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Topic: Gottfried Silbermann

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	Gottfried Silbermann - Wikipedia, the free encyclopedia
		Gottfried Silbermann (January 14, 1683-August 4, 1753) was an influential German constructor of keyboard instruments.
		Silbermann invented a device by which the player could lift all of the dampers off the strings, permitting them to vibrate freely, either when struck or sympathetically when other notes were played.
		Silbermann's fame as a builder and teacher was such that for many decades he was regarded as the inventor of the piano; it was only with nineteenth century scholarship that this honor was restored to Cristofori.
	en.wikipedia.org /wiki/Gottfried_Silbermann (1347 words)

	Gottfried Silbermann - by Jan Van den Hemel
		When he was applying for the patent in 1723, Silbermann couldn't have had a reason to conceal a new instrument; in other words: the pianoforte didn't exist for him at that moment.
		A few catching differences between this Cristofori from 1726 and the Silbermann from 1749 are: The hammer shanks of the Cristofori are longer according to the bass, while Silbermann's hammer shanks all have the same length.
		It's quite possible that both the Freiburger Silbermann and his Strasbourger family were already looking for an easier solution before the 1740's, and thus laid the foundation of the "Prell mechanism"; the simple and efficient precursor of the "Viennese mechanism".
	www.pianoforte-vdh.com /GB/art2.htm (1459 words)

	Piano - Wikipedia, the free encyclopedia
		One of these builders was Gottfried Silbermann, better known as an organ builder.
		Silbermann's pianos were virtually direct copies of Cristofori's, with one important addition: Silbermann invented the forerunner of the modern damper pedal, which lifts all the dampers from the strings at once.
		Silbermann showed Bach one of his early instruments in the 1730s, but Bach did not like it at that time, claiming that the higher notes were too soft to allow a full dynamic range.
	en.wikipedia.org /wiki/Piano (4987 words)

	Biographie
		Gottfried Silbermann was born on January 14, 1683 as the youngest son of Anna, Maria Preussler and Michael Silbermann, carpenter and resident of Kleinbobritzsch.
		However, as Gottfried was a resident of Freiberg since 1711, his death has been noted in the local registry.
		Gottfried Silbermann`s last will was at one time located in the archives of the town of Freiberg.
	www.frauenstein-erzgebirge.de /silbermann/silb_uk/leben/biographie.html (401 words)

	GOTTFRIED SILBERMANN: German Baroque Master Organ-Builder
		Gottfried's father was a craftsman-woodworker from whom no doubt the young Gottfried learned the precision woodworking, so vital to avoid any wind-leakage, which is one of the hallmarks of his instruments.
		Silbermann was well-versed in the science of acoustics, and his instruments were carefully sited for maximum acoustical effect in each individual church.
		Gottfried also enjoyed an excellent appreciation and knowledge of music, which was essential if his instruments were to express with clarity the (largely contrapuntal) music of the time.
	www.baroquemusic.org /silbeng.html (2037 words)

	Silbermann
		Because Gottfried Silbermann was a near contemporary of Bach, because they worked in the same area of Germany, and because we know that Bach respected Silbermann's work, we associate the work of these two men.
		Gottfried Silbermann's organs had some characteristics commonly found in other organs of Saxony or Thuringia - - the nearby section of Germany in which Bach was born and worked earlier in his career.
		Silbermann's reed stops were particularly well built, and he seems to have included them on larger instruments in the French manner, enabling a French Grand jeu to be played on his organs with particular fidelity to their original aesthetic.
	www.concertartist.info /organhistory/history/hist034.htm (1532 words)

	OrganFocus.com Feature: J. S. Bach and the Organ - Some Neglected Threads
		The instruments of Gottfried Silbermann retained their specific cachet, but that widely acknowledged award of distinction was a matter of survival, not of revival.
		Silbermann's forthright voicing, his frenchified mutations and reeds, and his taste for brilliant tone would have represented one end of the spectrum.
		Silbermann, true to form, plays safe, and would doubtless have argued that the provision of pedal upperwork was catered for in his design by means of a pedal coupler that operated separate pallets in the Hauptwerk soundboard.
	www.organfocus.com /features/scholarly_works/bicknell.php3 (4233 words)

