Tordesillas
Valladolid

San Pedro

(IM, 8-9)

  • Manuel Benito Gómez 1714
  • Marcial Rodríguez 1864. Reform
  • Joaquín Lois 1987

Despite having undergone several reforms, it is confirmed that the organ is the one built by Manuel Benito Gómez because of the detail of the rear facade, which the case preserves to this day.

The detail of the musician angels with the Clarines is truly original.

Tordesillas
Valladolid

San Pedro

San Pedro, Tordesillas Manuel Benito Gómez 1714
San Pedro, Tordesillas Manuel Benito Gómez 1714
San Pedro, Tordesillas Keyboards. Detail
San Pedro, Tordesillas Stickers on the registers
San Pedro, Tordesillas Clarín. Detail
San Pedro, Tordesillas Console. Detail.
San Pedro, Tordesillas Clarín. Detail

Technical details

The composition and style of this organ was common in Castilian organs from the beginning of the 18th century. It has early horizontal reeds and Lleno of flautados that contrast only with the Corneta (cornet).

It stands alone above the lower choir at the back of the church, on the south side, which gives it a very light and aerial sensation.

Composition

  • Un teclado manual de 45 notas (C-c”’), con octava corta
  • Contras de 13
  • Registración partida en bajos y tiples (c’-c#’)

 

MANO IZQUIERDAMANO DERECHA
Flautado de 13Flautado de 13
OctavaOctava
DocenaDocena
QuincenaQuincena
DecinovenaDecinovena
Lleno 3hLleno 3h
Címbala 3hCímbala 3h
Trompeta RealCorneta Real 6h
Trompeta Real
Clarín *

Otras características

  • Pajaritos
  • Contras diatónicas de 13 palmos
  • Diapasón: 415 Hz
  • Temperamento: Mesotónico clásico

Tordesillas
Valladolid

San Pedro

San Pedro, Tordesillas Manuel Benito Gómez 1714
San Pedro, Tordesillas Manuel Benito Gómez 1714
San Pedro, Tordesillas Keyboards. Detail
San Pedro, Tordesillas Stickers on the registers
San Pedro, Tordesillas Clarín. Detail
San Pedro, Tordesillas Console. Detail.
San Pedro, Tordesillas Clarín. Detail

History

uilt in 1714 by Manuel Benito Gómez, this organ have had an eventful life, according to the documents collected and the marks on the instrument itself.

Intervetion made

The restoration recovered the composition the organ had before Marcial Rodríguez's reform in 1864, because it was not possible to reconstruct the pipe work and some other parts of the instrument, which had different style and were of very poor quality.

The condition of the organ, both the case and the instrument, was terrible, but when all parts fitted in place and found their purpose, they gave the instrument great character.

Media