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Journal articles on the topic 'Organist'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Quinney, R. "Mendelssohn the organist." Early Music 39, no. 3 (2011): 431–33. http://dx.doi.org/10.1093/em/car050.

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2

Morris, William. "The Ward Organist." Dialogue: A Journal of Mormon Thought 55, no. 4 (2022): 153–68. http://dx.doi.org/10.5406/15549399.55.4.10.

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3

Rudland, Malcolm, and Alexander Fiseisky. "The Long-Distance Organist." Musical Times 132, no. 1781 (1991): 365. http://dx.doi.org/10.2307/966301.

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4

Burkholder, J. Peter. "The Organist in Ives." Journal of the American Musicological Society 55, no. 2 (2002): 255–310. http://dx.doi.org/10.1525/jams.2002.55.2.255.

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Abstract Charles Ives was a professional church organist for thirteen years. An examination of music he played, music he composed for or with organ, and pieces he adapted from his own organ works demonstrates that he was deeply influenced both by his practical knowledge as an organist and by the repertory he performed. This influence is revealed through a surprising number of features of his music, including its relation to improvisation, difficulty of execution, employment of novel sounds to represent extramusical events, approach to orchestration, prominent textural and dynamic contrasts, sp

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5

--. "Organist und Reger-Kenner." Mitteilungen der Internationalen Max-Reger-Gesellschaft, no. 36 (January 14, 2021): 27. http://dx.doi.org/10.25372/mimrg.v20193050.

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6

Rochester, Marc, and Barbara Owen. "E. Power Biggs, Concert Organist." Musical Times 129, no. 1744 (1988): 317. http://dx.doi.org/10.2307/964899.

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7

Wilhite, Charles, and Barbara Owen. "E. Power Biggs, Concert Organist." American Music 6, no. 4 (1988): 467. http://dx.doi.org/10.2307/3051706.

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8

Clement, Albert. "Pieter Bustijn, "Musicyn en Organist"." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 38 (1988): 81. http://dx.doi.org/10.2307/938632.

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9

Salokar, Douglas, and Kerala J. Snyder. "Dieterich Buxtehude, Organist in Lubeck." Notes 44, no. 4 (1988): 711. http://dx.doi.org/10.2307/941027.

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10

Zager, Daniel, and Kerala J. Snyder. "Dieterich Buxtehude: Organist in Lubeck." German Studies Review 12, no. 2 (1989): 357. http://dx.doi.org/10.2307/1430103.

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11

Hollick, Douglas. "The ‘famous organist’ Vincent Lübeck." Early Music 33, no. 4 (2005): 713–14. http://dx.doi.org/10.1093/em/cah167.

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12

De Sena Aldeia, Maria Carlos Lina. "JORGE, Lídia. O organista / The organist. Edição bilíngue. Alfragide: D. Quixote, 2014. 43 p." Navegações 9, no. 1 (2016): 93. http://dx.doi.org/10.15448/1983-4276.2016.1.25100.

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13

Briggs, David. "Pierre Cochereau: Legacy of an Organist." Musical Times 130, no. 1755 (1989): 305. http://dx.doi.org/10.2307/966335.

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14

Padjasek, Barbara. "Organist to the City of Birmingham." Musical Times 130, no. 1752 (1989): 109. http://dx.doi.org/10.2307/966384.

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15

Moore, Stephen Thomson. "John Francis Gilder, American Composer, Pianist, Writer, 1837–1908." AMP: American Music Perspectives 3, no. 2 (2022): 135–88. https://doi.org/10.5325/ampamermusipers.3.2.0135.

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ABSTRACT John Francis Gilder, born in Philadelphia on April 3, 1837, the eldest child of the Reverend William Henry Gilder Sr. and Jane Nutt, was a notable and highly successful pianist, organist, church musician, and organist in his day but now forgotten. This article surveys his life and works.

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16

Gehringer, Christine. "Max Reger und sein Organist Karl Straube." Mitteilungen der Internationalen Max-Reger-Gesellschaft 3, no. 44 (2023): 21–23. http://dx.doi.org/10.25372/mimrg.v20233828.

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17

Bebak, Marek. "Carmelite music ensembles in the Greater Poland province in the eighteenth century. Musicians and their repertoire." Muzyka 68, no. 4 (2023): 20–37. http://dx.doi.org/10.36744/m.2442.

