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Organmistrzowski rodowód fortepianmistrzów

100%

Vogel B.

Aspekty Muzyki

2017

vol. 7

177-193

For centuries all kinds of keyboard instruments such as organs, clavichords, harpsichords and pianos were made by organ builders, with pianos being additional by-products. The gradual specialization in manufacture came along with a growing demand for stringed keyboard instruments. Already in the 18th century, some organ builders in larger musical centers began making more harpsichords than pipe organs. At the turn of the 18th and 19th centuries, one could clearly notice the trade specialization of makers originally educated as organ builders, of whom only few spent the rest of their lives manufacturing and repairing organs. Making harpsichords or pianos did not demand continuous journey in search for places or churches in need of new organs, where the maker had to stay for at least a few months, first to build the instrument and then to place it at the proper location within a given church. It did not demand adaptation to the architecture and acoustics of the sacral building. Instead, one could build these newly popular instruments in a stationary workshop or manufacture, and using a similar structural and artistic form, which in time simply gave way to serial production. This specialization process, first within the framework of a single trade, and later splitting in two different ones, will be shown on the examples of both European makers (such as Bartolomeo Cristofori in Florence or Gottfried Silbermann in Freiberg), and Polish builders from the 18th–20th centuries — working in a variety of locations: from magnates’ mansions and small towns, like Sandomierz, through larger manufacture centers as Warsaw, Cracow, Gdańsk or Lvov.

Zachowane instrumentarium dawnego Gdańska — przyczynek do tematu

86%

Mądry A.

Aspekty Muzyki

2012

vol. 2

39-51

Gdańsk was an important centre shaping the musical culture of the Republic of Poland in past centuries. It is evidenced by, among others, preserved musical instruments which were built by the makers working in the city, or were used by city musicians. The Museum of Musical Instruments in Poznań has in possession two instruments which are associated with Danzig — the lute-cittern made by Johann Goldberg and the clavichord by Johann Adolph Hass. Both instruments provide a valid evidence of music-making in the old Gdańsk. Luthier and musician, Johann Goldberg was a promoter of Gdańsk’s musical life in the 18th century, and he especially valued domestic music making. He was on friendly terms with the most important musicians of the city. The fact that most probably Goldberg primarily produced lute-citterns may suggest that this kind of music-making among the inhabitants of the eighteenth-century Gdańsk was popular. The Hass’ clavichord in turn does not document the musical instruments making in Gdańsk, but it is a perfect example that instruments from the best European workshops were imported to the city. In eighteenth-century Germany one of the leading centres of the clavichords making was Hamburg. In that city worked the famous Hass family. It primarily consisted of father Hieronymus Albrecht Hass (1689–1752) and his son Johann Adolph (1713–1771). Their clavichords were among the best available at that time in Europe. To this day 27 instruments have survived from their workshop — 11 built by H. A. Hass and 16 by J. A. Hass. Instruments from Hass’ workshop were highly prized by the end of the eighteenth century. The content of article about Johann Adolph Hass’ clavichord and Johann Goldberg’s instruments is another small contribution to our knowledge about Gdańsk’s old instruments.

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2 Aspekty Muzyki

1 Mądry A.

1 Vogel B.

1 2017

1 2012

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Organmistrzowski rodowód fortepianmistrzów

Zachowane instrumentarium dawnego Gdańska — przyczynek do tematu