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Modern Organ Stops
Modern Organ Stops MODERN ORGAN STOPS A practical Guide to their Nomenclature, Construction, Voicing and Artistic use W ITH A GL OSSARY OF TE CHNICAL TE RMS relating to the Science of Tone-Production from Organ Pipes B Y T H E R E V E R E N D N O E L A . B O N A V IA -H U N T , M.A. PEMBROK E COLLEGE, OX FORD (Author of ≈Studies in Organ Tone,∆ ≈The Church Organ,∆ & c.) ≈Omne tulit punctum qui miscuit utile dulci.∆ƒ HORACE: ≈Ars Poetica.∆ BARDON ENTERPRISES PORTSMOU TH First published by Musical Opinion, 1923. Copyright, © 1923 by Musical Opinion Copyright, this edition © 1998 by Bardon Enterprises This edition published in 1998 by Bardon Enterprises, reproduced by permission All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owners. ISBN: 1-902222-04-0 Typeset and printed in England by Bardon Enterprises. Bound in England by Ronarteuro. Portsmouth, Hampshire, England. Preface HE issue of this book is due wholly to the desire to place before the student a guide, sufficiently concise, and withal adequately Tcomprehensive, to the clearer understanding of the science of or- gan tone-production. To the casual observer the alphabetical ar- rangement of stop-names would seem doubtless to convey the impres- sion that yet a third dictionary of organ stops has been offered to the public. A closer scrutiny, however, should convince the reader that these pages do not seek to cover the same ground occupied by the ex- cellent treatises of W edgwood and of Audsley, but will, it is hoped, reveal the true aim and scope of the author. -
University Symphony Orchestra "Encounters"
FierbergerCollegeYEARS of Fine Arts University Symphony Orchestra "Encounters" Timothy Russell, conductor Mischa Semanitzky and Gunther Schuller, guest conductors Kimberly Marshall, organ David Ballou, trumpet Seamus Blake, tenor saxophone Allan Chase, alto saxophone With the ASU Concert Jazz Band School of Music Herberger College of Fine Arts Arizona State University Friday, September 17, 2004 7:30 p.m. Gammage Auditorium ARIZONA STATE M UNIVERSITY Program Overture to Nabucco Giuseppe Verdi (1813 — 1901) Timothy Russell, conductor Symphony No. 3 (Symphony — Poem) Aram ifyich Khachaturian (1903 — 1978) Allegro moderato, maestoso Allegro Andante sostenuto Maestoso — Tempo I (played without pause) Kimberly Marshall, organ Mischa Semanitzky, conductor Intermission Remarks by Dean J. Robert Wills Remarks by Gunther Schuller Encounters (2003) Gunther Schuller (b.1925) I. Tempo moderato II. Quasi Presto III. Adagio IV. Misterioso (played without pause) Gunther Schuller, conductor *Out of respect for the performers and those audience members around you, please turn all beepers, cell phones and watches to their silent mode. Thank you. Program Notes Symphony No. 3 – Aram Il'yich Khachaturian In November 1953, Aram Khachaturian acted on the encouraging signs of a cultural thaw following the death of Stalin six months earlier and wrote an article for the magazine Sovetskaya Muzika pleading for greater creative freedom. The way forward, he wrote, would have to be without the bureaucratic interference that had marred the creative efforts of previous years. How often in the past, he continues, 'have we listened to "monumental" works...that amounted to nothing but empty prattle by the composer, bolstered up by a contemporary theme announced in descriptive titles.' He was surely thinking of those countless odes to Stalin, Lenin and the Revolution, many of them subdivided into vividly worded sections; and in that respect Khachaturian had been no less guilty than most of his contemporaries. -
Events in Riga JANUARY | FEBRUARY | MARCH 2018 ER E R EVENTS in RIGA JANUARY / FEBRUARY / MARCH 2018
Events in Riga JANUARY | FEBRUARY | MARCH 2018 DISCOER E R ASS! EVENTS IN RIGA JANUARY / FEBRUARY / MARCH 2018 CONTENTS 2 January Events 19 February Events 30 March Events 40 List of venue addresses RIGA TOURIST INFORMATION CENTRES At the Riga Tourist Information Centre (Rātslaukums 6), you can receive more information, as well as tickets to most of the events mentioned. Kaļķu iela 16. Phone: +371 67227444 Riga International Coach Terminal Prāgas iela 1. Phone: +371 67220555 Rātslaukums 6. Phone: +371 67037900 The Riga Tourism Information Center (Rātslaukums 6) will be closed from January 15, 2018 to February 18, 2018 for renovation works. Working hours: 10:00—18:00 [email protected] www.LiveRiga.com This information has been prepared on 30.11.2017. The Riga Tourism Development Bureau is not responsible for any changes made by event organisers. On national holidays (01.01., 30.03.2018.), certain locations may be closed or have shortened working hours. EVENT CALENDAR Date Time Event Venue Pg. 01.-07.01. 10:00-20:00 Christmas Fair on Līvu Square Līvu Square 6 01.-07.01. 10:00-20:00 Old Town Christmas Fair Dome Square 6 01.01.-31.03. 10:00-16:00 Winter at Riga Zoo Riga Zoo 6 01.01. 12:00-17:00 Hullabaloo/Jampadracis Latvian style Dzintari Forest Park 6 Latvian Ethnographic 01.-14.01. 15:00-20:00 Light reflections in the winter twilight 7 Open-air Museum 01.-28.01. 16:00-19:00 Winter Nights at Riga Zoo Riga Zoo 7 01.-14.01. The way through the Christmas Trees 2017 Riga 7 01.01. -