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This article deals with the musical culture of the Carmelites of the Ancient Observance in the territory of Greater Poland in the 18th century and has been prepared on the basis of archival materials stored in Polish and foreign archives. In 1743, the monastic authorities of the Greater Poland Province introduced a decree according to which secular musicians were to be removed from Carmelite ensembles. The text therefore identifies those Carmelite centres where vocal and instrumental ensembles were active in the 18th century (Poznań, Markowice, Gdańsk, Kcynia, Obory, Drohobycz and Płońsk, as w

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18

Popinigis, Danuta. "Der Danziger Organist Daniel Jacobi und seine geistlichen Werke." Schütz-Jahrbuch 24 (August 24, 2017): 47–57. http://dx.doi.org/10.13141/sjb.v2002918.

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Daniel Jacobi (ca. 1605-1676) wirkte von 1637 bis 1676 in Gdansk. Er arbeitete als Zweiter Organist der Marienkirche und war zeitweilig ebendort als Vize-Kapellmeister tätig. Jacobi ist der Autor eines literarischen Gelegenheitswerks, einer Messe sowie drei Geistlicher Konzerte für 5-6 Stimmen und Instrumente. Der Stil der Konzerte ist für den damaligen Zeitgeist sehr typisch. (Übersetzung) Daniel Jacobi (c. 1605-76) was active in Gdansk from 1637 to 1676. He worked as second organist of the Marienkirche and for some time, he also held a post of vice-Kapellmeister there. Jacobi is the au

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19

Gabčová, Kristína. "Štefan Németh-Šamorínsky a jeho organová tvorba." Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 23, no. 4 (2024): 75–82. http://dx.doi.org/10.54937/ssf.2024.23.4.75-82.

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The paper is focused on the personality of the Slovak composer and organist Štefan Németh-Šamorínsky and his solo organ work, which consists of 5 compositions. The contribution will approach the composer's life and especially his organ work, while the selection of compositions and their subsequent analysis will characterize his musical language. The aim of this post is to introduce the public to an important Slovak author who was also organist at the Cathedral of St. Martin in Bratislava, which greatly influenced his compositions.

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20

Dingle, Christopher. "FORGOTTEN OFFERINGS: MESSIAEN'S FIRST ORCHESTRAL WORKS." Tempo 61, no. 241 (2007): 2–21. http://dx.doi.org/10.1017/s0040298207000174.

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The prevailing image of Messiaen in the 1930s is of an organist-composer. One of the first things learnt about him is that he was organist at the church of the Trinité in Paris, having been appointed at the spectacularly young age of 22. As the earliest (though not the first) of Messiaen's works to have been published, the short organ piece Le Banquet céleste (1928) is, quite rightly, the focus of close examination for its precocious assurance. The 1930s were punctuated by the substantial organ cycles La Nativité du Seigneur (1935) and Les Corps glorieux (1939), so it is no surprise to find Fe

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21

Küster, Konrad. "Schütz und die Orgel : Überlegungen zum Organistenstand in Deutschland und Italien um 1600." Schütz-Jahrbuch 22 (August 24, 2017): 7–16. http://dx.doi.org/10.13141/sjb.v2000885.

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Die Ausbildung, die Heinrich Schütz bei Giovanni Gabrieli erhielt, Organist an San Marco in Venezia, war nicht allein auf die vokale Kompositionstechnik ausgerichtet. Dies ergibt sich nicht nur aus den Hinweisen darauf, dass Schütz in der Folgezeit als Organist wirkte, sondern auch aus einem Vergleich mit dem Berufsbild des Organisten. Anhaltspunkte bieten die Werküberlieferung und biographische Dokumente zu Musikern wie Andrea Gabrieli, Luzzasco Luzzaschi, Girolamo Frescobaldi, Jan Pieterszoon Sweelinck, Samuel Scheidt, Hieronymus Praetorius sowie zu den Gabrieli-Schülern Gregor Aichinger, Jo

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22

Haar, James, and John Nádas. "ANTONIO SQUARCIALUPI: MAN AND MYTH." Early Music History 25 (August 17, 2006): 105–68. http://dx.doi.org/10.1017/s0261127906000143.

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‘… Squarcialupi, a famous organist, but who remains a rather mythical figure’. Of course we know that Antonio degli Organi, as he was called throughout his life, was a real person, and if we trust in the verisimilitude of Benedetto da Maiano's portrait bust of him (made ten years after his death, strongly classicising in design, and altered at least once in the early sixteenth century), we have an idea of what he looked like. Antonio degli Organi (1416–80) was not born with the surname Squarcialupi, nor do we know precisely when or under what circumstances he took this name (but see below). We

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23

Sotriffer, Toni. "Der Grödner Lehrer und Organist Mathias Ploner (1770–1845)." Ladinia 24 (2001): 95–143. http://dx.doi.org/10.54218/ladinia.24-25.95-143.