	OrganART Media - Gottfried Silbermann Organ, Reinhardtsgrimma
		The organ was built in 1729-31 by Gottfried Silbermann of Frauenstein/Sachsen, Germany.
		This instrument represents a typical Silbermann middle-sized church organ and was one of the favourite instruments of Helmut Walcha and Herbert Collum/Kreuzkirche of Dresden.
		Typical Gottfried Silbermann organ features are strong and sharp aliquote stops, such as the 1 1/2', 2' and 3', rich and warm 8' Principal stops and bright superoctave stops, such as the 4', 2' and 1'.
	www.organartmedia.com /RGrimma-Intro.html (448 words)

	The Clavichords of Haydn and C.P.E. Bach
		Silbermann clavichord and favourite instrument, upon which he played three or four of his choicest and most difficult compositions...
		In the pathetic and slow movements, whenever he had a long note to express, he absolutely contrived to produce, from his instrument, a cry of sorrow and complaint, such as can only be effected on the clavichord, and perhaps by himself.
		It is therefore at least possible that Bach's famous Silbermann clavichord was a diatonically-fretted instrument of modest size, with a compass of four octaves and a major third.
	www.bavington.nildram.co.uk /bachaydn.htm (2797 words)

	Bach's Organ Music on Silbermann Organs 2: Grosshartmannsdorf
		Bach and Gottfried Silbermann, of similar age and living in the same area, were firm friends and colleagues.
		From the silvery flutes to the strong and reedy 16' Posaune in the pedal, Silbermann's sounds were unique, and indeed were constantly praised by organists in their testimonies of his instruments.
		On October 27th, 1738 a new church for the village of Grosshartmannsdorf was dedicated, and Gottfried Silbermann was contracted to supply a new organ.
	www.baroquecds.com /709Web.html (457 words)

	GOTTFRIED SILBERMANN: Master Organ-Builder of the German Baroque
		Gottfried Silbermann (1683-1753) and Johann Sebastian Bach (1685-1750) were contemporaries and are known to have worked together as colleagues and friends.
		Gottfried Silbermann's last, and largest work was his 3-manual, 47-stop instrument for the Katholische Hofkirche - now renamed Trinity Cathedral, in Dresden.
		It is hoped to reconstruct the Silbermann organ in its original specification - a fitting tribute indeed to this Master Organ-Builder of the German Baroque, whose fame had spread during his lifetime well beyond his native Saxony, and whose "Silver Sounds" would be acclaimed by famous composers and musicians long after his death.
	www.bayarea.net /~kins/AboutMe/Bach/JSB_bio_Arton/silbeng.html (1981 words)

	Perspective
		Gottfried Silbermann strove for a cohesive tonal mass through careful tonal design instead of depending upon favorable environment and coincidental circumstances.
		Silbermann, however, compromised the parallelism by using different diameter scales, slightly smaller, for quints, tierces, and mixtures, but the degree and relationship of the parallelism remained the same throughout the chorus.
		Silbermann's system produced a certain balance which made it musically effective in polyphony although full clarity, which must be understood to be a function of balance within the individual division, was probably not achieved until the highest rank of upper work was drawn.
	www.lawrencephelps.com /Documents/Articles/Phelps/perspective.shtml (8599 words)

	The Gottfried Silbermann Legacy
		After his death, the influence of Gottfried Silbermann was to live on and indeed to flourish to a very remarkable extent.
		Silbermann had apparently heard of Cristofori's instrument in 1725 through the appearance of a German translation of an Italian account of it.
		So well-known was Gottfried Silbermann as an organ-builder - and indeed his reputation today rests on that special skill - that his work as an equally famous builder of large clavichords is often overlooked.
	www.baroquemusic.org /silblegacy.html (1469 words)

	Tour 2003: June 16 in Freiberg (Site not responding. Last check: 2007-11-01)
		That one is of particularl interest because Silbermann left registration suggestions for the instrument, and we all had planned to play works that allowed us to hear his suggestions on that organ.
		Our first Silbermann organ of the day was in the Petrikirche, an active parish whose activities have required several modifications to the building, some of them resulting in an unfortunate acoustical situation -- at least from the standpoint of the sound of the organ.
		This was the first Silbermann string we had heard, and I was surprised to hear that this conical stop was voiced less like a string than a Spitzflöte.
	www.jandjcook.com /Tour2003/June16.html (1240 words)

