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Historic Organs of Belgium May 15-26, 2018 12 Days with J
historic organs of BELGIUM May 15-26, 2018 12 Days with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from Mr. & Mrs. Wesley C. Dudley, grants from Walter McCarthy, Clara Ueland, and the Greystone Foundation, the Art and Martha Kaemmer Fund of the HRK Foundation, and Jan Kirchner on behalf of her family foun- dation, by the contributions of listeners to American Public Media stations nationwide, and by the thirty member organizations of the Associated Pipe Organ Builders of America, APOBA, represent- ing the designers and creators of pipe organs heard throughout the country and around the world, with information at www.apoba.com. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Bios of Hosts and Organists Page 3-6 A History of Organs in Belgium Page 7-12 Alphabetical List of Organ Builders Page 13-17 Organ Observations Page 18-21 Tour Itinerary Page 22-25 Playing the Organs Page 26 Organ Sites Page 27-124 Rooming List Page 125 Traveler Profiles Page 126-139 Hotel List Page 130-131 Map Inside Back Cover Thanks to the following people for their valuable assistance in creating this tour: Rachel Perfecto and Paul De Maeyer Valerie Bartl, Cynthia Jorgenson, Kristin Sullivan, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts in Minneapolis. In addition to site specific websites, we gratefully acknowledge the following source for this booklet: http://www.orgbase.nl PAGE 22 HISTORICALORGANTOUR OBSERVATIONS DISCOGRAPHYBACKGROUNDWELCOME ITINERARYHOSTS Welcome Letter from Michael.. -
The Diapason an International Monthly Devoted to the Organ, the Harpsichord and Church Music
THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC Seventieth Anniversary Y mr Scvenl;t:th Year, No. 12. Whole No. 840 A Scranton Gillette Publication ISSN 0012-2'78 NOVEMBER. 1979 Varied New Organs Vpper left: Casavant organ at Boreft College, SioIg: Ceater, 'o..,a; lo..,er left: Bedieat orga.. at St. ;In. drew's Episeopal Churela, Rosteell, New Mexico; above: Holtkamp organ at 'IIinois College, JaeksOKvUle, nil· wois (see speclfieations i_ide 0 .. page 3). f)1l JitiA f)44UR THE DIAPASON Ii..Jt.hlis/'rd ... I!IIIY In thii issue, we complete the series or ankles 011 the organ works of Men delssohn by Douglas L. Butler which began last year; the final installment treats A.n /"ternlltionol Mon,h'y Devoled 10 lite U'gl"" lIlf! /III1!lUchu,cI ,m,' Cillfull ."fUIt. the composer's we of chorale and fugal techniques in the six sonatas of Op. 65. UHit';,,1 /,,"nln' 01 II/(~ rllllt','I"'III /'hlilu/e "/ OrganhuUdeu The preceding article dealt with the elements and influences of the English voluntary in the same pieces. Along with the coodwinn is a chronological list NOVEMBER. 1979 Edito, & I'.,bli.he, ARTHUR LAWRENCE ing of the known organ works by Mendelssohn which reflects the latest research l.,aI,.... MaIHlS.' DAVID McCAtH in this area. A "Nacrupiel" in n rorthcoming wue will round out our currem FEATUlIES A_.. E• ..., WESlEY vas Mendelssohniana. The Orvan Worlta 01 M.Ddeluoha, Com,'''''';''' Edito,. LARRY PAlMEII Harp<khonf On a different subject, Owen Jander has written an article which effectively Pan IV argues for the per£onnance of the Bach "Wedge" Fugue on a rour-manual organ. -
Kooiman-E-R03-B1c[Aeulus-15CD
Recordings / Aufnahmen / Enregistrements: April 2008 (Ewald Kooiman – Ebersmunster, Bouxwiller), June 2008 (Ewald Kooiman – Marmoutier), October 2008 (Ewald Kooiman – Wasselonne, Marmoutier), March 2010 (Gerhard Gnann – Wasselonne), September 2010 (Ute Gremmel-Geuchen – Strasbourg), October 2010 (Bernhard Klapprott – Arlesheim, Ute Gremmel-Geuchen – Marmoutier), November 2010 (Gerhard Gnann – Strasbourg), March 2011 (Ute Gremmel-Geuchen – Villingen), July 2011 (Gerhard Gnann – Soultz Haut-Rhin) Producer / Aufnahmeleitung / Direction artistique: Christoph Martin Frommen Engineering, editing & mastering / Technik, Schnitt & Mastering / Prise de son, montage & mastering: Christoph Martin Frommen Mikrofone / Microphones: 9 x DPA 4006 omnidirectional Photos: Christoph Martin Frommen, Jean-Philippe Grille (cover photo SACD vol.17) Organ maintenance: Gaston Kern, Manufacture d’orgues Daniel Kern, Quentin Blumenroeder, Bernhard Fleig Registranten / Assistants: Anne den Hartigh, Victoria Siegert (Strasbourg, November 2010) Dank an / Acknowledgements / Remerciements: Jean-Philippe Grille (Wasselonne), Père Florent & Hubert Sigrist (Marmoutier), Daniel Maurer, Daniel Leininger, René Gerber (Strasbourg), Anne-Laure Thallinger (Bouxwiller), Bernard Chalté & Henri Keller (Ebersmunster), Ulrich Kolberg (Villingen), Jean-Claude Zehnder & Peter Koller (Arlesheim), Monique Leimbach-Weinzäpfel (Soultz-Haut-Rhin), Quentin Blumenroeder. Greatest thanks to Anne den Hartigh. +© 2012 Postfach 300 226, 41343 Korschenbroich, Germany mail@aeolus–music.com www.aeolus–music.com -
