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Tytuł:
Działalność firmy organmistrzowskiej P. B. Voelkner w Poznaniu
The activity of organ-bulding company P. B. Voelkner in Poznań
Autorzy:
Bigosiński, Adam Konrad
Powiązania:
https://bibliotekanauki.pl/articles/1191452.pdf
Data publikacji:
2020-06-30
Wydawca:
Instytut Wydawniczy Księży Misjonarzy Redakcja "Nasza Przeszłość"
Tematy:
organy
organologia
organmistrzostwo
Poznań
organ
organ-building
organ studies
Opis:
Mimo wielu dotychczasowych publikacji dotyczących działalności zakładu organmistrzowskiego Paula Voelknera temat nadal nie został wyczerpany. Dzięki coraz szerszym badaniom źródłowym wychodzą coraz to nowe fakty dotyczące nie tylko wybudowanych przez niego instrumentów, ale też o samym organmistrzu. Niniejszy artykuł ma na celu prezentację nowych faktów z życia Paula Voelknera a także zaprezentowanie części jego działalności w Poznaniu w wymiarze postawionych przez niego instrumentów. Zagadnienie to jest o tyle interesujące, gdyż właśnie w tym mieście Voelkner zbudował swoje największe organy.
Despite many publications on the activities of Paul Voelkner’s organbuilding company, the topic has not yet been exhausted. Thanks to increasingly broader source research, new information is being disclosed not only about the instruments he built, but also about himself. The purpose of this article is to present facts from Voelkner’s life and his activities related to the instruments he built. This issue seems to be particularly interesting as it is in Poznań that Voelkner built his largest organs.
Źródło:
Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce; 2020, 133; 179-212
0137-3218
2720-0590
Pojawia się w:
Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Historia organów firmy Rieger w kościołach jezuickich na terenie Krakowa
History of the Rieger Organs in Jesuit Churches of Kraków
Autorzy:
Matoga, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/570431.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
organy
budownictwo organowe
organmistrzowie
Kraków
Rieger
organ
organ building
organ makers
Opis:
History and activity of the Rieger company were the subject of several publications using, among others, catalogues and advertisements published by the company. The article concerns the history of pipe organs of the company in two Jesuit churches of Kraków: St. Barbara’s Church and the Sacred Heart’s Church. The beginning of development of music in the Jesuit order took place under the rule of the general Claudio Acquaviva, who at the beginning, in 1608, allowed to use the pipe organ and woodwind instruments in churches, and yet in 1611 he agreed to employ secular instructors of music, what next allowed to establish music schools. The musical chapel, active in Kraków from the 17th century and competing with the chapel of St. Mary’s Basilica, was an important element of Jesuit activity in the field of music. St. Barbara’s Church was created through rebuilding the 14th-century cemetery chapel at the St. Mary’s Basilica’s Cemetery. In 1583, the church was given to Jesuits, who discovered an organ in it. The new instrument, finished in 1688, was sold in 1731 and replaced by a significantly smaller one, and then the next one, built in 1865 by Antoni Sapalski. In order to build the new organ, which has been preserved until today, the monks contacted the company of Gebrüder Rieger from Jägerndorf, which in 1894 presented the first project of the disposition, and then the official cost estimated model. Yet in December 1894 the final acceptance of the mechanic instrument (Opus 457) with two keyboards and pedal took place. It was equipped with 16 ranks, including 5 in the multiplex system. In 1913, the organ was equipped with the electric motor. Moreover, two pipes were changed then. In 1917 and 1918 Stanisław Żebrowski from Kraków made the repair. In June 1918 pipes from the case were taken to be used for war purposes. The person who removed them was Josef Kloss, the technical director of the Rieger company, who went to Kraków to undertake similar actions in other churches of the city as well. During his stay, he lived in the Jesuit monastery at the St. Barbara’s Church. In 1919 S. Żebrowski cleaned and tuned the organ. In February 1920 he installed the missing pipes of the case, commissioned from the Rieger company. The same organ builder had a conflict with the general of Jesuits in 1927. The reason for that was that he did the works beyond the written agreement, demanding additional payment. In 1935 the overview of the instrument was made by the Rieger company. In 1964, in the face of the deterioration of the organ, the representative of the Dominik Biernacki of Warsaw’s company, made an overview. The company offered the repair connected with the reconstruction in terms of changing the tracker action, organ’s console and adding “modern” pipes. The works were not realised. In 2007–2009 the church was thoroughly rebuilt. Then, the repair of the instrument took place as well, made by the company of Michał Klepacki from Pępów. The monumental Sacred Heart’s Church in the district of Wesoła was built by Jesuits in 1909–1912, replacing the previous chapel. In the 1920s the offers to build the pipe organ in a new church were made by the following companies: Gebrüder Rieger (1923–1924), Wojciech Zagórda from Czernichów (1925), Joseph Goebel from Gdańsk (1927) and Dominik Biernacki from Włocławek (lack of date). Finally, in November 1927, Jesuits commissioned the instrument from the company of Rieger. Its parts arrived in the church in May 1928 and yet at the beginning of June the final acceptance of the organ took place in the presence of Cracovian musicians: Bolesław Wallek-Walewski and Tomasz Flasza. The ceremony of consecration of the new instrument (Opus 2317) took place on 10th June 1928. Firstly, the organ had 33 ranks, 3 manual keyboards, a pedal and pneumatic tracer action. The instrument was probably damaged as a result of explosions in 1945. It was repaired by the Rieger company in 1947. First serious works with the organ are not scrupulously documented. It is known that on 18th November 1956 the consecration of the instrument after the renovation under the guidance of Prof. Józef Chwedczuk took place. The executor of the works was probably the company of Wacław Biernacki from Kraków. The number of voices was extended to 45, and tracker action was replaced by an electro-pneumatic one. In 1972 the pipe organ was tuned and in 1981 several repairs were made by Lech Skoczylas from Kraków. In 1989 the repair was made by Albert Kunz and Lech Skoczylas from Kraków. In 2007 the reconstruction was made by Michał Klepacki from Pępów after the consultations with Jerzy Kukla from Lublin. The number of voices increased to 47, new bellows were built, the console was installed as well as electronic memory system. The earlier organ console of the Rieger company is currently kept in the side part of the gallery. The presented article proves that the Rieger company with its seat in Silesia to some extent shaped the picture of organ building in the territory of Southern Poland since the end of the 19th century.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2019, 2; 51-69
