Die Praxis der Orgelstimmung
in
Norddeutschland
im
17. und 18. Jahrhundert
und ihr
VerhŠltnis
zur
zeitgenšssischen Musikpraxis
Ibo Ortgies
Die Praxis der Orgelstimmung in Norddeutschland
im 17. und 18. Jahrhundert
und
ihr VerhŠltnis zur zeitgenšssischen Musikpraxis
Die Praxis der Orgelstimmung
in
Norddeutschland
im
17. und 18. Jahrhundert
und ihr
VerhŠltnis
zur
zeitgenšssischen Musikpraxis
Ibo Ortgies
|
|
Gšteborgs universitet
Meinen Eltern
Dirk Ortgies und Ursula Ortgies
in
Norden/Ostfriesland
Avhandling fšr filosofie doktorsexamen i musikvetenskap
Gšteborgs universitet 2004
Disputationsupplaga
Copyright © Ibo Ortgies 2004.
Copyright dieser nach Disputation am 04.12.2004 berichtigten Version © Ibo Ortgies 2005-2007.
Gšteborgs
universitet Gšteborgs
universitet
Dept. of Musicology and Film Studies GOArt
Gšteborg Organ Art Center
Box 200, SE–405 30 Gšteborg, Sweden Box 210, SE–405 30 Gšteborg, Sweden
Abstract
Ortgies, Ibo, Die Praxis der Orgelstimmung
in Norddeutschland im 17. und 18. Jahrhundert und ihr VerhŠltnis zur
zeitgenšssischen Musikpraxis (The Practice of Organ Tuning in North
Germany
in the 17th and 18th Centuries and its Relationship to Contemporary
Musical Practice). Ph. D. Dissertation in German, with an English Summary. Department of Musicology and Film Studies, Gšteborg University, 2004.
Organ
tuning and temperament are essential elements of the soundscape of an organ. It
is commonly assumed today that organ temperament practice shifted away from the
well-documented standard of meantone temperament toward circulating
temperaments (well-tempered or equal) around 1700. Written records and evidence
from extant instruments, however, strongly suggest that unmodified meantone
temperament remained common practice in North German organs until the 1740s.
Even advocates of the new temperament designs such as Andreas Werckmeister had
to admit that organ builders did not follow their suggestions. There is no
evidence that retunings resulted in well-tempered systems; only meantone and
equal temperaments are mentioned in the sources for retunings.
The reason
for suggesting new temperament systems was the requirements of ensemble
accompaniment. The simultaneous use of instruments tuned at different pitches
(Chorton, Kammerton) required extensive transposition, a practice that, due to
the development of major-minor tonality, became increasingly difficult if not
impossible with organs tuned in meantone temperament. Modifications of this
temperament were suggested and sometimes carried out, but were generally not
successful.
Re-tempering an existing organ was a time-consuming task: in a large organ it could take months of work even for an experienced builder. The circumstances under which the organs had to be tuned constituted an important impediment to the introduction of new temperaments. An analysis of payments to bellows-treaders as recorded in church account books shows that the organs of St. Marien, LŸbeck, were not retuned during the tenures of Franz Tunder and Dieterich Buxtehude. Thus, some of their organ works could not have been played on the organs available to them during their lifetimes. At this time, however, playing from a score was not acceptable for a professional organist, who was expected to extemporize even complex contrapuntal music. Organ music seems to have been written down mainly for study purposes.
Keywords: historical performance practice, organ
building, pipe making, bellows treading, temperament, tuning, meantone,
modified meantone, well-tempered tuning, equal temperament, just intonation,
pitch, Chorton, Kammerton, choir pitch, chamber pitch, keyboard compass,
split key, subsemitone, short octave, Northern Germany, the Netherlands,
Hanseatic cities, Hamburg, Bremen, LŸbeck, Alkmaar, Zwolle, Michael Praetorius,
Arp Schnitger, Frans (Franz) Caspar Schnitger, Andreas Werckmeister, Dieterich
Buxtehude, organ repertoire, improvisation, ensemble playing, church account
books
Ibo Ortgies, Department
of Musicology and Film Studies, Box 200, SE–405 30 Gšteborg
Lies keine BŸcher Ÿber die Temperatur der
Stimmung, sie enthalten nur Narreteien. Wieviele Rechnungen aufgemacht werden,
soviele Systeme gibt es; wieviele Meinungen, soviel Eigensinn. Ohne ein langes
Studium findet man sich unmšglich zurecht und verliert doch die †bersicht.
Ignaz
Bruder, Orgel- und Spieluhrenmacher
um
1829
(zitiert
nach Bormann 1968, 178)
1. Anmerkungen
zum Text 17
1.1 Allgemeines 17
1.2 Orthographie 17
1.3 Referenzen und Literaturangaben 17
1.4 Bezeichnung von Stimmtonhšhe, Oktavlagen, Tonnamen und Akzidenzien 18
1.5 Zitate und †bersetzung fremdsprachiger Texte 18
2. Vorwort 21
3. Einleitung:
Fragestellungen, Methoden, Aufbau der Arbeit 25
3.1 Geographische und zeitliche Abgrenzung 27
3.2 Quellen und Literatur 28
3.3 Aufbau der Arbeit 33
4. Temperatur,
Stimmtonhšhe und KlaviaturumfŠnge im NordseekŸstengebiet 37
4.1 Ostfriesland 38
4.2 &