Bach Notes No. 3
No. 3 Spring 2005 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY DID BACH PERFORM SACRED MUSIC BY JOHANN MATTHESON IN LEIPZIG? STEFFEN VOSS Unlike Bach’s first two Leipzig cantata cycles, of 1723-24 and 1724-25, which include a sacred can- tata for almost every occasion of the liturgical year, the third cycle, of 1725-27, contains numerous, substantial breaks in the continuity.1 The first of these breaks occurs at the very beginning of the cycle, between the concluding work of the second cycle, the 1725 Trinity cantata Es ist ein trotzig und verzagt Ding, BWV 176, to a text by Mariane von Ziegler, and the first known work of this cycle, Tue Rechnung! Donnerwort, BWV 168, for the ninth Sunday after Trinity. Some light was shed on the identity of the cantatas that preceded Tue Rechnung! Donnerwort by Wolf Hobohm’s discovery in the Saltykov-Shtshedrin The remaining text from this printed col- Library in Leningrad (today, the Russian lection, for Visitation, is an anonymous IN THIS ISSUE: National Library, St. Petersburg) of a 1725 poetic paraphrase of the Magnificat, the PAGE Texte zur Leipziger Kirchen-Music forfor Virgin Mary’s hymn of praise to God from the third, fifth, and sixth Sundays after Luke 1: 46-55, which forms the central 1. Did Bach Perform Sacred Music Trinity and for the feasts of St. John’s and part of the Gospel associated with this by Johann Mattheson in Leipzig? by Steffen Voss Visitation.2 These five texts represent the feast.4 Because the paraphrase preserves complete repertory of church cantatas per- the original Lutheran translation in the 6. -
Apr 09 Pp. 2-18.Indd 8 3/10/09 8:20:04 AM Orthodox Organ Shoes
ber 2001); “Prodigy Organists of the nineteenth-century roots of the French Nunc Dimittis Past” (December 2000); “Canadian Or- Bach tradition. ganbuilding” (Part 1, May 1999; Part 2, Besides teaching at the famous Inter- June 1999); “Purcell’s Tercentenary in national Summer Academy for Organists Lukas Foss, composer, performer, Print: Recent Books” (Part I, November at Haarlem—at fi rst French Baroque and teacher, died in New York on Feb- 1997; Part II, December 1997); “The repertoire, later Bach—Ewald Kooiman ruary 2. He was 86. German-born, Foss Golden Age of the Organ in Manitoba: was for many years chairman of the was trained in Germany, in Paris, and at 1875–1919” (Part 1, May 1997; Part 2, jury for the improvisation competition the Curtis Institute in Philadelphia; he June 1997); “The Organ: An American in the same city. His fl uency—besides had studied composition with Randall Journal, 1892–1894” (December 1995); French—in English and German and his Thompson and Paul Hindemith, and and “The Search for Authenticity in Mu- ability to listen critically to the opinions conducting with Fritz Reiner and Serge sic—An Elusive Ideal?” (June 1993). of his colleagues made him the ideal per- Koussevitzky. Known for composing in son for such a job. different musical styles, he often com- Although he was never the titulaire of bined past and present infl uences and one of the major historical Dutch organs, techniques. He served as the pianist of Kooiman served as University Organist the Boston Symphony Orchestra from of the VU University, playing the Cou- 1944–50, and he conducted numerous perin Organ in recitals and for university orchestras including the Brooklyn Phil- functions. -
Documenting Performance Through Sound Recording: Bach’S Passacaglia in C Minor, Bwv 582 By
