Acknowledgments
With thanks to and appreciation of my highly estimated colleagues!
2023
Wolfgang von Schweinitz, Georg Hajdu, Manfred Stahnke: Gespräch für György Ligeti - Teil 2.
In: Manfred Stahnke et. al. (eds): György Ligeti im Spiegel seiner Hamburger Kompositionsklasse: through a glass, and darkly, but face to face.
Norderstedt: BoD - Books on Demand, 2023. EPub
p. 336, footnote78 , reference to Lindley/Ortgies 2006.
2021
Hans Fidom: „Hyperorgan Aesthetics: New Sensibility.“ In: Hild Bochgrevink: Lydkilder. Tekster omkring Nils Henrik Asheims musikalske praksis.
Stavanger (Norway): Pelikanen forlag AS, 2021.
p. 340, footnote 29: „In order to make both organs sound on the same pitch, the Orgelpark assigned Ibo Ortgies to design the temperament for the Utopa Baroque Organ, containing four 1/5 comma fifths and two 1/10 comma fifths. These are distributed in such a way that the organ has very nice thirds when played on its built-in mechanical keyboards (there, it turns on in a1 = 415,3 Hz), and good fifths on the white keys when played on the digital console (on which it turns on in a1 = 442 Hz).“
2020
Silvan Moosmüller: Von der himmlischen Harmonie zum musicalischen Krieg. Semantik der Stimmung in Musik und Literatur (1680-1740).
Göttingen: Wallstein, 2020.
p. 99, footnote 14, reference to Ortgies "Temperatur" 2008, p. 624
p. 158, footnote 2, reference to Ortgies "Temperatur" 2008, p. 631
Sevastianos Motorinos: "Η σχέση των ιστορικών κουρδισμάτων των πληκτροφόρων με τα εκφραστικά χαρακτηριστικά των τονικοτήτων κατά τον τον 17ο και 18ο αιώνα."
Athens: Ionian University Department of Music Studies (Undergraduate course of studies), 2020, online available.
p. 22, footnote 51, reference to Ortgies 2014 ("Johann Sebastian Bach and Temperament."
Benjamin D. Rollings: From Pipe Organ to Pianoforte: The Practice of Transcribing Organ Works for Piano with a Critical Study of César Franck's Prélude, Fugue Et Variation, Op. 18 and Johann Sebastian Bach's Prelude and Fugue in D Major, BWV 532.
PhD-thesis (Doctor of Music) [available as pdf-file]
Bloomington (Ind./USA): Indiana University (Jacobs School of Music), 2020.
p. 85–86, 89 reference to my dissertation 2004)
p. 87-88 reference to Ortgies ""Johann Sebastian Bach and Temperament." 2014 (albeit with misquoted title).
p. 140p. 305, 310 Bibliography
2019
Patrizio Barbieri: "Allargamento tonale nelle composizioni per tastiera al tempo di Frescobaldi. Con sviluppi tardo-seicenteschi verso temperamenti di tipo circolante."
In: Informazione Organistica XXX (2019), no. 2, pp. 179–216.
p. 186, footnote 18, reference to my article on subsemitones cf. Ortgies 2003
2018
Peter Bavington: "The History of the Meerbach Clavichord in the Geelvinck Music Museum Zutphen".
Zutphen (NL): Geelvinck Music Museum, 2018.
[Article on the webpage of the museum, giving an account of the history of the clavichord (Gotha, c. 1800) by Johann Christian Meerbach, 1738–1824. The clavichord was formerly part of the Colt Collection, Bethersden (Kent, UK).
"2012. In that year an incident occurred which was reported by one of the witnesses (Claudio di Veroli) as follows:
[Among the] clavichords, I noticed an … unfretted one, with a … painted lid, perhaps a late re -decoration … we were in another room when suddenly we heard a great noise, we ran to it and were astonished to find that the roof had broken and water was coming [in] by the bucket, precisely inside the strange-looking clavichord! … we moved it to a safe place, put it vertical on the floor to help the water out from the instrument, and finally with some paper towels we removed as much water as possible from the soundboard. Hopefully it is something that can be restored.
It is likely that this incident was the cause of the damage which made the instrument unplayable until the recent superb restoration by Sander Ruys."
"2012 The building concern (W. H. Colt, Son & Co. Ltd) transferred their operations to Woodchurch; the instrument collection remained at Bethersden.
