Temat: organ - Prolib Integro

Skocz do pozycji: 1.

Tytuł:: Działalność organmistrzowska Włodziemierza Truszczyńskiego
The activity of master organ builder Włodzimierz Truszczyński
Autorzy:: Bieńko, Klaudiusz
Tematy:: Organ building
Organ builder
Organ
Stefan Truszczyński
Włodzimierz Truszczyński; Pokaż więcej
Wydawca:: Towarzystwo Naukowe Franciszka Salezego
Powiązania:: https://bibliotekanauki.pl/articles/496469.pdf Link otwiera się w nowym oknie
Opis:: This article is dedicated to Włodzimierz Truszczyński, a Polish master organ builder active in the second half of the 20th century. The author discusses the historical background of concern including the situation of Polish organ building in the difficult socio-political reality after the Second World War. He also outlines the activities of the most important Polish organ building firms, Biernacki’s and Kamiński’s, describes the most important instruments built by them, and clarifies the situation of organ building in Pomerania, Greater Poland, and Silesia. Next, the author discusses the story of Włodzimierz Truszczyński’s life and organ building activities since in-depth and exhaustive studies on this subject have not yet been developed and the only scholarly work on this topic is the author’s Master’s thesis. Due to the lack of printed sources, much information included in the article comes from the archives of the Truszczyński family and from oral accounts. In Włodzimierz Truszczyński’s plant, one of the first in Poland to build mechanical organs, about 180 instruments of different types were built.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Działalność firmy organmistrzowskiej P. B. Voelkner w Poznaniu
The activity of organ-bulding company P. B. Voelkner in Poznań
Autorzy:: Bigosiński, Adam Konrad
Tematy:: organy
organologia
organmistrzostwo
Poznań
organ
organ-building
organ studies; Pokaż więcej
Wydawca:: Instytut Wydawniczy Księży Misjonarzy Redakcja "Nasza Przeszłość"
Powiązania:: https://bibliotekanauki.pl/articles/1191452.pdf Link otwiera się w nowym oknie
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.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Historia organów firmy Rieger w kościołach jezuickich na terenie Krakowa
History of the Rieger Organs in Jesuit Churches of Kraków
Autorzy:: Matoga, Piotr
Tematy:: organy
budownictwo organowe
organmistrzowie
Kraków
Rieger
organ
organ building
organ makers; Pokaż więcej
Wydawca:: Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Powiązania:: https://bibliotekanauki.pl/articles/570431.pdf Link otwiera się w nowym oknie
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.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Jan Śliwiński: a Polish apprentice to Cavaillé-Coll
Autorzy:: Szostak, Michał
Wydawca:: Musical Opinion Ltd, London
Cytata wydawnicza:: Szostak Michał (2021), Jan Śliwiński: A Polish apprentice to Cavaillé-Coll, “The Organ”, No 395, February 2021, Musical Opinion Ltd, London, ISSN 0030-4883, pp. 10-27.
Opis:: The importance of the person and work of Aristide Cavaillé-Coll (1811-1899) for the organ world is well known and undeniable. His Parisian company hosted large number of apprentices from all over Europe who wanted to learn the secrets of the profession from the best here . In the last issue, I described one person who had been working at Cavaillé-Coll company and then started his own professional activity in Prague – Emanuel Štěpán Petr (1853-1930) . In this article, I will follow the same path of Cavaillé-Coll’s pupils but focusing on the Polish lands. This time, it will be a story of Jan Śliwiński (1844-1903), one of the finest Polish organ builders of the 19th century being active in lands of Galicia. On the base of – very well described in the literature – Romantic tendencies in organ building in Western Europe , I described lately the different situation regarding the subject of our interest in Eastern Europe. All crucial factors referring to the Czech lands are similar to the Polish lands. Perhaps, we can even find the Polish situation more complicated due to the fact that many nationalities (Polish, Ukrainian, Jewish) were combined there creating a vibrant mix of cultures. The political history of the described geographical area was complicated and that’s why we cannot use the name Poland here. We consider the lands of Galicia which up to the end of the 18th century were incorporated into the Polish Kingdom, for the next 123 years were divided between Russia and Austria-Hungary, after World War 2 were incorporated – as the Ukrainian Soviet Socialist Republic – into the Soviet Union, and after 1991 has been finally located in borders of independent Ukraine. It should also be noted that in the 19th century no organs significant in comparison to the achievements of Western Europe were built in Galicia. The reasons for this situation were following: 1) Political issues in the form of frequent changes of state borders, which resulted in administrative and ownership consequences; 2) Property issues in the form of limited resources of the population, which were exploited by the partitioning powers as capture areas and from which all resources were used before the lands would fall into the hands of enemies; 3) Cultural and religious issues in the form of treating the organs as strictly liturgical instruments without concert inclinations.
Dostawca treści:: Repozytorium Centrum Otwartej Nauki

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Skocz do pozycji: 5.