Bach 2000 Organ Celebration-Ii
■ si Bach 2000 Organ Celebration-ii "Tracing the Footsteps of Johann Sebastian Bach" with Visiting Organist Kimberly Marshall I Sunday, September 24, 2000 at 3:00 pm Convocation Building Hail University of Alberta mm-07 Cb Program Program Notes In the autumn of 1705, Johann Sebastian Bach requested four weeks' leave from his I Prelude in E-FIat Major, BWV 552 Johann Sebastian Bach church in Amstadt to travel to Lubeck and leam from the famous Dieterich (1685-1750) Buxtehude, organist of the Marienkirche. He left for Ltlbeck in November and did not return until Febmaiy, at which time he was rebuked by the Amstadt Consistory 0. Ach Herr, mich armen Sunder, BWV 742 Johann Sebastian Bach for his prolonged absence, and also for his improper playing, making "curious 3. Jesu meine Freude, BWV 1105 (from the Neumeister Collection) variationes in the chorale" so that the congregation was confused by it. Bach's organ playing had clearly changed as a result of his time in Lilbeck, and his early organ Gelobet seist du, Jesu Christ, BWV 722 Johann Sebastian Bach works testify to his study of music in the north German style, with virtuosic (from the Amstadt Congregational Chorales) figuration, important pedal solos, and the altemation of improvisatory and contrapuntal sections. In addition, he was also very influenced by Italian and French organists, such as Frescobaldi and Grigny. In today's program, we'll trace the Ciacona in E Minor, BuxWV 159 Dieterich Buxtehude different paths Bach travelled in developing his own highly personal approach to Canzonetta in G Major, BuxWV 171 (1637-1707) organ composition. -
Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
THE LYRIC .... BALTIMORE Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor JJrogramm? of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, MARCH 18, AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used bv TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil OberhofTer Wilhelm Gericke Emil Paur Felix Weingartner Represented in Baltimore by THE KRAN2 SMITH PIANO GO. 100 North Charles Street Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mann, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. » Eichler, J. Tischer-Zeitz, H Kuntz, A, Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. -
Acoustics of Organ Pipes and Future Trends in the Research
Acoustics of Organ Pipes and Future Trends in the Research Judit Angster Knowledge of the acoustics of organ pipes is being adopted in applied research for supporting organ builders. Postal: Fraunhofer-Institut für Bauphysik (Fraunhofer Institute for Introduction Building Physics IBP) The pipe organ produces a majestic sound that differs from all other musical in- Nobelstrasse 12, 70569 struments. Due to its wide tonal range, its ability of imitating the sound of vari- Stuttgart, Germany ous instruments, and its grandiose size, the pipe organ is often called the “king of musical instruments” (Figure 1). The richness and variety of sound color (timbre) Email: produced by a pipe organ is very unique because of the almost uncountable pos- [email protected] sibilities for mixing the sounds from different pipes. According to the art of sound generation, there are two kinds of pipes in the organ that are similar in function Péter Rucz to other wind instruments: flue (labial) pipes and reed (lingual) pipes. Although Postal: this article focuses on sound excitation by flue pipes, the role of reed pipes is brief- Budapest University of ly mentioned (see Figure 2). The article also shows how the connection between Technology and Economics sound character and pipe shape and dimensions can be understood, and it also Magyar tudósok krt. 2, 1117 considers the trends in the research that focus on helping organ builders in their Budapest, Hungary practical work. Email: Structure of the Pipe Organ [email protected] A sketch of a pipe organ is shown in Figure 3. Its main parts are the windchest with the pipes, the wind system, and the control system (keyboard, tracker action, András Miklós and drawstops; Figure 2). -
An Explanation of the Organ Stops
