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    Wyświetlanie 1-7 z 7
    Tytuł:
    Organmistrzowski rodowód fortepianmistrzów
    Organ builder’s lineage of piano makers
    Autorzy:
    Vogel, Beniamin
    Powiązania:
    https://bibliotekanauki.pl/articles/521852.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    organ builder
    piano maker
    organ
    clavichord
    harpsichord, piano
    Opis:
    For centuries all kinds of keyboard instruments such as organs, clavichords, harpsichords and pianos were made by organ builders, with pianos being additional by-products. The gradual specialization in manufacture came along with a growing demand for stringed keyboard instruments. Already in the 18th century, some organ builders in larger musical centers began making more harpsichords than pipe organs. At the turn of the 18th and 19th centuries, one could clearly notice the trade specialization of makers originally educated as organ builders, of whom only few spent the rest of their lives manufacturing and repairing organs. Making harpsichords or pianos did not demand continuous journey in search for places or churches in need of new organs, where the maker had to stay for at least a few months, first to build the instrument and then to place it at the proper location within a given church. It did not demand adaptation to the architecture and acoustics of the sacral building. Instead, one could build these newly popular instruments in a stationary workshop or manufacture, and using a similar structural and artistic form, which in time simply gave way to serial production. This specialization process, first within the framework of a single trade, and later splitting in two different ones, will be shown on the examples of both European makers (such as Bartolomeo Cristofori in Florence or Gottfried Silbermann in Freiberg), and Polish builders from the 18th–20th centuries — working in a variety of locations: from magnates’ mansions and small towns, like Sandomierz, through larger manufacture centers as Warsaw, Cracow, Gdańsk or Lvov.
    Źródło:
    Aspekty Muzyki; 2017, 7; 177-193
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dyspozycja organów Josepha Goebla w Archikatedrze Oliwskiej jako odzwierciedlenie XX-wiecznych nurtów w europejskiej muzyce organowej
    Disposition of Joseph Goebel’s organs in Gdańsk Oliwa Archcathedral as a reflection of the 20th century currents in European organ music
    Autorzy:
    Kukla, Jerzy
    Powiązania:
    https://bibliotekanauki.pl/articles/521950.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    the organ
    the Oliwa organ
    Joseph Goebel
    Johann Wulff
    Orgelbewegung
    sound aesthetics
    Opis:
    The subject of this article is the sound aesthetics of the great organs in the Holy Trinity and Blessed Virgin Mary Archcathedral in Gdańsk-Oliwa, reconstructed in 1935 by Joseph Goebel, a Gdańsk organ builder. This was the most fundamental reconstruction of the famous instrument built in 1763–1788 by Johann Wilhelm Wulff and completed in 1790–1793 by Friedrich Rudolf Dalitz. Initially, it had 83 stops, 3 manuals and a pedal, and until 1855–1856, when Eberhard Fried-rich Walcker and Henry Willis built the 100-stop organs in the cathedral in Ulm and the cathedral in Liverpool, respectively, this was the biggest organ instrument in Europe. Archived expert opinions prove that the instrument was faulty by design whilst its size, in-adequate for the space behind the design, not only made it impossible for the mechanics to work properly, but significantly hindered the adjustment of the mechanism and tuning. In 1967 in his book Theorie und Praxis des Orgelpfeifenklanges: Intonieren und Stimmen Joseph Goebel described the normative foundations laid when developing the plans of the Oliwa organ reconstruction. This was to be an instrument harking back to its Wulff’s prototype, however taking into consideration the contemporary trends in organ building. Goebel was closer to the spirit of Albert Schweitzer than Christian Mahrenholz. Both in his earlier instrument in St. Cross Church in Poznań and in his biggest work — the great organ of the Oliwa Archcathedral — he strived for a synthesis of the most characteristic sound qualities of the instruments of each era and aesthetic circle to enable the performance of a wide spectrum of organ music with as little sound compromise as possible, which distinguished him from other organ builders of the German circle in the first half of the 20th century who followed exclusively Baroque standards.