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Polska bibliografia organów prof. Marii Szymanowicz jako narzędzie badań organoznawczych
Polska bibliografia organów by Prof. Maria Szymanowicz as a Tool for Organ Studies
Autorzy:
Koenig, Franciszek
Powiązania:
https://bibliotekanauki.pl/articles/570385.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
organy
bibliografia
bibliografia organów
organoznawstwo
organologia
organ
bibliography
organ bibliography
organ studies
organology
Opis:
The above article presenting Polska bibliografia organów published since 2011 by Prof. Maria Szymanowicz, also partly captures the reaction to the published work of musicologists and organologists as well as bibliographers. It is also an attempt to justify that the publication, even if not free from methodological shortcomings and small deficiencies, is still a valuable, useful and even necessary tool in the hands of Polish researchers on subjects related to organs. The presented article consists of four points, introduction, ending and bibliography list. The first point discusses the substantive value of the so-called domain bibliographies, which from the bibliographers' point of view are a valuable element of organizing knowledge. It is important to see from this point the real value of Bibliografia by M. Szymanowicz. After all, Polska bibliografia organów is indeed a kind of domain bibliography. Creating a bibliography in a given field also increases the importance of the discipline and adds to its development. The second point presents the biography and scientific achievements of Prof. Maria Szymanowicz, who, along her scientific career, was the director of the Institute of Musicology at the Catholic University of Lublin and continues to be the head of the Department of Instrumentology. Her field of interest are organ construction, liturgical music and religious musical culture. Her scientific achievements include 7 book publications, over 40 scientific articles and several encyclopedic entries. Nearly 40 years of scientific work also resulted in the promotion of 7 and reviews of 9 doctorates. She is the promoter of over 30 bachelor theses and over 40 master's theses. In addition to that, thanks to many years of her cooperation with Ośrodek Dokumentacji Zabytków (the Monument Documentation Centre) in Warsaw and restoration centers, M. Szymanowicz made at least 170 inventories of historic organs. All these activities make it clear that M. Szymanowicz has full competence to create a bibliography. The third point contains a discussion of the published volumes of Polska bibliografia organów and their sources of inspiration that date back to 1980. It is when the author came across the published bibliography of organs by the German author Rudolf Reuter. Since then, when conducting a query, she collected materials for the future implementation of the idea of developing a Polish bibliography of organs. The first volume was published in 2011, the second in 2014 and the third in 2018. They cover a total of 2,500 items. A detailed description of the methodology of work and the division of materials is included in the description of the Reviews section. Generally, the work of Prof. Szymanowicz arouse great enthusiasm of experts on the subject and the same could be expected from biographers, but on the contrary it met with criticism of the methodology of work expressed by the bibliographer Jakub M. Łubocki. The fourth point is an attempt to identify several elements of the discussed work as a real tool in the hands of organology experts. The publication is an exploratory, cognitive and inspirational tool which broadens mental horizons and emphasizes the status of organology as a separate field of knowledge. The final part discusses the friendly acceptance of Polska bibliografia organów by M. Szymanowicz by all organ scholars and how it met with criticism from the bibliographer. Of course, one can question some of the methods taken up by the author at the beginning of her work, but its general values and the competence of the author or her work cannot be diminished. What she did was truly a “Benedictine work.” In the ending, a few problems are also highlighted which are involved in the process of creating this type of bibliography. Firstly, the literature on the subject is expanding dramatically, and secondly, there is a growing interest in bibliographies published in electronic media, i.e. using digital techniques and involving the operation of computers or other mobile devices. Therefore, it is likely that there will come a moment when work on the bibliography of organs will be raised to a higher level using information systems, which would entail the need to change the methodology of work. This is always possible, especially since the most difficult and arduous work related to source queries has already been done.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2020, 3; 81-91
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Organy w kościele Świętego Krzyża w Bytomiu-Miechowicach. Historia i koncepcja rekonstrukcji
The Organ in the Church of the Holy Cross in Bytom-Miechowice. History and Concept of Reconstruction
Autorzy:
Koenig, Franciszek
Powiązania:
https://bibliotekanauki.pl/articles/570405.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
organy
budownictwo organowe
organmistrzowie
Bytom-Miechowice
Schlag und Söhne
organ
organ building
organ makers
Opis:
The article presents the history of the organ in the church dedicated to the Holy Cross in Bytom-Miechowice and the concept of recreating in the temple a historical instrument from 1905. History of the organ in the church of the Holy Cross in Miechowice dates back to at least a few centuries ago and concerns instruments found in the previous baroque church from the 17th century which was made famous by Fr. Norbert Bonczyk in the poem Old Church of Miechów from 1879. The earliest reports about the organ in Miechowice come from the visit protocols from the first half of the eighteenth century which mention the existence of 5-voice organ located on the music choir of the church. The studies on the church in Miechowice specify that the last organ in the so-called “old church of Miechów” was built in 1840 although no specific source is provided. Probably after the construction of the present church (the so-called new church) and its dedication in 1865, the organs were moved to the new temple. Archival research shows that at the end of the 19th century and at the beginning of the 20th century, the instrument was taken care of by, among others, T. Cieplik, once an organist of this church and later the founder of the musical conservatory in Bytom and a merchant, and E. Kurzer, an organ maker from Gliwice. The firm of Paul Berschdorf from Nysa also took part in renovating the organ in Miechowice. In the parish archives, bills have been kept which confirm the work of the mentioned people. Later, the organ was replaced with a new instrument. However, until 2014, it was not clear who its builder was and when it was built. The original documents were probably in the possession of the founders and they are not in the parish archives. It was only archival research abroad in Cologne and Leipzig in November and December 2014 (Universitäts- und Stadtbibliothek Köln; Deutsche National Bibliothek Leipzig) which made it possible to establish that in 1905 the new 26-voice organ was built in the temple by Schlag und Söhne company from Świdnica. The instrument survived until the 1960s. Thanks to the research, its exact disposition is known and we have learnt that the company of Carl Berschdorf also worked on the instrument offering in 1939 its full extension to 42 voices. This project, however, was never realized due to the outbreak of World War II. In the 1960s, intensive work on removing the effects of mining damage was carried out in the church. Then, Schlag’s organ was dismantled and the case and the beautiful neo-gothic facade fitting the entire interior of the temple were destroyed. Fortunately, the only photograph of the Schlag organ prospectus has survived in the parish chronicle. In 1968, a temporary instrument was built on the basis of the former organ which remains in use today. Presently, further work is in progress being the next stage of saving the temple of the Holy Cross. First of all, the process of leveling the church must take place. A conception has therefore arisen that, in view of the need to completely renew the structure and interior of the temple, the historical 26-voice instrument from 1905 should be restored. An early project was prepared by Julian Gembalski from the Academy of Music in Katowice. Currently, work is underway to create technical and executive designs that are to be included in the overall cost estimate of the planned temple revitalization project. The matter seems more urgent since the cost estimates are to be approved in November 2019. The assumptions of the initial project by prof. J. Gembalski combine the desire to recreate the organ in its external form with a certain pragmatism in relation to the technical side of the instrument. In this case, it is not about making a faithful copy of Schlag’s organ, but rather a new instrument adapted to the place and time employing the latest achievements in the field of organ building. The project therefore includes the construction of the casing and having the architectural prospectus reconstructed in appropriate proportions based on the preserved photograph. The organ is to receive 26 voices divided into two manuals and pedal, but with a slightly widened range of keyboards which is to create better performance conditions for the music (up to “g3” in the manual and up to “f1” in the pedalboard). Although there were probably conical windchests in the historical instrument, it seems interesting to propose the use of electromagnetically operated slider and pallet windchests. What needs to be taken into account is not only the sound but also the durability of newer techniques and lower maintenance costs in the future. Still, when deciding to employ newer technical solutions, the quality of the sound cannot be overlooked. Therefore, there is a need to examine other Schlag und Söhne instruments from the same period in terms of parameters affecting the sound of the organ like mensuration, materials used, construction details of the pipes, and finally their intonation.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2018, 1; 59-73
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Główni przedstawiciele budownictwa organowego w Stanach Zjednoczonych w latach 1815-1860
The Main Representatives of Organ Building in the United States in 1815–1860
Autorzy:
Widak, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/45643331.pdf
Data publikacji:
2021-12-09
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
budownictwo organowe
XIX wiek
organy
organmistrzowie
rodziny organmistrzowskie
Stany Zjednoczone
organ building
19th century
organ
organ builders
organ families
United States
Opis:
W niniejszym artykule została omówiona działalność głównych przedstawicieli budownictwa organowego w Stanach Zjednoczonych w latach 1815-1860. Był to czas przemian w stylu budownictwa organowego z tradycyjnego warsztatu na rzecz fabryk produkujących organów. Działali pojedynczy organmistrzowie, jak również rodziny i firmy organmistrzowskie. Rolę wiodącą pełniły trzy ośrodki: Nowa Anglia, Nowy Jork i Pensylwania. Czołowi organmistrzowie tych ośrodków to: bracia Goodrich, T. Appleton, T. Hall, H. Erben oraz rodziny Krauss i Dieffenbach. W innych stanach budownictwo rozwijało się w mniejszym zakresie ale było pod wpływem budowniczych z wymienionych wyżej ośrodków. Budowane instrumenty były przede wszystkim przeznaczone do kościołów ale dużą popularnością cieszyły się organy tzw. salonowe do użytku domowego (Alley and Pool) z czasem zastępowane przez fisharmonie. Początkowo organy były budowane według wzorców angielskich i niemieckich ale zaczynał się kształtować rodzimy styl budowy organów.