Tytuł:: Historic Organ in Lubecko. History and Future
Autorzy:: Koenig, Franciszek
Tematy:: organ
organ building
Lubecko
Weiss
Hawel
Scheffler; Pokaż więcej
Wydawca:: Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Powiązania:: https://bibliotekanauki.pl/articles/24020110.pdf Link otwiera się w nowym oknie
Opis:: The article discusses the organ in Lubecko built in 1780 in Jemielnica and then relocated to Lubecko before 1834 (that year, the organ was already being renovated by Johann Hawel). For many years, it was believed the organ was built by the Scheffler family company operating both in Jemielnica and in the Lubliniec region. However, it has been discovered that a sticker placed in the pallet box of the windchest contains extremely important information that the actual builder of the organ was Franz Joseph Weiss who worked in Pyskowice in Upper Silesia at the turn of the 18th and 19th centuries. The organ therefore is of high cultural value due to both the person of its builder and the construction solutions used. Currently, the organ is out of use. It requires a restoration plan and being entered into the register of monuments.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

Tytuł:: The Perception of Organ Music
Autorzy:: Szostak, Michał
Wydawca:: Musical Opinion Ltd, London
Cytata wydawnicza:: Szostak Michał, "The Perception of Organ Music”, in: "The Organ”, No 393, August-October 2020, Musical Opinion Ltd, London, ISSN 0030-4883, pp. 8-13.
Opis:: My considerations to date in terms of the aesthetics of organ music concerned mainly the perspective of the musician, who – when being fluent in his field of art – can be called an artist. In this article I will focus on the second but no less important subject of the aesthetic situation, i.e. the recipient. It is the recipient who is the addressee of a work of art created during the creative process and received in the perception process. It is in the process of perception – i.e. receiving, learning about the work, experiencing its value, understanding it, accepting or rejecting it – that the aesthetic object and the personality of the recipient are shaped. Organ music and its recipients constitute a unique category of music. If we mean an organ recital, then this uniqueness will be slightly smaller; however, if we mean liturgical organ music, then the issue of perception of this music takes on new contexts, becoming unique and requiring special, separate analysis. Using a certain metaphor, there are three “universities” of music performance where a musician will learn how to play well: a church, a pub and a circus. Why? Because – in addition to the formal elements of the musical work – the creator-performer in these three circumstances must specifically take into account the context of the music being performed and the issue of the recipient’s perception. Let us remember that the flourishing of independent music concerts (instrumental recitals in particular) is the domain of the 19th century; previously, music mainly played a functional (liturgical, entertaining) role.
Dostawca treści:: Repozytorium Centrum Otwartej Nauki

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Skocz do pozycji: 7.

Tytuł:: Publishing series Organy i muzyka organowa, J. Krassowski (ed.), vol. I-V, Gdańsk 1977–1984. Akademia Muzyczna im. Stanisława Moniuszki
Autorzy:: Pawlik, Karolina
Tematy:: Publishing series
Review
Organ and Organ Music; Pokaż więcej
Wydawca:: Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Powiązania:: https://bibliotekanauki.pl/articles/570415.pdf Link otwiera się w nowym oknie
Opis:: Review
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

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
Tematy:: organy
bibliografia
bibliografia organów
organoznawstwo
organologia
organ
bibliography
organ bibliography
organ studies
organology; Pokaż więcej
Wydawca:: Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Powiązania:: https://bibliotekanauki.pl/articles/570385.pdf Link otwiera się w nowym oknie
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.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 9.

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
Tematy:: organy
budownictwo organowe
organmistrzowie
Bytom-Miechowice
Schlag und Söhne
organ
organ building
organ makers; Pokaż więcej
Wydawca:: Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Powiązania:: https://bibliotekanauki.pl/articles/570405.pdf Link otwiera się w nowym oknie
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.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 10.

Tytuł:: Historia i teraźniejszość organów Filharmonii Opolskiej im. Józefa Elsnera
The history and the present of the organ of the Opole Philharmonic Hall
Autorzy:: Rosińska, Marzena
Tematy:: Opole Philharmonic
organ
history
organ construction
technical condition; Pokaż więcej
Wydawca:: Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Powiązania:: https://bibliotekanauki.pl/articles/2170553.pdf Link otwiera się w nowym oknie
Opis:: This article presents the history of the construction of the concert organ located in the Opole Philharmonic Hall building, as well as the assessment of its condition for the sake of further concert activities. The text includes the detailed information regarding the instrument construction and its technical characteristics. The article also presents the technical condition of the organ over the past years, as well as the description of the repair work required to be performed at the present time in order to preserve the instrument in its best possible condition for the coming future.
Dostawca treści:: Biblioteka Nauki

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