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    Wyświetlanie 1-8 z 8
    Tytuł:
    Hra zpaměti a varhaníci
    Memorisation and Organists
    Autorzy:
    Tůma, Jaroslav
    Powiązania:
    https://bibliotekanauki.pl/articles/1965577.pdf
    Data publikacji:
    2021
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    varhany
    varhaník
    hra zpaměti
    the Organ
    organ-player
    playing from memory
    Opis:
    Today, pianists as well as most other instrumentalists and singers regard memorisation as something absolutely essential and self-evident. Organists, however, face very special circumstances. Because of the existence of types of instruments that differ widely from each other, it is not very practical for organists to devote themselves to memorisation for a number of reasons. The article describes and presents the most important aspects of this issue, including a look at the history of performance practice.
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2021, 4; 104-121
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Varhany v Betlémské kapli v Praze - poslední opus varhanářské dílny Vladimíra Šlajcha
    Autorzy:
    Tůma, Jaroslav
    Powiązania:
    https://bibliotekanauki.pl/articles/2170554.pdf
    Data publikacji:
    2022-12-20
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    organ
    Vladimír Šlajch
    Bethlehem Chapel in Prague
    Opis:
    Vladimír Šlajch was born in 1955 in Prague. Since 1978 he has been engaged in the repair and restoration of historic organs as well as the construction of new mechanical instruments. The last organ that came out of Šlajch's Borovan workshop is the organ for the Bethlehem Chapel in Prague. The article presents the history and technical details of this instrument.
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2022, 5; 22-39
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Petr Eben a jeho skladby pro varhany. Poznámky k tradici jejich provádění, k interpretaci a jejím parametrům
    Petr Eben and His Works for Organ. Comments on the tradition of their performance and interpretation
    Autorzy:
    Tůma, Jaroslav
    Powiązania:
    https://bibliotekanauki.pl/articles/570401.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    Petr Eben – skladatel
    interpretace
    varhany
    Petr Eben – composer
    interpretation
    organ
    Opis:
    The music of the important Czech composer, who would have turned ninety on 22 January 2019 when we commemorated the anniversary of his birth, constitutes one of the most important enhancements of the Czech artistic environment in the world of culture of the latter half of the twentieth century. Petr Eben earned recognition, and his organ music has even been compared with the legacy of Olivier Messiaen. The composer understood the organ as the instrument to which his fate was bound. By the age of ten, he already held the position of organist at Saint Vitus’s Church in Český Krumlov. He would seat himself at the big threemanual instrument in the early evening, locked inside the church, leaving time and the world behind during his lengthy improvisations. “I think it was then and there that my whole personality took shape.” Perhaps every organist was playing Eben’s works in my student days. After the composer’s death in 2007, however, interest in his music declined somewhat, but I still keep returning to his compositions with growing frequency, especially to certain of his works. At the same time, I am aware of how in my thinking, and I definitely am not alone in having this experience, as time goes by there is a maturing not only of my image of the works themselves but also of the possible, desirable, and in a sense perhaps even modern manner of their interpretation, especially with respect to the choice of ideal instruments. Musicians often base the success of their performances on the depth and intensity of experience, and especially on spontaneous, momentary inspiration on stage. Only a few are so grounded in reason that they always think through how they will perform a work down to the last detail in advance and never deviate from that line in the least when playing. In the long run, however, a combination of these two approaches tends to be most successful, so that besides spontaneity, there is a constant consideration of relationships between formal and tectonic structures and harmonic and thematic contexts, leading to a clarification of details and a continually improving and more precise rendition of the whole, and this then begins to be reflected in the formation of a kind of tradition of the performing of the works. That tradition ultimately does not tend to be the result of the activity of a single performer, but instead it arises from a long series of performances of the works in question by various interpreters. A performer should master all of the basic parameters of a work and its interpretation. A melody must always remain a melody, and a phrase must always be a phrase. The relationships between individual sections must be clear and comprehensible to an audience member sitting and listening far away from the organ in the nave of the church or in the last row of the concert hall. The ear must be capable of perceiving every single note of each moving sequence of fast tones. The vertical structure must be equally comprehensible, so every chord needs to be played so that it can be deciphered even from a great distance. At the same time, however, Eben’s music must retain its overall character. As the composer said: “In my music, there is far more drama than meditation.” Today, learning and performing any of Petr Eben’s greatest works is a real challenge for organists. In some cases, I encounter interpretations that appear to have come into being without continuity and that do not proceed along the lines that have been tried and proven, but at the same time, it seems to me that they go to the heart of the matter and that they respect the composer’s deepest intentions and motivations. From my perspective, this may be the thing that shows most clearly that Petr Eben’s organ music definitely will not disappear into the ash heap of history.