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24

Lowenfish, Lee. "Remembering Jane Jarvis, the Mets' One and Only Organist." NINE: A Journal of Baseball History and Culture 30, no. 1-2 (2021): 192–202. http://dx.doi.org/10.1353/nin.2021.0016.

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25

Hurd, Michael. "Review: Percy Whitlock, Organist and Composer: A Biographical Study." Music and Letters 85, no. 2 (2004): 329–30. http://dx.doi.org/10.1093/ml/85.2.329.

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26

Linklater, Christina. "Pierre Cochereau: Organist of Notre-Dame by Anthony Hammond." Notes 70, no. 3 (2014): 438–40. http://dx.doi.org/10.1353/not.2014.0034.

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27

Garbe, Daniela, and Bernd Wiechert. "Der Direktor musices, Organist und Kantor Johann Friedrich Schweinitz." Göttinger Jahrbuch 37 (1989): 71–90. http://dx.doi.org/10.62013/37-006.

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28

Rigler, Ann Marie, and Kerala J. Snyder. "The Organist as Scholar: Essays in Memory of Russell Saunders." Notes 52, no. 2 (1995): 492. http://dx.doi.org/10.2307/899068.

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29

Rasch, Rudolf, and R. Verhagen. "Sybrandus van Noordt - organist van Amsterdam en Haarlem - 1659-1705." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 40, no. 2 (1990): 83. http://dx.doi.org/10.2307/938828.

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30

Igoe, Vivien. "John M. Glynn (1834-93): Organist and Professor Of Music." Dublin James Joyce Journal 2, no. 1 (2009): 143–46. http://dx.doi.org/10.1353/djj.2009.0015.

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31

McGeary, T. "Joseph Harris, Birmingham organist (1744-1814), and his Messiah manuscript." Early Music 39, no. 2 (2011): 165–84. http://dx.doi.org/10.1093/em/car017.

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32

Leclerc, Gilles. "Appreciation of Canadian Organist and Composer Rachel Laurin (1961–2023)." CAML Review / Revue de l'ACBM 51, no. 2 (2023): 56. http://dx.doi.org/10.25071/1708-6701.40471.

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33

Eckelt, Johann Valentin, and Derek Remeš. "Kurtzer Unterricht was einen Organist[en] nötig zu wißen seÿ. Brief Instruction on What an Organist Must Know Edited and Translated by Derek Remeš." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 16, no. 2 (2019): 127–42. http://dx.doi.org/10.31751/1012.

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34

Hilson, Jeff. "The God-Awful Small Affair of the Invisible Organist: David Bowie Translated." English: Journal of the English Association 69, no. 267 (2020): 346–62. http://dx.doi.org/10.1093/english/efaa042.

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Abstract Following the sudden death of David Bowie in January 2016, perhaps the least expected tributes were the various organ renditions of his 1973 single ‘Life On Mars’ played by the organists of St Albans Cathedral, Kelvingrove Art Gallery in Glasgow and Dublin’s St Joseph’s Church. Becoming instant social media sensations, what are we to make of these different versions of Bowie’s song played on the pipe organ, the so-called ‘King of Instruments’, and why did the organists choose ‘Life On Mars’ over any other Bowie song? In this essay, I consider these and other related questions from a r

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35

Bulibenko, Galina. "Organ Transcriptions: Problems of its Creation in the Process of Concert and Stage Interpretation." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(58) (March 28, 2023): 67–81. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284758.

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The author analyzed the problems of creation of transcriptions for various musical instruments, in particular for the organ, that are described in Ukrainian specialized scientific literature. The specifics of modern world concert practice are updated from the point of view of modernity, which requires musicians of various specialties to have the ability to adapt individual works for their performance on another instrument. This factor is an integral part of the performing practice of organists. The author discovered the historical roots of the practice of making transcriptions, which requires

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36

Dolewka, Marek. "25 years of the Archdiocesan Music School in Krakow. History and the present." Pro Musica Sacra 21 (November 3, 2023): 115–25. http://dx.doi.org/10.15633/pms.2108.

