Search results

1

Varhany v Betlémské kapli v Praze - poslední opus varhanářské dílny Vladimíra Šlajcha

100%

Tůma J.

Folia Organologica. International yearbook of organ and organ music

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2022

|

issue 5

22-39

EN

Vladimír Šlajch was born in 1955 in Prague. Since 1978 he has been engaged in the repair and restoration of historic organs as well as the construction of new mechanical instruments. The last organ that came out of Šlajch's Borovan workshop is the organ for the Bethlehem Chapel in Prague. The article presents the history and technical details of this instrument.

2

Twórczość organowa Brunona Steina na tle jego działalności pedagogicznej i muzycznej

100%

Majkrzak B.

Kwartalnik Młodych Muzykologów UJ

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2018

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issue 3(38)

25-47

EN

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.

3

Bruno Stein’s Organ Music in the Context of Pedagogical and Musical Activity

100%

Majkrzak B.

Kwartalnik Młodych Muzykologów UJ

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2018

|

issue 3(38) Eng

25-46

EN

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.

4

Stosunki organizacyjne w obrocie

89%

Petraniuk J.

Roczniki Nauk Prawnych

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2016

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vol. 26

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issue 4

89-116

PL

Autor w artykule analizuje następujące zagadnienia: 1) organ jako element konstrukcji osoby prawnej; 2) umowa jako wyłączne źródło stosunku organizacyjnego; 3) charakterystyka umów rodzących stosunki organizacyjne oraz 4) ustanie stosunków organizacyjnych. Mandat i kadencja, zawarte w treści umów organizacyjnych, są pojęciami uniwersalnymi, które mogą zostać wyprowadzone z art. 369 kodeksu spółek handlowych. Nie oznacza to jednak możliwości stosowania nawet odpowiednio pozostałych przepisów kodeksu spółek handlowych do innych, niż spółki, typów osób prawnych.

EN

The Author in the article analyzes the following issues: 1) organ as part of the structure of a legal entity; 2) contract as the source of organizational relation; 3) characteristic of the contracts resulting in organizational relations and 4) cessation of the organizational relations. The mandate and the term of office, situated in the content of organizational contracts, are universal definitions, which can be derived from Article 369 of the Code of Commercial Companies. However, it does not mean the possibility to use, even adequately, other provisions of the Code of Commercial Companies concerning other than companies, types of legal entities.

5

Francuski symfonizm w polskim budownictwie organowym

88%

Steczek Ł.

Studia Pastoralne

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2020

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vol. 16

245-269

EN

The era of Romanticism gave birth to the idea of large romantic-symphonic organs. However, they differed in many details depending on the country. Differently built in England, Germany and France. The article presents an outline of the issue of organ construction in the style of French symphonism by Polish organist companies. These instruments are found in Polish Roman Catholic churches. They play an important role in the liturgy and in the promotion of organ music, especially of French composers of the 19th and 20th centuries. When designing, reference was made to the tradition created by the famous French organist Aristide Cavaillé-Colla. The similarity to the aesthetics of French symphonism is expressed by using the same design and sound solutions. Organs of this type are being built in Polish sacred buildings recently. This new trend shows the development of Polish organ craft. In earlier years, symphonic instruments for Polish churches and concert halls were performed mainly by foreign organist companies, especially from Germany. In addition, in churches in Poland there are organs called universal, combining baroque and romantic styles. Their partial reference to romantic requirements also favors the performance of romantic and contemporary organ music from France. An interesting fact is the symphonic-romantic organs, which at the same time combine 19th-century solutions from Germany and France.

6

Historia i teraźniejszość organów Filharmonii Opolskiej im. Józefa Elsnera

88%

Rosińska M.

Folia Organologica. International yearbook of organ and organ music

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2022

|

issue 5

40-53

EN

This article presents the history of the construction of the concert organ located in the Opole Philharmonic Hall building, as well as the assessment of its condition for the sake of further concert activities. The text includes the detailed information regarding the instrument construction and its technical characteristics. The article also presents the technical condition of the organ over the past years, as well as the description of the repair work required to be performed at the present time in order to preserve the instrument in its best possible condition for the coming future.