[2012, September 26] The clavichord was filled with water as a result of a roof leak; it was rescued by two visitors to the collection, Claudio di Veroli and Ibo Ortgies, who happened to be on the spot, but some damage occurred."
2017
Matthias Lundberg, Maria Schildt, and Jonas Lundblad: Forskningsöversikt om tidig kyrkomusik (c.1500-c.1750).
Uppsala: Uppsala universitet, 2017.
(URN: urn:nbn:se:uu:diva-332995)
p. 33-34: "Både Ibo Ortgies och Johan Norrback har som forskare knutna till GOArt i ett flertal publikationer studerat historiska instrument som källa till kunskap av tidigmodern spelpraxis. Norrbacks avhandling A passable and good temperament: a new methodology for studying tuning and temperament in organ music (Norrback 2002) studerar tempereringsfrågornas (”orgelns stämning”) betydelse för J. S. Bachs orgelmusik, medan Ortgies studerat deras påverkan inom ensemblespel, repertoarspel och improvisation i ett flertal publikationer – främst i avhandlingen Die Praxis der Orgelstimmung in Norddeutschland im 17. und 18. Jahrhundert und ihr Verhältnis zur zeitgenössischen Musikpraxis (Ortgies 2004, jfr 2003, 2008, 2011a-b).
Bergelt, Wolf: "Zur Geschichte der Scherer-Orgel."
In: Die Stadt in der Kirche. Die Marienkirche in Bernau und ihre Ausstattung., ed. by Thomas Drachenberg.
Berlin: Lukas Verlag, 2017 (= Arbeitshefte des Brandenburgischen Landesamtes für Denkmalpflege und Archäologischen Landesmuseums 40).
p. 213, footnote 16 (reference to my article about Arp Schnitger in the Neue Deutsche Biographie, 2007).
Albrecht Schneider, Richard von Busch, and Christof Adam: "Mitteltonstimmung und Wohltemperierung im Vergleich."
In: Ars organi 65 (2017), no. 3, p. 163–172.
p. 172 (reference to my dissertation 2004 in the bibliography).
Albrecht Schneider and Andreas Beurmann:
"Explorations in Keyboard Temperaments. Some Empirical Observations."
In: Schneider A. (ed.): Studies in Musical Acoustics and Psychoacoustics.
Cham: Springer, 2017 (= Current Research in Systematic Musicology 4).
Reference to my dissertation 2004.
Siegbert Rampe: "Matthias Weckmann zum 400. Geburtstag."
In: Musik & Gottesdienst 77 (2017), no. 1, p. 11–21.
p. 11 (footnote 2, reference to Ortgies "Neue Erkenntnisse" 1993).
Catherine M. Oertel and Annette Richards: "Music and materials: Art and science of organ pipe metal."
In: MRS Bulletin 42 (2017), no. 1, p. 55-61.
p. 57 (photo acknowledgment: "Severely corrosion-damaged organ pipe in the F. Stellwagen-organ from 1637 in Lübeck, Germany." [The photo of the organ in the collage itself is not by me]).
Pieter Dirksen "Johann Jacob Froberger in Dresden."
In: Schütz-Jahrbuch 39 (2017), ed. by Jürgen Heidrich et. al.
Kassel: Bärenreiter, 2018, pp. 20-28.
p. 20 (footnote 4, reference to Ortgies "Neue Erkenntnisse" 1993).
2016
Peter F. Williams: Bach. A musical biography.
Cambridge: Cambridge University Press, 2016.
p. xiv ("Acknowledgements").
Uwe Pape: Orgeln und Orgelbauer in Braunschweig.
Berlin: Pape, 2016 (= Monographien zur Orgeldokumentation 17; Veröffentlichung der Gesellschaft de Orgelfreunde 278; Veröffentlichung der Internationalen Arbeitsgemeinschaft für Orgeldokumentation 17).
pp. 590, 617 (references to my research about Friederich Stellwagen, cf. Ortgies 2006 [MGG] and Vogel-Festschrift, Ortgies 2007 [Buxtehudes Orgeln ...])
Fabian Brackhane: "Orgelbarock 2.0 oder: Die Quadratur des Kreises? Eine neue Hybrid-Orgel für den Amsterdamer Orgelpark."
In: Organ. Journal für die Orgel, no. 4, 2016, pp. 48–51.
Heiko Maus: Matthias Weckman. Das Leben des Hamburger Jacobi-Organisten und sein Schaffen für die Vox Humana. Herzberg: Traugott Bautz GmbH, 2016.