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In 2023, the Rev. Cardinal Franciszek Macharski Archdiocesan Music School in Krakow celebrates its 25th anniversary. The present article discusses the history of the institu[1]tion – the activities of the Archdiocesan Organist Study Centre, from which the jubilarian school originated, the circumstances of the creation of the Archdiocesan Organist School in 1998 and the expansion of its activities in 2006 to the Archdiocesan Primary and Sec[1]ondary School of Music. Through the analysis of documents from the school’s archives, the prospects for the development of students and the activities of

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37

Fisher, C. A. H., and A. J. Larner. "Jean Langlais (1907–91): an historical case of a blind organist with stroke-induced aphasia and Braille alexia but without amusia." Journal of Medical Biography 16, no. 4 (2008): 232–34. http://dx.doi.org/10.1258/jmb.2007.007043.

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The subject of a prior report of a blind organist with aphasia and Braille alexia without amusia, published in French, has been identified as Jean Langlais. His artistic and medical history is presented, the latter via translation of the original 1987 paper.

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38

Crean, David. "Marcel Dupré: The Work of a Master Organist by Michael Murray." Notes 79, no. 1 (2022): 76–79. http://dx.doi.org/10.1353/not.2022.0072.

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39

Zager, Daniel, George Stauffer, and Ernest May. "J. S. Bach as Organist: His Instruments, Music, and Performance Practices." German Studies Review 11, no. 3 (1988): 497. http://dx.doi.org/10.2307/1430518.

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40

Quinn, Iain. "The Genesis of the Victorian Organ Sonata." Nineteenth-Century Music Review 12, no. 1 (2015): 53–70. http://dx.doi.org/10.1017/s147940981500004x.

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In the English mid-nineteenth century, organist-composers sought an idealistic course that created an alliance between the unimpeachable musical language of the Classical era and the much celebrated ‘Victorian’ organ. As a result, we witness the birth of a new musical genre with the ‘English organ sonata’ that was to provide a model for organ composition into the twentieth century. However, the works in question were not merely pastiche compositions, despite some bold illusions, but rather pieces based on revered models, restyled for an age that was familiar with transcriptions of orchestral r

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41

Schnoor, Arndt. "Neue Cembalowerke von Christian Flor (1626-1697)." Die Musikforschung 50, no. 1 (2021): 74–77. http://dx.doi.org/10.52412/mf.1997.h1.971.

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Als Hauptschreiber des in der Ratsbücherei Lüneburg unter Mus. ant. pract. 1198 verwahrten Sammelbandes mit Cembalosuiten, Tanzsätzen und Choralvorspielen konnte jetzt der Lüneburger Organist Christian Flor (1626-1697) identifiziert werden. Flor ist auch der Komponist der meisten erhaltenen Werke, die eine wichtige Bereicherung der norddeutschen Musik der 2. Hälfte des 17. Jahrhunderts darstellen.

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42

Massil, Stephen. "Peter Prelleur of Spitalfields, Organist and Theatre-musician: A Problem of Identity." Huguenot Society Journal 28, no. 3 (2005): 350–63. http://dx.doi.org/10.3828/huguenot.2005.28.03.350.

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43

Michálková Slimáčková, Jana. "The Organ Compositions of Bedřich Antonín Wiedermann." Musicological Annual 56, no. 1 (2020): 59–78. http://dx.doi.org/10.4312/mz.56.1.59-78.

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This article deals with the compositions of the Czech organist Bedřich Antonín Wiedermann (1883–1951), who, unlike his contemporaries, was also a composer. He wrote around 340 works, of which more than a quarter are for organ. Most survive in the collection of his manuscripts deposited at the Czech Museum of Music (České muzeum hudby) in Prague.

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44

Glöckner, Andreas. "Die Leipziger Neukirchenmusik und das "Kleine Magnificat" BWV Anh. 21." Bach-Jahrbuch 68 (March 5, 2018): 97–102. http://dx.doi.org/10.13141/bjb.v19821612.

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Das so genannte Kleine Magnificat, dessen ursprüngliche Partitur fast ein Jahrhundert lang verschollen war, wurde im 19. Jahrhundert Bach und in den letzten Jahren vorläufig Telemann zugeschrieben. Durch Vergleiche mit anderen Manuskripten kann es nun seinem eigentlichen Autor zugeordnet werden: Melchior Hoffmann (ca. 1679-1715), Organist und Musikdirektor der Leipziger Neukirche. (Übertragung des englischen Resümees am Ende des Bandes)

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45

Schulze, Hans-Joachim. "Aufsatzsammlungen." Bach-Jahrbuch 74 (May 9, 2018): 240–43. http://dx.doi.org/10.13141/bjb.v19882603.

