Pipe Organ Music

The inauguration of the Daniel Gray organ in St Catherine's Cathedral, Utrecht, provided an opportunity to write a short article on the organ, its history and its maker. This small organ's history still keeps many of its secrets and it would be helpful if more information on Gray's workshop and oeuvre would be publicly available. Hopefully, this article could contribute to that purpose.

The organ was the musical instrument that represented and suggested political power in the Byzantine Empire, although this fact may seem quite curious at first sight, the organ being concretely an instrument of imperial power, which was used skilfully and with quantifiable results. The organ is not a proper Byzantine instrument, but it played a leading role in the imperial ceremonial, developing both musically and especially symbolically. It was masterfully used in almost all the ceremonies of the Byzantine Court, its sounds enveloping the exponents of power and suggesting their power. Likewise, the gold or silver organs were also intended to impress and influence the guests, especially the representatives of other political entities, making them more favourable to Byzantine ideas and politics. The organ was essentially a musical instrument that fascinated, influenced and coagulated, but which was also desired and sought after, both musically and especially symbolically.

The pipe organ, unlike many other instruments used in so–called classical music, is inextricably entwined with technology and contemporary improvements throughout its history. The craftsmanship of organ building is closely related to the evolution of the music played on pipe organs, as can be seen in musical literature. These two fields have always propelled each other: transformations of style have engendered the demand for changes and
induced progress in the field of building techniques and vice versa. Newly invented devices and solutions implemented by organbuilders enabled the musicians to enrich their creations with artistic effects which were not achievable before. This thesis is itself a continuation of that interdependency of the evolution of the device and its effect on the music. The project comprises two parts and closely links two supposedly distant fields. The first part is the instrument: a pipe organ designed and built with prototype mechatronic programmable key action. The other is the recording of the interpretations of existing baroque and contemporary literature and original improvisations. This second part demonstrates the improved elements of artistic expression enabled by the enhanced capabilities of the prototype.

Chapter 1, the introduction, presents the author's philosophical view on art, its evolution and nature, which integrates transcendental and physical realms. The connection between art evolution and theory of information is also discussed. The chapter introduces the interdisciplinary approach which is the basis for this thesis.

Chapter 2 refers to the history of the pipe organ and its music in strict reference to philosophy and to the so–called spirit of individual periods not without the connection to the development of technical possibilities and the evolution of organbuilders' craftsmanship. The reciprocity of these two is emphasized and described as a strong positive feedback that continues today. The pursuit for the "perfection" of each era, both artistically and technologically, is featured as a justification of the presupposition on which this thesis is based.

Chapter 3 discusses the perception of music and sound, components of elements of artistic expression and the nature of organ stops. It also describes the principles of operating mechanisms and airflow in pipe organs and the influence this operation has on the sound itself. It specifies pieces of equipment that can be modified and improved in order to expand the range of means of expression available.

Chapter 4 includes a comprehensive description of the newly built pipe organ with the prototype mechatronic key action, elucidation of its construction, and details of its operation.

Chapter 5 provides an analytic view of the recorded music and contains a detailed explanation of each of the newly acquired means of artistic expression applied to the performed interpretations and improvisations. All of these effects have been created with the use of automatic valve control which is unique to the prototype system.

Chapter 6 presents acoustic, mostly spectral, analysis of selected samples taken throughout the recording. Through this analysis, the physical causes of auditory sensations which result from perception of the new means of artistic expression are revealed.

Chapter 7 summarizes this work and explores further development in organ building craftsmanship, particularly concerning mechatronic key action and other similar devices. It examines the likelihood of the success and adoption of these new inventions and the new possibilities in organ music in the context of costs of adoption, willingness to implement, and artistic demand from composers and organists.

Herman van Vliet was a remarkable member of the organ musicking school induced by Feike Asma. In his rendition of Virgil Fox's organ transcription of Johann Sebastian Bach's chorale 'Komm süsser Tod', he showed remarkable attention to his choice of stops, documented in his recording of Fox's transcription on the Bätz organ in the Evanglisch-Lutherse Kerk in The Hague.