    Źródło:
    Aspekty Muzyki; 2017, 7; 257-273
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tema con variazioni Romualda Twardowskiego. Przyczynek do dziejów muzyki organowej w PRL
    Tema con variazioni by Romuald Twardowski — a contribution to the history of organ music in the Polish People’s Republic
    Autorzy:
    Babnis, Maciej
    Powiązania:
    https://bibliotekanauki.pl/articles/521887.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Romuald Twardowski
    Polish music
    organ music in the 20th century
    organ music in the People Republic of Poland (PRL)
    organ variation
    Opis:
    This paper discusses Tema con variazioni by Romuald Twardowski, composed in 1981, which deserves special attention as an example of breaking with the main stream of organ music of the era. Polish organ music history has largely remained unexamined, mainly due to the shortage of sources — handwritten pieces have either been destroyed or hard to find, whereas the number of printed works is quite small. More organ pieces appeared at the end of the 19th century, thanks to Stefan and Mieczysław Surzyński. The interwar period did not bring significant interest in or-gan music — the major composers were Feliks Nowowiejski and Aleksander Karczyński living in America; the only younger composer of achievement was Kazimierz Jurdziński. A quite large number of important organ works appeared during the Nazi occupation. The paper is divided into two parts. In the first part the author discusses the condition and typical features of organ music in the years of the Polish People’s Republic, i.e. after the 2nd World War, when professional organ music was separated from its natural background, i.e. performance in the church. As a symptomatic example Zbiór preludiów na organy bez pedału by Feliks Rączkowski is indicated — one of the only two books published then containing church cere-mony organ music. The article also provides information on R. Twardowski — a leading Polish composer of the 2nd half of the 20th century, born in 1930 in Wilno, with critical attitude towards the avant-garde trends. The main part of the paper deals with Tema con variazioni. After the presentation of its sec-tions, devices used by the composer are discussed. Special attention is paid to the harmony deriving from the late-Romantic tradition. Finally, the author tries the “economical” approach to the organ concert repertoire and under-lines the advantages of the piece which, although short and simple, deserves attention.
    Źródło:
    Aspekty Muzyki; 2017, 7; 293-319
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Egzemplifikacja przemian w budownictwie organowym I połowy XX wieku na podstawie wybranych instrumentów z terenu obecnego województwa lubuskiego
    Examples of changes in organ building in the 1st half of the 20th century as shown by the selected instruments preserved in the present Lubuskie Voivodship
    Autorzy:
    Gawiejnowicz, Waldemar
    Powiązania:
    https://bibliotekanauki.pl/articles/522006.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Lubuskie Voivideship
    1st half of the 20th century
    organ building
    Organ Revival
    Sauer
    Grüneberg
    Berschdorf
    Kemper
    Seifert
    Opis:
    Lubuskie Voivodship is a varied and valuable area in terms of sacred architecture and church organs. The development of sacred building industry, industrialization of organ-building, and the use of the steam engine in the 19th century enabled organ manufacturers to expand their production in that area. That process reached its peak at the turn of the 19th and 20th centuries and caused major changes in organ instruments as such, that have been preserved in differing degrees to this day. The first half of the 19th century was the time of significant development in organ-building in terms of technology and sound aesthetics. It affected such aspects as specification, pipe scaling, voicing, system of action, and windchest construction. In the first two decades, apart from taking advantage of the previously worked out solutions, organ companies focused on the “moderniz-ation” of their instruments. It was, however, still carried out basing on tubular-pneumatic action and cone valve chests. The following decade brought some new ideas in the field of organ spe-cifications. Attempts to make electrical action more common were followed by turning back to the tracker action and slider chests. The Organ Revival Movement (Orgelbewegung) helped to break the monopoly of large organ companies focused on series production. However, these new trends in organ-building could not spread immediately due to the upcoming economic crises and the two world wars. The instruments preserved in the Lubuskie region document the most important transition in German organ-building in the first half of the 20th century and provide interesting research mate-rial. The instruments discussed in this article, selected from different locations (Drezdenko, Strzelce Krajeńskie, Gorzów Wlkp., Międzyrzecz, Iłowa, Słonów), present a clear development line over the years. Their choice was dictated by the accessibility of source materials, complemented by the author’s own research.
    Źródło:
    Aspekty Muzyki; 2017, 7; 225-256
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Muzyczne dedykacje organowe w muzyce francuskiej XX wieku
    Organ music dedications in French music of the 20th century
    Autorzy:
    Kotłowska, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/521856.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    dedications
    French music
    organ music of the 20th century
    Opis:
    Music dedication is an additional source not only of biographical curiosities or testimonies of friendship ties but also of real knowledge of composers. The French composers of the last centu-ry who were placing dedications in their organ works were guided by various reasons. The dedica-tions create a peculiar kind of map of the music in the 20th-century France. The author is analyzing the pieces in which either the concrete person is being called in the title e.g. Suite pour…, Hom-mage à…, à la memoire de…, or their names are placed in the subtitle. The aim of this paper is not a detective research of the relations that connect the composer with the addressee of dedication, though sometimes by tracking the mentioned persons one may complete or explain many biograph-ical details (just like in the organ series of e.g. Joseph Bonnet, Gaston Litaize, or Louis Vierne). Because of the great number of dedications (presented in the table provided), the author has tried to divide them into some groups and to make a classification: (1) dedications referring to the past that are the expression of the homage paid to the composers especially important for the French religious or organ music (e.g. Jean Titelouze, Girolamo Frescobaldi, Jean-Phillippe Rameau, César Franck, or Gabriel Fauré); (2) works addressed by the grateful disciples to their master, not only to the teachers of playing the organ — owing to them we can find out about the educational experience of the organists, who at that time were very often composers, too; (3) dedications reflecting the disciple-master relation, but also the one of predecessor-successor in case of the titular organists in Paris churches — it turns out to be the confirmation of the “organist to organist” relation and the relation of friendship, as well; (4) wish to commemorate the organist having died prematurely (e.g. Jehan Alain or Jean-Claude Touche); (5) works offered as a gift to the personages from the circle of the art and culture creators (organ masters, music critics, poets), as well as to the very closest persons among the friends and family.