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Besprochen: Williams, Peter (Hg.): Bach, Handel, Scarlatti. Tercentenary Essays. Cambridge etc. 1985 Stauffer, George; May, Ernest (Hg.): J. S. Bach as Organist. His Instruments, Music, and Performance Practices. Bloomington 1986 Wolff, Christoph (Hg.): Early Music. J. S. Bach Tercentenary Issue. London 1985 Szeskus, Rainer; Asmus, Jürgen (Hg.): Johann Sebastian Bachs Traditionsraum. Leipzig 1986

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46

Sal, Istvan. "Behavioral Therapy in Diabetes Mellitus and Obesity." Clinical Case Reports and Clinical Study 2, no. 3 (2021): 1–7. http://dx.doi.org/10.61148/2766-8614/jccrcs/023.

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In Weimar, on the wall of Albert Schweitzer Museum, there is a memorial tablet which says: „The purpose of our life is to serve, to show solidarity and helpfulness.” The humanist medical doctor, theologian, philosopher, organist could not have expressed more clearly our confession. Behavioral therapy integrates the cure of body and soul, which occasionally show some duality and opposition.

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47

Istvan, Sal. "Behavioral therapy in diabetes mellitus and obesity." Global Journal of Obesity, Diabetes and Metabolic Syndrome 5, no. 2 (2018): 015–21. https://doi.org/10.17352/2455-8583.000033.

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In Weimar, on the wall of Albert Schweitzer Museum, there is a memorial tablet which says: “The purpose of our life is to serve, to show solidarity and helpfulness.” The humanist medical doctor, theologian, philosopher, organist could not have expressed more clearly our confession. Behavioral therapy integrates the cure of body and soul, which occasionally show some duality and opposition.

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48

Küster, Konrad. "Cembalo- und Violinmusik im Notenbuch des Johann Kruse (1694/1704) : Kompositionen Buxtehudes, Reinkens, Pachelbels, Muffats und anderer." Schütz-Jahrbuch 27 (July 21, 2017): 129–74. http://dx.doi.org/10.13141/sjb.v2005614.

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Johann Kruse war 1707-1710 Organist in Breitenberg bei Itzehoe, protegiert von Christian Detlef Graf von Rantzau als Territorialherrn. Sein umfangreiches Notenbuch enthält Tanzsätze für solistische Violine (unter anderem von Dietrich Becker) und für Cembalo, ferner Cembalosuiten, unter anderem von Johann Adam Reinken (C-Dur, F-Dur) und Dieterich Buxtehude (a-Moll, bislang unbekannt) sowie eine Arcangelo-Corelli-Bearbeitung (Triosonate op. 4/1, Corrente). Ein Faszikel der Handschrift bietet anonyme Werke, die über Konkordanzen Johann Pachelbel, Wolfgang (?) Ebner und Georg Muffat zugewiesen wer

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49

Delimat, Wiesław. "Education of church musicians in Krakow in the period from the end of the Second Vatican Council to the present day." Pro Musica Sacra 22 (October 25, 2024): 47–61. http://dx.doi.org/10.15633/pms.2204.

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The training of church musicians in Cracow in the period after the Second Vatican Council became one of the important tasks of the institutional Church associated with the post-conciliar renewal of the liturgy. In the 1970s, the training of church organists here took on a systematic and organised character. The activities of the Archdiocesan Organist’s College, as well as the Church Music Section at the Liturgical Institute, were constantly evolving. Over time, their tasks were taken over by the Archdiocesan Organist School (now the Archdiocesan Music School) and the Pontifical Academy of Theo

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50

Kampe, Gordon. "Gordon Kampe: «Alles weg!» Schweigen in der Musik." Zeitschrift für Ideengeschichte 19, no. 2 (2025): 21–30. https://doi.org/10.17104/1863-8937-2025-2-21.

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Fast siebzehn Jahre lang lief ich als nebenamtlicher Organist der Johanniskirche in Herne jeden Sonntag auf dem Weg zur Orgelbank an einem alten Schrank vorbei, der all jene Noten beherbergte, die der Kirchenchor im Laufe der Zeit gesungen hatte. Musikalisch war der Chor eine Herausforderung: Selten klappte die Intonation, stets gab es zu wenige Tenöre, gelegentlich mussten Sätze angefertigt werden, die jeder Tonsatzlehrer sofort verworfen hätte.

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