Ao longo dos séculos, a Igreja Católica passou por diversas mudanças de metas globais, identidades ou autocompreensões. Do mesmo modo que os sistemas vivos, o sistema religioso tomou decisões em relação aos estímulos provenientes do entorno, seja com a Contrarreforma, promovida no século XVI, seja por meio de considerável abertura nos séculos XVIII e XIX, especialmente no que diz respeito à música. Neste período, o repertório se tornara compartilhadoliteralmente ou do ponto de vista das técnicas composicionaiscom a ópera e a música sinfônica. Não foram poucos, entretanto, aqueles que se opuseram às influências da música de entretenimento da época sobre a música religiosa, especialmente um movimento conhecido como Cecilianismo. A partir de uma representação compartilhada de decadência da música de função ritual, os acadêmicos que integravam tal movimento propuseram diversos meios pelos quais a música dos templos deveria ser restaurada ao seu lugar de dignidade (Restauração musical católica). Dentre os meios pelo quais tal dignidade seria restaurada estava uma proposta de estreita ligação com o passado, por meio do resgate de memórias musicais de tempos distantes. Os resultados da Restauração musical se fizeram sentir no motu proprio "Tra le Sollecitudini" sobre a música sacra de Pio X, promulgado em 1903. O presente trabalho procura discutir a inserção da obra musical do monge beneditino dom Plácido Guimarães de Oliveira (1886-1964), organista do mosteiro do Rio de Janeiro, regente e compositor neste panorama. Dentre outros elementos, estão presentes na obra de dom Plácido o órgão, declarado por Pio X o instrumento oficial da Igreja Católica de rito latino, o uso de temas gregorianos e até mesmo o uso de cantus firmus em uma obra vocal. Por outro lado, o beneditino também se valeu de textos em língua vernácula e até mesmo de uma orquestra para uma de suas composições. Assim, questiona-se: quais narrativas são possíveis a partir de tais elementos, do ponto de vista da memória musical no período da Restauração musical católica? Para responder tal problema, recorreu-se à pesquisa documental, em manuscritos recolhidos ao Arquivo do Mosteiro de São Bento do Rio de Janeiro e outras fontes documentais, além da pesquisa na literatura. Os dados foram analisados a partir dos referenciais de memória e identidade em Joël Candau, de lugares de memória em Pierre Nora, de práticas e representações em Roger Chartier. Os resultados apontam para resgates de elementos da música polifônica do século XVI, associados, sobretudo, à obra musical de Palestrina, que foi considerado uma espécie de mito fundador da música polifônica. Ademais, a presença do cantochão revela, por um lado, o cotidiano musical do mosteiro beneditino, mas também as grandes memórias organizadoras associadas ao cantochão e à unidade da Igreja Católica na Idade Média. O órgão insere-se igualmente no âmbito das grandes memórias organizadoras. Finalmente, é possível perceber adaptações às necessidades e práticas do período, tais como o uso do efetivo orquestral em uma obra e a adesão aos cânticos espirituais em vernáculo. Palavras-chave: Música litúrgica-Igreja Católica Romana. Polifonia clássica. Canto gregoriano. Repertório para órgão. Memória musical, identidade e música. Introdução * Estágio pós-doutoral junto ao Programa de Pós-Graduação em Música da UFMG com bolsa CAPES-PNPD.

Resumo: O presente trabalho tem como objetivo analisar os impactos do Concílio Vaticano II (1962)(1963)(1964)(1965)) sobre a criação de música litúrgica católica pelo compositor e organista José Maria Rocha Ferreira . A análise dos dados obtidos em pesquisa bibliográfica e documental foi baseada nas noções de memória e identidade coletiva, bem como na perspectiva dos sistemas sociais complexos. Os resultados apontam para a adaptação da obra de Rocha Ferreira no que diz respeito às mudanças da liturgia, mas a preservação de uma memória musical pré-conciliar. Palavras-chave: Música litúrgica -Igreja Católica. Restauração musical católica. Constituição apostólica "Sacrosanctum Concilium". Motu proprio "Tra le Sollecitudini".