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2018, 1; 75-81
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Osobnost Vladimíra Němce
    The Personality of Vladimír Němec
    Autorzy:
    Koukal, Petr
    Powiązania:
    https://bibliotekanauki.pl/articles/2170581.pdf
    Data publikacji:
    2022-12-20
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    Vladimír Němec
    history of the organ in Prague and Bohemia
    sacred music life in Prague 1920-1946
    the book The Prague Organs
    the organ department of the Prague Coservatory
    Opis:
    The name of Vladimír Němec is still associated only with his extraordinary book The Prague Organ. The current contribution presents him from other perspectives of his wide and rich activity as an organist, choir director, founder and conductor of the Association for Sacred Music, collaborator of the Czechoslovak Radio, musicologist, organologist and music pedagogue on The Prague Conservatoir of Music.
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2022, 5; 84-95
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nález nejstarších funkčních měchů v České republice
    The finding of the oldest working wedge-bellows in the Czech Republic
    Autorzy:
    Koukal, Petr
    Powiązania:
    https://bibliotekanauki.pl/articles/570439.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    Manětín
    renesanční varhanní měchy
    Leopold Spiegel
    Sebastian Hoffer
    Hieronymus Artmann
    Matheus Köhler
    Hans Heinrich
    Mundt
    renaissance organ wedge-bellows
    Hans
    Heinrich Mundt
    Opis:
    During the restoration of the baroque organ of the St. Barbara church in Manětín (built in 1721 by the organ builder Leopold Spiegel from Prague) one unexpected discovery was done: the two preserved wedge bellows are much older. After the dismantling, the old inscriptions appeared, being located on the inner sides of the top boards. The set of original pencil records is found in the right bellows. The earliest of them tells that the bellows were made already in 1530. Following original writings inform about the repairs – 1584 by Sebastian Hoffer, 1656 by Hieronymus Artmann and 1666 by Mathias Köhler and Hans Heinrich Mundt. In the second bellows, the glued paper sheet bears the report from 1666 recapitulating and partly widening the original inscriptions. Just the latest description on the repair realised in 1666, written probably by Matheus Köhler, brings the information about the location of the bellows – they were among the four of them placed at the organ in the Augustinian Church of St. Thomas in Prague. The name of Sebastian Hoffer seems to be quite new in the Czech or foreign organological writings. Other names of the organ builders are more or less known including the best renowned Hans Heinrich Mundt (the builder of the Týn Church organ). Nevertheless, all the newly discovered information required some critical analysis. Its results call the Prague´s St. Thomas attribution of the bellows origin in question and also brings new information on some of the said organ builders. The finding in the Manětín bellows belongs to those unexpected and lucky ones. From now on we know a new name of the organ builder Sebastian Hoffer from the 16th C. The existence of the two renaissance wedge-bellows from 1530 in Manětín is also surprising. They represent the oldest working part of any pipe-organ in the Czech Republic.
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2018, 1; 83-93
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Odstraňování vlivu velmi hlubokých a širokých nepůvodních vpichů/vrypů na jádřekovové varhanní píšťaly barokního typu na zvuk píšťaly
    The elimination of impact of the deep wide unoriginal nicks/notches in the languid of the baroque type metal organ pipe on pipe sound
    Autorzy:
    Otčenášek, Zdeněk
    Dlask, Pavel
    Powiązania:
    https://bibliotekanauki.pl/articles/570371.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    restaurování historických varhanních píšťal
    vpichy a vrypy na jádře
    výměna jádra
    obnova zvuku
    historical organ pipe restoration
    languid nicks and notches
    languid replacement
    sound renewal
    Opis:
    1. Introduction For centuries, nicks in the languid of the labial metal could be found in organ pipes throughout the world. It is one of the techniques of pipe voicing adjustment (an overview of voicing techniques see e.g. in: [www1]; [Otčenášek Z., Dlask P., Syrový V., Hruška V., Otčenášek J., 2018]). The use of nicks differs between countries, districts, organ builder schools, and also between different cultural times. In Czech historical lands, the principal pipes in baroque period were built mostly without nicking (together with the used of low air pressures in windchest). If nicks were used than they were typically slim, low deep, and sparse (from 3 to 7 at languid width). Later, in romantic time, when some baroque organs were romanticized, nicks were doubled (up to tripled) and enlarged (being deeper, broader and wedged). Nowadays, Czech historical organs can be found with original baroque pipes without any modification (original state), with the addition of unoriginal romantic nicking later added to original pipes as well as pipes presenting both types of nicks concurrently. Less often we can find an organ with the pipes where the large number of deep broad notches were made at the edge of the languid resembling the teeth on a saw. In such cases the material of the languid was partly excised, and partly pressed and displaced below both the bottom edge and over the side walls of the saw teeth. In the last decades, when historical organs have had to be restored to original stage, also restoration of original sound was required; the elimination of the unoriginal nicks influence on the sound is necessary. Since the saw notches introduce heavy damage to the languid material, their elimination is an ongoing problem yet to be solved. Nowadays, the restoration of such organ with the saw notches can be 1) kept the pipes unchanged (what gives unsatisfactory, not eliminated influence on sound) or 2) cleared away with the common technology of smoothing (proper