In this article, the activity of the main representatives of organ building in the United States in 1815–1860 is discussed. This was a time when organ building moved from traditional organ workshops to organ factories. There were both individual organ builders and organ-building families and firms. Three centres – New England, New York and Pennsylvania – were in the lead. The main organ builders of those particular centres were: the Goodrich Brothers, Thomas Appleton, Thomas Hall and Henry Erben, as well as the Krauss and Dieffenbach families. In the other states, the building of organs was developing to a smaller extent, but it was under the influence of organ builders from the above-mentioned centres. Most organs were designated for churches, but chamber organs for home usage (Alley and Pool) were popular as well. In time, they were replaced by reed organs. Initially, organs were built according to English and German patterns, but a domestic style of organ building also started to take shape.
Źródło:
Roczniki Humanistyczne; 2021, 69, 12; 101-119
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
BRZMIENIA 2 NA FAGOT I ORGANY
Sounds 2 for bassoon and organ
Autorzy:
Szadejko, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/570449.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
muzyka organowa
nuty
organy
fagot
organ music
notes
organ
bassoon
Opis:
Organ music
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2020, 3; 181-193
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Głosy organowe w świetle traktatu „Spiegel der Orgelmacher und Organisten” [1511]
Organ Stops According to the Treatise „Spiegel der Orgelmacher und Organisten” [1511]
Autorzy:
Towarek, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/2148288.pdf
Data publikacji:
2017-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
organy
budowa organów
głosy organowe
dyspozycja organów
Arnolt Schlick
the Organ
Organ building
Orgelregister
Disposition of the Organ
Opis:
Z postulatów przedstawionych w Spiegel der Orgelmacher und Organisten [1511] można wnioskować, że registry w organach Schlicka, zgodnie z panującą już od końca XIV w. tendencją, były głosami solowymi naśladującymi barwę brzmienia jakiegoś instrumentu aerofonicznego [np. Gemshorn, Rauschpfeife, Zink]. Stanowiły one przeciwwagę dla głosów miksturowych, zawierających współbrzmienie kwint, a nawet tercji, zacierających polifoniczność utworu. Autor traktatu jest przeciwnikiem budowy bardzo wielu registrów w organach. Jego zdaniem, odbiorcom muzyki można dostarczyć przeżyć estetycznych za pomocą ośmiu lub dziewięciu głosów, rozróżnianych ze względu na inną barwę. Według sugestii heidelberskiego organisty registry miały być także samodzielne oraz odpowiednio ze sobą łączone. Manubria [klucze] powinny być przy tym zamontowane tak, aby nie przeszkadzały grającemu. Dla literatury organologicznej ważna wydaje się wzorcowa dyspozycja organów, którą autor Spiegel podaje. Schlick wyróżnia w niej i obsadza głosami: Hauptwerk, Rückpositiv oraz Pedal.
From the postulates presented in Spiegel der Orgelmacher und Organisten [1511] one can conclude that stops in Schlick’s organ were, in line with the end of the fourteenth century tendency, the solo registers imitating the timbre of certain aerophones [e.g. Gemshorn, Rauschpfeife, Zink]. They were a counterbalance to the mixture stops, consisting of quint and even tierce ranks, resulting in a less clear texture of polyphonic structures. The author of the treatise does not support the construction of a great number of stops in a single organ. In his opinion, eight or ten skilfully differentiated stops can provide the listener with enough aesthetic experiences. According to a suggestion of the Heidelberg organist, the stops could be used alone or in adequate combinations. The stop knobs should be placed in such a way that they do not disturb the player. The model stoplist of an organ proposed by the author of Spiegel seems to be particularly important for the organ literature. Schlick names here Hauptwerk, Rückpositiv and Pedal with their respective stops.
Źródło:
Studia Elbląskie; 2017, 18; 245-259
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Miejsce i rola solowej muzyki organowej w liturgii Kościoła rzymskokatolickiego
Autorzy:
Zalewski, Witold
Powiązania:
https://bibliotekanauki.pl/articles/668973.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
music in liturgy
pipe organ
organ music
muzyka w liturgii
organy
muzyka organowa
Opis:
Incorporating solo organ music in Roman Catholic liturgy may constitute a challenge for some organists. The very issue may raise some doubts and problems. “This usually results from insufficient education of professional organists”27. Fortunately, this is an invalid myth, easy to refute, bearing in mind the years of work and impact made by numerous Organist schools operating within dioceses, as well as Institutes of Church Music. Great numbers of broadly educated church musicians graduate from these schools every year. Unfortunately, constant rush and marginalization of the organist’s position in liturgy tend to discourage young organists. The majority of employers seem to be focusing on singing with the people, small choirs with the accompaniment of guitar or, possibly, parish choirs themselves.It is true that we “should intently urge churchgoers to actively participate in liturgy in the form of singing”28. This is probably why the church organist is usually considered the person to set the proper tone and keep up the singing in the church! For churchgoers, however, a good organist is the one who sings well…This is true, but only partially. The Second Vatican Council reminds us of the importance of the organ, an instrument “adding a grandeur dimension to church ceremonies, raising the souls and minds of believers to God and heavenly matters”29. How should we then consider the role of the organ in the liturgy of today, in the light of post-council documents? It may be assumed that the very participation of this majestic instrument in the liturgy adds grandeur, although pipe organ accompanying churchgoers singing tends to perform a secondary role.It is rather solo organ music which could make the Eucharist more dignified and grandly. It could also bring God’s people closer to God. Church documents are, however, very rigid in this matter – “solo music shall only be possible in the beginning, before the chaplain attends the altar, during the oblation, during the Communion and in the end of the mass”.Organ music performances during the Lent seem to be a separate issue since they are strictly prohibited by some church documents. In the opinion of priest I. Pawlak “fasting” from music reduces the liturgy in its integral substance, and a heartless or fanatic approach to fasting undermines the essence of liturgical activities”. Therefore, all church musicians are optimistic to witness the changing stance of the Polish Episcopal Conference, which, in its new Instructions issued in 1979, adopted a more liberal approach.
