“Carrying the organ” – the thing on the portative, Part 1
The present article is aimed at outlining the history and form of instruments known as portatives. Its continuation will be a paper devoted to discussing technical issues connected with designing and constructing Opus 1 Portative built by the author. The portative is an instrument belonging to the family of keyboard aerophones. It is the smallest representative of the pipe organ family – both in terms of its sound range and size. As there are not many historical instruments preserved to this day, we draw information on their form and use from how they are depicted in art. It is a testament of the evolution of portatives and their popularity – from the first mentions about them from the beginning of the 12th century to the16th century when their significance lessened. This drop in popularity of these instruments was probably connected with their technical limitations noticed at that time, the fact that they were unable to meet the requirements of the evolving music and they became ousted by other portable instruments. The construction of the portative is similar to the construction of the full-size pipe organ. We can notice the occurrence of similar components, only in a simplified and smaller form. An important discrepancy is a different treatment of air system – the portative usually has only one wedge bellow operated by the player, which allows to very precisely control the air pressure, and that is connected with the dynamics and tone colour of sound produced by the pipes. This results in playing music characteristic of portatives, i.e., similar to vocal music having greater phrasing capacities as compared to playing the full-size pipe organ. Despite the decline of interest in portatives, which could be noticed in the 16th century, nowadays portatives have been regaining popularity with musicians and organ builders. They all want to build instruments with a high level of historical accuracy as well as create portatives with modern features. Examples of the first trend can be found in Marcus Stahl’s workshop, whereas the instrument built by me follows the second trend. A great model of a portative combining both ideas is one constructed by Bartosz Żłóbiński.