PREFACE TO THE ENGL ISH EDITION. M" O Sto s n for paper on rgan p , origi ally written a course o f of lectmures to organists, was published by the desire of a com ittee teachers . In altering and enlarging the o for riginal work the press , I was struck by the number of on con struc and excellence literary works the organ , its o ti n, preservation , and pitch . It is evident, however, that in these on ly a limited space cou ld be devoted to the o f n -five . o rgan stops During a practice twe ty years , inter - o spersed with numerous concert tours, and ccasional calls o o s upon me as an expert, I have made rgan st p , their ff o d . peculiarity and ac ustic e ects, my special stu y u o In working p this material, extending as it does vmer o v of divers pr inces musical science, I secured the welco e co - o i u perat on of several highly experienced colleag es . B fo all ff P o Dr A o of f. e re others, I o er to r F rster, B h for hi s erne, my warmest t anks kindness in stimulating and facilitating my studies by the loan of books on physical an d t . a acoustics, by highly interes ing experiments I lso W ish to offer my best thanks to the organ - builders wh o have thoroughly revised that portion of my work treatin g on - n the technicalities of organ buildi g . -
Repairing and Voicing Damaged O~Gan Pipes
Before making any suggestions that might will hear a prime tone and a multitude of over help an organ enthusiast repair a damaged tones. The overtones are harmonics and par pipe I want to pay a tribute to a person who, in tials of the prime tone. my opinion, is one of the great artisans of the I repeat, a good voicer represents years of pipe organ industry - THE VOICER. experience combined with an artistic tempera Many organ fans confuse voicing organ repairingment, a natural ear for tonal quality, great ac pipes and tuning organ pipes. They are two curacy of workmanship and plenty of pa separate functions. Organ tuning is done after tience. He is indeed a great artisan. His value the installation has been completed. The tun to organs is too often overlooked. er sets the temperament and tunes all the stops and The organ enthusiast has no need for such to the temperament octave. He also does the qualifications, for he will never be confronted finishing, by which is meant adjusting the vol with organ pipes directly from a pipe shop ume of the pipes in each stop so some tones that must be made to speak before they can be are not louder or softer than the others. Fin voicingused, but enthusiasts do encounter voiced ishing is most important with reed stops. pipes that have been damaged so they do not A voicer works in the factory or in a pipe speak properly, or perhaps not at all. shop which is operated separately from an or damagedFixing damaged pipes so they will speak is gan factory. -
Organs: Technology and Technique for LDS Organists
Understanding and Mastering Pipe (and Electric) Organs: Technology and Technique for LDS Organists by Irvin T. Nelson Copyright 2001, 2006, 2009 by Irvin T. Nelson 225 N. 100 E., Smithfield, UT 84335 Making unaltered copies for non-commercial use is permitted. All other rights reserved. This and other materials may be downloaded free at: www.irvnelsonmusic.com Draft 2.1; January 1, 2009 Preface The pipe organ is the fundamental musical instrument of the Church. No other instrument can even begin to match its utility and power for accompanying the Hymns of the Restoration. A well-played organ enables and assists the Spirit in touching the hearts of the Saints. There is a shortage of qualified, trained organists in the Church, and this scarcity appears to be growing. Nearly all LDS chapels have organs, many of which are of reasonably good quality, and a precious few of which are real pipe organs. However, in many wards, there are few or no qualified organists who have been trained to get the most out of these marvelous instruments. It is a tragic waste when a very expensive pipe organ is underutilized simply because the organist doesn’t know what the buttons, levers, and knobs do, and how to get a good sound for a particular hymn. Similarly, the electric organ, which is a fine instrument in its own right, is often underutilized for the same reason. This manuscript is written for pianists who want to learn the organ. Without information and training, even excellent pianists are sometimes poor organists. This is not due to a lack of talent, but simply because of the following three factors: 1. -
Consolidated Annual Report 2019 Table of Contents