Źródło:
Pro Musica Sacra; 2013, 11
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ponadkonfesyjny model działalności śląskich organmistrzów w XIX i w początkach XX wieku na przykładzie działalności Moritza Roberta Müllera oraz Carla Volkmanna i Ernsta Kurzera
A Supradenominational Model of Activity of Silesian Organ Builders in the 19th and Early 20th Centuries on the Example of the Activities of Moritz Robert Müller, Carl Volkmann and Ernst Kurzer
Autorzy:
Koenig, Franciszek
Powiązania:
https://bibliotekanauki.pl/articles/1795798.pdf
Data publikacji:
2020-01-27
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Śląsk
organy
organmistrzowie
budownictwo organowe
ekumenizm
Silesia
organs
organ builders
organ building
ecumenism
Opis:
Śląsk od czasów reformacji w XVI w. był i pozostał terenem współistnienia wielu wyznań chrześcijańskich. W przeszłości różnice te rodziły różnego rodzaju napięcia, a nawet konflikty. Jednak w wielu wymiarach życia społecznego, gospodarczego, a także kulturowego, istniała „praktyczna ekumenia”. Jej istotą był fakt ponadkonfesyjnego działania, a więc współpraca bez względu na wyznanie. Tak było m.in. na polu budownictwa organowego, które w tradycji Dolnego i Górnego Śląska stanowi niezwykłe bogactwo kulturowe. Niniejszy artykuł prezentuje przykłady takiego sposobu działania z okresu XIX i początku XX w. Spośród dolnośląskich organmistrzów został przykładowo wybrany wrocławski budowniczy Moritz Robert Müller, a spośród grona górnośląskich organmistrzów jako przykłady posłużyli dwaj współpracujący ze sobą gliwiccy organmistrzowie: Carl Volkmann oraz Ernst Kurzer. Wszyscy oni budowali organy zarówno w kościołach katolickich, jak i ewangelickich. Zastosowany przez nich model pracy pokazuje, że w ówczesnym środowisku, bardzo wyczulonym na sprawy muzyczne, nie liczyła się kwestia wyznania budowniczego, a jedynie jego kompetencje.
Since the Reformation in the 16th century, Silesia became and remained a place of coexistence of many Christian denominations. In the past, differences between particular denominations generated all sorts of tensions and even conflicts. However, in many dimensions of social, economic and cultural life, there was “practical ecumenism.” Its essence was the fact of supradenominational actions being the moment of cooperation regardless of one’s faith. That, among others, happened in the field of organ construction which contributes to an extraordinary cultural richness of the tradition of Lower and Upper Silesia. This article presents examples of this mode of operation from the 19th and the beginning of the 20th centuries. For example, a Wrocław’s builder Moritz Robert Müller was chosen from among Lower Silesian organ makers, and from the group of Upper Silesian organ makers, two cooperating builders from Gliwice served as examples: Carl Volkmann and Ernst Kurzer. They all built organs in both Catholic and Evangelical churches. The work model they used shows that in the then environment, very sensitive to music, it was not the organ builder’s religion that mattered, but only his competence.