7

Kultura organowa Europy wobec współczesnych zagrożeń i wyzwań

88%

Bernat S.

Folia Organologica. International yearbook of organ and organ music

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2022

|

issue 5

6-21

EN

Organ culture, which is mainly composed of organ instruments and their manufacture, music, concerts, festivals related to organs and their public reception, is increasingly a subject of research interest. The aim of the article is to present the current situation of organ culture in Europe, especially in Poland. The analysis of statistical data made it possible to recognize the potential of individual European countries in the field of organ instruments. Interviews with experts were the main source of information on contemporary threats and challenges, including those related to the COVID-19 pandemic. Finally, attention was drawn to the multidimensionality of the subject of organ culture and new research perspectives in the presented topic.

8

Cechy stylu neoklasycznego w Sonacie organowej Tadeusza Paciorkiewicza

88%

Arseniuk P.

Kwartalnik Młodych Muzykologów UJ

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2022

|

issue 1(52)

5-21

EN

The aim of this study was to describe the structure of the organ Sonata by Tadeusz Paciorkiewicz and to show its Neoclassical features. For this purpose, the main elements of the piece were described, such as: form, melody, texture, harmony, rhythm, tempo and timbre. Despite the typical Neoclassical elements, the presence of the Romantic elements in the piece was also stated, which is typical of Paciorkiewicz's aesthetics.

9

Organmistrzowski rodowód fortepianmistrzów

88%

Vogel B.

Aspekty Muzyki

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2017

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vol. 7

177-193

EN

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.

10

Instrument organowy w perspektywie sztuki wanitatywnej

75%

Grajewski C.

Musica Ecclesiastica

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2016

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issue 11

33-45

EN

The article presents the organ as an element of vanity painting. The main theme of the article is an iconographic analysis of a painting by Raphael, The Ecstasy of St. Cecilia. The author of the article describes symbolism of those musical instruments which belong to the profane sphere, and the organ as an instrument representing heavenly music.

11

Historic Organ in Lubecko. History and Future

75%

Koenig F.

Folia Organologica. International yearbook of organ and organ music

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2023

|

issue 1

127-137

EN

The article discusses the organ in Lubecko built in 1780 in Jemielnica and then relocated to Lubecko before 1834 (that year, the organ was already being renovated by Johann Hawel). For many years, it was believed the organ was built by the Scheffler family company operating both in Jemielnica and in the Lubliniec region. However, it has been discovered that a sticker placed in the pallet box of the windchest contains extremely important information that the actual builder of the organ was Franz Joseph Weiss who worked in Pyskowice in Upper Silesia at the turn of the 18th and 19th centuries. The organ therefore is of high cultural value due to both the person of its builder and the construction solutions used. Currently, the organ is out of use. It requires a restoration plan and being entered into the register of monuments.

12

Preludium chorałowe na organy w drugiej połowie XIX wieku na przykładzie utworów Wilhelma Friedricha Markulla i Johannesa Brahmsa

75%

Szadejko A.

Aspekty Muzyki

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2014

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vol. 4

67-100

EN

The second half of the nineteenth century was a time of great changes of organ music, par-ticularly the work associated with the development of a concert performance in a great form of fantasy, or sonatas. However, one should not forget that as well as a small form of choral prelude, composed for liturgical usage, underwent transformation and sublimation under the influence of the great symphonic orchestra of that period, as well as aesthetic changes resulting from the new organ sounds and constructions. The two sets of preludes are chosen from several underlying causes. One by Markull is a collection of little known composer, but it gives a full overview of ob-jectively different types of preludes for organ characteristically in the second half of the nineteenth century on the one hand, on the other hand, however it gives an insight into the subjective percep-tion of these forms by composer, showing his most personal style. In this collection, we also have a number of descriptions of registrations, which on one hand is closely associated with a particular instruments in the St. Mary’s church in Gdańsk and on the other hand are mostly emblematic for the style of organ music in Central Europe at that time. The set of Brahms is one of the most famous collections of choral preludes in organ literature, some of the songs have became even symbols of German organ romantic music style, though by no means their form seems to have no counterpart in the work of other composers of his time. You can treat the organ preludes of Brahms as the end of a stage of the development of this form and impetus for subsequent changes. This collection is quite hermetic, enigmatic, ”strangely intimate” buckle, which somehow in the extract, a condensed synthesis closes the great symphonic heritage of one of the most important German composers. Both collections and composers different from each other so much: Markull — the forgotten composer, but organ virtuoso of his time, Brahms – one of the renowned German composer, but the — only theoretical — organist, preludes by Markull – written for liturgical use, it can be called usable, very organ: preludes by Brahms — written primarily on their own needs, as an descrip-tion of some ideas, which sometimes makes it difficult to interpret on the organ. But there are also some elements in common: the two sets were created in the last period of activity of composers, both of them are deeply connected with the big German organ tradition, in musical terms having also sometimes surprisingly much in common, what the author wants to demonstrate in its analysis.