DOCUMENTING PERFORMANCE THROUGH SOUND RECORDING: BACH’S PASSACAGLIA IN C MINOR, BWV 582 BY CAROL NAVE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Christopher Young, Research Director Marilyn Keiser, Chair Janette Fishell Eric Isaacson To all of my teachers. I must begin by thanking my dear teacher and mentor, Dr. Marilyn Keiser, for her constant support and encouragement. Her wisdom, musicianship, compassion, and strength have provided me with inspiration to complete this project. I truly appreciate her willingness to serve as committee chair, even after her retirement. Her love of music and of life (along with a healthy dose of humor, from time to time) has helped me stay the course. I am deeply grateful to my research director, Dr. Christopher Young, for his contributions to my thinking on the topic of sound recording, and the Passacaglia in particular. His knowledge of performance practice, both as a scholar and artist, has been instrumental in guiding my research and writing. I will always be appreciative for Dr. Young’s close readings and suggestions for clarification and improvement. His ability to put ideas into practice is truly amazing and inspiring. Dr. Eric Isaacson and Dr. Janette Fishell provided valuable suggestions that helped to shape the final form of this project. I am grateful to both of these professors for serving on my committee and offering their insights on this topic. -
Clavichord & Organ: Companions for Centuries
INTERNATIONAL SYMPOSIUM 2018 in cooperation with the Dutch Clavichord Society Clavichord & Organ: Companions for Centuries THURSDAY 7 JUNE FRIDAY 8 JUNE SATURDAY 9 JUNE Now that the new Utopa Baroque Organ has been inaugurated, the International Orgelpark Symposium 2018 focusses on an ‘instrumental relationship’ that may shed new light on making organ music: namely the relationship between the clavichord and the organ. Given the fact that organists have developed and trained their musical skills on (pedal) clavichords for centuries, the symposium explores how building and playing clavichords may inspire developing new perspectives on dynamics in organ music. Free admission. Concerts: € 15,00. More information at [email protected]. THURSDAY 7 JUNE 2018 14.15 Welcome 14.30 Lecture/recital: Early music and dynamics Christophe Deslignes studied Medieval Music at the Schola Cantorum Basiliensis. He graduated in 1994. He played organetto and organ with Mala Punica from 1992 to 1998. He founded Ensemble Millenarium in 1998. He broadcasted over 40 cd's including 3 organetto solo recordings: Les Maîtres de l'organetto florentin au XIVème siècle (1998), Triple Album (2014) and Lucente Stella (2017). In his work, Christophe Deslignes, demonstrates the importance of dynamic music-making in several ways. Impressive was his concert at the Van Straten Organ in 2013; a fragment can be heard in Orgelpark Research Report #4, downloadable for free on www.orgelpark.nl. Van Straten Organ Tablature of Adam Illeborg (1448) Mensura trium notarum supra tenorem Frowe al myn hoffen Anonymous (16th century) Almande de la Nonette Portativ clavicytherium Ensemble Convivencia Estampie Janus Dulce Melos Conrad Paumann From Fundamendum organisandi (1452) - En avois Organetto Anonymous, Ms Lo Add. -
Obligato / Obligé: a Musical Etymology
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Obligato / Obligé: A Musical Etymology Suzanne Anita Bratt University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the Music Commons Recommended Citation Bratt, Suzanne Anita, "Obligato / Obligé: A Musical Etymology" (2017). Publicly Accessible Penn Dissertations. 2197. https://repository.upenn.edu/edissertations/2197 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2197 For more information, please contact [email protected]. Obligato / Obligé: A Musical Etymology Abstract ABSTRACT OBLIGATO / OBLIGÉ: A MUSICAL ETYMOLOGY Suzanne Anita Bratt Emily I. Dolan Ask for a definition of the musical term obligat“ o”; receive a different answer from everyone asked. What truth this axiom possesses lies in the multiple meanings acquired by the word during the past four hundred years. The varied definitions that presently circulate – an obligatory musical line, a virtuosic one, a filigree or descant, the use of a specific instrument, the use of organ pedal, the interaction of solo instrument and voice – all convey this complex legacy. Through analyses of music in manuscript, printed scores, and publishing materials, this dissertation concludes that certain meanings of “obligato” are active at different points in the history of Western musicking. Meanings activated by different instruments and in different genres can indicate the places of those instruments within an expected hierarchy, and can create those genres. This dissertation begins by considering certain in consistencies in the use of obligato terminology: situating scholarly discussion of the power of the obbligato violin in “Erbarme dich” alongside Sebastian Bach’s own use of the term.