(numerous references)
Martin Kirnbauer: " 'Vieltönigkeit' instead of microtonality. The theory and practice of sixteenth and seventeenth-century 'microtonal' music."
In: Experimental Affinities in Music, ed. by Paulo de Assis.
Leuven: Leuven University Press, 2016.
pp. 68 and 90 (reference to my research on subsemitones, cf. Ortgies 2003)
Mark Lindley: "Nuance and innovation in part I of the '48'."
In: Experimental Affinities in Music, ed. by Paulo de Assis.
Leuven: Leuven University Press, 2016.
pp. 105 and 127 (reference to Lindley/Ortgies 2006)
Andreas Waczkat: "Anbindung an die Welt? Reise- und Transportrouten im Ostseeraum und ihre Bedeutung für die Musikkultur."
In "Verwandlung der Welt"? Die Musikkultur des Ostseeraums in der Sattelzeit ed. by Martin Loeser.
Berlin : Frank & Timme, Verlag für wissenschaftliche Literatur, 2016, pp. 49-59
= Greifswalder Beiträge zur Musikwissenschaft 21.
p. 53 (footnote 17, reference to Rost/Ortgies 2000).
Benjamin Shute: Sei Solo: Symbolum? The Theology of J. S. Bach's Solo Violin Works.
Eugene: Pickwick Publications, 2016.
p. 154 (note 107: reference to Lindley/Ortgies 2006).
Mattias Lundberg: Tonus Peregrinus: The History of a Psalm-tone and Its Use in Polyphonic Music.
London a. New York: Routledge, 2016.
p. 267 (footnote 46, reference to presentation 2003).
Franz Körndle: "Paul Prescher, das Subsemitonium und der Denkmalschutz."
In: Beitragsarchiv zur Jahrestagung der Gesellschaft für Musikforschung Halle/Saale 2015 – »Musikwissenschaft: die Teildisziplinen im Dialog«, ed. by Wolfgang Auhagen a. Wolfgang Hirschmann.
Mainz: Schott Campus, 2016 [available as pdf-file, urn:nbn:de:101:1-201609083185]
pp. 4 and 6 (text and footnotes 12, 14, and 22, references to my articles on subsemitones/split keys 2000, 2003, 2004, 2007).
Michèle Duguay: The Influence of Unequal Temperament on Chopin’s Piano Works.
London a. New York: Routledge, 2016. [Thesis for the degree of a Master of Arts in Music Theory, Dept. of Music Research, Schulich School of Music, McGill University Montréal, Canada].
(Link)
p. 107 (Lindley/Ortgies 2006 listed in the bibliography).
Alexander Francis Meszler: Buxtehude and the Meantone Organ: Developing an Analytical Approach to Music's Relationship to Temperament.
M.M. (Master of Music) thesis [available as pdf-file]
Lawrence (US-KS): University of Kansas, 2016.
p. 4, 8, 9, (110). [Only references to my "Subsemitones in Organs Built between 1468 and 1721: Introduction and Commentary with an Annotated Catalog.”, 2003.]
Fabio Rigali: Sounding wood. Tonal differences of woods employed in historical soundboards.
Student essay (masteruppsats) [available as pdf-file]
Göteborg: University of Gothenburg, 2016.
p. 6 (Acknowledgements).
2015
Mark Lindley: "Nuance and Innovation in Part I of the '48'."
In: Experimental affinities in music, ed. by Paulo de Assis.
Leuven: Leuven University Press, 2015, pp. 105-127.
p. 105 (footnote 1, reference to Lindley/Ortgies 2006).
Beate Bugenhagen: Die Musikgeschichte Stralsunds im 16. und 17. Jahrhundert.
Köln: Böhlau, 2015.
pp. 282-283 (various references to my dissertation 2004, MGG-articles on Schnitger 2005 and Stellwagen 2006, Rost/Ortgies 2000), 421.
João Segurado: Never Heard Before. A Musical Exploration of Organ Voicing.
PhD-dissertation [available as pdf-file]
Göteborg: University of Gothenburg, 2015. = Art Monitor dissertation No. 51
p. v (Acknowledgements).
Uwe Pape, Wolfram Hackel (eds.): Lexikon norddeutscher Orgelbauer Band 3. Sachsen-Anhalt und Umgebung.
Berlin: Pape Verlag, 2015.
