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1
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PIOTR MATOGA, Antoni Sapalski (1822−1890). Życie i działalność organmistrzowska na terenie Krakowa. Opole: Sindruk-DIMK 2020, pp. 227. ISBN 978-83-955914-3-3.

100%
Koenig F.
Folia Organologica. International yearbook of organ and organ music
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2020
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issue 3
155-157
EN
Review
2
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Organs as an exemplification of Montenegro's material cultural heritage Part 1: St. Tryphon's Cathedral in Kotor – Our Lady Help of Christians' Church in Muo

88%
Poźniak G.
Folia Organologica. International yearbook of organ and organ music
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2020
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issue 3
93-113
EN
Montenegro became a union republic of the Socialist Republic of Yugoslavia (1945–1992) after the Second World War and the political changes and wars in the Balkans at the turn of the 20th and 21st century. Montenegro proclaimed its independence on 3rd June 2006. As an independent state, this former republic of socialist Yugoslavia takes action to gather and scientifically describe its remarkable cultural heritage. In 2019 Cetinje Academy of Music, which is part of the University of Montenegro, decided to carry out a scientific project aimed at depicting this entire cultural heritage. Folk culture and Orthodoxy are the dominant features of this whole opus, thus it is not surprising that cultural products are mostly associated with these two cultural factors. Catholics constitute a group of about 3.5%, which amounts to a relatively small number of believers. Though they are a small community, they also left their mark on culture. One of the important factors in the Catholic worship is the pipe organ. The article is the first part of a series of texts dedicated to the organ in Montenegro, in which the organ from St. Tryphon's Cathedral in Kotor and from the parish church of Our Lady Help of Christians in Muo is described. The presentation of these instruments comprises their history and description as well as contemporary and archival photographs. The contemporary instrument in St. Tryphon’s Cathedral in Kotor is a small contemporary instrument which comes from the German organmaster’s factory Fischer + Krämer. The factory was founded in Schlatt, near Bad Krozingen, in 1970. The firm builds its instruments with mechanical key actions in wood and their pipe measurements are based on the Baden-Alsace tradition of Stieffell and also on the pattern of Andreas and Johann Andreas Silbermann. However, the history of the organ in Kotor Cathedral is relatively well documented and has been depicted by musicologists from the former Yugoslavia. The organ preserved in the church of Our Lady Help of Christians in Muo is, in its construction, an instrument belonging to the Dalmatian-Italian tradition of the organ building, which derived from Domenico Moscatelli’s factory. It was built in 1784 in Zadar and brought to Muo in 1880. The organ is a mechanical instrument containing Italian sound concept and stop naming. Its current condition is disastrous. The organ requires special care due to the fact that it reflect a substantial document of European organ building’s trends. Respect for music in its material (an instrument with a beautiful organ front) and spiritual (beauty of sounds) dimensions is required. Therefore, Boka Kotorska is not only a charming, mountainous and seaside resort, but also a place with a vital role in the contemporary account of the material heritage of Montenegrin culture.
3
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Organs as an exemplification of the material heritage of Montenegrin culture Part. 2: St. Nicholas’ Church and the Church of Our Lady of the Rock in Perast

88%
Poźniak G.
Folia Organologica. International yearbook of organ and organ music
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2022
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issue 5
54-61
EN
This article is a second part of the series of texts on organs in Montenegro, in which the organs from St Nicholas’ Church and the Church of Our Lady of the Rock in Perast will be described. The description of these instruments will include their basic presentation in the context of the organ building trends in this part of Europe. Organs as a special musical instrument are an important example of the material heritage of musical culture. Montenegro, being a predominantly Orthodox country in which instrumental and vocal-instrumental music is not performed, cannot claim a large number of organs. However, their significant proportion includes historically noteworthy instruments.
4
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Historic Organ in Lubecko. History and Future

75%
Koenig F.
Folia Organologica. International yearbook of organ and organ music
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2023
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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.
5
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Organy w kościele Świętego Krzyża w Bytomiu-Miechowicach. Historia i koncepcja rekonstrukcji

63%
Koenig F.
Folia Organologica. International yearbook of organ and organ music
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2018
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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.
6
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Szczegóły konstrukcyjne organów Paula Voelknera na przykładzie unikalnego katalogu firmowego z 1900 roku

63%
Prasał A.
Folia Organologica. International yearbook of organ and organ music
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2018
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issue 1
7-27
EN
Within the extensive collection of the State Archives in Wrocław particular attention should be drawn to the files of the Silesian Evangelical Consistory in Wrocław from the period between 1614 and 1945. This is without a doubt the largest collection of documents for the exploration of Protestantism in Silesia. In the collection which comprises more than 26,000 archived items, there are three folders dedicated to the construction and renovation of organs. After an initial, rough review of those files, the researcher’s attention is drawn to the well-preserved advertising brochure published by the Voelkner company from Duninów under the title Katalog der Kirchenorgel-Bauanstalt mit Dampfbetrieb von P.B. Voelkner, Dünnow, Kr. Stolp i. Pomm. The Voelkner company was founded in 1859 in Duninów (Dünnow) by Christian Friedrich Voelkner (1831–1905). In 1900 the company which employed 20 workers by then, was taken over by Christian Friedrich’s son, Paul. In 1906 the company’s headquarters were transferred to Bydgoszcz. The reason for this transfer was a fire that had destroyed most of the former factory buildings. The years of crisis after the first world war led to a sharp economic downturn that strongly affected the Bydgoszcz based company which in the period of heyday had employed as many as about 50 people. As a result, but also due to the fact that Bydgoszcz became a part of Poland, the company ceased its activities and was sold in favour of a big carpenter’s shop in 1920. It is estimated that the Voelkners built or rebuilt approximately 300 instruments. This activity usually concerned smaller instruments. Furthermore they specialised in the production of stylish organ prospects. The brochure described in this article is a valuable source for the history of the company. It offers a variety of information on such points as the organisation of production, the characteristics of instruments, the materials used for their construction, the details concerning the construction of the organ mechanics, the suggested conditions as well as the price of instruments. Additionally, this publication gives the reader an insight into the prevalent trends of organ building at the turn of the nineteenth and twentieth centuries. The brochure was printed in Wernigerode by the publisher Angerstein and does not contain any information concerning the year of issue. The analysis of its contents suggests that it was most probably made in 1900 when the company was taken over by Paul Voelkner. In the first part of the brochure constructional details of the Voelkner instruments are discussed. At the turn of the nineteenth and twentieth centuries the company from Duninów was in its heyday and implemented lots of new technical developments, thus adapting their instruments to the needs of romantic organ music. Therefore, it is not surprising that cone chests and pneumatic action were applied, which made it possible for organists to achieve the “ease of play”, the fast register alteration and the rich dynamic expression that seemed so desirable at the time. The admiration for this new type of organs can clearly be felt in the brochure, together with a loss of understanding for the old instruments, especially with regard to their technical possibilities. The large companies and factories that emerged in the nineteenth century were known for their standardised production. The Voelkner company also produced organs with a multiple disposition and design solutions. Moreover, they introduced machining operations and mechanical serial production of organ parts. Pages 8–11 of the brochure quote statements and opinions concerning Voelkner organs. The users of the Voelkner instruments underlined such points as the use of good solid materials, the neat and robust design, the impeccable intonation and, most importantly, the moderate price of Voelkner’s instruments. Unfortunately the majority of the published statements do not contain any clear information about the place and construction year of the specific organs. Not even the brochure itself contains a survey of the works performed by the company, which is perhaps its greatest shortcoming. The first part of the brochure is concluded by a presentation of the types of prospects offered by the company. The central part of the brochure (pages 25–45) is a list of the 48 available disposition models for church organs, concert organs and cabinet organs including their pricing. The disposition models proposed in the brochure outline the typical trends in romantic organ sound, which aimed at imitating the sound of a symphony orchestra. The list is divided into four parts: • organs with one manual (keyboards): on offer were three organ models with 2 to 4 stops at prices ranging from 480 to 700 marks. Together with this type of instrument Voelkner offered his patented invention called Melodieführer at a price of 150 marks. That device allowed to strengthen the chord’s highest element (with one or more stops); • organs with one manual and pedal (pedal-boards): the brochure presents six dispositons ranging from 5 to 10 stops. Prices vary between 1,000 and 2,450 marks; • organs with two manuals and a pedal: the company offered this type of instrument ranging from only 3 to 41 stops at prices ranging from 800 to 11,530 marks. For instruments of this size various additional devices and technical innovations were on offer, e.g. sub and super octave couplers, fixed and free combinations, swell boxes, and crescendo rollers; organs with three manuals and a pedal: for instruments of this size the company offered, circumstances permitting, the installation of an Echowerk, i.e. a special sound section for the third manual in a double swell box installed in the attic, from where the sound would pass through a decorative slatted opening into the vault. The prices for this type of organs ranged from 8,700 to 30,000 marks, and the number of stops varied between 30 and 90. The prices indicated in the brochure did not cover the costs of constructing the organ prospect. Its price depended on the selected style of the organ case and the size of the instrument. The company offered very favourable funding terms. No advance payments were required. The price to be paid for the instrument (in cash) was not due before the technical approval procedure had been positively completed, which was carried out by an expert designated by the purchaser. The company also authorised payment by instalments at very low rates. The open question remains to what extent the company from Bydgoszcz managed to put into practice the projects presented in the brochure. Answering this question, however, requires painstaking research including a considerable number of comparative field studies. This is a task that the author leaves to researchers specialising in the history of the Voelkner company.
7
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Historia organów firmy Rieger w kościołach jezuickich na terenie Krakowa

