- 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