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We will explore another of the interns for this one. The city of solo acts of historical musical interest in the performance of some of its contemporaries. As early as the 13th century the city of Solaris Switzerland played a role of increasing historical importance on German leadership except by the year 12 18. They had already obtained their first charter later the city allied itself with Baron and took part in the Burgundian wars in 49 why I'm so old I became a member of the Swiss Confederation. In that time and during all of the sixteenth century the city group of considerable size
was still remaining was supplying considerable proof of the fact. In 15 20 to yet another event brought to the city incomparable prestige the King of France designated solar as the residence of his ambassadors to the Confederation the 17th and 18th centuries and solar bear the stamp of the presence of these dignitaries in the city. It goes almost without saying that this event changed the face of Solaire and it is still this form in which we see it today. Although the high silhouette of the Church of centaurs dominates the skyline as the traveller approaches the Church of the Jesuits which we are exploring today is older by a full century. It is incorporated into the facades of the hope God facades of great nobility which recall the beauty of semantic dot c o de Rome the Church of the Jesuits in solar was erected between the years a sixteen eighty and sixteen eighty nine a product of the Baroque era but quite in contrast to many baroque church edifice is liking many of the excesses of the period. The
acoustics of the church are of such perfection that they enhance all manner of sound whether that be the human voice or any instrument. This accounts of course for much of the effectiveness of the organ we are exploring the exact date of its erection in the identity of its builder are uncertain. Although evidence indicates it was probably built about 1750. Clarity in the performance upon a phonic music is characteristic of the classic organ. As an example of this classic polyphonic quality we will hear the fugue in G minor from the fourth book by Johann Sebastian Bach. This is an excellent example in spite of the fact that the organ which we are exploring has only two stops in the bed of a 16 foot steel box on an eight foot board on making it necessary to couple the stops of the great organ to the pedal. The stops used on the manuals of the s on the great organ the principles of 8 4 and 2 foot the mixture of the same Bob. On the positive the press stand by Jill a lot of go and the C play of one foot.
From the Church of the Jesuits in solo sweats and unorganised George Kramer now plays the Fugue in D minor by Johann Sebastian Bach. Oh.
It was the Bach fugue in G minor used here by organist George Kramer to illustrate the overall polyphonic clarity of the ensemble of the organ specifically the instrument we are exploring for this broadcast is composed of twenty two stops divided between two manuals. The great and the positive all richt positive and the petal of two stops and 25 notes the following tonal examples will give us an opportunity to examine in detail the characteristic sonorities of the organ. Our first example begins with the eight foot principle of sounding alone. To it are added in succession the four foot press taps them. The two foot octave and finally the sixteen foot board on. After this combination has been completed it is then played alternate lay with the board on in the past and from the positive. Manual Here then is our first tonal example.
Next we will hear two blue dogs called capo floats. We're we're. We're we're we're we're
now we hear the two four foot floats coupled to the tube or Dom's. We're. We're. We're. Were following tonal example has a hollow cavernous effect to this produced with the board on the two foot octave on the great manual coupled to the board on and allowed to go on the positive.
Again we have an example in which two combinations are played alternately for contrast. We will hear the board on the night as odd and the two foot octave from the great manual as opposed to the four foot flute to allow to go and the overly shrill one foot sea Flay on the positive.
And our final example of the principle stops of the organ on the great biannual we will hear the 16 foot board on the eight foot prints above and the four foot pressed dance and the two foot octave played alternate lay against the board on the press stamped on the Flagyl a played together on the plaza tape. The instrument we are investigating also contains a treble cornet solo stock built to begin with the third octave on the great manual of our final example
illustrates the stop.
We conclude today's exploration of one of Europe's ancient organs as organist George Kramer play selections from the first organ mass by Francois Cooper at the selections chosen by Mr. Graeme are admirably suited to display both the solo and ensemble possibilities of the organ in the Church of the Jesuits sold out of Switzerland. So the actions from the first organ mass by group are out.
Are going. Badly. We have heard selections from the first organ mass of Francois Cooper out. Of the goodwill. We have been listening to another program from the serious ancient European orders
presented instruments erected during the period from. The Middle Ages are the end of the 18th century. I gather with facts about him and his book tours in which there Howard. Listening to performances of music composed by men who are their contemporaries. Today's broadcast was recorded in the Church of the Jesuits in solo Switzerland. The organist was George Kramer materials for these programs are recorded by members of the European Broadcasting baseball game supplied by the US with broadcasting company presentation in the United States by station network. The Gram was read and written a lot of or used by the University of Michigan for speaking and inviting her to join us again next week at the same time for another program. Into. European markets.
Series
Ancient European organs
Episode
Church of the Jesuits
Producing Organization
University of Michigan
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-j9609w1z
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Description
This program features recordings of the organ at the Church of the Jesuits, Soleure, Switzerland. Performances include works by Bach and Couperin.
Recordings of noted organs at various locations throughout Europe.
Date
1968-01-30
Topics
Music
Media type
Sound
Duration
00:30:08
Embed Code
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Credits
Host: Fidell, S. A. (Sanford A.)
Performer: Cramer, Georges
Producing Organization: University of Michigan
Writer: Welliver, Harry B., 1910-2005
AAPB Contributor Holdings
University of Maryland
Identifier: 68-7-9 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:29:53
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Citations
Chicago: “Ancient European organs; Church of the Jesuits,” 1968-01-30, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed September 21, 2021, http://americanarchive.org/catalog/cpb-aacip-500-j9609w1z.
MLA: “Ancient European organs; Church of the Jesuits.” 1968-01-30. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. September 21, 2021. <http://americanarchive.org/catalog/cpb-aacip-500-j9609w1z>.
APA: Ancient European organs; Church of the Jesuits. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-j9609w1z