63%
Matoga P.
Folia Organologica. International yearbook of organ and organ music
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2019
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issue 2
51-69
EN
History and activity of the Rieger company were the subject of several publications using, among others, catalogues and advertisements published by the company. The article concerns the history of pipe organs of the company in two Jesuit churches of Kraków: St. Barbara’s Church and the Sacred Heart’s Church. The beginning of development of music in the Jesuit order took place under the rule of the general Claudio Acquaviva, who at the beginning, in 1608, allowed to use the pipe organ and woodwind instruments in churches, and yet in 1611 he agreed to employ secular instructors of music, what next allowed to establish music schools. The musical chapel, active in Kraków from the 17th century and competing with the chapel of St. Mary’s Basilica, was an important element of Jesuit activity in the field of music. St. Barbara’s Church was created through rebuilding the 14th-century cemetery chapel at the St. Mary’s Basilica’s Cemetery. In 1583, the church was given to Jesuits, who discovered an organ in it. The new instrument, finished in 1688, was sold in 1731 and replaced by a significantly smaller one, and then the next one, built in 1865 by Antoni Sapalski. In order to build the new organ, which has been preserved until today, the monks contacted the company of Gebrüder Rieger from Jägerndorf, which in 1894 presented the first project of the disposition, and then the official cost estimated model. Yet in December 1894 the final acceptance of the mechanic instrument (Opus 457) with two keyboards and pedal took place. It was equipped with 16 ranks, including 5 in the multiplex system. In 1913, the organ was equipped with the electric motor. Moreover, two pipes were changed then. In 1917 and 1918 Stanisław Żebrowski from Kraków made the repair. In June 1918 pipes from the case were taken to be used for war purposes. The person who removed them was Josef Kloss, the technical director of the Rieger company, who went to Kraków to undertake similar actions in other churches of the city as well. During his stay, he lived in the Jesuit monastery at the St. Barbara’s Church. In 1919 S. Żebrowski cleaned and tuned the organ. In February 1920 he installed the missing pipes of the case, commissioned from the Rieger company. The same organ builder had a conflict with the general of Jesuits in 1927. The reason for that was that he did the works beyond the written agreement, demanding additional payment. In 1935 the overview of the instrument was made by the Rieger company. In 1964, in the face of the deterioration of the organ, the representative of the Dominik Biernacki of Warsaw’s company, made an overview. The company offered the repair connected with the reconstruction in terms of changing the tracker action, organ’s console and adding “modern” pipes. The works were not realised. In 2007–2009 the church was thoroughly rebuilt. Then, the repair of the instrument took place as well, made by the company of Michał Klepacki from Pępów. The monumental Sacred Heart’s Church in the district of Wesoła was built by Jesuits in 1909–1912, replacing the previous chapel. In the 1920s the offers to build the pipe organ in a new church were made by the following companies: Gebrüder Rieger (1923–1924), Wojciech Zagórda from Czernichów (1925), Joseph Goebel from Gdańsk (1927) and Dominik Biernacki from Włocławek (lack of date). Finally, in November 1927, Jesuits commissioned the instrument from the company of Rieger. Its parts arrived in the church in May 1928 and yet at the beginning of June the final acceptance of the organ took place in the presence of Cracovian musicians: Bolesław Wallek-Walewski and Tomasz Flasza. The ceremony of consecration of the new instrument (Opus 2317) took place on 10th June 1928. Firstly, the organ had 33 ranks, 3 manual keyboards, a pedal and pneumatic tracer action. The instrument was probably damaged as a result of explosions in 1945. It was repaired by the Rieger company in 1947. First serious works with the organ are not scrupulously documented. It is known that on 18th November 1956 the consecration of the instrument after the renovation under the guidance of Prof. Józef Chwedczuk took place. The executor of the works was probably the company of Wacław Biernacki from Kraków. The number of voices was extended to 45, and tracker action was replaced by an electro-pneumatic one. In 1972 the pipe organ was tuned and in 1981 several repairs were made by Lech Skoczylas from Kraków. In 1989 the repair was made by Albert Kunz and Lech Skoczylas from Kraków. In 2007 the reconstruction was made by Michał Klepacki from Pępów after the consultations with Jerzy Kukla from Lublin. The number of voices increased to 47, new bellows were built, the console was installed as well as electronic memory system. The earlier organ console of the Rieger company is currently kept in the side part of the gallery. The presented article proves that the Rieger company with its seat in Silesia to some extent shaped the picture of organ building in the territory of Southern Poland since the end of the 19th century.
8
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Organy — instrument, który „oddycha”

