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    Wyświetlanie 1-3 z 3
    Tytuł:
    Choral-Lieder... mit Variationes — kompozycje Johanna Ephraima Eggerta na carillon kościoła św. Katarzyny w Gdańsku
    Choral-Lieder... mit Variationes — Johann Ephraim Eggert’s Compositions for Saint Catherine’s Church Carillon in Gdańsk
    Autorzy:
    Popinigis, Danuta
    Powiązania:
    https://bibliotekanauki.pl/articles/521867.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    carillon
    the St Catharine’s Church carillon
    compositions for carillon
    variations for carillon
    Johann Ephraim Eggert
    Opis:
    A manuscript entitled Choral-Lieder zu dem Glocken-Spiel der Altstädtschen Ober-Pfarr-Kirche zu St. Catharinen ausgesetzt mit Variationes, dated 1784 and containing pieces for the Saint Catherine’s church carillon, is kept in the State Archive in Gdansk. The manuscript contains 260 compositions based on a protestant chorale. They are grouped in two sections entitled Lieder zur ganzen Stunde and Lieder zur halben Stunde, i.e. songs for playing at full and half hours. In all, the manuscript contains 130 three-minute compositions to be played at full hours and 128 ninety-second compositions to be played at half hours. The fi rst part of the manuscript also contains two 15-second quarter-hour preludes. The works were written by Johann Ephraim Eggert, a St. Catherine’s church carillonist. The paper discusses the structure of the compositions. Despite what the title suggests, not all compositions are in the form of variations. Of the 130 pieces designated to be played at full hours, 124 are indeed variations, but there are 5 in the form of chorale prelude, and 1 is a simple monophonic chorale. As for the half hour compositions, about 25% are variations and the remaining ones are chorale preludes. The author of the article presents characteristic features of Eggert’s compositions. Discussing variations, she examines the ways of presenting the themes, texture, variation technique resources, and also types of variations. In the chorale preludes, she focuses on the ways of treatment. The author also points to the fact that the forms of Eggert’s compositions and his use of technical resources result from the carillon’s design.
    Źródło:
    Aspekty Muzyki; 2011, 1; 157-179
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ustawiacze automatycznego carillonu ratusza Głównego Miasta w Gdańsku — Franciscus de Rivulo i jego następcy
    Setters of the automatic carillon at the Main Town Hall in Gdańsk — Franciscus de Rivulo and his successors
    Autorzy:
    Popinigis, Danuta
    Powiązania:
    https://bibliotekanauki.pl/articles/521944.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    music culture of old Gdańsk
    automatic carillon of the Main Town Hall in Gdańsk
    setters of the Gdańsk Main Town Hall
    automatic carillon
    Franciscus de Rivulo
    Gdańsk
    carillon tablatures
    Opis:
    In 1561 an automatic carillon was installed at the Main Town Hall in Gdańsk. The mechanism was programmed by so-called town hall bell setters, who were employed by the City Council. We know the names of over twenty people who held this post. The fi rst was Franciscus de Rivulo — a composer most probably originally from the Netherlands. Out of all the bell setters that followed, he turned out to be the most signifi cant musician and outstanding composer. Later, the mechanism was programmed by other musicians, chiefl y organists, as well as members of the city orchestra and musicians’ guild. As many as ten of tchem were professional organists: Michael Colrep, Jacob Tetius, Franz Tetius, Andreas Neunaber, Jacob Neunaber, Christian Bühn, Theodor Friedrich Gülich, Rudolph Liebegott Liebendey, Julius Krieschen and Paul Krieschen. Members of the city chapel included Philipp Schönberg, Bartel Biehn and Johann Georg Borowski, while the musicians’ guild was represented by Hans Neunaber and Peter Bewersdorff. In the fi nal decades of the 17th century, the post was for the fi rst time held by a clockmaker, Johann Eichstedt. In the 19th century, the post of bell setter was held by two other members of this profession — Paul Friedrich Knaack and Carl Anton Kaschlinsky. On account of their professional training, these clockmakers were very familiar with the mechanism of the ‘singing device’ and they had no problems with setting music on the carillon drum. The article focuses on those setters whose activities had in some way infl uenced the musical culture of Gdańsk. It also points to the work of as yet not so well-know setters. Nevertheless, research is underway and in near future it promises to shed light on many of these currently unclear matters.
    Źródło:
    Aspekty Muzyki; 2012, 2; 67-79
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Gra carillonu ratusza Głównego Miasta w Gdańsku w świetle procesu konfesjonalizacji
    The sounds of the carillon in Gdańsk Main Town Hall in the light confessionalization process
    Autorzy:
    Popinigis, Danuta
    Powiązania:
    https://bibliotekanauki.pl/articles/521992.pdf
    Data publikacji:
    2016
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    confessionalization
    Protestant Reformation in Gdańsk
    Main Town Hall carillon in Gdańsk
    Opis:
    The idea of confessionalization, introduced to history teaching at the end of the 1970s, refers to a phenomenon, characteristic for modern (especially early-modern) times, of mutual creation of pre-modern statehood in Europe based on the cooperation between the autonomous Church and the state. The confessionalization in the social and religious life of Gdańsk was especially influen-tial after the Lutheran church had rooted in the city in mid-16th century. The Gdańsk City Council was quick and efficient in taking control over the local Protestant church to become its actual superior. Its power manifested for instance in issuing the so-called church regulations (Dangizer Kirchenordnung) which ordered the course of services and other religious ceremonies, as well as the decrees specifying the precise standards of behavior for the inhabitants of Gdańsk. Another tool applied by the Council to introduce the social discipline in the spirit of the Protestant moral code was the Main Town Hall carillon. This automatic instrument consisting of a set of fourteen chime bells was ordered by the City Council in the Flemish region of North Brabantia in 1559. Two years later (1561) it was installed inside the cupola of the belfry of the Main Town Hall — the seat of the authorities of the city, to become its unquestionable adornment. The Protestant hymns flowing from the bell tower were used not only to measure time and announce important social and political events taking place in Gdańsk itself and beyond, but also to remind the inhabitants of the instrument’s patron, on the one hand to underline the generosity of the Council, and on the other — as a forceful indication of the actual authority holder in the city on the Motława.
    Źródło:
    Aspekty Muzyki; 2016, 6; 11-23
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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