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Music and Time

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Features of the Temperament of the Organs of Northern Germany XVII–XVIII Centuries and Works in Modis Fuctis
O.Yu. Kijowski

In contemporary performing arts, including organ, issues related to the study of old music are becoming increasingly relevant. Study of preserved documents and treatises of the XVII–XVIII centuries. contributes to a more critical reading of the musical text, and acquaintance with preserved historical instruments greatly helps in solving many issues related to the interpretation of the repertoire of the Renaissance and Baroque. Despite the ongoing research, a number of questions remain that cause great discussion among performers and musicologists. One of them is the performance of the compositions of composers of the North German organ school on historical instruments with uneven temperament. Despite the fact that in Northern Germany in the 17th century the so-called meantone or “Praetorian” temperament, which did not provide for the equal use of all tonalities, was widespread, a large number of compositions have survived, whose tonal plan goes far beyond the limits of permissible harmonies of the existing system. The 17th century North German organist A. Werkmeister uses the term in modis fuctis to refer to such compositions. With the help of certain historical facts and theories put forward by organists and musicologists on the basis of personal performing experience, one can try to find out the reason for the emergence in the late XVII–early XVIII centuries. compositions in the keys E-Dur, e-moll, B-Dur, fis-moll and how acceptable is the performance of such compositions on historical organs with an unevenly temperament system these days.
Keywords: meantone tuning, equal temperament, in modis fuctis, A. Werkmeister, D. Buxtehude.

Pp. 19-24.

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