a música Armorial continua...: trajetória e atualidade em breves considerações………………………….113 Rucker Bezerra de Queiroz, Samuel Cavalcanti Correia. A composição no movimento Armorial: Laconismo e Escritura de um Toré………………………………………...123 Rafael Severiano. Música indígena e processos de educação: Saberes musicais da sociedade tupinambá na Amazônia do Brasil colonial……..…………………………132 Musicologia Histórica………………………………………………………………..141 Vicente Casanova de Almeida. O éthos diastáltico e a exaltação patética em música no discurso de Claudio Monteverdi (1638)………………………………………………142

Resumo: Neste trabalho, buscou-se compreender como as disposições do Motu proprio "Tra le Sollecitudini" de Pio X referentes ao uso do órgão e demais instrumentos musicais foram recebidas no Brasil. Para isto, foi realizada pesquisa de fontes musicais produzidas em diferentes regiões do país de 1903 a 1962. Analisados a partir dos referenciais de memória e identidade de Joël Candau, os dados apontam para a sobrevivência da diversidade instrumental, porém não de forma unânime, revelando por um lado a autonomia dos músicos e por outro, a força das tradições locais do catolicismo romano. Palavras-chave: Música litúrgica -Igreja Católica Romana. Órgão e bandas de música. Tra le Sollecitudini. Memória, identidade e música. Modelo pré-interpretativo.

As partituras divulgadas deste volume com finalidades de divulgação e difusão cultural destinam-se a uso litúrgico, sendo expressamente vedada a sua comercialização. Permite-se a transcrição dos textos contidos nesta revista desde que citada a fonte. Os artigos representam opinião pessoal dos seus respectivos autores, não constituindo opinião institucional da RDMUSB e nem da sua Comissão Editorial.

Introdução. Breve biografia e contexto. Controle normativo e as opções de Franceschini. Obras para órgão e com acompanhamento de órgão. Considerações finais. Referências. O estudioso da sociologia do trabalho Domenico de Masi (1999, p.283) afirmou que seria possível "existir assimetria entre os homens e seu tempo", ou seja, determinadas personalidades refletiriam com perfeição o período em que viveram, ao passo que outras poderiam estar à frente dele. Dentre as personalidades perfeitamente contemporâneas, De Masi citou Voltaire e Proust. Entre aqueles que prescindiram das técnicas de seu tempo, estavam Vico e Bach. No seu livro dedicado ao estudo de grupos criativos europeus entre 1850 e 1950, o autor italiano constatou que também instituições -1 Versão ampliada e atualizada do trabalho apresentado na mesa-redonda de Composição do XXI Encontro Nacional de Organistas e XXII Encontro Latino-Americano de Organistas e Organeiros, em 2012, na cidade de Petrópolis-RJ, em 2012. Agradecemos à Associação Brasileira de Organistas (ABO) pela autorização para que o presente trabalho fosse publicado na Revista Digital de Música Sacra Brasileira e dedicamos este trabalho à professora doutora Gertrud Mersiovsky, cujo trabalho de longa data admiramos.

Das umfangreiche kompositorische Ouevre Günter Raphaels hat bislang kaum Beachtung gefunden. Immerhin stehen am Ende seines Lebens Sinfonien, Schauspielmusiken, Konzerte, Oratorien, Kammermusiken, Klavierkompositionen, Lieder, Motetten und Kantaten. Der vorliegende Aufsatz stellt seine Kompositionen für Orgel vor. Auf stilistische Dependenzen zu Max Reger und anderen spätromantischen Vorbildern ist in der Forschung immer wieder hingewiesen worden. Wenig Beachtung dagegen hat bisher die Frage gefunden, wo und in welcher Weise sich Raphael von dieser Beeinflußung zu lösen vermag und stilistisch eigene Wege geht. Einer Überprüfung zu unterziehen ist auch die bisher vage gebliebene Kennzeichnung des Spätstils Raphaels als "tonal zwölftönig".

Gotycka rzeźba Chrystusa Boleściwego (łac. Vir Dolorum) z I ćw. XV w. przez lata ustawiona wtórnie na baldachimie XVII-wiecznej ambony z kościoła pw. św. Tomasza Apostoła w Nowym Mieście Lubawskim. Gothic sculpture of the Sorrowful Christ (Vir Dolorum) from the 1st quarter of the 15th century for years, placed on the canopy of the 17th century pulpit from the church of St. Thomas the Apostle in Nowe Miasto Lubawskie. Kościół pw. św. Wawrzyńca w Rożentalu szczelnie opakowany podczas fumigacji. Church of St. Lawrence in Rożental tightly packed during fumigation.

