Dudley Buck - The Influence of the Organ in History

Without questioning the pre-eminence of the German school in all matters of technique and pure science, although educated in that school myself, I would not claim for it, as do some, that it is the Alpha and Omega of all true organ playing. Viewed in relation to the modern organ as it exists to-day, especially in France, England, and America, it seems to me that the instrument is in advance of the school, or that the school is weak in the two following points: —

First: It does not make a sufficient employ of registration within the limits of one and the same composition. Beauties of contrast, to be obtained by this means, are too frequently regarded as a matter of less than secondary importance. This, I am aware, arises from the fact that the majority of German organs are incapable of producing such variety, being built with a single eye to accompanying the congregation. In the direction of the grand and sublime, this school is unequalled; but surely there are many effects possible to-day which lay no claim to profundity, and yet are pleasing and worthy of employment by a true artist.

Second: Ignoring the emotional element in organ music to a great extent, and substituting the purely intellectual and technical. In their melodies we recognize the true inspiration of the great composers. The scientific setting they may give them, the technical dress in which they may clothe them, thus often greatly enhancing their beauty, is, after all, a matter of pure science acquired through schooling and dignified by talent. This appeals to the intellect, and is a most desirable object of study; but the melodic inspiration itself appeals to the heart, and, as the God-given quality, is the higher of the two. Now the German writers for the organ, from Bach to this day, have, as a rule (to which I am aware there are some marked exceptions), apparently avoiding giving to the organ that melodious element which their great composers have so beautifully done, not only in their symphonic writings, but also in their smallest works for the piano or other instruments. The mere lack of means for expression (by means of the swell or other mechanical appliances) is hardly a sufficient explanation of this, nor do I see anything in the character of the organ to account for it. That the great German writers following Bach (Mendelssohn excepted), but more especially the masters of the more recent so-called Romantic School, have contributed little or nothing towards the literature of the organ, is really explained by the following remark of Berlioz, in his treatise on "Modern Instrumentation." Speaking of writing properly for the organ, he says: "The special resources are here so vast and numerous, that the composer will never be well acquainted with them, as it appears to me, unless he be himself an accomplished organist."

Текст предоставлен ООО «ЛитРес».

Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.