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Report from VII Conference on the Organ Knowledge “Silesian Organs”

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Koenig F.

Folia Organologica. International yearbook of organ and organ music

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2021

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nr 4

165-168

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Organy na Śląsku VII, J. Gembalski (ed.), Vol. 7, Katowice: The Karol Szymanowski Academy of Music in Katowice 2020, pp. ISBN 978-83-955787-6-2.

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Koenig F.

Folia Organologica. International yearbook of organ and organ music

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2021

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nr 4

155-157

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Znamienici profesorowie i absolwenci królewskich katolickich seminariów nauczycielskich w Pilchowicach i Pyskowicach

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Koenig F.

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2018

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tom 14

142-156

EN

Royal Catholic Teacher Seminars, which first appeared at the beginning of the 19th century as a result of Prussian educational reform, took on an important mission of training future organists. Therefore in many Silesian parishes of the 19th and the first half of the 20th centuries it was a common practice for teachers to be organists at the same time. As it is shown by the experiences of Upper Silesia, teacher seminars were the source of highly qualified church musicians. This resulted from the commitment of very good and skilful music teachers who produced remarkable graduates that later became important figures in Silesian tradition of church music. Among teacher seminars of Upper Silesia that played the most important role in the field of church music particularly noteworthy are the seminars in Pilchowice and Pyskowice. The seminar in Pilchowice existed from 1867 to 1921. Music teachers there were Theophil Halama, Richard Kügele, Wilhelm Osburg, Viktor Kotalla and Franz Werner. The most famous graduates of this seminar in the field of music were Ryszard Gillar, Karol Hoppe and Karl Bauch. The seminar in Pyskowice functioned from 1849 to 1922. Its most prominent music teachers were Józef Nachbar, Paul Gaide, Erdmann Emanuel Wittor, Paul Woehl, Hans Cisner and Vinzenz Laska. Among many graduates of this seminar were Max Borowka, Paul Kraus, Wilhelm Masse, Ernst Gratza, Franz Leischner, Erich Lokay and already mentioned Erdmann Emanuel Wittor.

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Lejtmotyw Miłosierdzia Bożego w kulturze muzycznej od średniowiecza do współczesności

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Koenig F.

Roczniki Teologiczne

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2017

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tom 64

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nr 13: Muzykologia

45-62

EN

The leitmotif of God’s Mercy has been present in the musical culture of all eras, from the Middle Ages, when it was present in Gregorian chants, to present times. The basis for the songs created in the course of centuries were usually biblical texts praising the mystery of God’s Mercy and Grace. The way of expressing the leitmotif of God’s Mercy depended on how the text was combined with the factors of a musical style of a given era. In our times, we can witness the creation of many compositions including the leitmotif of God’s Mercy. This is connected with the cult of Divine Mercy being intensively developed in recent years, especially during the pontificate of St. John Paul II. What triggered the development of the cult was first the revelation given to St. Sister Faustina in the 1930s, written down in her diary, and later the cult of St. John Paul II and the blessed Rev. Michał Sopoćko. Therefore, the basis for the content of contemporary compositions connected with the cult of Divine Mercy are first and foremost the words from the diary of Sister Faustina. Contemporary compositions including the leitmotif of God’s Mercy were and are created among others by I. Pfeiffer, S. Ziemiański and R. Twardowski.

PL

Lejtmotyw miłosierdzia Bożego jest obecny w kulturze muzycznej wszystkich epok, od czasów średniowiecza, gdzie był obecny w śpiewach gregoriańskich, aż po czasy współczesne. Fundamentem śpiewów, powstałych na przestrzeni wieków, były najczęściej teksty biblijne sławiące tajemnicę miłosierdzia Bożego i Bożej łaskawości. Sposób wyrażenia lejtmotywu miłosierdzia Bożego zależał od zespolenia warstwy tekstu ze współczynnikami muzycznego stylu danej epoki, a także od duchowości i oblicza mistyki danej epoki. Obecnie jesteśmy świadkami powstania wielu kompozycji zawierających lejtmotyw miłosierdzia Bożego. Ma to związek z intensywnie rozwijającym się w ostatnich latach – zwłaszcza za pontyfikatu św. Jana Pawła II – kultem miłosierdzia Bożego. Impulsem rozwoju kultu były objawienia dane św. Siostrze Faustynie w latach trzydziestych XX w., a zapisane w jej „Dzienniczku”. W konsekwencji fundamentem treści współczesnych kompozycji związanych z kultem miłosierdzia Bożego są przede wszystkim słowa wyjęte z „Dzienniczka” Siostry Faustyny.

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Indeks organów istniejących w kościołach i kaplicach diecezji gliwickiej

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Koenig F.

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nr 5

62-83

EN

The article is a presentation of organ instruments found in Catholic churches and chapels in the Diocese of Gliwice. The first part of the article is a short description of the history of the diocese. The main part of the article is a list of organs in alphabetical order by place names and church names including 134 instruments. The last part of the article is a summary prepared based on a few criteria: the number of organs built in chronological order, the builders of the instruments and the technical and construction solutions used.

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Historic Organ in Lubecko. History and Future

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Koenig F.

Folia Organologica. International yearbook of organ and organ music

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2023

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nr 1

127-137

EN

The article discusses the organ in Lubecko built in 1780 in Jemielnica and then relocated to Lubecko before 1834 (that year, the organ was already being renovated by Johann Hawel). For many years, it was believed the organ was built by the Scheffler family company operating both in Jemielnica and in the Lubliniec region. However, it has been discovered that a sticker placed in the pallet box of the windchest contains extremely important information that the actual builder of the organ was Franz Joseph Weiss who worked in Pyskowice in Upper Silesia at the turn of the 18th and 19th centuries. The organ therefore is of high cultural value due to both the person of its builder and the construction solutions used. Currently, the organ is out of use. It requires a restoration plan and being entered into the register of monuments.