The pedal harp is a relatively young instrument. From the beginning of the eighteenth century to the beginning of the nineteenth century, its technical and musical development coincided not only temporally but often also spatially with the history of the harpsichord and the piano. The new instrument was originally most successful in Paris and then in London. This article is intended to stimulate a discussion on the less-studied repertory for harp, piano and violin from the 1780s until the time of Berlioz, as well as to offer a new perspective on better-known stylistic elements.

We will reveal the concept of alternating syntagm as an important feature of cinematic narrative made possible by a certain arrangement off rames during the montage. In the first part of this article we apply the concept as suggested by Rebecca Leydon (2001) to show that analogous situations can be identified in the music of Debussy's late period by using a representative sample: episodes in the second piece of the work En blanc et noir derived from a textural analysis that is based on Wallace Berry's theories (1987). This analytical approach will allow us to discuss in the second part of the article the possibility of establishing analogies between Debussy's works and silent film, within the context of the period of question, comparing Leydon's proposal to Scott Paulin (2010) criticism on this subject. The discussion calls attention to the correlation between artistic media tending to imitate the thought processes of the early twentieth century.

Vietnam's orchestral landscape until 2018 is the subject of this short entry. Vietnam is a densely populated country along the coast of mainland Southeast Asia. It encompasses numerous musical cultures, as it is inhabited by more than 50 ethnically diverse groups. The main group, called Việt or Kinh, lives predominantly in the plains, along the coast, and in urbanized areas.

The article examines the features of the composition of J. S. Bach's organ fugue BWV 577 in the context of the musical practice of the Baroque era. Such features of the fugue are revealed as reliance on the dance genre of the gigue, the emotional and sensual richness of the music while maintaining the formal principle of composition, the primary role of rhythm and harmony, game logic in the organization of musical material, and the use of special sound effects. The connection between fugue and non-liturgical forms of musical practice is revealed.

An interview with an outstanding organist and professor of organon from the University in Timisoara. HIs name is Felician Rosca and for decades he had been the beating core of the organon concerts and festivals in this city. Topics of this interview include: organon tradition in Transylvania, the magic of this instrument,  Italian organon players and historical constructors, the spirituality of organon music, sacred and profane.

Die Anwendung der Rhetorik als Basis literarischen Schaffens in der Epoche des Barocks erreichte auch die musikalische Kreation, da es Ziel des Komponisten war, die Seele und Leidenschaften des Zuhörers zu bewegen. Auf diese Weise fanden die rhetorisch-poetischen Figuren Eingang in den musikalischen Diskurs und es entstand die sogenannte "Theorie der Affekte." Einer der Hauptvertreter dieses Stils war Johann Sebastian Bach, wie er mit seinen Oratorien und Kantaten beweist. Nichtsdestoweniger wurde auch seine Instrumentalmusik unter diesen Voraussetzungen komponiert. Darunter findet sich die Chromatische Fantasie und Fuge (BWV 903) für Cembalo, das beste Beispiel für musikalische Rhetorik in der gesamten Cembalo-Literatur dieses Komponisten. In diesem Artikel werden die Aufteilung des musikalischen Diskurses der Fantasie und die ihn bildenden rhetorischen Figuren erklärt. Eine kurze Analyse der Fuge wird hinzugefügt.

Se estudia  el proceso de aceptación e introducción el órgano de tubos en el culto litúrgico del rito católico latino. Se abordan también las particularidades de orden práctico que históricamente han caracterizado a su uso en este ámbito, con las consecuencias que ello se han derivado para el repertorio.

The purpose of this article is to present the life and organ work of Bruno Stein. The preparation for teaching was very important in Prussia, as it somehow traced a path of development for young people not only willing to be teachers but also musicians in the future. Bruno Stein, when composing organ preludes, recognised this situation and simultaneously became a model teacher as well as a composer of reliable and solid artistic achievements. The crucial element constituting the core of this article is the analysis of the selected preludes for organ. Having taken these compositions into account, one can observe the artistic means that were used by the composer, explore their style and purpose. Apart from organ works, Bruno Stein composed many other vocal, instrumental and vocal-instrumental pieces.