Andrej Štafura, Štefan Nagy, and Naďa Beronská: "Organový pozitív v Sáse a význam komplexného organologického výskumu." [The Positive Organ in Sása and the Significance of Complex Organological Research.] [available as pdf-file]
In: Musicologica Slovaca 6 [32], 2015, č. 2, p. 215-249.
p. 247 (footnote 23), (249): (references to my PhD- dissertation 2004).
Katherine Lin: [Topic proposal for DMA-PhD-thesis (in Piano Performance)]: The Unequal Tuning System of Well-Temperament and Its Influence on Key Characteristics in J.S. Bach’s Well-Tempered Clavier.
New York University (Steinhardt School of Culture, Education and Human Development, Dept. of Music and Performing Arts Professions), 2015.
p. 15 (reference to Lindley/Ortgies 2006).
Hans Fidom: "Rethinking Organ Music - The Listener's Perspective". [available as pdf-file]
In: The Organ Yearbook 44, 2015, p. XXX-XXX.
footnote 25
"The ‘Evangelisch-Lutherische Kirchengemeinde St. Marien in Lübeck’ organised an international symposium ‘zur Zukunft der Orgeln in St. Marien’, including the famous Totentanz organ. [...] Ibo Ortgies, the keynote speaker at the symposium, formulated a partly tongue-in-cheek, partly serious suggestion to furnish the Marienkirche with no less than eight organs, each covering specific functions – based on the organs that church had over the past six hundred years."
footnote 26, various references to my dissertation 2004, p. 30, 69, 75, 169
footonte 45, reference to Ortgies 2014 ("Johann Sebastian Bach and temperament")
p. 247 (footnote 23), (249): (references to my PhD- dissertation 2004).
Masumi Yamamoto: The Use of Meantone Temperament in the Performance of Keyboard Music by Johann Jacob Froberger.
PhD-thesis (Music) [available as pdf-file]
York (UK): University of York, 2015.
p. 6, 33-35, 37, (140). [References to my "Subsemitones in Organs Built between 1468 and 1721: Introduction and Commentary with an Annotated Catalog.”, 2003.]
Stewart Smith: "From Matrix to Model: Conceptualising Improvised Counterpoint at the Organ."
In: Proceedings of the 2015 WA Chapter of MSA Symposium on Music Performance and Analysis, ed. by Jonathan R. Paget, Victoria Rogers, and Nicholas Bannan. [available as pdf-file]
Perth: Edith Cowan University, 2015, pp. 73-82. [single article available as pdf-file]
p. 82 ("Our default position, that all surviving keyboard music was expressly written to be performed or interpreted, needs to be seriously questioned.21" Footnote 21. Reference to my dissertation 2004, chapter 10).
2014
Michael Belotti: "Die Registrierung des seel. Jacob Schultzen". Zur Wiedergabe der Orgelmusik von Jacob Praetorius."
In: 375 Jahre Scherer-Orgel Tangermünde [Die größte Renaissance-Orgel der Welt]. Symposium "Die norddeutsche Orgelkunst zu Beginn des 17. Jahrhunderts". Tangermünde, 30./31. Juli 1999, ed. by Christoph Lehmann.
Berlin: Freimut & Selbst, 2014, pp. 39-49.
p. 45 (footnote 23, reference to Ortgies "Neue Erkenntnisse" 1993).
Siegbert Rampe: Orgel- und Clavierspielen 1400 - 1800. Eine deutsche Sozialgeschichte im europäischen Kontext.
München and Salzburg: Katzbichler, 2014.
p. 85, 92–93, and 315 (reference to my PhD- dissertation 2004).
Cees van der Poel: Verleden en tegenwoordige staat van het orgel in de Grote Kerk van Zwolle.
[Report/Documentation about the Schnitger-organ.]
Zwolle: Stichting Schnitgerorgel Zwolle, 2014.
p. 34 (reference to Van Wijk/Ortgies 2003 and to my PhD- dissertation 2004)
p. 52 (reference to my PhD- dissertation 2004).
Kristian Wegscheider: "The 'Secret' of Tuning Methods in Organ building."
In: The New Baroque Organ at the Orgelpark, ed. by Hans Fidom.
Amsterdam: Orgelpark, 2014: §§ 84–139.
= Hans Fidom (ed.), vol. 5/1, Orgelpark Research Reports.
