Tools

LEADER 04909nam 2200337I 4500

001 ocm00604449;

005 20141212093336.0;

008 730417_1962_______ ____ __eng_u;

010 a| 62018215;

035 a| (Sirsi) o00604449;

035 a| (OCoLC)604449;

040 c| WSUd| EREd| m.c.d| UtOrBLW;

049 a| EREM;

090 a| ML550.F4b| O7;

100 1 a| Fesperman, John=| ^A49660;

245 14 a| The organ as musical medium /c| John Fesperman.;

300 a| 83 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliography and index.;

500 a| The illustrations for the end papers are taken from De Organographia, Part Two of the Syntagma Musicum by Michael Praetorius, published in Wolfenbuttel in 1619. Shown are organ bellows, Calcanten (bellows-treaders), organ with Ruckpositiv, flue pipes, and reed pipes. The book jacket shows the nave facade of the organ in the Mexico City Cathedral. Built about 1686-1690 and imported from Spain, it is possibly the oldest organ on the North American continent. The builder is unknown.;

505 0 a| Foreword / by Robert Noehren -- Part one. Orientation. Musical performance and instrument design ; Significance of early American organs -- Artistic and practical problems. Musical purpose ; The practical problem ; One organ for the entire repertoire? -- "Musical" and "instrument". Characterizing the musical instrument ; Characteristics of a masterpiece: Zwolle -- Music and history. Limitations give identity ; Creativity and imitation ; Musically authentic performance ; The player a specialist -- Historical instrument: historical repertoire. Confusing terms ; Inter-influence of instrument and repertoire ; Idiomatic style ; Which organ is most useful? ; The contemporary composer ; Incompatible music ; The organ and its limitations -- The ideal and the compromise. Identifying a masterpiece ; Musical sound and music ; Style and repertoire ; Judging an organ ; When is a historical organ musically important? -- Performance and the instrument -- Part two. Representative dispositions. Three Northern European Renaissance organs. Alkmaar, Grote Kerk (Laurenskerk) ; Oosthuizen, Hervormde Kerk ; Amsterdam, Oude Kerk -- An Antegnati organ of Frescobaldi's time. Brescia, San Giuseppe -- A Spanish organ of Cabezón's time. Toledo, cathedral ("Emperor's organ") -- A Spanish organ in America. Mexico City, cathedral -- An early 17th-century English organ. Worcester, cathedral -- Three small organs by Arp Schnitger. Cappel ; Steinkirchen ; Noordbroek, Hervormde Kerk -- Arp and Frans Caspar Schnitger. Zwolle, Michaelskerk -- An Andreas Silbermann organ. Marmoutier -- An organ by Johann Scheibe, inspected by Bach. Leipzig, Paulinerkirche -- The organ of Couperin le Grand. Paris, St. Gervais -- A Christian Muller organ. Beverwijk, Grote Kerk -- Two cabinet organs. John Snetzler, Williamsburg ; J. Strümphler, Naarden -- An organ by Aristide Cavaillé-Coll. Paris, Ste. Clothilde -- A modern organ by D. A. Flentrop. Busch-Reisinger Museum, Harvard University.;

520 a| This book represents the first documented attempt in English to deal with the organ historically as a distinctive musical instrument. Written as the result of a Fulbright grant, it draws on the author's experience as performer and musicologist and is based on a study of historical organs of the Netherlands, Germany, France, Switzerland, Spain, and England, concentrating on those of the Schnitger family built in the early 18th century. This is a book not only for the connoisseur but for anyone seriously interested in the musical past and future of the 'king of instruments.' It includes photographs of some of the world's great organs as well as descriptions and dispositions. Robert Noehren has contributed a foreword.;

545 a| "John Fesperman was educated at Davidson College, the Yale School of Music, and the Amsterdam Conservatory. He has performed frequently on the organ and harpsichord in the United States, Germany, and the Netherlands. He is the author of articles on organ design and interpretation of 17th- and 18th-century music. Mr. Fesperman is organist and director of music at the "Old North" Church in Boston (he is the originator and conductor of the Old North singers and players), teaches at Wellesley College and at the New England Conservatory of Music. He is also a member of the Commission on Music of the National Council of Churches."--Dust jacket.;

650 0 a| Organ (Musical instrument)z| Europex| History.=| ^A18391;

919 a| BOOK;

596 a| 3;

998 a| 44502;

999 a| ML550.F4 O7w| LCc| 1i| 310372000470790d| 6/27/2016e| 4/28/1998f| 5/12/2025g| 5l| MCSm| JMUSICn| 2r| Ys| Yt| MCSSBKu| 2/19/1986x| BOOKz| MCIRCo| .STAFF. enhanced 10/30/24 -jjabo| .STAFF. Copy Statement : c.1;

The organ as musical medium / John Fesperman.