63%
Poźniak G.
Liturgia Sacra. Liturgia - Musica - Ars
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2016
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vol. 22
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issue 48
541-549
PL
Artykuł omawia organy jako instrument z rodziny aerofonów. Punktem wyjścia do przeprowadzenia analiz jest niewielka tabliczka informująca kalikanta o należytym wykonywaniu pracy, która znajduje się na chórze muzycznym kościoła parafialnego pw. Najświętszego Serca Pana Jezusa w Roszkowie (pow. Racibórz). Tego rodzaju instrukcje były typowe dla organów pochodzących z warsztatu organmistrzowskiego Schlag & Söhne. W artykule omówiona jest funkcja kalikanta. Artykuł stawia tezę o konieczności przywrócenia organom ich „aerofoniczności”. Przedłożone zostały trzy postulaty końcowe: 1) Należy wyposażać nowo budowane organy w mechanizmy do kalikowania — uzupełnieniem zaś tego rodzaju urządzeń powinny być „dzwonki na kalikanta” oraz instrukcje „uwrażliwiające” na to, że organy „oddychają”. 2) Wykonawcy muzyki organowej powinni być w czasie swojej edukacji artystycznej uczeni obsługi mechanizmów do kalikowania oraz gry na instrumencie kalikowanym. 3) Nagrania dokonywane na instrumentach zabytkowych, mających czynny mechanizm do kalikowania, choćby tylko w niewielkiej części powinny zostać zarejestrowane z użyciem tegoż.
EN
The article discusses organs as an instrument of the family of aerophones. The starting point for the analyzes is a small plaque indicating an organ blower about satisfactory work performance, which is placed on the music choir of the parish church of Sacred Heart of Jesus in Roszków (near Racibórz). This kind of instructions was typical for organs from the workshop of the master organ-builder Schlag & Söhne. The article discoursed the function of a organ blower. It formulates the thesis about the need to restore the organs as an aerophone. Three final proposals were submitted: 1) The newly built organs for the artistic education should be equipped in mechanisms to organs blow. 2) Contractors of organ music should be taught manning mechanisms to organs blow and playing the blowing instrument in the course of their artistic education. 3) Recordings made on antique instruments which have active mechanism to organs blow should be recorded at least to some extent.
9
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Fotografie organów w zbiorach Archiwum Diecezjalnego w Tarnowie jako źródła do dziejów organów w diecezji tarnowskiej