	Gottfried Silbermann - New CD set features all remaining organs of German Master Baroque Organ Builder (Site not responding. Last check: 2007-11-01)
		Gottfried Silbermann (1683-1753), a contemporary and friend of Johann Sebastian Bach (1685-1750), ranks as one of the most significant organ builders of the baroque period.
		A small classical label, Querstand, which has made the organ its particular mission, has recently searched out all the preserved Silbermann Organs, including the smaller instruments, and used the 250th anniversary in 2003 of Silbermann's death as a reason to produce a complete edition of the preserved Silbermann organs.
		On the CD set, a gem for organ and organ music fans, various top-class performers play pieces by composers that were either contemporaries of Silbermann or have a significant relation to the famous organ builder.
	www.mvdaily.com /news/item.cgi?id=300456 (175 words)

	The Great Silbermann Organ (1714), Freiberg Cathedral, Saxony
		Germany is exceptionally rich in historic organs, and a particularly fruitful area for exploration is the state of Saxony in southeast Germany, with no fewer than thirty-one baroque instruments by one master-builder, Gottfried Silbermann, most of them in near-original condition.
		From 1702 to 1707 Gottfried studied the arts of organ-building with his elder brother Andreas in Strasbourg, and for two of these years with Thiery in Paris.
		Today there are still thirty-one Gottfried Silbermann organs in original baroque condition, all located within the borders of, or very close to Saxony.
	www.baroquemusicdownload.com /silfrei.html (624 words)

	RECONSTRUCTING SILBERMANN'S CEMBAL D'AMOUR
		Undaunted, Gottfried Silbermann turned his attention to developing the early fortepiano, even winning the approval of J.S. Bach just prior to Bach's death.
		The soundboards ribbing is a blending of the ribbing found on the C-e3 clavichord attributed to Silbermann, with the historical method of running light 6 x 6 mm spruce ribs under the bridge, running roughly perpendicular to it.
		It is not clear how Silbermann dealt with this problem, perhaps he used a limiting rail as on a harpsichord.
	www.harpsichord-sd.com /clavichord/cembal.html (3137 words)

	J. S. Bach and the Organ - Some Neglected Threads
		That no one of these can be identified as a great star in the firmament of organ building tells us not that they were less able, but informs us instead about the social structure of the area in which they plied their trade.
		When Silbermann died in 1754, mid-way through the construction of the large three manual organ for the church of Our Lady in Dresden, it was completed and voiced by Hildebrandt.
		Other builders were content to follow Silbermann more closely footsteps: in Berlin Joachim Wagner was happily building near replicas of the master's work, if anything showing even more caution by providing fewer manual reed stops.
	www.albany.edu /piporg-l/JSB&organ.html (4141 words)

	Music 33: Development of the Piano, 1709-1900
		The earliest extant pianos from Germany, made in the 1740s by Gottfried Silbermann, were the first to have a sustaining (damper-raising) stop.
		Silbermann also used an ivory mutation stop, which imitates the sound of the harpsichord by means of small pieces of ivory brought into contact with the strings just above the hammer's striking point.
		Additionally, a sustaining device was usual on later 18th-century German and Austrian grand pianos, and during the last quarter of the century the mechanism was normally operated by knee levers.
	www.dartmouth.edu /~music33/Mus33projects/nodes/PianoHistory/pedals.html (695 words)

	Église St. Petri, Freiberg (Allemagne)
		It is the largest organ with two manuals by Gottfried Silbermann, built in 1734-35 for the church St. Petri in Freiberg which had burnt down in 1728 and was rebuilt in the following years.
		Gottfried Silbermann has never adapted himself to the organ customs in Saxony and to the wishes of the organists in view of the stoplist and the tuning.
		Also the unequal temperament of the organ is not appropriate to Gottfried Silbermann's ideas, but on the other hand works by J.S. Bach and those from the 19th and 20th century can be played for this very reason.
	alambix.uquebec.ca /musique/orgues/allemagne/freibergsp.html (629 words)

	Église St. Pierre, Freiberg (Allemagne)
		Gottfried Silbermann ne se soumit jamais aux particularités des orgues saxons ni aux demandes des organistes en ce qui concernait la composition d'un instrument et l'accord de celui-ci.
		It is the largest two-manual organ built by Gottfried Silbermann, in 1734-35, for the church St. Peter's church which had burnt down in 1728 and was rebuilt in the following years.
		Gottfried Silbermann has never adapted himself to the organ customs used in Saxony and to the organists' wishes concerning stoplist and tuning.
	www.uquebec.ca /musique/orgues/allemagne/freibergpk.html (1319 words)

