ottes organ in Móstoles

€ 129,-

mostoles_01_ok.png

PLAY DEMO
E. Dalest - Improvisatie over Slaap kindje slaap
Historical information

Built in 2004 by Eppo Rynke Ottes (1941-5-8 - 2021-4-20)


The Organ History of Móstoles.

According to the chronicler Luis Zapata (1526-1595) the church in Móstoles already possessed an organ "the great organ in Móstoles has 21 different stops such as flutes, regals, trumpets, a cornet, a nightingale and tremulants."
In 1550, Phillip II along with the bishop visited the organ in Móstoles and declared it to be "the most beautiful in his kingdom." The sound especially impressed him.
In 1640 the mayor of Alcorcon wrote "the organs in Móstoles function perfectly."
The organ built in 1777 had deteriorated badly by 1816. The instrument was out of tune and essentially unplayable. It was repaired by Ramon Sanchez in 1895 who replaced around 60 missing pipes with new ones. After that, not much is known about the fate of this beautiful instrument. The old organ was likely lost in 1936 during the Spanish civil war.


The new organ in Móstoles

With respect to form, the new organ is adapted to the current, rebuilt interior. The organ case has been treated by the tempera technique, and profiles are gilded.
The decorations are in part derived from the altar and offering table. The organ has 21 stops as did the instrument from around 1550.
The organ is built in the classical style and is equipped with mechanical key and stop action.
The organ case is of solid wood with panels and the wind chest is made of solid oak.
The wind system consists of a wedge-bellows for Great and Pedal and a small hanging wedge-bellows with tremulant for the Brustwerk (Organo Expresivo).
Metal pipe work has a composition of 60% tin to prevent large tuning excursions during temperature changes; in addition the pipes are cut to length.
Stopped pipes are constructed of 75% hammered lead. The wooden pipes of the lowest octaves are made of pine and oak. The Fagot 16 pedal stop is constructed with boots and resonators of solid oak.
Of particular interest is the horizontal Trumpet with shallots of cherry wood which gives a nice round, non-metallic sound.

About the builder of the new organ in Móstoles.

Eppo Rynko Ottes (born in 1941 in Groningen) has already worked for 45 years as an organ builder and during this time has worked on new instruments, and the restoration and voicing of over 200 organs in Europe and Asia.
He is known for his subtle and artistic voicing artistry.

Experience
Already at the age of fifteen, he and a friend visited Dutch, German and Scandinavian organs.
From the age of six, he studied piano and organ with Wim van Beek, organist at the Martinikerk in Groningen, and after that with Finn Videro in Copenhagen.
After an apprenticeship with three Dutch organ builders and the study of more than 300 famous historic organs in Groningen and Oost-Friesland, he started his own business in 1964 in Roden (Dr.)
Because of the lack of housing in the Netherlands, he moved to Denmark. As manager at Troels Krohn (Hillerod), and in cooperation with Poul Gerhard Anderson and Marcussen/Kopenhagen he completed many instruments.
After an organ builder in Germany offered him a position as head voicer and organ facade designer, he worked there for a few years and as a free lancer he worked jointly with a variety of builders.
In 1978 he continued his own business close to the Swiss border and also worked together with international organ builders.
In 1990, he moved to Spain where he worked in conjunction with Spanish builders and under his own direction completed new instruments and carried out (international) restorations.
New organs in Spain include, amongst others, Premia de Dalt, Torreciudad and Móstoles

Technical information

Wind pressure OrganoMayor/Pedaal: 78 mm
Wind pressure Organo Expresivo: 67 mm
Tuning: a' = approx. 440 Hz.
Temperament: Unequal temperament "Ottes" (Included with this sample set: Temperament "Mostoles")
Tremulant:
the tremulant affects the Organo Expresivo.
The tremulant was recorded as an integral part of each voice. The beat is arrived at by playing a normal sample modulated by the waveform derived from the tremulant samples.
Zweltrede:
Swell pedal: the organ has a swell pedal that affects the Organo Expresivo.


The pallet system used in this organ

mostoles_18.jpg
The organ in Norrlanda
mostoles_19.jpg
Pallet as found in the organ in Norrlanda The upper part of the photograph shows the topside of the pallet with a groove over which the valve leather has been glued. The lower part shows a small hole drilled through the underside.
mostoles_20.jpg
X marks a small opening drilled through the pallet via wich the organ wind can get underneath the leather.

When the space under the pallet leather fills with wind, teh pallet makes an absolutely tight seal against the channel (see the figure on the right). This has great advantages with respect to the attack and decay of the pipe's speech. This principal was already being applied during organ building in the gothic period of the 14th century. On the left you can see an image the organ in Norrlanda Sweden where this type of pallet construction was already being used.

You listen to the Ottes organ in Móstoles