§ 96-97 (reference to my PhD-dissertation 2004 and my research on the case of the tuning of the organ in Bremen, Liebfrauenkirche [Our Lady], in 1641)
Koos van de Linde: "What temperament should the New Baroque Organ have?"
In: The New Baroque Organ at the Orgelpark, ed. by Hans Fidom.
Amsterdam: Orgelpark, 2014: §§ 183-223.
= Hans Fidom (ed.), vol. 5/1, Orgelpark Research Reports.
§ 184-186, 188, 191, 202, 205 (references to my PhD-dissertation 2004)
Marek Pilch and Marek Toporowski: Dawne temperacje. Podstawy akustyczne i praktyczne wykorzystanie.
Katowice: Akademia Muzyczna im. Karola Szymanowskiego w Katowicach, 2014.
pp. 79, 90, 102, 108, 116, 145
Emma Whitten: Synthesizing Styles: International Influence on Organ Music in Restoration England.
[Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts].
Phoenix/USA: Arizona State University, 2014.
p. 18, footnote 46 (reference to my article on subsemitones/split keys 2003)
2013
Pieter Bakker: Harmonische Zahlen. Die Musiktheorie des Andreas Werckmeister.
Schraard (NL): Pieter Bakker and Stichting Kunst en Wetenschap, 2013. Transl. into German by Bianca Fleßner.
ISBN 978-90-79151-08-0. [Download as pdf-file.]
p. 99 (bibliography, reference to Ortgies "Subsemitoetsen bij historische orgels ...", 2000.
Jochem Schuurman: De Nederlandse orgelcultuur.
Master thesis, Prins Claus Conservatorium, Groningen.
p. 42 (reference to my "Vallotti in het Groningerland. Over de restauratie van temperaturen." [Vallotti in the Dutch province of Groningen. On restoration of temperaments.], 2002):
" Ibo Ortgies heeft argumenten om een rij gezet die erop wijzen dat de middentoontemperatuur tot ver in de 18de eeuw de standaardtemperatuur was in Noord-Europa, terwijl er bij restauraties vaak een Vallotti-achtige stemming in oude orgels wordt gelegd. [...] Ik teken aan dat er tot nog toe niemand is geweest die argumenten heeft gepubliceerd die regen de redeneringen van Fauquet, Ortgies of Van der Schoot ontkrachten; en bovendien dat wat er wel is gepubliceerd, bedoeld is om tegengestelde meningen te beredeneren."
2012
Michael Belotti: Franz Tunder. Sämtliche Orgelwerke. Complete organ works.
Wiesbaden: Breitkopf & Härtel, 2012. [EB 8825]
pp. 7 and 12 (footnote 7, reference to Ortgies "Neue Erkenntnisse" 1993).
Pieter I. Bakker: Harmonische getallen. De muziektheorie van Andreas Werckmeister.
Schraard: Stichting Kunst en Wetenschap, 2012.
[available as pdf-file, revised version of earlier articles in Het Orgel 98 no. 2 (2002), De Rode Leeuw no. 141 (2002), Het Orgel 100 no. 1 (2004), De Rode Leeuw no. 95 (1998), and Het Orgel 99 no. 6 (2003).]
p. 39 (literature list: reference to my article on subsemitones/split keys 2003).
Margret C. Gries: Expressive intonation as rhetoric in the performance practice of instrumental music in London (1650–1720).
Eugene: University of Oregon, 2012. [PhD-dissertation, available as pdf-file]
p. 18 (footnote 30, reference to my PhD-dissertation 2004).
Bjarke Moe: "Heinrich Schütz as European cultural agent at the Danish courts."
In: Schütz-Jahrbuch 33 (2011), ed. by Walter Werbeck et. al.
Kassel: Bärenreiter, 2012, pp. 129-142.
[The article is available as pdf-file]
p. 132 footnote 21, reference to Ortgies "Neue Erkenntnisse" 1993).
Andreas Waczkat, Elisa Erbe, Timo Evers, Rhea Richter, Arne zur Nieden: "Heinrich Schütz und Otto Gibel [Gibelius]."
In: Schütz-Jahrbuch 33 (2011), ed. by Walter Werbeck et. al. Kassel: Bärenreiter, 2012, pp. 119-128.
pp. 127 and 128 (footnotes 30 and 34, reference to my PhD- dissertation 2004).
Josef Edwin Miltschitzky: "Ottobeuren: ein europäisches Orgelzentrum. Orgelbauer, Orgeln, und überlieferte Orgelmusik."
