| dc.description.abstract | Playing 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. | eng |