Źródło:
Roczniki Humanistyczne; 2019, 67, 12; 131-139
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Translokacje śląskich organów po 1945 roku na teren diecezji tarnowskiej
Translocations of the Silesian organs after 1945 to Tarnów diocese
Autorzy:
Pasternak, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/570427.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
organy
budownictwo organowe
Dolny Śląsk
diecezja tarnowska
organ
organ building
Lower Silesia
Tarnow diocese
Opis:
In the article, there is presented history of organs moved after World War II from Silesia, mainly from former German territories (especially Lower Silesia) to Tarnów diocese. The oldest of these organs is now in Ochotnica Dolna and was built in 1746 by Johann Georg Neßling for a church in Grodziszcze (Gräditz). Two times it was rebuilt or repaired by Schlag & Söhne company. Currently it has 16 stops, two manuals and pedal, mechanical key and stop action and sliderchests. In Ochotnica Dolna it was installed in 1955−1956 by Józef Stach from Tęgobrze. Four translocated organs comes from Schlag & Söhne workshop from Schweidnitz (Świdnica). All of them have two manuals and pedal and pneumatical key and stop action. The oldest Schlag & Söhne organ in Tarnów diocese is situated in Nowa Jastrząbka. This instrument was built in 1903 for Lutheran church in Strzeszowice (Tzschacksdorf) and in 1955 moved without pipes to Nowa Jastrząbka. Assembled there by Stanisław Czachor and Wojciech Grzanka from Tuchów with new pipes. It has 5 stops and is currently out of order. Another Schlag & Söhne organ (opus 717), 16-stop, built in 1905 originally was in Gniechowice (Gnichwitz). In 1947 it was taken to Chełm near Bochnia by Wacław Biernacki from Kraków and installed in case of previous organ by Rieger from 1880 (6 stops) with usage of some Rieger pipes. Two last Schlag & Söhne come from last period of this company activity. In Muszyna, organ from ca 1913 (opus 981) built for Lutheran church in Stanowice (Stanowitz) near Świdnica was placed in 1948 also by Wacław Biernacki’s company with addition of some stops from previous organ and new stops as well. Currently this organ have 14 stops. The lattest Schlag & Söhne organ in Tarnów diocese is in Maszkienice near Brzesko (opus 1042). Its place of origin is unknown. All we know it was installed there in 1953 by Biernacki’s company. Two curiosities of this instrument are: firstly, the pipes of pneumatical action are made from wood, not from lead, as usually; it is probably caused by several conditions during World War I, when the organ was built. Secondly, this organ has other significant German organ company name plate – W. Sauer. Undoubtly, it was placed there during the translocation to make place of origin more difficult to spot. Two another organs is built by Gebrüder Walter workshop from Guhrau (Góra). Unlike Schlag & Söhne organs, they have one manual and pedal, mechanical key and stop action. First, opus 60 from 1867, is situated in Zalipie; it was moved here from Tymowa (Thiemendorf) near Wołów in 1953, but its assembly was completed just in 1960 by Władysław Ziemiański from Szczyrzyc. It has 9 stops and sliderchests. Unfortunately, it is out of order since many years. Second Walter organ is in Rzędzianowice near Mielec. It was built in 1892 with opus number 201. Its original location is unclear; perhaps it was Krzepielów (Tschepplau) near Głogów. The organ was bought by Rzędzianowice parish from Wrocław diocese and installed in 1956 by Kołpanowicz brothers from Kraków. Originally it had 7 stops on mechanical conical winchests. The Kołpanowicz added 2 stops on pneumatical windchests. and two are built by unknown organbuilders. Four other organs translocated from Silesia are built by unknown organbuilders and we do not know their places of origin. The biggest of them remains since 1949 in Szczepanów. According to some relations, it was built by organ company from Dresden to unknown Lutheran church in current western Poland. Originally the parish wanted to buy organ from Boża Góra (Gottesberg, now Boguszów-Gorce), but not succeeded with it. In Szczepanów another organ was assembled by Biernacki’s company then. It has 30 stops, two manuals and pedal, pneumatic key and stop action and Taschenlade windchests. Sobolów parish wanted to buy an organ from Bystrzyca Kłodzka, but it was unexpectly taken to Warsaw. They parish bought another organ then, but we do not know where. Probably in 1950 Bartłomiej Ziemiański installed it in Sobolów. Recently the year of manufacture 1848 was found written in organ case. Organ has typical Silesian baroque organ case and might be build by Christian Schlag. In church of nearby Łapczyca is situated Salonorgel from middle 19th century. Year of translocation and place of origin remain unknown. Strongly altered, it has 10 stops, 2 manuals and pedal, mechanical key and stop action and sliderchests. Last instrument which I want to mention is situated in Łęki Górne. It is not an original work, but was assembled of parts of perhaps bigger instrument, moved from a Lower Silesia. It has 12 stops, 1 maunal and pedal, mechanical key and stop action and sliderchests. Two translocated organs do not exist now. First, in Cikowice, was moved in 1945 or 1947 from unknown destroyed Lutheran church. It was build in 1822 or 1825 and had 16 stops. It was demolished in 1979 to build a new instrument. Second, in Straszęcin, was bought in Wrocław and assembled by organ company from this city. It had 13 stops, 2 manuals and pedal, pneumatical key and stop action. Due to very bad condition it was dismantled in 1994. Not only complete organ were moved from Silesia: also many Silesian organ parts are present in organs in Tarnów diocese. For example, in Bobowa were Amabilis register pipes with German stamps, in Łukowa – console of Silesian organ company Klimosz & Dyrszlag from Katowice cathedral, in Swoszowa – Schlag & Söhne console from ca 1900 and in Korzenna – bellow by this company from similar period. Two translocations did not succeeded: in Gawłów, the parish bought Rieger organ in Wrocław in 1953, but it was never installed there. In Górki near Mielec, the attempt was made to buy a 7-stop organ from Wrocław diocese in 1956, but it appeared too small for this church.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2020, 3; 7-29
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fotografie organów w zbiorach Archiwum Diecezjalnego w Tarnowie jako źródła do dziejów organów w diecezji tarnowskiej
Autorzy:
Pasternak, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/2088382.pdf
Data publikacji:
2021-12-30
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
archive
organ
organ building
the diocese of Tarnów
archiwum
organy
budownictwo organowe
diecezja tarnowska
Opis:
Fotografie organów w Archiwum Diecezjalnym w Tarnowie zachowały się głównie jako dodatek do ankiet Ośrodka Dokumentacji Zabytków z 1971 r. dotyczących stanu organów w parafiach. Artykuł omawia te z nich, które przedstawiają instrumenty dziś nieistniejące, przebudowane lub przeniesione do innych kościołów. Oprócz tych fotografii w archiwum znajdują się zaproszenia na poświęcenia pięciu instrumentów, także zawierające ich zdjęcia.