63%
Pasternak P.
Archiwa, Biblioteki i Muzea Kościelne
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2021
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vol. 117
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issue specjalny
243-268
EN
The photographs of the organs in the Diocesan Archives in Tarnów survived primarily as supplements to the questionnaires of the Centre of the Monuments Documentation from 1971 concerning the state of the organs in parishes. The article discusses the documents which show the instruments that do not exist today and those rebuilt or moved to other churches. In addition to these photographs, the diocesan archives holds invitations to the consecration of five instruments with their photographs.
PL
Fotografie organów w Archiwum Diecezjalnym w Tarnowie zachowały się głównie jako dodatek do ankiet Ośrodka Dokumentacji Zabytków z 1971 r. dotyczących stanu organów w parafiach. Artykuł omawia te z nich, które przedstawiają instrumenty dziś nieistniejące, przebudowane lub przeniesione do innych kościołów. Oprócz tych fotografii w archiwum znajdują się zaproszenia na poświęcenia pięciu instrumentów, także zawierające ich zdjęcia.
10
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Translokacje śląskich organów po 1945 roku na teren diecezji tarnowskiej

63%
Pasternak P.
Folia Organologica. International yearbook of organ and organ music
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2020
|
issue 3
7-29
EN
In the article, there is presented history of organs moved after World War II from Silesia, mainly from former German territories (especially Lower Silesia) to Tarnów diocese. The oldest of these organs is now in Ochotnica Dolna and was built in 1746 by Johann Georg Neßling for a church in Grodziszcze (Gräditz). Two times it was rebuilt or repaired by Schlag & Söhne company. Currently it has 16 stops, two manuals and pedal, mechanical key and stop action and sliderchests. In Ochotnica Dolna it was installed in 1955−1956 by Józef Stach from Tęgobrze. Four translocated organs comes from Schlag & Söhne workshop from Schweidnitz (Świdnica). All of them have two manuals and pedal and pneumatical key and stop action. The oldest Schlag & Söhne organ in Tarnów diocese is situated in Nowa Jastrząbka. This instrument was built in 1903 for Lutheran church in Strzeszowice (Tzschacksdorf) and in 1955 moved without pipes to Nowa Jastrząbka. Assembled there by Stanisław Czachor and Wojciech Grzanka from Tuchów with new pipes. It has 5 stops and is currently out of order. Another Schlag & Söhne organ (opus 717), 16-stop, built in 1905 originally was in Gniechowice (Gnichwitz). In 1947 it was taken to Chełm near Bochnia by Wacław Biernacki from Kraków and installed in case of previous organ by Rieger from 1880 (6 stops) with usage of some Rieger pipes. Two last Schlag & Söhne come from last period of this company activity. In Muszyna, organ from ca 1913 (opus 981) built for Lutheran church in Stanowice (Stanowitz) near Świdnica was placed in 1948 also by Wacław Biernacki’s company with addition of some stops from previous organ and new stops as well. Currently this organ have 14 stops. The lattest Schlag & Söhne organ in Tarnów diocese is in Maszkienice near Brzesko (opus 1042). Its place of origin is unknown. All we know it was installed there in 1953 by Biernacki’s company. Two curiosities of this instrument are: firstly, the pipes of pneumatical action are made from wood, not from lead, as usually; it is probably caused by several conditions during World War I, when the organ was built. Secondly, this organ has other significant German organ company name plate – W. Sauer. Undoubtly, it was placed there during the translocation to make place of origin more difficult to spot. Two another organs is built by Gebrüder Walter workshop from Guhrau (Góra). Unlike Schlag & Söhne organs, they have one manual and pedal, mechanical key and stop action. First, opus 60 from 1867, is situated in Zalipie; it was moved here from Tymowa (Thiemendorf) near Wołów in 1953, but its assembly was completed just in 1960 by Władysław Ziemiański from Szczyrzyc. It has 9 stops and sliderchests. Unfortunately, it is out of order since many years. Second Walter organ is in Rzędzianowice near Mielec. It was built in 1892 with opus number 201. Its original location is unclear; perhaps it was Krzepielów (Tschepplau) near Głogów. The organ was bought by Rzędzianowice parish from Wrocław diocese and installed in 1956 by Kołpanowicz brothers from Kraków. Originally it had 7 stops on mechanical conical winchests. The Kołpanowicz added 2 stops on pneumatical windchests. and two are built by unknown organbuilders. Four other organs translocated from Silesia are built by unknown organbuilders and we do not know their places of origin. The biggest of them remains since 1949 in Szczepanów. According to some relations, it was built by organ company from Dresden to unknown Lutheran church in current western Poland. Originally the parish wanted to buy organ from Boża Góra (Gottesberg, now Boguszów-Gorce), but not succeeded with it. In Szczepanów another organ was assembled by Biernacki’s company then. It has 30 stops, two manuals and pedal, pneumatic key and stop action and Taschenlade windchests. Sobolów parish wanted to buy an organ from Bystrzyca Kłodzka, but it was unexpectly taken to Warsaw. They parish bought another organ then, but we do not know where. Probably in 1950 Bartłomiej Ziemiański installed it in Sobolów. Recently the year of manufacture 1848 was found written in organ case. Organ has typical Silesian baroque organ case and might be build by Christian Schlag. In church of nearby Łapczyca is situated Salonorgel from middle 19th century. Year of translocation and place of origin remain unknown. Strongly altered, it has 10 stops, 2 manuals and pedal, mechanical key and stop action and sliderchests. Last instrument which I want to mention is situated in Łęki Górne. It is not an original work, but was assembled of parts of perhaps bigger instrument, moved from a Lower Silesia. It has 12 stops, 1 maunal and pedal, mechanical key and stop action and sliderchests. Two translocated organs do not exist now. First, in Cikowice, was moved in 1945 or 1947 from unknown destroyed Lutheran church. It was build in 1822 or 1825 and had 16 stops. It was demolished in 1979 to build a new instrument. Second, in Straszęcin, was bought in Wrocław and assembled by organ company from this city. It had 13 stops, 2 manuals and pedal, pneumatical key and stop action. Due to very bad condition it was dismantled in 1994. Not only complete organ were moved from Silesia: also many Silesian organ parts are present in organs in Tarnów diocese. For example, in Bobowa were Amabilis register pipes with German stamps, in Łukowa – console of Silesian organ company Klimosz & Dyrszlag from Katowice cathedral, in Swoszowa – Schlag & Söhne console from ca 1900 and in Korzenna – bellow by this company from similar period. Two translocations did not succeeded: in Gawłów, the parish bought Rieger organ in Wrocław in 1953, but it was never installed there. In Górki near Mielec, the attempt was made to buy a 7-stop organ from Wrocław diocese in 1956, but it appeared too small for this church.
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Egzemplifikacja przemian w budownictwie organowym I połowy XX wieku na podstawie wybranych instrumentów z terenu obecnego województwa lubuskiego