PhD-dissertation, Universiteit van Amsterdam, Amsterdam 2012. [available as pdf-file]
pp. 221 and 382, reference to consulting work concerning the Riepp organs in Ottobeuren.
Christoph Wolff, Markus Zepf, (Lynn Edwards Butler, transl.): The organs of J.S. Bach. A handbook.
Champaign, IL: University of Illinois Press, 2012
p. 60 (references to articles 2004 on Bartold Hering and Vogel-Festschrift 2006 concerning Lübeck, St. Mary's/Marienkirche)
p. 172 (reference to MGG-Schnitger 2005)
p. 187 (reference list: Besides the previously mentioned articles my PhD- dissertation 2004 is listed here).
Albert Mühlböck: Recovering the Clavichord for the Modern Pianist.
DMA-thesis (Doctor of Musical Arts, University of Cincinnati, College-Conservatory of Music: Piano).
Cincinnati/USA: University of Cincinnati, 2012.
p. 70 (bibliography, reference to my interview “Beim Spielen Singend Denken. Im Gespräch Siegbert Rampe.” Concerto 122 (April 1997))
Jürgen Neubacher: Georg Philipp Telemanns Hamburger Kirchenmusik und ihre Aufführungsbedingungen (1721-1767). Organisationsstrukturen, Musiker, Besetzungspraktiken. Hildesheim: Olms, 2009 (sec. rev. ed. 2012).
See below 2009 (first edition)
2011
Mattias Lundberg: Tonus peregrinus. The history of a psalm-tone and its use in polyphonic music.
Farnham: Ashgate, 2011.
pp. 267-268 (footnote 46), p. 306 (bibliography), references to presentation 2003)
Kerala J. Snyder: "Beyond sources and works. A fresh look at Buxtehude's legacy."
In: The Dissemination of Music in Seventeenth-Century Europe. Celebrating the Düben Collection. Proceedings from the International Conference at Uppsala University 2006, ed. by Erik Kjellberg.
Bern: Peter Lang AG, Internationaler Verlag der Wissenschaften, 2011, pp. 305-324.
p. 318 (footnote 35, reference to my PhD-dissertation 2004), 321.
Kerala J. Snyder: "Buxtehude’s Pedaliter Keyboard Works: Organ or Pedal Clavichord? Buxtehudejeva pedalna dela za instrumente s tipkami: orgle ali pedalni klavikord."
Muzikološki zbornik /Musicological Annual [Dept. of Musicology, Univ. of Ljubljana, Slovenia, ISSN 2350- 4242] no. 2, vol. 47 (2011) p. 9–26.
p. 24-25 (References to my PhD-dissertation 2004)
Dalibor Miklavčič: "Freie Norddeutsche 'Clavierstücke Pedaliter' zwischen Orgel und Saitenclavieren. Severnonemške skladbe 'Clavierstücke pedaliter' med orglami in pedalnimi strunskimi glasbili s tipkami."
Muzikološki zbornik /Musicological Annual [Dept. of Musicology, Univ. of Ljubljana, Slovenia, ISSN 2350- 4242] no. 2, vol. 47 (2011) p. 51–89.
p. 52, 66-67, 71-72, 77 (References to my PhD-dissertation 2004)
Katharina Larissa Paech: "Die 'Norddeutsche Orgelschule'. Wege und Irrwege in Forschung und Rezeption. 'Severnonemška orgelska šola'. Pota in stranpota raziskovanja in recepcije."
Muzikološki zbornik /Musicological Annual [Dept. of Musicology, Univ. of Ljubljana, Slovenia, ISSN 2350- 4242] no. 2, vol. 47 (2011) p. 115–124.
p. 118 ("Ibo Ortgies widersprach Snyders Stimmungshypothese 2002,23 indem er aus eigenen Forschungen zur Temperierung der Orgeln in Lübeck und im ganzen hanseatischen Raum den Schluss zog, Buxtehude habe sein ganzes Leben in Lübeck nur eine mitteltönig gestimmte Orgel zur Verfügung gehabt. Diese These wurde mittlerweile von der Buxtehudeforschung allgemein akzeptiert.")
p. 120, p. 124. (References to my PhD-dissertation 2004)
Gerhard Aumüller, Wolf Hobohm, and Dorothea Schröder: "Harmonie des Klanglichen und der Erschienungsform. Die Bedeutung der Orgelbauerfamilien Beck und Compenius für die mitteldeutsche Orgelkunst der Zeit vor Heinrich Schütz."