The photographs of the organs in the Diocesan Archives in Tarnów survived primarily as supplements to the questionnaires of the Centre of the Monuments Documentation from 1971 concerning the state of the organs in parishes. The article discusses the documents which show the instruments that do not exist today and those rebuilt or moved to other churches. In addition to these photographs, the diocesan archives holds invitations to the consecration of five instruments with their photographs.
Źródło:
Archiwa, Biblioteki i Muzea Kościelne; 2021, 117, specjalny; 243-268
0518-3766
2545-3491
Pojawia się w:
Archiwa, Biblioteki i Muzea Kościelne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jeszcze o zabytkowych organach w kościołach diecezji rzeszowskiej (studium historyczno-instrumentoznawcze)
ABOUT ANTIQUE ORGANS AT CHURCHES IN DIOCESE OF RZESZÓW – CONTINUATION (A STUDY OF HISTORICAL INSTRUMENTAL KNOWLEDGE)
Autorzy:
Widak, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/489979.pdf
Data publikacji:
2016
Wydawca:
Instytut Teologiczno-Pastoralny im. św. bpa Józefa Sebastiana Pelczara
Tematy:
organy
historia
inwentaryzacja
organ
history
inventory
Opis:
There are 148 pipe organs at churches in diocese of Rzeszów, 62 instruments areconsidered to be antique. One of the criterion of being antique is the age of the instrument. InPoland organs built before 1939 are antique. The subject of the article are the antique organsin the churches of Rzeszów diocese, which have not had separate study so far. These organsare in churches: Boguchwała, Brzyska, Dębowiec, Kąty, Kupno, Wola Rafałowska.The article was divided into two parts. The first one presents history of the church,the history of the instruments which survived and did not survived. As far as survived organsare concerned the description inventory was given (location and dimension of organ case,disposition, range of keyboards, action, kind of bellows). The second part includes a synthesisof analytical results.The article is based on material which was found in Archdiocesan Archive inPrzemyśl and Diocese Archive in Rzeszów. The information about organs are in 31 sources.The author conducted also query research at parish archives. The author used printed sourcesand information from books.When it comes to not survived organs there is information about 5 instruments. Itwas impossible to establish builders of these instruments. One may assume that theyfunctioned in the churches from 17th to the 19th century.In case of survived organs three of them were transferred (Dębowiec, Kąty, Kupno).At this stage of the study it was possible to determine the date of creation and builders of fiveinstruments. The construction year and the builder of the organ in Kupno has not beenestablished yet.Boguchwała -1905, 6 stops, one Manual and Pedal, Gebrüder - RiegerBrzyska -1883, 12 stops, one Manual and Pedal, Stanisław JanikKąty -1902, 12 stops, one Manual and Pedal, Aleksander ŻebrowskiKupno – 19th century, 13 stops, one Manual and Pedal, the builder is unknownDębowiec - 1935, 19 stops, two Manual and Pedal, Stefan KrukowskiWola Rafałowska -1893, 12 stops, one Manual and Pedal, Jan GrocholskiEleven instruments were described in this article.
Źródło:
Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej; 2016, 23; 395-420
1234-8880
Pojawia się w:
Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rekwizycje piszczałek organowych „dla celów wojennych” w diecezji przemyskiej w 1917 roku
Requisition of organ pipes “for martial purpose” in the diocese of Przemyśl in 1917
Autorzy:
Widak, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/29432053.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego
Tematy:
I wojna światowa
diecezja przemyska
organy
rekwizycja piszczałek
Word War I
diocese of Przemyśl
organ
requisition of organ pipes
Opis:
I Wojna Światowa przyniosła wiele strat w dziedzinie zabytków sztuki. Zniszczenia wojenne dotknęły kościołów i znajdujących się w nim organów. W 1917 r. państwa biorące udział w wojnie zarządziły rekwizycję piszczałek organowych dla celów wojennych. Na terenie diecezji przemyskiej należącej wówczas do metropolii lwowskiej a znajdującej się pod zaborem austriackim rekwizycję piszczałek przeprowadzono w 1917 r. a wcześniej w 1915 r. rekwizycję dzwonów. W niniejszym artykule zostały omówione zasady, na jakich odbywała się rekwizycja piszczałek organowych oraz instrumenty, które zostały od niej uchronione a które jej podlegały. Artykuł został oparty na dokumentach zawartych w teczce „Akta 1914-1918”znajdującej się Archidiecezjalnym Archiwum w Przemyślu. Opracowanie uzupełniono dostępnymi informacjami z Inwentarzy parafialnych oraz Kroniki Diecezji Przemyskiej. Udało się uzyskać informacje na temat organów uchronionych od rekwizycji oraz organów, które zostały jej poddane. Od rekwizycji zostało uchronionych 18 organów, w przypadku 13 instrumentów piszczałki zostały zarekwirowane. W odniesieniu do pozostałych10 organów można przypuszczać, że również uległy rekwizycji. W sumie niniejsze opracowanie dotyczy 41 instrumentów.