13

Petr Eben a jeho skladby pro varhany. Poznámky k tradici jejich provádění, k interpretaci a jejím parametrům

75%

Tůma J.

Folia Organologica. International yearbook of organ and organ music

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2018

|

issue 1

75-81

EN

The music of the important Czech composer, who would have turned ninety on 22 January 2019 when we commemorated the anniversary of his birth, constitutes one of the most important enhancements of the Czech artistic environment in the world of culture of the latter half of the twentieth century. Petr Eben earned recognition, and his organ music has even been compared with the legacy of Olivier Messiaen. The composer understood the organ as the instrument to which his fate was bound. By the age of ten, he already held the position of organist at Saint Vitus’s Church in Český Krumlov. He would seat himself at the big threemanual instrument in the early evening, locked inside the church, leaving time and the world behind during his lengthy improvisations. “I think it was then and there that my whole personality took shape.” Perhaps every organist was playing Eben’s works in my student days. After the composer’s death in 2007, however, interest in his music declined somewhat, but I still keep returning to his compositions with growing frequency, especially to certain of his works. At the same time, I am aware of how in my thinking, and I definitely am not alone in having this experience, as time goes by there is a maturing not only of my image of the works themselves but also of the possible, desirable, and in a sense perhaps even modern manner of their interpretation, especially with respect to the choice of ideal instruments. Musicians often base the success of their performances on the depth and intensity of experience, and especially on spontaneous, momentary inspiration on stage. Only a few are so grounded in reason that they always think through how they will perform a work down to the last detail in advance and never deviate from that line in the least when playing. In the long run, however, a combination of these two approaches tends to be most successful, so that besides spontaneity, there is a constant consideration of relationships between formal and tectonic structures and harmonic and thematic contexts, leading to a clarification of details and a continually improving and more precise rendition of the whole, and this then begins to be reflected in the formation of a kind of tradition of the performing of the works. That tradition ultimately does not tend to be the result of the activity of a single performer, but instead it arises from a long series of performances of the works in question by various interpreters. A performer should master all of the basic parameters of a work and its interpretation. A melody must always remain a melody, and a phrase must always be a phrase. The relationships between individual sections must be clear and comprehensible to an audience member sitting and listening far away from the organ in the nave of the church or in the last row of the concert hall. The ear must be capable of perceiving every single note of each moving sequence of fast tones. The vertical structure must be equally comprehensible, so every chord needs to be played so that it can be deciphered even from a great distance. At the same time, however, Eben’s music must retain its overall character. As the composer said: “In my music, there is far more drama than meditation.” Today, learning and performing any of Petr Eben’s greatest works is a real challenge for organists. In some cases, I encounter interpretations that appear to have come into being without continuity and that do not proceed along the lines that have been tried and proven, but at the same time, it seems to me that they go to the heart of the matter and that they respect the composer’s deepest intentions and motivations. From my perspective, this may be the thing that shows most clearly that Petr Eben’s organ music definitely will not disappear into the ash heap of history.

14

Odpowiedź na recenzję książki „Organy i ich twórcy na obszarze ziemi sądeckiej”

75%

Pasternak P.