Author/creator	Fesperman, John
Format	Book
Publication Info	New York : Coleman-Ross Company, ©1962.
Description	83 pages : illustrations ; 24 cm
Subjects	Organ (Musical instrument)--Europe. --History.

Contents	Foreword / by Robert Noehren -- Part one. Orientation. Musical performance and instrument design ; Significance of early American organs -- Artistic and practical problems. Musical purpose ; The practical problem ; One organ for the entire repertoire? -- "Musical" and "instrument". Characterizing the musical instrument ; Characteristics of a masterpiece: Zwolle -- Music and history. Limitations give identity ; Creativity and imitation ; Musically authentic performance ; The player a specialist -- Historical instrument: historical repertoire. Confusing terms ; Inter-influence of instrument and repertoire ; Idiomatic style ; Which organ is most useful? ; The contemporary composer ; Incompatible music ; The organ and its limitations -- The ideal and the compromise. Identifying a masterpiece ; Musical sound and music ; Style and repertoire ; Judging an organ ; When is a historical organ musically important? -- Performance and the instrument -- Part two. Representative dispositions. Three Northern European Renaissance organs. Alkmaar, Grote Kerk (Laurenskerk) ; Oosthuizen, Hervormde Kerk ; Amsterdam, Oude Kerk -- An Antegnati organ of Frescobaldi's time. Brescia, San Giuseppe -- A Spanish organ of Cabezón's time. Toledo, cathedral ("Emperor's organ") -- A Spanish organ in America. Mexico City, cathedral -- An early 17th-century English organ. Worcester, cathedral -- Three small organs by Arp Schnitger. Cappel ; Steinkirchen ; Noordbroek, Hervormde Kerk -- Arp and Frans Caspar Schnitger. Zwolle, Michaelskerk -- An Andreas Silbermann organ. Marmoutier -- An organ by Johann Scheibe, inspected by Bach. Leipzig, Paulinerkirche -- The organ of Couperin le Grand. Paris, St. Gervais -- A Christian Muller organ. Beverwijk, Grote Kerk -- Two cabinet organs. John Snetzler, Williamsburg ; J. Strümphler, Naarden -- An organ by Aristide Cavaillé-Coll. Paris, Ste. Clothilde -- A modern organ by D. A. Flentrop. Busch-Reisinger Museum, Harvard University.
Abstract	This book represents the first documented attempt in English to deal with the organ historically as a distinctive musical instrument. Written as the result of a Fulbright grant, it draws on the author's experience as performer and musicologist and is based on a study of historical organs of the Netherlands, Germany, France, Switzerland, Spain, and England, concentrating on those of the Schnitger family built in the early 18th century. This is a book not only for the connoisseur but for anyone seriously interested in the musical past and future of the 'king of instruments.' It includes photographs of some of the world's great organs as well as descriptions and dispositions. Robert Noehren has contributed a foreword.
General note	The illustrations for the end papers are taken from De Organographia, Part Two of the Syntagma Musicum by Michael Praetorius, published in Wolfenbuttel in 1619. Shown are organ bellows, Calcanten (bellows-treaders), organ with Ruckpositiv, flue pipes, and reed pipes. The book jacket shows the nave facade of the organ in the Mexico City Cathedral. Built about 1686-1690 and imported from Spain, it is possibly the oldest organ on the North American continent. The builder is unknown.
Bibliography note	Includes bibliography and index.
Biographical note	"John Fesperman was educated at Davidson College, the Yale School of Music, and the Amsterdam Conservatory. He has performed frequently on the organ and harpsichord in the United States, Germany, and the Netherlands. He is the author of articles on organ design and interpretation of 17th- and 18th-century music. Mr. Fesperman is organist and director of music at the "Old North" Church in Boston (he is the originator and conductor of the Old North singers and players), teaches at Wellesley College and at the New England Conservatory of Music. He is also a member of the Commission on Music of the National Council of Churches."--Dust jacket.
LCCN	62018215

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The organ as musical medium / John Fesperman.

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