Organ matters - Organs matter!

Vicar General Dr. Josef Annen



Organists in Catholic Liturgy.
The Importance of Organ Music and Organists in Catholic Liturgy.
Observations and Experiences of a Practitioner

The Organist as a Church Employee
Prof. Dr. Andreas Marti



(«Es orgelt» is a German expression that literally means «it organs». It
is used approximately in the sense «the organ is played».)


«It organs» –
apparently organ music is perceived as impersonal. Behind this expression
lurks the dilemma between functionality and autonomy, between the
demands of the liturgy and those of the artist.
First functionality has to be defined. Once functionality is grasped in a
comprehensive fashion, it is seen to go beyond technical competence and
in fact to require artistic autonomy. In this way, the apparent dilemma becomes
a fascinating cooperation.

Moderation Prof. Mag. Dr. Wofgang Kreuzhuber
OBM Wolfgang Rehn
Dr. Nikolaus Könner
Drs. Paul Peeters



A commonplace about pipe organs is that they survive for centuries. But
it is still not universally accepted that organs require regular maintenance.
On the other hand, too much maintenance is counterproductive. Beware
the annual general tuning!
Changes in musical taste and temporary fads have often been responsible
for damage to historical instruments, especially when the instruments
represent a particular style, are part of a particular organ landscape or
are associated with a particular artistic personality. A change of organist
on an important organ and/or changing expectations in Church Music
have often led to major interventions in the conception of an existing instrument.
At the same time, removing proven defects can lead to meaningful improvement
of an instrument and hence to its increased estimation. The
history of organ building shows that changes in the original construction
motivated solely by personal preferences mean the beginning of the end
of an instrument.

Prof. Martin Sander



The future of the organ and organ playing in competition with all other
musical and non-musical offerings for church-goers and for the public
in general depends decisively on the expressivity our listeners find in organ
music. Looking back on the changes in interpretation that began
about a century ago, we can find both incentives and warnings for dealing
with the literature of various stylistic periods. Historical recordings document
the differences of the two most important competing schools of
interpretation: on the one hand, Karl Straube, who long continued the
principles of German Romanticism, on the other the Lemmens / Widor /
Dupré school. The latter cultivated from generation to generation an ever
greater emotional asceticism, particularly discarding fine variations of
tempo and rhythm as means of expression and reducing differentiated
articulation to an either/or between legato and staccato. These developments
find expression in Fernando Germani's application of the aesthetics
of Dupré to German Romanticism, especially to the works of Max Reger.
The changes in meaning, expression and effect of the music this provokes
are not without influence on the music's cultural significance.

On the Publication of Reports Addressing the Organ Situation in All European Countries
Dr. Markus T. Funck
Situation in the Baltic States, Külli Erikson
Situation in Portugal, Prof. Dr. João Vaz
Situation in Belgium, Prof. Dr. Jean Ferrard



The Zurich Symposium focuses on the present and the future of the organ
in Europe. Since the situation of the organ as an instrument is determined
by numerous regional and local factors, it has been our intention to record
the actual condition in the different European countries with the national
reports. For this, many authors have been attracted to descibe the situation
in their countries. This has been done with a text touching a number
of questions : The equipment of the churches with organs, the organ making
and the practice of organ restoration, the translocation of organs,
the organ playing in general and the training of organists and their professional
prospects. Furthermore, the situation of the conservatories and
music academies has been recorded, the concert business described and
child and youth development issues questioned.
For some countries, statistical data – if available and/or determinable –
was compiled in a spreadsheet. The result is a national report brochure
about the current organ situation in Europe.

A Questioning Inventory
Prof. Dr. Alois Koch



The question is symptomatic and would never be raised for any other instrument.
Whereto should the organ go? But the word «organ» means
just about everything: organist, organ music, organ building, functional
context, adoption and prestige. With no other instrument is its origin, history,
setting and audience as equally biased as with the organ, so that any
inventory, particularly a critical one, is confronted with prejudices and
specific expectations, with idealisation and ideologisation. The question
remains whether analytic involvement with such diverse premises can
create a foundation for a future understanding of the organ – in church
and worship, in the concert hall, in education, literature and in practice.

Quote from: Steve Best on September 10, 2011, 07:36:26 PM
I like this! Please tell us more about the organization that formulated this document and how it came to be.

Hi!


Details are on http://www.organmatters.com/index.php/topic,878.0.html


The Symposium covered many topics and spawned numerous discussions and the notes and videos may warrant a specific section of this forum where those discussions can be continued. Reports were received from all over Europe and, excepting Portugal, the general picture appeared broadly the same.


Declining interest or appreciation of churches and organs, linked, organs perceived to being a specialist interest far from mainstream painting a broadly similar picture with organs being exported to former Iron Curtain countries and the Far East . . .


Hopefully time may be available to decipher handwritten notes early in the coming week.