In: Schütz-Jahrbuch 32 (2010), ed. by Walter Werbeck et. al. Kassel: Bärenreiter, 2011, pp. 51-105.
[The article is available as pdf-file]
p. 68, footnote 85, reference to Ortgies "Bartold Hering ..." Ars Organi 2004.
p. 99, footnote 195, reference to Ortgies "Stellwagen" Lexikon der Orgel. 2007
Hans Schnieders: Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler.
PhD-dissertation, Universität Heidelberg, 2011. [available as pdf-file]
p. 306 (reference to my article about source Ze1 1995. My research about Ze1 is dismissed here, though, without evidence, based on unsubstantiated claims. For details see my article "Spekulation und Hypothese" from 2006.).
Sergio Martínez Ruiz: Temperament in Bach's Well-tempered Clavier. A Historical Survey and a New Evaluation According to Dissonance Theory.
PhD-dissertation [available as pdf-file]
Barcelona: Universitat Autònoma de Barcelona (Facultat de Filosofia i Lletres, Departament d’Art i de Musicologia), 2011.
(Numerous references to Lindley/Ortgies 2006).
2010
Kerala J. Snyder: "Beyond sources and works. A fresh look at Buxtehude's legacy".
In: The Dissemination of Music in Seventeenth-Century Europe. Celebrating the Düben Collection. Proceedings from the International Conference at Uppsala University 2006, ed. by Erik Kjellberg (=Varia Musicologica 18).
Bern: Peter Lang Verlag, 2010, pp. 305–324.
p. 318, p. 321 (reference to my PhD-dissertation 2004)
Tilman Skowroneck: Beethoven the pianist.
Cambridge: Cambridge University Press, 2010.
p. ix (acknowledgment).
Claudio di Veroli: "Unequal Temperaments: Revisited." [Correspondence, available as pdf-file]
In: The Viola di Gamba Society Journal 4, 2010, pp. 164-182.
p. 173 (text and footnote 11, reference to my review-article "Not quite just" 2007), 176 and 178 (text and footnote 13, reference to Lindley/Ortgies 2006).
Burkhardt Köhler: "Der Stralsunder Komponist Johann Vierdanck. Herkunft und Aufenthalt in der Sächsischen Hofkapelle."
In: Die Musikforschung 63, no. 4 (2010), pp. 401–406 (JSTOR).
p. 406 (reference to my research about Weckman, cf. Ortgies 1993)
David S. Knight: [Review of] Music and its Questions: Essays in Honor of Peter Williams by Thomas Donahue.
In: The Galpin Society Journal 63 (2010), pp. 252–254.
p. 252
"Testing new organs, and organ tuning and temperament are both matters that are frequently invoked in discussions of the music of J. S. Bach. Two complimentary essays explore this theme: Ibo Ortgies in 'A meeting of two temperaments, Arp Schnitger and Andreas Werckmeister' and Lynn Edwards Butler in '"Requisites for a perfect and durable organ", examinations of Silbermann Organs Using Werckmeister's Orgel-probe'. Ortgies explores the questions raised by Schnitger's praise[*] for Werckmeister's well-tempered tuning methods, whilst continuing to tune his organs in meantone. Why? Was it best to praise Werckmeister, even if not following his ideas in practise, or did the client continue to demand meantone tuning? After Ortgies it is almost surprising to be reminded that the testing of a new organ did not always require examination of its pitch or temperament - are we more obsessed with these matters than our forebears, or was temperament seen as a less permanent element of the instrument then than now?"
* A misunderstanding, as I am pointing out in the respective article, that Schnitger is not known to have praised or endorsed Werckmeister's temperament – Schnitger praised the man, not the matter! (cf. Ortgies 2007).
2009
Kerala J. Snyder: "Buxtehude’s Free Organ Works."
[Review of Die freien Orgelwerke Dieterich Buxtehudes: Überlieferungsgeschichtliche und stilkritische Studien. 3rd ed. By Michael Belotti. Europäische Hochschulschriften, Reihe 36, Musikwissenschaft, 136. Frankfurt am Main: Peter Lang, 2004. [333 pp. ISBN 3-631-50170-6.]]