for thin nicks (Otčenášek Z., Koukal P., Švejda M. Moravec O., Dlask P., 2014); at saw notches, however not possible to get back the excised material and to correctly move back the displaced material; consequently the languid edge stay with the ripples). The present study verified a third possibility in which a new method of replacing the damaged languid by new ones is done. Since the cutting of the languid and soldering of a replica is considered an invasive intervention, the method was experimentally verified on the copies of historical pipes with identical modifications made (the original pipe being untouched). A replica model of the historical principal metal pipe (SupOctava 2, tone d1 [Dlask P., Otčenášek Z., Kopeček Š., Vorlíček M., Koukal P., Otčenášek J., Frič M., Hruška V., 2018]) from the Jesuit church in Klatovy (Czech Republic) was used (original can be seen in top of figure Obr. 1, replicas underneath). All copies were voiced at optimal sound for the air pressure in windchest of 55 mm H2O (539 Pa). The copies had very similar sound (see spectra in figures Obr. 4). Similar results were obtained also after each modification of the pipes; therefore, only results from measurement of only one replica pipe are presented here. 2. Method Acoustical measurements were performed in anechoic room (see figure Obr. 2). The recordings (wav format) were made with 24 bit A/D conversion, sampling frequency 48 kHz. The signal of tone attack was synchronized with the opening voltage of electromagnet of air valve (0 s). The FFT of spectrograms (see figures from Obr. 13 to Obr. 16) were computed with 42,66 ms hanning time window and 2,13 ms shift. The spectra (see figures Obr. 4, Obr. 11 and Obr. 12) are the average of 60x FFT with hanning time windows 682,66 ms and 13,66 ms shift. 3. Experiment The sound recordings, the spectra analysis, and listening tests with recorded sounds were done after each step of pipe modifications. 3.1. The documentation of default manufactured pipes without nicks was the first initial step (see figures Obr. 1, Obr. 3, spectra are in Obr. 4, and spectrogram of pipe K3 in Obr. 13). The frequency of 1st harmonic fo, pipe body length, cut-up height, cut-up with, slit breadth, foot length, foot opening diameter of measured pipes are in Tab. 1 (from left to right). The pipe K4 was used as a reference (without other alterations; the K4 spectra measured in the time after each step of other pipes show the temperature and humidity influence on results and repeatability of the method used, see figure Obr. 11). 3.2. In the second step the deep breadth saw notches were created (see figure Obr. 5). The notches where not accurately the same at all pipes (figure Obr. 6) but in spectra of all pipes we observed great lowering of both high harmonics (see difference between the red and green curves in figures Obr. 12) and noises (see sound pressure levels in figure Obr. 14). 3.3. In the third step the saw notches were cleared away by the common technology of smoothing. The material overhanging the languid edge from the bottom was pushed up from bellow by the metallic rod (see figure Obr. 7 left) through pipe foot. The saw teeth were aligned by other metallic tool by pushing both the material displaced from bottom and the tips of the saw tops back inside the teeth (see figure Obr. 7 right). After this step none of the pipe languid edges was straight (see languids after smoothing in figure Obr. 8 top; and languid detail viewed from the bottom after smoothed languids were cut out in next step see in figure Obr. 8 bottom). 3.4. The last step was the replacement of the languid by a new one. The authors were not experienced with this procedure. Firstly, all labial diameters were documented. Then a cut was made with a thin saw (cut width cca 0,2 mm) at the foot close to the languid (cca 0,5 mm) (see figure Obr. 9 left). The next cut was made in the upper edging of the languid (see languid in figure Obr. 10 top). Then the potential defects at foot, labium and pipe body were cleared and an accurate copy of languid was made (without nicks and notches). The languid replica was soldered at the foot and body (see figure Obr. 10 bottom). The cutting-up process of replacing the languid slightly changes the length of pipe and fo frequency (new values see in Tab. 2 in comparison with Tab. 1). 4. Acoustical results and assessment The results of the acoustical analysis demonstrate that the creation of deep breadth saw notches at pipe languid produced major changes in the pipe’s sound and tone attack. Changes were observed in the spectra of the established tone, the sound pressure waveforms and spectrograms of the starting part of the tone (figures Obr. 12 and Obr. 14). If the lowering of higher harmonics (green in figure Obr. 12) is not compensated by increasing the air pressure in the windchest (it was compensated in the case of organ romanticized modifications), a degradation of the organ sound can be noticed. The common smoothing method gives increasing of harmonic amplitudes at maximum 1/3 of their original values and therefore is not proper for the elimination of saw notches influence on pipe sound. When the sound of a historical organ needs to be restored, the windchest air pressure will be decreased when compared to the original baroque value and therefore it must be accompanied by the removal of the unoriginal saw notches. The results verify that, if the languid replica and soldering is done properly, and the languid cutting-up is replaced with a copy without notches, the original sound can be replicated. The sound before and after the substitution of the languid is not distinguishable when listen, and the spectra and spectrograms are similar (compare red and black curves in figures Obr. 12 or figures Obr. 13 and Obr. 16). 5. Conclusion The authors are aware that the experiments were performed on new pipes in which the material was not corroded, and without damage what occasionally occur in historical organs. Therefore, the new languid cutting-up and replacing method of saw notches elimination can not be directly used on historical pipes. Additional experiments have to be carrying out in order to ascertain such possibility.