Muzyka

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2020

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vol. 65

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issue 3

179-184

15

Jeszcze o zabytkowych organach w kościołach diecezji rzeszowskiej (studium historyczno-instrumentoznawcze)

75%

Widak A.

Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej

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2016

|

issue 23

395-420

EN

There are 148 pipe organs at churches in diocese of Rzeszów, 62 instruments areconsidered to be antique. One of the criterion of being antique is the age of the instrument. InPoland organs built before 1939 are antique. The subject of the article are the antique organsin the churches of Rzeszów diocese, which have not had separate study so far. These organsare in churches: Boguchwała, Brzyska, Dębowiec, Kąty, Kupno, Wola Rafałowska.The article was divided into two parts. The first one presents history of the church,the history of the instruments which survived and did not survived. As far as survived organsare concerned the description inventory was given (location and dimension of organ case,disposition, range of keyboards, action, kind of bellows). The second part includes a synthesisof analytical results.The article is based on material which was found in Archdiocesan Archive inPrzemyśl and Diocese Archive in Rzeszów. The information about organs are in 31 sources.The author conducted also query research at parish archives. The author used printed sourcesand information from books.When it comes to not survived organs there is information about 5 instruments. Itwas impossible to establish builders of these instruments. One may assume that theyfunctioned in the churches from 17th to the 19th century.In case of survived organs three of them were transferred (Dębowiec, Kąty, Kupno).At this stage of the study it was possible to determine the date of creation and builders of fiveinstruments. The construction year and the builder of the organ in Kupno has not beenestablished yet.Boguchwała -1905, 6 stops, one Manual and Pedal, Gebrüder - RiegerBrzyska -1883, 12 stops, one Manual and Pedal, Stanisław JanikKąty -1902, 12 stops, one Manual and Pedal, Aleksander ŻebrowskiKupno – 19th century, 13 stops, one Manual and Pedal, the builder is unknownDębowiec - 1935, 19 stops, two Manual and Pedal, Stefan KrukowskiWola Rafałowska -1893, 12 stops, one Manual and Pedal, Jan GrocholskiEleven instruments were described in this article.

16

Paweł Pasternak, Organy i ich twórcy na obszarze ziemi sądeckiej, Nowy Sącz 2018 Zarząd Miasta Nowego Sącza, ss. 166. ISBN 978-83-9332-699-0

75%

Rajman J.

Muzyka

|

2019

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vol. 64

|

issue 2

154-162

17

Organy w kościele Świętego Krzyża w Bytomiu-Miechowicach. Historia i koncepcja rekonstrukcji

63%

Koenig F.