L’orgue présenté ici est un instrument hollandais construit vers 1760, sur le modèle des cabinets d’orgue (kabinet orgels, dits également huisorgels, c’est-à-dire orgues de maison) du célèbre facteur d’orgues Christian Müller (1690–1763) à Amsterdam, auteur du prestigieux orgue de 1738 en l’église St-Bavon de Haarlem. Si le plan du sommier et la disposition sonore de notre orgue sont tout à fait caractéristiques des cabinets d’orgue de Christian Müller, une attribution à ce dernier ne semble toutefois pas probable. En effet, la façade tripartite avec le champ central surélevé, typique des traditions de facture allemandes du Sud (notamment suisse et autrichienne), est un indice d’ordre visuel qui plaide en faveur d’un autre facteur aux Pays-Bas, le seul connu pour avoir construit des cabinets d’orgue avec ce type de façade: Johannes Mitterreither (1732–1800), originaire de Graz en Styrie (Autriche) et de confession catholique.

Some of J.S. Bach's compositions show references to the French style. Examples include the use of style brisé elements in his harpsichord works and notes inégales in the second counterpoint of the Art of Fugue. One of the best-known examples of references to the French style in Bach's organ works is the Fantasia BWV 572, known as the Pièce d'orgue. In the middle five-voice section of the Gravement, the interpreter is required to perform a sound that is outside the scale of the organ's pedal keyboard of non-French provenance. While it may be a convenience to equip French instruments with a ravalement, it seems an extremely interesting procedure to confront the requirement to perform the non-existent B1 tone with the use of a double pedal voice of the final movement of the Prelude in D BWV 532. The article attempts to answer the question of to what extent the use of a double pedal voice in the Prelude in D can serve as a model to create, with the help of the combinatorial tones, the sonorous illusion of the B1 tone.

The concept of the organ's functionality in relation to liturgical action is a subject that, in order to be understood in its entirety, would require a systemic reading of the more or less normative references constituted by the teachings of the Church and an awareness of the facts that draw their origin from the reception of the organ in ecclesial contexts. These two elements would explain the interdependent relationship between liturgy and music, that is, the link that would establish the cornerstones of a performance practice defined in its entirety with the completion of the Liturgical Reform (1969).

The emergence of music for organ and realtime digital signal processing (dsp) has signalled major changes to the very nature and structure of music for the instrument, dramatically expanding its idiom and timbral malleability. It has also created new performance practices which mark substantial shifts in the relationship of the organist with the music, the instrument, and with co-performers. Finally, a new 'performative space' is emerging through organ and realtime dsp in concert situations, creating a sonic relocation of the instrument and enabling new audience experiences. This DMA examines organ and realtime digital signal processing (dsp) from a performer's perspective. After tracing the history of the organ as an instrument at the forefront of musical innovation since the 1400s, it focuses on rapid developments over the past fifty years, leading to organ and dsp as a logical next step in the development and repertoire of the instrument. From there, the study revolve...

This is a translation to Portuguese from a speech made in May 22, 2018 by Mr. Michael Grill (Kirchenmusik Direktor [Church music director] in Munich, Germany) during the following event at the Federal University of Paraná in Curitiba, Brazil: "I Seminário de Cultura Organística - CAPES - UFPR" organized by Prof. Dr. Aloisio Leoni Schmid and Prof. Dr. Rosane Cardoso de Araújo and others. The publication can be found here:
http://www.sept.ufpr.br/portal/wp-content/uploads/2019/08/Anais-I-Semin%C3%A1rio-de-Cultura-Organ%C3%ADstica-ISBN.pdf