63%
Gawiejnowicz W.
Aspekty Muzyki
|
2017
|
vol. 7
225-256
EN
Lubuskie Voivodship is a varied and valuable area in terms of sacred architecture and church organs. The development of sacred building industry, industrialization of organ-building, and the use of the steam engine in the 19th century enabled organ manufacturers to expand their production in that area. That process reached its peak at the turn of the 19th and 20th centuries and caused major changes in organ instruments as such, that have been preserved in differing degrees to this day. The first half of the 19th century was the time of significant development in organ-building in terms of technology and sound aesthetics. It affected such aspects as specification, pipe scaling, voicing, system of action, and windchest construction. In the first two decades, apart from taking advantage of the previously worked out solutions, organ companies focused on the “moderniz-ation” of their instruments. It was, however, still carried out basing on tubular-pneumatic action and cone valve chests. The following decade brought some new ideas in the field of organ spe-cifications. Attempts to make electrical action more common were followed by turning back to the tracker action and slider chests. The Organ Revival Movement (Orgelbewegung) helped to break the monopoly of large organ companies focused on series production. However, these new trends in organ-building could not spread immediately due to the upcoming economic crises and the two world wars. The instruments preserved in the Lubuskie region document the most important transition in German organ-building in the first half of the 20th century and provide interesting research mate-rial. The instruments discussed in this article, selected from different locations (Drezdenko, Strzelce Krajeńskie, Gorzów Wlkp., Międzyrzecz, Iłowa, Słonów), present a clear development line over the years. Their choice was dictated by the accessibility of source materials, complemented by the author’s own research.
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Organy na Śląsku Opolskim na łamach „Zeitschrift für Instrumentenbau”

51%
Prasał A.
Folia Organologica. International yearbook of organ and organ music
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2021
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issue 4
72-83
EN
The article presents information about organ building in the present Opolskie Voivodeship region that was published in „Zeitschrift für Instrumentenbau”, a professional periodical which appeared in the years 1880 to 1943 and which was dedicated to the construction of musical instruments. A total of 47 mentions (covering the years 1887 to 1937) have been found, concerning 38 instruments.
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