Word War I made a lot of loss when it comes to art monuments. The damages of war affected churches and organs located in them. In 1917 nations which took part in the war preordained requisition of organ pipes for martial purpose. In the area of diocese of Przemyśl which belonged to Lwów metropolis and was under Austrian Partition requisition of organ pipes was conducted in 1917, earlier in 1915 requisition of bells churches was conducted. In the present article I discussed the rules of requisition of organ pipes and which instruments were protected from requisition or which of them not. An article was based on documents which are in file “Akta 1914–1918” located in Archdiocese Archive of Przemyśl. The study was completed with available information from Parish Inventories and “Chronicle of Przemyśl Diocese”. I managed to obtain information which organs were kept/protected from requisition and the organs that were subjected to it. 18 organs were protected from requisition, in case of 13 instruments the pipes were confiscated. As far as the other 10 organs are concerned it can be assumed that they were confiscated too. The present description/dissertation concerns 41 instruments.
Źródło:
Liturgia Sacra. Liturgia - Musica - Ars; 2022, 60, 2; 249-269
1234-4214
Pojawia się w:
Liturgia Sacra. Liturgia - Musica - Ars
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Franciszkanizm w twórczości kompozytorskiej Charles’a Tournemire’a – Sei Fioretti Pages D’orgue op. 60
Franciscanism in the Music of Charles Tournemire – Sei Fioretti Pages D’orgue op. 60
Autorzy:
Raba, Bogusław
Powiązania:
https://bibliotekanauki.pl/articles/1795782.pdf
Data publikacji:
2020-01-27
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
franciszkanizm
Charles Tournemire
modernizm
organy
Franciscanism
modernism
organ
Opis:
Na podstawie analizy źródeł autor wskazuje topos franciszkański w zbiorze Sei fioretti op. 60 Charles’a Tournemire’a jako jeden z naczelnych nie tylko dla tego kompozytora, ale również jego wielkiego następcy – Oliviera Messiaena. Analiza strukturalna i semiotyczna pozwala na uchwycenie głębokich zależności pomiędzy inspiracją życiem i charyzmatami św. Franciszka a sferą techniczno-kompozytorską dzieła. W świetle swoistej dla Tournemire’a symbolicznej metody integrowania tekstów literackich z muzyką, przy jednoczesnym ich swobodnym parafrazowaniu oraz rozproszeniu źródłowym, przeprowadzona w artykule interpretacja daje po raz pierwszy możliwość pełnego zrozumienia dzieła, oferuje klucz do rozwiązania zagadki interpretacji również pozostałej jego spuścizny oraz głębszego niż dotychczas uchwycenia relacji między Tournemirem a Messiaenem.
On the basis of source research author analyzes the Franciscan topos in Sei fioretti op. 60 of Charles Tournemire. The Composer is one of the most important and still little known musician of French modernism, great predecessor of Olivier Messiaen. The structural and semiotic analysis allow to capture the deep dependencies between the inspiration of the life and charisms of Saint Francis and the technical-compositional sphere of the work. In the light of Tournemire’s symbolic method of integrating literary texts with music, with their simultaneous free paraphrasing and source dispersion, the interpretation carried out in the article gives the opportunity to fully understand the work for the first time. Furthermore, it offers the key to solving the mystery of interpretation of his other works and to deeper understanding of the relationship between Tournemire and Messiaen.
Źródło:
Roczniki Humanistyczne; 2019, 67, 12; 97-113
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Organy w utworze Medytacje Tomasza Kulikowskiego
Organ in the piece Meditations of Tomasz Kulikowski
Autorzy:
Pawlik, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/570461.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
organy
wiolonczela
medytacje
Tomasz Kulikowski
organ
cello
meditation
Opis:
Organ music emerging for centuries is largely intended for the solo instrument. Composers rarely use the chamber potential of the organ. It is especially interesting how it functions as a part of a larger group of instruments. A good example of such a composition are Medytacje of the Wrocław creator Tomasz Kulikowski. To clearly show the subject, this article is divided into four parts. The first describes the composer, his life and work. The next one contains the circumstances of creating the composition Medytacje. The third part describes the structure of the work. Whereas the last part is devoted to the role of organ in the aforementioned composition. Tomasz Kulikowki was born in 1957 in Wrocław. He is a lecturer at the Music Academy of Karol Lipiński and an organist. Kulikowski's compositional activity includes choral, orchestral, chamber and solo music. The organ work, solo pieces and stylized choral preludes, is of particular interest. Medytacje for the cello and organ is a piece created in January 2003. The work has an utilitarian character. It was not written for a specific instrument, but the composer suggested the registration in the score. The title – Medytacje – implies the reflective nature of the work. The goal of meditation is to bring man into union with the deity. It occurs mainly in Hinduism, Buddhism and Christianity, and has different meanings in these respective religious systems. Due to Kulikowski's career and, above all, the role of organ in Christianity, it will be important for the work to realize the value of meditation for this religion. Medytacje has a ternary form A B A'. The harmony is based on pentatonic systems and the whole-tone scale. The chords have a quarter structure. In part A, three motifs are used in different configurations, the second one, B, is figurative, whereas the last combines the features of the others. Tomasz Kulikowski entrusted organ with a variety of functions in the composition Medytacje. The key to this work is the selection of instruments. That is why the colour function of the organ is the most important. The use of a limited number of basic voices makes the instrument sound more like a cello. Therefore, the imitative function is associated with the colour values. Harmonic and formal continuity determine the structural function of the organ. The symbolic meaning of this instrument directs the listener's attention towards spiritual reality, towards the Christian vision of the meditation mentioned in the title.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2019, 2; 103-113
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
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