AS EKSPRESS GRUPP CONSOLIDATED ANNUAL REPORT 2019 TABLE OF CONTENTS TABLE OF CONTENTS ........................................................................... 2 supervisory and management Note 15. Property, plant and equipment ...........................94 GENERAL INFORMATION ..................................................................... 3 boards of subsidiaries ..................................................................58 Note 16. Intangible assets ...........................................................95 Management Board’s confirmation Audit Committee .............................................................................59 Note 17. Trade and other payables ........................................98 of the consolidated annual report ............................................... 3 Selection and pay of auditor ....................................................59 Note 18. Bank loans and borrowings ....................................99 STATEMENT OF THE CHAIRMAN CONFLICT OF INTEREST AND Note 19. Leases .................................................................................101 OF THE MANAGEMENT BOARD .......................................................4 TREATMENT OF INSIDE INFORMATION ................................59 Note 20. Segment reporting ....................................................102 BRIEF OVERVIEW OF THE GROUP .................................................. 6 Other information ......................................................................... 60 Note 21. Sales revenue -
Musical Instruments U03424: PHY-3-Musinst COURSE INFORMATION 2009/10
Musical Instruments U03424: PHY-3-MusInst COURSE INFORMATION 2009/10 Level: SCQF Level 10 Credits: 20 points Times and places: Semester 1, M 1110-1300, JCMB Room 4310; Th 1110-1300 St Cecilia’s Hall (Presentations), visits as arranged. Prerequisites: Musical Acoustics or Introductory Musical Acoustics. Short description: One half of the course reviews the current understanding of the physics of musical instruments and explores the relationship between theory and practice in musi- cal instrument construction and performance. Six lectures on the acoustics of strings, brass, woodwind, pipe organs, percussion and electronic instruments are followed by a series of seminars in which students present the results of their research on prescribed topics in mu- sical instrument acoustics. The other half of the course consists of a number of visits to musical instrument craftsmen and musical instrument collections, each followed by a work- shop in which students carry out and report on a group project involving the study of musical instrument acoustics. Summary of Intended Learning Outcomes: Upon successful completion of this course it is intended that a student will be able to: 1. explain basic operating principles of: (a) stringed instruments; review theories of the bow-string interaction; explain the significance of vibration modes of a stringed instrument body; (b) brass instruments; review theories of the lip reed; explain the influence of bore profile on the modes of vibration of a brass instrument; (c) woodwind instruments; describe the sound -
THE EFFECT of Rtind PRESSURE on the FREQUENCY OF
THE EFFECT OF rtIND PRESSURE ON THE FREQUENCY OF OPEN AND CLOSED FUJI ORGAN PIPTiS by ALBERT ROSS GHALLANS B. 3., Kansas State Oolleg« of Agriculture and Applied Science, 1930 THESIS submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Department of Physios KANSAS STATE COLLEGE OF AGRICULTURE AND APPLIED SCIENCE 1941 Doou- (pem IS „ Ml CHi c-z TABUS OF CONTENTS IHTRODUCTIGN 1 H3TOW OF LITBRATUHB 1 APPARATUS 17 PROCEDURE . 22 RESULTS 27 DISCUSSION 39 CONCLUSIONS . 44 ACKNOWLEDGMENT 45 LITERATURE CITED 46 IHTHODUCTION How the wind sots up and maintains the vibrations of air in flue organ pipes is a question that has attracted the atten- tion of many investigators* Many interesting faots pertaining to this phenomenon have been discovered, but scientists are still not entirely agreed upon the primary factors involved. The fact that the frequency of open and closed flue organ pipes is affected by a change in wind pressure has been known for some time. Explanations for this change in frequency, however, have been uncertain. Little information is available regarding the quantitative differences existing between pres- sure changes and the resulting alterations in frequency. The purpose of this study was to investigate the effect of wind pressure on the frequency of open and closed flue organ pipes. RWfim OF LITSHATOHK How a jet of air maintains the vibrations in the column of air in a flue pipe was investigated by rfeber and Weber as early as 1826, according to Jones (11). Their idea was that the first puff of wind from the windway starts a wave which travels up and down the body of the pipe.