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2020, 3; 43-61
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    K historii varhan poutní basiliky Navštívení Panny Marie na Svatém Kopečku u Olomouce
    From the history of the organ at the Pilgrimage Basilica of Our Lady of Visitation in Svaty Kopecek near Olomouc
    Autorzy:
    Gottwald, Jan
    Powiązania:
    https://bibliotekanauki.pl/articles/570391.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    Svatý Kopeček u Olomouce
    moravské barokní varhanářství
    Johann David Sieber
    Anton Richter
    Heinrich Schiffner
    Bratři Riegrové
    Jaroslav Stavinoha
    moravian baroque organ building
    Rieger brothers (Gebrüder-Rieger)
    Opis:
    Organ at the Pilgrimage Basilica of Our Lady of Visitation in Svaty Kopecek was built by the Brno organ builders Johann David Sieber († 1723) and Antonín Richter († 1765) in 1722−1726 and was one of the most important and greatest instruments of its time. It probably had 31 stops and cost at least 6,000 zl. Some historical sources and facts have not yet been known (especially Parish chronicle – Farní kronika). The organological comparison could only be performed after the restoration of similar organs (Polná, Wien). During the 18th and 19th centuries was continuously repaired. The general restoration was made in 1877 by the Brno organ builder Filip Komínek for 1,350 zl. In 1895, the organ was rebuilt by the Prague organ builder Heinrich Schiffner for 3,350 zl. in the spirit of the Cecilian reform. Nevertheless, the instrument still contained the original Baroque pipes. In 1932, the organ was rebuilt and extended by the Krnov firm of the Rieger brothers for 26,135.25.- Kč, and other pipes from the original organ (especially the prospect of the Great Organ - Hauptwerk) were destroyed. The organ was in the 1990s removed and into the original organ case was built in 1992−1998 new neo-baroque instrument II / 25, op. 2, by Jaroslav Stavinoha from Valasske Bystrice for 3.8mil Kč. It was generally known that nothing of the older organ was preserved. In 2015, the components of the basilica organ were found in Jihlava: Sieber / Richter Organ: 3 pedal registers from wood and 8´ pedal prospect; Schiffner / Rieger: string stops and parts of the technical background of the organ (wind system components).
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2020, 3; 63-79
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Novější historie varhan konkatedrály Nanebevzetí Panny Marie v Opavě
    Newer chapters in the history of the organ of the co-cathedral of the Assumption of the Virgin Mary in Opava
    Autorzy:
    Koukal, Petr
    Powiązania:
    https://bibliotekanauki.pl/articles/24020105.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    Varhany konkatedrály Nanebevzetí Panny Marie v Opavě
    František Horčička
    Karl Kuttler
    firma Rieger v Krnově
    hudebně estetické a technické proměny varhanní kultury ve Slezsku
    The organ of the co-cathedral of the Assumption of the Virgin Mary in Opava
    the organbuilding firm Rieger in Krnov
    musical aesthetic and technical transformations of the organ culture in Silesia
    Opis:
    The situation after the fire of 1758, which destroyed the church including the organ, was bleak: the repairs took decades. The temporary solution was a small positive organ on a provisional choir in the presbytery. The commission for a new organ was given to František Horčička from Frýdek in 1781, who built a large two-manual instrument with 34 registers for 2800 florins. A copy of the contract informs us well about this instrument, about František Horčička’s method of work and about other circumstances of his commission. E. Kreuzinger’s statement that Karl Kuttler built the organ here in 1836 is probably wrong. The new instrument was not built until 1894 as opus 418 by Gebrüder Rieger. This Krnov workshop rebuilt the organ in 1924 (pneumatisation of the action), 1957 (extension of the register specification and tonal range) and 1991 (further enlargement and installation of the electric action).
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2023, 1; 23-37
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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