NEW ARTICLE: Szostak M. (2024). Two Roman Instruments, The Organ, No 410, November 2024-January 2025, Musical Opinion Ltd, London, ISSN 0030-4883, pp. 24-39.

In May and September 2024, I had the pleasure to perform recitals at two marvellous and historically important sacral buildings in Rome: Saint Peter’s Pope Basilica Outside the Walls (Basilica Papale di San Paolo fuori le Mura) and Pantheon (Italian: Basilica of Santa Maria ad Martyres). Both instruments do not represent the highest standards of musical instruments we could expect in such prestigious venues; however, it is worth taking a closer look into the history and features of both places and organs. The construction of organs in Italy has a long and distinguished history, shaped by the unique aesthetic, liturgical, and technical traditions that emerged throughout different periods. Italian organ building remained relatively stable in its fundamental design from the Renaissance well into the late Baroque period, with several core characteristics that distinguished it from developments in other European countries. According to organ historian Hans Davidsson, the Italian organ typically featured a single manual, rarely included pedalboards with independent stops, and emphasised a clear, light tone with a foundation of principal stops known as the “ripieno”. These stops provided a consistent tonal base, contrasting with the more diverse, heavily reeded sounds favoured in French and German organs during the same period. In the 16th and early 17th centuries, Italian organs were designed with simplicity and clarity in mind, reflecting both the acoustic requirements of Italian churches and the liturgical preferences of the Catholic Church. Instruments commonly featured a limited range of stops, with 4’ and 2 2/3’ flute stops occasionally added for concertato effects, but reed stops were rare. The practical design of these organs often included pull-down pedals – pedals that directly activated the lowest manual keys – thus limiting their independence but allowing for a compact and efficient construction. Moreover, decorative organ cases remained a hallmark of Italian design, with builders often incorporating ornate elements reflecting the prevalent Baroque and Renaissance architectural styles in Italy. In works such as the organs of Santa Maria Sopra Minerva in Rome, elaborate sculpture elements such as putti and cloud shapes became prominent, sometimes surpassing the pipes’ visual prominence.