Technical details
t has a single keyboard of 45 notes and its composition was designed by Francisco Ortega, and is very characteristic of this master. However, the horizontal reeds were modified by Antonio Ruiz.
IM, 16-16
This is the last organ built by Francisco Ortega, and probably the biggest one he built.
In spite of its material integrity, the state of the organ was very deficient at the beginning of the restoration.
La Asunción parish in Rueda is one of the few examples of a pure Baroque style church in Castile. The organ was built at the same time as the temple so it is fully integrated in terms of architecture and ornamentation.
t has a single keyboard of 45 notes and its composition was designed by Francisco Ortega, and is very characteristic of this master. However, the horizontal reeds were modified by Antonio Ruiz.
As for its composition, there are some aspects that are worth mentioning. First of all, the bulky Lleno with the seventeenth on the left hand, and four-ranks Lleno and Címbala. Secondly, the Corneta real with 7 ranks doubling the fundamental tone by 13 spans, an open row and a chimney one.
The Violón is particularly interesting, which is on the left and exclusively for the first octave. This characteristic is original from the time the organ the organ was built. It’s not part of any later reform, like we thought before the restoration. It is not present in any other works by Francisco Ortenga or any other authors from that time. It is understood as a pure reinforcement for the basses.
Originally, the horizontal reed had pipes of 13 spans in tessitura: both hands Clarín, right hand Clarín and Dulzaina. Antonio Ruiz removes the Dulzaina, as it was his custom, and adds a Trompeta magna, thus modifying the original position of the stops.
The pipes are of very good quality, even though the facade presents some irregularities, specially regarding the thickness and sturdiness of the metal.
The wind chests and the action are very well constructed and they are made of good materials. They were complete but poorly arranged.
Even though it was complete, the organ before restoration was in very bad condition, mainly due to inadequate interventions. The pipes were in dire condition.
As for the case, which was very large and had abundant ornamentation, the top section was in good condition but the lower section had been repainted and was missing part of the case’s woodcarving. Overall, it was filthy and part of the gilding and the polychromy was peeling.
| LEFT HAND |
RIGHT HAND |
||
| Flautado de 13 | Flautado de 13 | ||
| Violón de 13 (C-H) | Octava Real | ||
| Octava real | Tapadillo | ||
| Tapadillo | Docena | ||
| Docena | Quincena | ||
| Quincena | Quincena y 19ª | ||
| Diez y setena | Lleno IV | ||
| Diez y novena | Címbala IV | ||
| Lleno IV | Corneta Real VII | ||
| Címbala IV | Corrneta en eco VI | ||
| Trompeta real | Trompeta real | ||
| Clarín * | Trompeta Magna * | ||
| Violeta * | Clarín * | ||
| Clarín* |
he Rueda organ was built by Francisco Ortega in 1747, according to the graphic proof appearing on the organ as well as the historical documentation from the archive of notarial protocols.
The only historical documentation that we have today is the one regarding the construction contract. We do not know how the work was finished nor how later interventions were carried out. The contract is very interesting because it shows many details about the instrument, the tender system and the awarding of the works.
It is clear that the organ suffered modifications after the contract, but none of these are documented.
Inside the pallet box, we can read part of an inscription:
“For the Honor of God and Mary Most Holy, Francisco de Hortega, Master Organ Builder for the King, built me in Marugán, in the year of our Lord 1747”
“The Curators of this Church being Mr Bernabé Jimeno and Mr Pedro Baion and from this town Mr Manuel Ignacio Jimeno, Gómez de Bonilla and Mr Feliciano Rodríguez”
Even though it is possible that the organ underwent more than one reform, as the modifications on the horizontal reeds and stop handles might suggest, it seems that the wind chest and the channel boards have not been dismantled nor modified since their installation in 1747.
The most obvious modification is the loss of the Dulzaina in the facade and the addition of the Trompeta Magna on the right hand, moving the 2nd Clarín to the right hand of the Dulzaina, and also the addition of a Violeta instead of the Dulzaina on the left hand.
These modifications are not documented, but our experience leads us to believe that Antonio Ruiz made an intervention at the end of the 18th century.
Apart from that, it seems that the organ has not undergone more reforms throughout its history.
All the pipe work seems to date from 1747, with the exception of the aforementioned horizontal reeds.
In 1980s the organ was started up by non-professionals; the effect of the intervention is hard to determine, but it did not modified the organ’s structure.
BIBLIOGRAPHY:
*(1).- “El órgano en Valladolid y su provincia: catalogación y estudio” (“Organs in Valladolid and the province of Valladolid: cataloguing and study”
*(2).- Protocolo notarial: Protocolo Rueda Anuario Musical Esteban García Chico (Notarial protocol: Rueda Protocol Annual Musical Directory Esteban García Chico)
he restoration of the Rueda organ was carried out in two stages over the course of several years, which meant a great effort regarding coordination and adjustment of all the works. All of them were focused on the preservation of its historical and artistic value and the material recovery of the instrument, its timbral and musical characteristics.
After an exhaustive study of the organ, the following works were carried out:
Pipe work restoration: This has been the most delicate process and also the one that received more attention because the pipes had been manipulated.
OVERALL ASSESSMENT
The result is an organ with a lot of character, designed to have great presence in the temple. However, due to the characteristics and dimensions of the church this was not completely achieved, even though the harmonization in the choir is quite strong.
This organ can be considered the final touch for this excellent church and its restoration process.

La Inauguración del órgano
de La Parroquia de La Asunción de Rueda
será Inaugurado el próximo 21 de Junio
según el programa de la Diputación Provincial de Valladolid.
Intérprete: Antonio Baciero