Best wishes


Forum Admin

Quote
Words of Welcome from Michael Eidenbenz

Head of Department of Music, Zurich University of the Arts


Honored Guests


The Zurich University of the Arts is happy to welcome you to an event which is rare, even considering the broad spectrum of events usual for our institution. Unique to this Symposium is the variety of discussions and concerts offered, impressive the magnitude of international professionals assembled, extraordinary the theme. This last may cause surprise, as the organ in general public opinion is that festive instrument of respect that sits in its traditionally impregnable place in the church galleries and on occasion – mostly for weddings and funerals – is quite pleasantly acknowledged.


Yet, or better: exactly for this reason is this topic so important. The here-assembled experts know that the organ is much more than an accommodating accompanist for religious family celebrations. The fundamental idea of the Symposium is to demonstrate and to bring the possibilities of the organ's inherent vitality to the foreground.


The hope for discussion is its goal.


One of the responsibilities of a university music department is to bring music to public discussion. In the name of the Zurich University of the Arts, I offer thanks for the chance to endorse in content and structure this Symposium.


I wish all a time of insight and lasting reflection.


Michael Eidenbenz
Head of Department of Music

QuoteThe width is 9ft and the height to the points on the case about 15ft, although the actual instrument behind the case is slightly lower.[/size]At present the depth from the very back of the organ to the edge of the bench pedestal is about 12ft.

[/size]Some time in the past 50 years the console was brought forward several feet and as a result the Swell sits quite a way behind the Great. I have been told by specialists that if the organ were rebuilt the Swell could be brought closer to the Great and this would reduce the depth.

See http://www.organmatters.com/index.php/topic,855.msg4240.html#msg4240


Expert opinion suggests it was built about 1830 or shortly afterwards,   as it has a choir bass, a feature Renn introduced in 1829. We have yet   to discover its original location but it is older than the church it   stands in.
One expert said of this organ: It has a short compass   Tenor C Swell organ of very gentle voicing. The Great organ has a   splendid ringing tone.

Swell Organ (Tenor C)                      Great Organ
Double Diapason  16                     Open Diapason        8
Open Diapason     8                          Dulciana               8
Salicional        8*                              Stop Bass            8
Trumpet           8                              Claribel             8
Principal         4                                 Principal            4
Voix Celeste      8*                            Flute                4*
                                                        Gamba Bass           8*
                                                        Gamba                8*
                                                        Twelfth              2 2/3
                                                        Fifteenth            2
                                                        Sesquialtera        17th+

Pedal Organ
Bourdon          16

Couplers
Swell to Great
Great to Pedal

Compass
Manuals CC – F 54 notes, Pedals CCC – E 29 notes.

"Kick Stick" Swell operation.

*Non original pipework.     +The nineteenth and twenty second ranks have been removed.


Please contact member grinder12

Hi!


The problem that we see of organs and organ appreciation disappearing in England appears not to be unique and the organisers of the Symposium in Zurich later this week identify the problems on a wider European basis:
http://www.zhdk.ch/index.php?id=13400

QuoteWith concern, they note

   
• that the European organ culture risks losing attention and appreciation,
• that   the familiarity of the music-loving public with organ music has   dwindled over the last decades due to decreasing church attendance,
• that   in church services the organ is not sufficiently recognized as an   instrument that can be innovative and open to various musical genres and   is ever more being replaced by other instruments or even recorded   music,
• that the organ has very little presence in non-ecclesiastical concert programming, nor in broadcasting or the print media,
• that the interest in organ teaching, especially at a professional in conservatories, is falling sharply,
• that   in some European countries resources for the maintenance and the   preservation of valuable historic or new organs are scarce,
• that   due to the change of use of some facilities or lack of interest, church   and concert hall organs are no longer used and thus neglected – or even   being disposed of.[/l][/l]

In view of the links acknowledged here between decline in organ appreciation and the decline in church attendance, it would be appropriate if members of this forum who have shied away from the issue telling us that it is inappropriate for faith to be discussed on an organ forum might reconsider that position and participate again, for it is apparent that the wider European view is that it is appropriate to do so . . .


Best wishes


Forum Admin[/list]

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Quote from: dragonser on March 22, 2011, 02:15:50 AM
Hi,
one that I haven't seen mentioned here is
http://imslp.org/wiki/Main_Page

regards Peter B

This is a particularly important one for Baroque music in particular - thanks for posting.

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Perhaps the silliest organ stop name might be a stop labelled "STOP 0ft" which turned the blower off . . . ?

Best wishes

Forum Admin
         

Hi!


In chatting with a well known organ builder this morning I mentioned the exodus of two uneven tempered forum members over the weekend in response to a posting about the breadth of faith that accustomed home of organs can encompass including that of the unfortunately named Exodus Church.


We found agreement in a link between the decline of popularity of organs and organ music and the decline of perception of relevance of belief to popular daily life. . .