All’inizio del Ventesimo secolo, i regolamenti papali per la musica sacra stabilivano che il suono dell’organo a canne doveva conformarsi a tutte le qualità proprie della liturgia, pertanto precludevano l’uso di strumenti musicali automatici nelle funzioni religiose.
Muovendosi entro gli stretti limiti della normativa papale, il prete italiano Angelo Barbieri sostenne la compatibilità del suo auto-organo (organo automatico) con la musica sacra, cominciandone la produzione dal 1931. Questo apparecchio era un lettore di musiche incise su rulli di carta perforata, che automaticamente faceva suonare un qualsivoglia organo a canne.
In Italia negli anni Trenta del secolo scorso vi era una grande carenza di organisti nelle chiese, che accompagnassero con le musiche sacre il canto dei fedeli durante le funzioni liturgiche. L’auto-organo suppliva a questa mancanza, permettendo di suonare, in tutte le chiese dotate di questo apparecchio, le relative musiche sacre registrate su rullo.
Questa fu una vera e propria rivoluzione nell’esecuzione di musica sacra nelle chiese, perché, fino a quel momento, non si poteva parlare né di incisione né di ripetibilità, dato che le registrazioni su disco suonate da un grammofono erano proibite. Fu una rivoluzione anche nella registrazione di musica sacra, poichè le note suonate dall’organista in studio di registrazione, così come i registri, venivano incisi tramite la macchina Barbieri auto-perforatore, che forava direttamente i rulli master di cartone.
Un’ulteriore rivoluzione fu nella produzione di musica sacra, dato che i rulli master venivano direttamente copiati, tramite apposite macchine, su rulli destinati alla vendita, che venivano acquistati da tutte le chiese dotate di auto-organo. Fu l’inizio di un vero e proprio commercio di brani musicali pre-registrati, che non poteva essere fatto con altri media sonori, essendo proibiti dalla legislazione ecclesiastica.
Molti organisti furono scritturati da Barbieri per registrare le loro esecuzioni musicali per auto-organo, per le quali ricevettero un compenso, che crebbe grazie alla successiva vendita dei loro rulli. Essi ebbero un ritorno sia economico che di popolarità, dato che le loro esecuzioni potevano essere ascoltate in tutte le chiese d’Italia in cui era installato un esemplare di auto-organo, senza doversi spostare. In 20 anni furono venduti oltre 100 auto-organi nelle chiese italiane e migliaia di rulli di musiche sacre per le funzioni liturgiche. Alcuni brani musicali furono composti e registrati solo per questo supporto sonoro, essendo irreperibili negli altri media.
Dopo la morte di Barbieri, la Sacra Congregazione dei Riti nel 1958 promulgò la Instructio de musica sacra et sacra liturgia, che proibì ufficialmente l’uso di strumenti musicali automatici durante il servizio liturgico. Ad oggi, nulla nei documenti del Concilio Vaticano II o postconciliari contraddice o invalida la Instructio de musica sacra, anche se l’atteggiamento della Chiesa cattolica, nei confronti di organi automatici e supporti musicali preregistrati per uso liturgico, è diventato meno severo.

A series of studies have shown that musicians accompany themselves better than others. This is known as the self/other effect in action recognition and simulation and has been demonstrated in other action-perception tasks like recognizing handwriting and the outcomes of dart throwing. In this study, patterns of synchronization and performance coupling were analyzed among professional clarinetists while performing in a simulated orchestral environment. GLMM models (Generalized Linear Mixed Model) applied to acoustic parameters related to the musician's expressive intentions demonstrate a higher degree of coupling in performances where musicians accompanied themselves compared to when they accompanied other musicians., as well as an improvement in performance when accompanying other musicians as experiments repeated, suggesting musicians were capable of learning synchronization and performance coupling.

All the organ works on this program were written in France within the fifty years from 1880 to 1930. This time period marks what is perhaps the most glorious period of French organ music. Although there had been a strong French classical organ school in the seventeenth century, during the eighteenth century French organ music declined and nearly disappeared. The nineteenth century brought a renewed interest in organ performance and composition, and French organ music grew from simple, improvisation-based compositions to mature works of mammoth proportions, volume, and complexity. In recognition of the wealth of concert French organ repertoire from this era, this program attempts to highlight some of the primary French organ composers and compositional styles that reached their height around the turn of the twentieth century.

My choral prelude Ein Feste Burg was played in “The Orgelbüchlein Complete” series of concerts in Hamburg, Germany [17 Juni 2023 St. Nikolai].
Meu prelúdio coral Castelo Forte/Ein Feste Burg foi tocado na série de concertos “The Orgelbüchlein Complete” em Hamburgo, Alemanha no dia 17/06/2023 na Igreja St. Nikolai.
Este prelúdio foi composto para o programa de doutorado em música (UNICAMP).