Southeastern Historical Keyboard Society

 

 

2004年 定例会

「賞賛されるべきフォルテピアノ――

デューク大学楽器コレクション所蔵・イギリス・アメリカ・ウィーンの楽器」

日時・2004311~13

場所・Duke University, Durham, North Carolina

定例会詳細 http://www.sehks.org/conclave.html

参加レポートへ

 

日程と内容

 

311日(木)

300600

参加者受付・Eddy Collection自由見学

コレクション詳細 http://www.duke.edu/music/eddy/pianos.html

 

400600

役員会

 

600

夕食(各自)

 

800

デューク礼拝堂にてコンサート

使用楽器

@ Dirk A. Flentrop  1976年製作 18世紀初期北ヨーロッパ様式によるオルガン

A John Brombaugh  1997年製作 後期ルネサンス/初期バロック イタリア様式によるオルガン(1/4SCミーントーン調律)   ※オルガンについては、全日程の後に掲載

Robert Parkins

 

312日(金)

Session T

900

講義「デューク大学楽器コレクション概説」

Brenda Neece

(デューク大学楽器コレクション学芸員)

930

講義「デューク大学楽器コレクションの物語り」

Edwin M. Good

1015

ミニリサイタル「歌うピアノ/エラール製作etrierアクションを持つフォルテピアノのために書かれたフランス初期ロマン派の作品」

Maria Rose

1045

休憩

 

1115

講義「イグナツ・モシェレス/過渡期のヴィルトゥオーゾ」

Sandra Soderlund

1145

ミニリサイタル「イギリスの女性作曲家のソナタ」

Gail Olszewski

1215

昼食

 

Session U

200

ツアー 「スティーヴ・バレル・コレクション」

 

230

ミニリサイタル(使用楽器・クラヴィコード)

Steve Barrell

300

リサイタル(使用楽器 ドゥルケン1794年製作 フォルテピアノ)

Kristian Bezuidenhout

400

コレクション見学・展示会見学 他

 

600

夕食

 

800

コンサート 「ベートーヴェンの室内楽作品」

終了後、レセプション

Randall Love

(フォルテピアノ)

Brent Wissick (チェロ)

John Pruett (ヴァイオリン)

 

313日(土)

830

ビデオ鑑賞「2台のチェンバロのためのコンチェルト」

Mireille Fornengo

Session V

900

講義 「ウィーンのフォルテピアノにおける色彩効果」

Margaret Hood

930

ミニリサイタル 「クレメンティーの作品」

Karyl Louwenaar

(フォルテピアノ)

Karen Clarke

(ヴァイオリン)

1000

講義 「プレイエルでなくては―ショパンのピアノの理想の追求」

Andrew Willis

1030

休憩

 

1115

ミニリサイタル(使用楽器・ダウド製作 ミートケによるチェンバロ)

Dana Ragsdale

1145

ミニリサイタル「チェンバロのためのStylus Phantasticusの作品」(使用楽器・同上)

David Chung

1230

パーティー & 総会

 

Session W

300

講義 「グリニー、バッハ、ワルター:“Premier Livre d’

Orgue“の改訂」

Joseph Butler

330

ミニリサイタル 「想像の音楽」

Bonnie Choi

400

講義 「委任の罪 Sins of Commission」

Larry Palmer

445

展示会見学

 

600

夕食

 

800

コンサート 「Alienor 作曲コンクール ソロ部門&室内楽部門 ファイナリストコンサート」

終了後、レセプション

Dance:C.Salvador

 

学会・音楽祭 トップへ 

ホームへ

 

     オルガンについての詳細(デュークチャペル・ホームページより転載)

The Flentrop organ, located over the entrance to Duke Chapel, was installed in 1976 and dedicated to the memory of Benjamin N. Duke (the primary benefactor of Trinity College after it relocated to Durham). The organ was built in Zaandam, Holland, at the famous organ shop of Dirk A. Flentrop. It was the last major instrument whose design and construction Mr. Flentrop supervised before his retirement. Planning, design, and construction took six years.

Both tonally and visually, the Flentrop organ reflects the characteristics of Dutch and French organs of the early 18th century. It is not a copy of any specific baroque organ, but was designed especially for Duke Chapel according to the rediscovered principles of 18th-century organ building. Only natural materials — wood, metal, ivory, and leather — were used in its construction. Located in a magnificent and ideally suited Gothic structure, the Flentrop organ allows us to hear in the most authentic way the great compositions of Bach, Couperin, and other composers active during the Golden Age of the organ.

At Mr. Flentrop’s suggestion, the acoustics of the Chapel were adjusted to provide an ideal environment for the organ. When the Chapel was first built, its acoustics were deliberately deadened through the use of special sound-absorbing stone tile. With the help of Bolt, Beranek and Newman, the famous acoustical consulting firm, a solution was found to make the acoustics livelier while accommodating the spoken word. The absorptive tile was sealed, increasing the maximum reverberation time from about 3 seconds to about 8 seconds, and a time-delay speech-reinforcement system was designed and installed.

The organ contains 5,033 speaking pipes, played by four manual keyboards and a pedal keyboard. The main case houses four divisions of pipes; it rises approximately 40 feet above the gallery floor and is only about 4-1/2 feet deep. A smaller case, located on the gallery rail, houses one division of pipes; it is 10 feet high and 4 feet deep. The cases are made of solid African mahogany, painted and decorated in gold leaf and harmonized colors. The gallery, designed and built for this instrument in Durham by William T. Muirhead, is constructed of solid oak in the classical style.

The organ was first played publicly in an informal preview for Duke University students on December 6, 1976, and in the Sunday morning worship service on Founders Day, December 12, 1976. An inaugural recital was played at 5:00 that afternoon by Fenner Douglass, University Organist at that time.

The Flentrop organ is used mainly for recitals and for hymns and voluntaries at worship services and university events. The organ gallery is not open to the public, but demonstration concerts are presented most weekdays at 12:30 p.m.

 

 

The Brombaugh organ was built especially for the Memorial Chapel, in the south transept of Duke Chapel, by John Brombaugh, one of the world's most distinguished organ builders. Construction began in 1995, and the organ was installed in 1997. The dedication recital, played by University Organist Robert Parkins, took place on October 26, 1997.

The Brombaugh organ reproduces the characteristics of Italian organs before the time of J. S. Bach - its approximately 960 pipes are modeled after examples from 1480, 1551, and 1612. The organ has two manual keyboards and a pedal keyboard. The sounds it produces are those of the late Renaissance and early Baroque periods, suited to the works of composers such as Frescobaldi or Pachelbel. The sound is sweeter and milder than that of later organs, as is appropriate for the smaller space of the Memorial Chapel. To fit in conveniently in the Memorial Chapel, the organ is located in a "swallow's nest" loft, built by Brombaugh to match the organ case, in Italian Renaissance style.

Perhaps the most significant feature of the Brombaugh organ is its use of the historical "meantone" tuning system. In the modern "equal temperament" tuning system, the octave is divided into 12 equal half-steps, rather than being based on the natural scale. This allows modern keyboard instruments to play in any key, but it means that most intervals are not "pure," according to the natural scale. In contrast, the meantone system uses pure tuning for major thirds. This means that it favors certain intervals, chords, and keys, while making others unusable. In the "good" keys, the contrast between consonance and dissonance is enhanced. Early music that might seem bland when played on modern instruments "springs to life," in the words of University Organist Robert Parkins. Only a handful of modern meantone organs exist in the United States, and its early Italian design makes the Brombaugh even rarer.

 

学会・音楽祭 トップへ 

ホームへ