Folia Organologica. International yearbook of organ and organ music

|

2018

|

issue 1

59-73

EN

The article presents the history of the organ in the church dedicated to the Holy Cross in Bytom-Miechowice and the concept of recreating in the temple a historical instrument from 1905. History of the organ in the church of the Holy Cross in Miechowice dates back to at least a few centuries ago and concerns instruments found in the previous baroque church from the 17th century which was made famous by Fr. Norbert Bonczyk in the poem Old Church of Miechów from 1879. The earliest reports about the organ in Miechowice come from the visit protocols from the first half of the eighteenth century which mention the existence of 5-voice organ located on the music choir of the church. The studies on the church in Miechowice specify that the last organ in the so-called “old church of Miechów” was built in 1840 although no specific source is provided. Probably after the construction of the present church (the so-called new church) and its dedication in 1865, the organs were moved to the new temple. Archival research shows that at the end of the 19th century and at the beginning of the 20th century, the instrument was taken care of by, among others, T. Cieplik, once an organist of this church and later the founder of the musical conservatory in Bytom and a merchant, and E. Kurzer, an organ maker from Gliwice. The firm of Paul Berschdorf from Nysa also took part in renovating the organ in Miechowice. In the parish archives, bills have been kept which confirm the work of the mentioned people. Later, the organ was replaced with a new instrument. However, until 2014, it was not clear who its builder was and when it was built. The original documents were probably in the possession of the founders and they are not in the parish archives. It was only archival research abroad in Cologne and Leipzig in November and December 2014 (Universitäts- und Stadtbibliothek Köln; Deutsche National Bibliothek Leipzig) which made it possible to establish that in 1905 the new 26-voice organ was built in the temple by Schlag und Söhne company from Świdnica. The instrument survived until the 1960s. Thanks to the research, its exact disposition is known and we have learnt that the company of Carl Berschdorf also worked on the instrument offering in 1939 its full extension to 42 voices. This project, however, was never realized due to the outbreak of World War II. In the 1960s, intensive work on removing the effects of mining damage was carried out in the church. Then, Schlag’s organ was dismantled and the case and the beautiful neo-gothic facade fitting the entire interior of the temple were destroyed. Fortunately, the only photograph of the Schlag organ prospectus has survived in the parish chronicle. In 1968, a temporary instrument was built on the basis of the former organ which remains in use today. Presently, further work is in progress being the next stage of saving the temple of the Holy Cross. First of all, the process of leveling the church must take place. A conception has therefore arisen that, in view of the need to completely renew the structure and interior of the temple, the historical 26-voice instrument from 1905 should be restored. An early project was prepared by Julian Gembalski from the Academy of Music in Katowice. Currently, work is underway to create technical and executive designs that are to be included in the overall cost estimate of the planned temple revitalization project. The matter seems more urgent since the cost estimates are to be approved in November 2019. The assumptions of the initial project by prof. J. Gembalski combine the desire to recreate the organ in its external form with a certain pragmatism in relation to the technical side of the instrument. In this case, it is not about making a faithful copy of Schlag’s organ, but rather a new instrument adapted to the place and time employing the latest achievements in the field of organ building. The project therefore includes the construction of the casing and having the architectural prospectus reconstructed in appropriate proportions based on the preserved photograph. The organ is to receive 26 voices divided into two manuals and pedal, but with a slightly widened range of keyboards which is to create better performance conditions for the music (up to “g3” in the manual and up to “f1” in the pedalboard). Although there were probably conical windchests in the historical instrument, it seems interesting to propose the use of electromagnetically operated slider and pallet windchests. What needs to be taken into account is not only the sound but also the durability of newer techniques and lower maintenance costs in the future. Still, when deciding to employ newer technical solutions, the quality of the sound cannot be overlooked. Therefore, there is a need to examine other Schlag und Söhne instruments from the same period in terms of parameters affecting the sound of the organ like mensuration, materials used, construction details of the pipes, and finally their intonation.

18

Organy kościoła pw. św. Elżbiety we Wrocławiu na łamach „Zeitschrift für Instrumentenbau”

63%

Prasał A.

Folia Organologica. International yearbook of organ and organ music

|

2023

|

issue 1

115-125

EN

This article presents the information concerning the organ in Wrocław’s St Elizabeth’s Church that was found in the journal “Zeitschrift für Instrumentenbau”. A total of six more extensive mentions have been encountered referring to organological issues. The list of publications which covers the years from 1907 to 1941 includes descriptions, characterisations, sound analyses, the voice disposition and illustrations of the organ in St. Elizabeth’s Church in Wrocław. Not less than five times reference is made to the reconstruction of the organ in 1907, which was carried out by the Świdnica-based company Schlag & Söhne. The last notice concerns the reconstruction of the organ in the years 1939‒1941.

19

Dzieje organów w Diecezjalnym Sanktuarium Matki Bożej Bolesnej w Skrzatuszu (cz. I)

63%

Łyjak W. Z.

Rocznik Skrzatuski

|

2018

|

vol. 6

65-75

PL

W tekście przedstawiono dzieje skrzatuskich organów, począwszy od opracowania kosztorysu w 1866 roku w firmie Wilhelma Sauera we Frankfurcie nad Odrą. Instrument o 19 głosach powstał w 1874 roku, a jego budowę zrealizowała wspomniana fabryka Sauera. Czas budowy dzieła potwierdzają zarówno rękopiśmienne akta, jak i nieznany dotąd badaczom katalog firmy z 1882 roku, wydrukowany z okazji jej 25-letniego jubileuszu. W 2004 roku obiekt poddano kapitalnemu remontowi i czas ten stanowi krańcową datę opracowania. W artykule znajdują się odpisy i streszczenia niemieckojęzycznych przekazów traktujących o zachowaniu dawnego chóru muzycznego wraz z wbudowaną weń atrapą – pozytywem, pozostałością po dawniejszym instrumencie. Niniejsze opracowanie jest pierwszym z serii dziejów organów w Skrzatuszu.