    Źródło:
    Aspekty Muzyki; 2017, 7; 275-291
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Preludium chorałowe na organy w drugiej połowie XIX wieku na przykładzie utworów Wilhelma Friedricha Markulla i Johannesa Brahmsa
    Choral prelude in the second half of the 19th century in an example of two sets by Wilhelm Friedrich Markull and Johannes Brahms
    Autorzy:
    Szadejko, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/521889.pdf
    Data publikacji:
    2014
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Wilhelm Friedrich Markull
    Johannes Brahms
    choral prelude
    organ
    Romanticism
    Herzlich tut mich verlangen
    Opis:
    The second half of the nineteenth century was a time of great changes of organ music, par-ticularly the work associated with the development of a concert performance in a great form of fantasy, or sonatas. However, one should not forget that as well as a small form of choral prelude, composed for liturgical usage, underwent transformation and sublimation under the influence of the great symphonic orchestra of that period, as well as aesthetic changes resulting from the new organ sounds and constructions. The two sets of preludes are chosen from several underlying causes. One by Markull is a collection of little known composer, but it gives a full overview of ob-jectively different types of preludes for organ characteristically in the second half of the nineteenth century on the one hand, on the other hand, however it gives an insight into the subjective percep-tion of these forms by composer, showing his most personal style. In this collection, we also have a number of descriptions of registrations, which on one hand is closely associated with a particular instruments in the St. Mary’s church in Gdańsk and on the other hand are mostly emblematic for the style of organ music in Central Europe at that time. The set of Brahms is one of the most famous collections of choral preludes in organ literature, some of the songs have became even symbols of German organ romantic music style, though by no means their form seems to have no counterpart in the work of other composers of his time. You can treat the organ preludes of Brahms as the end of a stage of the development of this form and impetus for subsequent changes. This collection is quite hermetic, enigmatic, ”strangely intimate” buckle, which somehow in the extract, a condensed synthesis closes the great symphonic heritage of one of the most important German composers. Both collections and composers different from each other so much: Markull — the forgotten composer, but organ virtuoso of his time, Brahms – one of the renowned German composer, but the — only theoretical — organist, preludes by Markull – written for liturgical use, it can be called usable, very organ: preludes by Brahms — written primarily on their own needs, as an descrip-tion of some ideas, which sometimes makes it difficult to interpret on the organ. But there are also some elements in common: the two sets were created in the last period of activity of composers, both of them are deeply connected with the big German organ tradition, in musical terms having also sometimes surprisingly much in common, what the author wants to demonstrate in its analysis.
    Źródło:
    Aspekty Muzyki; 2014, 4; 67-100
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Partimento po polsku? Nauka realizacji basso continuo i improwizacji organowej w przemyskim klasztorze benedyktynek
    Polish partimento? The teaching of basso continuo realization and organ improvisation in Benedictine monastery in Przemyśl
    Autorzy:
    Walter-Mazur, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/521912.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    partimento
    organ manuscripts
    sources to the polish music history of 18th century
    the musical culture of Benedictine nuns
    Przemyśl
    Opis:
    The article is devoted to the fragment of manuscript ms 10 stored in the Archive of the Benedictine Sisters in Przemyśl. The manuscript consists of 70 cards and comes probably from the mid-eighteenth century. The book, intended for the organist, consists of liturgical chants written in the soprano key with an accompanying bass line, exercises based on the bass line and 77 organ works. In addition, on the cards 64V-69V of this manuscript some observations about organ teaching are written. Those observations are subject for this very considerations and the text in the original grammatical and spelling form is attached to this article. The teaching notes from ms 10 are titled Understanding of good and bad consonances and consist of 29 unnumbered points illustrated with musical examples. They provide guidance on the implementation of basso continuo, organ accompaniment for plainchant and polyphonic singing and composing or organ improvisation. It is so far the only known text of this kind in the Polish language dating the eighteenth century. Author and copyist of this text remain unknown, but we can assume that it has been prescribed from another source by a nun-organist, and only in a small part reformulated. Its relationship to a female religious community is indicated by, apart from place of preservation, the endings of verbs appearing in the teaching notes. From the course of argument it can be concluded that the method of teaching included in the Understanding of good and bad consonances refers to the partimento tradition that began in the late seventeenth century in the Italian conservatories, and later, in the eighteenth century and early nineteenth, has been popularized in many parts of Europe through published books. The term partimento determined bassline, with or without numbering, which is the basis for improvising or creating self-composition. While dealing with the bass lines, a student learned at the beginning about the construction of intervals and chords and the way of conducting voices. When it was no longer a problem, he could expand the bass to the accompaniment or to the solo piece.
    Źródło:
    Aspekty Muzyki; 2012, 2; 99-118
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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