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Organy w Glotowie - problemy konserwatorskie

100%

Dorawa M., Obremski M.

Ochrona Zabytków

1981

issue 1-2

82-86

A pilgrimage church under the invocation of the Holy Saviour at Glotów in Warmia boasts a number of historic furnishings, out of which the organ built in 1865 by Terletzki of Elbląg deserves most attention. Of particular interest is the fact that the organ combines two epochs: traditions of baroque and design foundations prevailing at the time of organ’s execution. The frontal framework of the organ’s console, decorated alternately with pipe’s planes and towers, the two biggest o f which protrude to the front, represents baroque features of organ prospects. A great number of pipe towers points at links with baroque prospects o f French organs which show a close resemblance to, i.a., the organ found in cathedrals in Reims and Dijoin. The example o f the extension of organ construction in baroque style onto he 19th century are also mechanically valved wind bends and mechanical tracts, a group of three wedge-shaped bellows put into motion with foot levers and also other elements typical of baroque organs such as a tympan and a ringing mechanism. A marked supremacy o f basic registers reflects romantic traces popular in the organ construction in the last century. Out of 30 vocal registers divided into 2 manuals and one pedal, as many as 19 are 8-stop registers. The instrument, preserved unchanged till to-day (except for prospect pipes disassemblied during the World War I and replaced with new ones) may provide excellent material for studies on the 19th-century organ construction. Vast destruction which has taken place recently and loss of some interior elements make it impossible to normally use this interesting instrument. Both the values of the organ, its present condition and its historic character call for some indisnpesable specialistic and conservation works to be done with the view to reconstruct precisely all missing elements and to enable its use. The works carried out on the basis of conservation guidelines will provide an evidence o f properly understood protection and conservation of historic organs in Poland. The reconstructed instrument may serve, i.a., to arrange summer concerts of organ music

Głosy organowe w świetle traktatu „Spiegel der Orgelmacher und Organisten” [1511]

84%

Towarek P.

Studia Elbląskie

2017

vol. 18

245-259

From the postulates presented in Spiegel der Orgelmacher und Organisten [1511] one can conclude that stops in Schlick’s organ were, in line with the end of the fourteenth century tendency, the solo registers imitating the timbre of certain aerophones [e.g. Gemshorn, Rauschpfeife, Zink]. They were a counterbalance to the mixture stops, consisting of quint and even tierce ranks, resulting in a less clear texture of polyphonic structures. The author of the treatise does not support the construction of a great number of stops in a single organ. In his opinion, eight or ten skilfully differentiated stops can provide the listener with enough aesthetic experiences. According to a suggestion of the Heidelberg organist, the stops could be used alone or in adequate combinations. The stop knobs should be placed in such a way that they do not disturb the player. The model stoplist of an organ proposed by the author of Spiegel seems to be particularly important for the organ literature. Schlick names here Hauptwerk, Rückpositiv and Pedal with their respective stops.

Z postulatów przedstawionych w Spiegel der Orgelmacher und Organisten [1511] można wnioskować, że registry w organach Schlicka, zgodnie z panującą już od końca XIV w. tendencją, były głosami solowymi naśladującymi barwę brzmienia jakiegoś instrumentu aerofonicznego [np. Gemshorn, Rauschpfeife, Zink]. Stanowiły one przeciwwagę dla głosów miksturowych, zawierających współbrzmienie kwint, a nawet tercji, zacierających polifoniczność utworu. Autor traktatu jest przeciwnikiem budowy bardzo wielu registrów w organach. Jego zdaniem, odbiorcom muzyki można dostarczyć przeżyć estetycznych za pomocą ośmiu lub dziewięciu głosów, rozróżnianych ze względu na inną barwę. Według sugestii heidelberskiego organisty registry miały być także samodzielne oraz odpowiednio ze sobą łączone. Manubria [klucze] powinny być przy tym zamontowane tak, aby nie przeszkadzały grającemu. Dla literatury organologicznej ważna wydaje się wzorcowa dyspozycja organów, którą autor Spiegel podaje. Schlick wyróżnia w niej i obsadza głosami: Hauptwerk, Rückpositiv oraz Pedal.

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1 Ochrona Zabytków

1 Studia Elbląskie

1 2017

1 1981

1 Dorawa M.

1 Obremski M.

1 Towarek P.

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Organy w Glotowie - problemy konserwatorskie

Głosy organowe w świetle traktatu „Spiegel der Orgelmacher und Organisten” [1511]