EN

The text presents the history of organ in Skrzatusz, starting from the cost estimate in 1866 at Wilhelm Sauer in Frankfurt (Oder). The instrument with 19 voices was created in 1874, and its construction was carried out by the said Sauer factory. The time of building the work is confirmed by both hand-written files and until now unknown company's catalog from 1882, printed on the occasion of its 25-year jubilee. In 2004, the building underwent a major renovation and this time is the final date of development. The article contains copies and abstracts of German-language messages about the preservation of the old music choir together with a dummy built-in – a positive, a remnant of a former instrument. This study is the first in a series of organ history in Skrzatusz.

20

Organy w utworze Medytacje Tomasza Kulikowskiego

63%

Pawlik K.

Folia Organologica. International yearbook of organ and organ music

|

2019

|

issue 2

103-113

EN

Organ music emerging for centuries is largely intended for the solo instrument. Composers rarely use the chamber potential of the organ. It is especially interesting how it functions as a part of a larger group of instruments. A good example of such a composition are Medytacje of the Wrocław creator Tomasz Kulikowski. To clearly show the subject, this article is divided into four parts. The first describes the composer, his life and work. The next one contains the circumstances of creating the composition Medytacje. The third part describes the structure of the work. Whereas the last part is devoted to the role of organ in the aforementioned composition. Tomasz Kulikowki was born in 1957 in Wrocław. He is a lecturer at the Music Academy of Karol Lipiński and an organist. Kulikowski's compositional activity includes choral, orchestral, chamber and solo music. The organ work, solo pieces and stylized choral preludes, is of particular interest. Medytacje for the cello and organ is a piece created in January 2003. The work has an utilitarian character. It was not written for a specific instrument, but the composer suggested the registration in the score. The title – Medytacje – implies the reflective nature of the work. The goal of meditation is to bring man into union with the deity. It occurs mainly in Hinduism, Buddhism and Christianity, and has different meanings in these respective religious systems. Due to Kulikowski's career and, above all, the role of organ in Christianity, it will be important for the work to realize the value of meditation for this religion. Medytacje has a ternary form A B A'. The harmony is based on pentatonic systems and the whole-tone scale. The chords have a quarter structure. In part A, three motifs are used in different configurations, the second one, B, is figurative, whereas the last combines the features of the others. Tomasz Kulikowski entrusted organ with a variety of functions in the composition Medytacje. The key to this work is the selection of instruments. That is why the colour function of the organ is the most important. The use of a limited number of basic voices makes the instrument sound more like a cello. Therefore, the imitative function is associated with the colour values. Harmonic and formal continuity determine the structural function of the organ. The symbolic meaning of this instrument directs the listener's attention towards spiritual reality, towards the Christian vision of the meditation mentioned in the title.

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Varhany v Betlémské kapli v Praze - poslední opus varhanářské dílny Vladimíra Šlajcha

Twórczość organowa Brunona Steina na tle jego działalności pedagogicznej i muzycznej

Bruno Stein’s Organ Music in the Context of Pedagogical and Musical Activity

Stosunki organizacyjne w obrocie

Francuski symfonizm w polskim budownictwie organowym

Historia i teraźniejszość organów Filharmonii Opolskiej im. Józefa Elsnera

Kultura organowa Europy wobec współczesnych zagrożeń i wyzwań

Cechy stylu neoklasycznego w Sonacie organowej Tadeusza Paciorkiewicza

Organmistrzowski rodowód fortepianmistrzów

Instrument organowy w perspektywie sztuki wanitatywnej

Historic Organ in Lubecko. History and Future

Preludium chorałowe na organy w drugiej połowie XIX wieku na przykładzie utworów Wilhelma Friedricha Markulla i Johannesa Brahmsa

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