Why therefore should there be taboo of discussion of such a topic on an organ forum?


Best wishes


Forum Admin

Quote from: twanguitar on August 07, 2011, 04:55:54 PMWHAT ON EARTH HAS ANY OF THIS TO DO WITH ORGANS?

I think I'll probably be on my way out as well shortly, but might stick around for a bit longer to enjoy the final death throes.

Dear Tony


As Forum Admin it's a pleasure to host such posts as this and hope that you may post many more as you prepare for your Sunday services.


The reason in particular for this is that many seeking assistance on such topics may well find such posts and discover the organ (in places where organs ought to be but are in fact endangered), to be more interesting than formerly they might have thought it to be.


Positive people always add collectively but negative people only destroy themselves in negativity, as numbers below zero don't exist.


As to the quiz . . . one might assume the obvious as to the number of sheep and pigs . . . and the number of days might have been later associated with St Swithun . . . Number 4 worries me whilst number 5 sends the mental computer into apoplexy . . .


I wonder how much the answers will catch people out?


Best wishes


Forum Admin

Quote from: twanguitar on August 07, 2011, 04:27:58 PM
I certainly agree this thread has nothing whatever to do with organs, and it brings the forum into disrepute.  It's little more than a laughing stock!

Disrepute? Why? Among whom?

The fact is that organs are declining in numbers on account of the buildings in which they are housed being marginalised out of the mainstream of society any sort of experience of "direct revelation in some way".

It cannot be a matter for disrepute that the point is made that the decline in appreciation of organs and the decline in perception of relevance of God and christianity in society is linked.

There is one solution to dealing with the "disrepute" caused by negative perceptions of such a linkage and that is to remove the facilities to have direct access to most recent posts. This will enable people to read and post in areas of the forum which they regard to be of constructive interest without a constant reminder of an area of discussion of which some people wish to have no knowledge.

Alternatively, those wishing to make negative or unkind comments or even to think such things might usefully look at the means of success achieved by way of Darwinistic Atheism or by Divine Belief, the same, outlined by Four Foot in http://www.organmatters.com/index.php/topic,819.0.html


The organ is in danger. Those wishing to see it appreciated more widely will find success in working together rather than splitting apart in discord. There are many reasons for discord but they normally remain only within the individual.


Best wishes


Forum Admin

I have just received a PM as Forum Administrator:

Quote> Suffice to say as proprietor of the site you will be
> concerned, generally, that what is posted will stand up to the scrutiny of
> the informed reader and not be such as to potentially mislead those who
> might be still on the learning curve.

I believe that although the author did not specifically say so, that the comment may relate to this thread.


As an early member of BIOS I was acutely aware inter alia from 1979 http://www.bios.org.uk/jbios.htm of the damage being done to organs by people on the learning curve who had not spotted evidence of unequal temperament in organs which would otherwise have brought enlightenment to temperaments in use.

Giorgio Questa, born in 1929, would have been one of those of his generation bringing unequal temperaments to wider attention.

It is hoped therefore that this forum and its discussions will not only be of interest to "the informed reader" but will also guide appropriately those "who might be still on the learning curve."

As a matter of reference, http://www.npor.org.uk/Reporter/lib.htm is a most excellent resource on an exhaustive number of topics.

Best wishes


Forum Admin

Quote from: revtonynewnham on July 31, 2011, 09:05:04 AM
Searches on NPOR are complicated by the fact that many H-J organs were built under the name of the various firms he worked with (Ingram & Norman & Beard notably - there are/were several N&B organs that are H-J except for the nameplate!)

Hi!


Whilst not being early, examination of the stoplist of the Glyndebourne instrument of 1926 suggests almost pure HJ in all but name. There can't have been room for much more than 10-15 ranks but there are many more stops split between 4 manuals and one starts to recognise duplication at different pitches just as on a theatre instrument.


Intriguingly there's a 32, a 32 Acoustic Bass and a 64 Acoustic Bass, goodness knows where from . . .


Best wishes


Forum Admin

Quote from: hector17 on July 31, 2011, 09:34:44 AMPlease look at the website for more details.

H

Dear H


Please might I suggest that you add your website(s) to your signature in your profile and then it's both easy for people to go through to them and also the might get better google rankings. . . increasing with your number of posts here with links through to them. It would be great, if possible also, if you could possibly return links from your sites back to this forum . . .


Best wishes


Forum Admin

Quote from: David Pinnegar on February 12, 2011, 11:49:14 PM
One of the most eccentric organists must be the late and great Giorgio Questa. Sadly he died last year and was very reclusive, seeking utter perfection, and rejected the technology of the 20th century so little is known about him except in northern Italy.

With the publication of 4 CDs of recordings of Giorgio Questa and his organ, it has become appropriate to extend further information about him on his own thread http://www.organmatters.com/index.php/topic,820.0.html


Forum Admin