Browsing by Author "Norrback, Johan"
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Item A Congratulatory Canon for Kerala Snyder(2019) Dodds, Michael; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Item A Favorite Magnificat for Kerry(2020) Gable, Frederick K.; Norrback, Johan; Speerstra, Joel; Locke, RalphItem A Re-Examination of port de voix in the Seventeenth and Early Eighteenth Centuries: Possibilities in Vocal Performance(2017-03-16) Sanford, Sally Allis; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Sally Sanford investigates the port de voix in French vocal music and demonstrates her results in nine sound examples.Item A Tribute to Kerry Snyder(2016-03-04) Thym, Jürgen; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Item An English Paragram(2016-03-04) Tatlow, Ruth; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Ruth Tatlow's paragram is a celebration of Kerala. It is based on historical models like those of Christian Friedrich Henrici (Picander), who was one of the most important poetic sources for J. S. Bach's vocal compositions.Item Exotic Elements in Kapsberger’s Jesuit Opera (Rome, 1622) Honoring Saints Ignatius and Francis Xavier(2016-10-14) Locke, Ralph P.; Norrback, Johan; Speerstra, JoelRalph Locke presents a detailed exploration of the unique and rarely studied sacred opera by the Venetian composer Giovanni Kapsberger.Item Fantasia and fantasy: Some Notes on Two Homonymic Genres of German Chorale-Based Organ Music(2019) Jullander, Sverker; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Item Gottfried Frietzsch and the Subsemitones in the Large Organ of Hamburg, St. Catherine’s(2019) Ortgies, Ibo; Norrback, Johan; Speerstra, Joel; Locke, RalphIn 1629 Gottfried Frietzsch1 (1578–1638), court organ builder at the Saxon Electoral Court, began the final important phase of his professional life with his first organ for the Hanseatic town of Hamburg: the monastery church of St. Maria Magdalena acquired the first new organ that Frietzsch built within Hamburg’s city walls, and it was equipped with subsemitones.2 In meantone temperament subsemitones were added in Frietzsch’s time to increase the number of usable keys (i. e. tonalities), while retaining the purity of the thirds in major chords. Subsemitones were primarily desired to aid in necessary transposing when accompanying ensemble music. Organs with subsemitones customarily had one or two, but sometimes there were three, and even four extra keys.3 According to today’s knowledge, Frietzsch was the first organ builder to successfully introduce subsemitones into organbuilding in Germany (with his new organ for the Dresden court chapel), and subsemitones went on to become one of his distinctive trademarks. By 1629, the year he finished the organ for St. Maria Magdalene’s, he had already built at least six more organs in other places with subsemitones: Table 1. Frietzsch organs with subsemitones 1612–29 1612 Dresden, Castle chapel (Schlosskirche) 1616 Schöningen, Castle chapel (Schlosskirche) 1616–17 Sondershausen, Trinitatis- or Dreifaltigkeitskirche 1618–19 Bayreuth, Stadtkirche „Heilig Dreifaltigkeit“ 1621–23 Braunschweig, St. Catherine’s (St. Katharinen) 1620–24 Wolfenbüttel, Hauptkirche Beatae Mariae Virginis 1626 Braunschweig, St.-Ulrici- or Brüdernkirche In the planning or examination of these organs, influential musicians of his time were regularly involved, such as Hans Leo Haßler (1564–1612), Michael Praetorius (1571–1621), Henrich Schütz (1585–1672) and Samuel Scheidt (1587–1654).Item Johann Rosenmüller and the Rehabilitation of Vocal Fugue in the Second Half of the Seventeenth Century(2024) Walker, Paul; Norrback, Johan; Speerstra, Joel; Locke, RalphPaul Walker’s contribution to our festschrift explores Rosenmüller’s revival of the vocal fugue in the seventeenth century. It is a perfect combination of his own expertise on fugal theory and a tribute to Kerala Snyder’s original research on Rosenmüller from the first chapter of her own long and successful research career.Item “La Notte” by Antonio Vivaldi(2018) Bellotti, Edoardo; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Item New Light on the Use of the Metronome in Organ Music by Lefébure-Wely, Lemmens, and Franck(2023) Verdin, Joris; Locke, Ralph P.; Norrback, Johan; Speerstra, JoelJoris Verdin asks us to re-evaluate what we think we know about the dialog between metronome markings and subjective performance instructions in 19th-century French organ music, and invites us to renew our approach to its performance.Item The Notation of Meter and Tempo ca. 1620–1670: Theory and Practice(2018-01-11) Silbiger, Alexander; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Item A Passable and Good Temperament. A New Methodology for Studying Tuning and Temperament in Organ Music(2002) Norrback, JohanPlaying Johann Sebastian Bach's organ chorale O Lamm Gottes, unschuldig (BWV 656) on an organ tuned according to a historic temperament raises questions about the role of temperament in organ music. From the interpreters point of view it would be desirable to be able to compare different temperaments effect on the music, and based on that draw conclusions about the temperaments role in the interpretative process. Since a historical instrument cannot be retuned, a new methodology, based on digital technology and MIDI was developed, to enable the comparison of several temperaments in a musical context. An investigation of relevant contemporary theoretical sources and information available about temperaments used in "Bach organs" form the basis for choosing relevant temperaments to compare. Out of twenty-six discussed temperaments, eight were selected: 1/4 syn tonic comma mean-tone, Harald Vogel's reconstruction of Heinrich Scheidemann and Jacob Praetorius recommendation in Bremen 1641 (modified mean-tone); Georg Andreas Sorge's 1748 description of Gottfried Silbermann's temperament (1/6 Pythagorean comma mean-tone); Andreas Werckmeister's third temperament (1681/1691); Johann Georg Neidhardt "Für ein Dorf" (1732); Johann Georg Neidhardt "Für eine kleine Stadt" (1732); Johann Georg Neidhardt "Für eine grosse Stadt" (1732); Johann Georg Neidhardt "Für den Hof" (1724/1732, Equal temperament). The organ in Abbenrode (close to Goslar, Germany), built by Christoph Contius in 1708, was recorded and sam pied. A digital instrument was created, and sound examples of excerpts from O Lamm Gottes, unschuldig (BWV 656), Canzona (BWV 588), the Prelude in B Minor (BWV 544), the Toccata in F Major (BWV 540), the Prelude in Eb Major (BWV 552), and the Fantasia in G Minor (BWV 542) in all temperaments were prepared and discussed. Based on the discussion a style sheet for integrating the aspect of temperament in interpretation was proposed. 1) A thorough understanding of the construction of temperament, for example: How are the fifths tempered? Is there a wolf? Which intervals and keys have the best and poorest intonation respectively? 2) Observing the historical con text of the music with regard to both written sources and instruments. For example, investigating what historical temperaments are described in the sources, and what historical temperaments were used in organs? 3) Analyzing the composition from the perspective of temperament. For example: Does the music exceed the tonal con tent of the temperament? Is any harmonic or melodic material affected by the temperament? 4) Making interpretative decisions with regard to articulation, phrasing, choice of tempo, registration, etc. Decisions made by the interpreter (organist) can mitigate or emphasize the effect of the temperament trough articu!ation, phrasing, choice of tempo and registration.Item The “Carillon” organ stop: A short history – with a special focus on Cavaillé-Coll(2018) Peeters, Paul; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Item The Anthologies of Ambrosius Profe (1589–1661) and Lutheran Spirituality(2017-11-10) Frandsen, Mary E.; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Mary Frandsen examines Lutheran sacred art music of the seventeenth century using anthologies published by Ambrosius Profe as a lens, and casts new light on the close relationship between devotional music and devotional literature in early modern Lutheranism.Item The Pinned Barrel as Music Archive(2019) Norrback, Johan; Speerstra, Joel; Locke, Ralph P.; Norrback, JohanItem Theology and Theatre in the Poems of Orlando di Lasso’s Prophetiae Sibyllarum(2017-09-22) Roth, Marjorie; Fabbri, Amerigo; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.Marjorie Roth offers new scholarship on Lasso's Prophetiae Sibyllarum, while Amerigo Fabbri provides new translations and commentary on preserved fifteenth-century theatrical writings and engravings of the Sibyls cycle.Item Vespers Hymnody as a Context for Organ Composition and Improvisation in Sixteenth- and Seventeenth-Century Italy(2017) Zager, Daniel; Norrback, Johan; Speerstra, Joel; Locke, Ralph P.