	Comments (Site not responding. Last check: 2007-11-01)
		Silbermann's pianos were virtually direct copies of Cristofori's, but with an important exception: Silbermann invented the forerunner of the modern damper pedal (also known as the sustaining pedal or loud pedal), which permits the dampers to be lifted from all the strings at once.
		Silbermann showed Bach one of his early instruments in the 1730s.
		Bach did not like it at that time, claiming that the higher notes were too soft to allow a full dynamic range.
	touch.blogdrive.com /comments?id=14 (2079 words)

	Webseite Tulpenkanzel und Silbermann-Orgel-engl.
		TheGolden Portal (Goldene Pforte) dating from about 1230, the Tulip Pulpit (Tulpenkanzel) built by the master craftsman Hans Witten in 1510 and the singular electroral burial chapel built by the Italian Nosseni - are works of Art which count as objekts of European cultural value.
		Saxony's best known organ builder, Gottfried Silbermann, built this particular baroque instrument between 1711 and 1714.
		The Gottfried Silbermann Festival is organized in his honour at regular intervals and includes numerous concerts and talks on the works of Silbermann and organ building.
	www.freiberg.de /acaws/svfiii_fva_c.nsf/docname/Webseite_A1C22AD1E5F164E9C1256B250041DFA7?OpenDocument (198 words)

	Virtually Baroque: Sweelinck Variations on Secular Songs and Dances
		Gottfried Silbermann Organ, St. Georgenkirche / Rötha, Germany (1721) - Samples by Brett Milan [7:39] (A=465)
		Gottfried Silbermann Organ, Reinhardtsgrimma / Sachsen, Germany (1731) - Samples by Prof.
		Gottfried Silbermann Organ, St. Marienkirche / Rötha, Germany (1722) - Samples by Brett Milan [2:52]
	www.virtuallybaroque.com /swevars.htm (319 words)

	Musical Styles/Baroque
		Later, during the early-to-mid 1900s, the term baroque was applied by association to music of the 17th and early 18th century, and today the term baroque has come to refer to a very clearly definable type or genre of music which originated, broadly speaking, around 1600 and came to fruition between 1700 and 1750.
		Many instruments reached the peak of their development at the height of the baroque era; the organs of Arp Schnitger (north Germany) and Bach's close friend Gottfried Silbermann (Saxony, south Germany) were among the period's finest and are still regarded as such today.
		Interestingly however it was the organ builder Gottfried Silbermann, working with Bach, who contributed substantially to the development of the piano.
	members.tripod.com /rlt6/styles-baroque.htm (4891 words)

	Virtually Baroque: MINI-CONCERT NO. 1
		Gottfried Silbermann Organ, St. Georgenkirche / Rötha, Germany (1721) - Samples by Brett Milan [4:43] (a=465)
		Gottfried Silbermann Organ, St. Georgenkirche / Rötha, Germany (1721) - Samples by Brett Milan [2:14] (a=465)
		The tune also is known as "Vater Unser" and this setting consists of 4 verses, two for manual alone, a more elaborate pedal version with embellished chorale, and ending with a two-voice setting for manuals alone.
	www.virtuallybaroque.com /concert1.htm (756 words)

	NEUPERT fortepiano after G. Silbermann
		Gottfried Silbermann (1683-1753) was not only one of the most famous organ builders of his time, he was also very active in inventing and constructing stringed keyboard instruments.
		Besides the invention of the "Cembalo d'amour", a clavichord with a double length of sounding strings, Gottfried Silbermann was the first instrument maker in the middle of Europe, who started to make fortepianos, which had been invented by Bartolomeo Cristofori in Florence about 1700.
		However, when Silbermann improved his instruments decisively, evidently as a result of a detailed examination of a Cristofori fortepiano, Bach gave them his "complete approval".
	www.jc-neupert.de /e/instr_2/silber_ham.htm (260 words)

	The Silbermann-organ in the Church of Reinhardtsgrimm
		In 1730, 12 years before the big rebuilding of the church (1742), the church got ist organ from the famous organ-builder Gottfried Silbermann (1683 - 1753), who was from Freiberg and had the title:"Königlich Polnischer und Kurfürstlich-Sächsischer Hof- und Landorgelbauer".
		The supporters, led by two sisters, who were the patrons of the church, feared that the famous Gottfried Silbermann wouln´t have any time to build
		The singing tune and mild shine that lays over the registers are characteristics of Silbermann´s principles and here they come into light abundantly.
	www.reinhardtsgrimma.de /silbermannorgel/index_e.htm (318 words)

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