In: Journal of Seventeenth-Century Music 15, no. 1, 2009; https://sscm-jscm.org/v15/no1/snyder.html.
par. 3.3, 3.7, and 3.8. (reference to my PhD-dissertation 2004)
Jürgen Neubacher: Georg Philipp Telemanns Hamburger Kirchenmusik und ihre Aufführungsbedingungen (1721-1767). Organisationsstrukturen, Musiker, Besetzungspraktiken. Hildesheim: Olms, 2009 (sec. rev. ed. 2012).
p. 203, footnote 963, reference to my PhD- dissertation 2004:
"Darüber hinaus zeigte Ibo Ortgies, daß die orgelbauliche Umsetzung einer bereits zu Beginn des 18. Jahrhunderts geforderten gleichstufigen Temperatur erst in der zweiten Jahrhunderthälfte erfolgte und auch dann nur sehr zögerlich (Ortgies 2004, S. 38-88, 177 f. und 257)."
p. 204, footnote 966,reference to my PhD- dissertation 2004:
"(Ortgies zeigte am Beispiel einer Reparatur der Bremer Dom-Orgel im Jahr 1724, daß der von dem Orgelbauer Christian Vater im Kostenvoranschlag verwendete Begriff "egale Stimmung" sich nicht auf die gleichstufige Temperatur bezogen haben kann, da die Orgel nachweislich erst 1775 um gestimmt wurde; Ortgies 2004, Seite 57 und 64)."
p. 205, footnote 972, reference to my PhD- dissertation 2004:
"Ibo Ortgies ging soweit, Telemanns Ansatz als den Versuch einer annähernd-n Darstellung der reinen Ensemble Intonation zu bezeichnen (Ortgies 2004, S. 222-24, hier S. 224). Zur These, daß- unsere Musik und Aufführungspraxis Anlaß zur Entwicklung neuer Temperaturen gaben und nicht das Orgelmusikrepertoire, vgl. ebenda, S. 209 und 238, sowie das Kapitel "Ensemble-Intonation und Orgeltemperatur"; zur Ensemble-Intonation siehe außerdem Eichhorn 1997. "
Jaap Jan Steensma: "Schakel tussen Scherer & Schnitger. Het Stellwagen-orgel in de St.-Marien te Stralsund gerestaureerd."
In: Het Orgel 105, no. 1, 2009, pp. 22-36
p. 25 (footnote 11, reference to my article on Friederich Stellwagen 2008).
Siegbert Rampe (ed.): Händels Instrumentalmusik.
Laaber, Laaber-Verlag, 2009. = Das Händel-Handbuch 5, ed. by Hans Joachim Marx.
p. 435 (reference to my article on subsemitones cf. Ortgies 2003)
David Ledbetter: Unaccompanied Bach. Performing the solo works.
New Haven: Yale University Press, 2009.
p. 311, 334
[Review of: The Registration of J. S. Bach’s Organ Works, Quentin Faulkner. Wayne Leupold Editions WL800029; <www. wayneleupold.com>].
In: The Diapason 100, (April) 2009, p. 16–17.
p. 16
2008
Mark Ferraguto: [Review Essay] "Celebrating the Buxtehude Tercentenary."
In: Keyboard Perspectives 1 (2007-2008), ed. by Annette Richards.
Ithaca, N.Y.: Westfield Center for Historical Keyboard Studies, 2008, pp. 153–159.
p. 155 (reference to my PhD-dissertation 2004).
Lena Weman-Ericson: "...världens skridskotystnad före Bach". Historiskt informerad uppförandepraxis ur ett kontextuellt musikontologiskt perspektiv, belyst genom en fallstudie av Sonat i E-dur, BWV 1035, av J S Bach.
PhD-dissertation, Luleå: Luleå tekniska universitet, 2011. [available as pdf-file, with a summary in English; "Summary in English: "...the world in a skater’s silence before Bach". Historically Informed Performance in the Perspective of Contextual Musical Ontology, Illustrated through a Case Study of Sonata in E-major, BWV 1035, by J S Bach]
p. 94 (reference to Lindley/Ortgies 2006).
Hans Fidom:
"Organ Improvisation. An Introduction."
In: New Sound 32 (2008), pp. 53–67.
p. 57 (discussion of and reference to my PhD-dissertation 2004).
Patrizio Barbieri: "Cembali a tasti spezzati: ‘cromatici’ oppure ‘enarmonici’?",
In: Bollettino della Deputazione di Storia patria per l’Umbria CV-2, 2008, pp. 125-130
(Reprint in: Arte organaria e musica per organo nell’età moderna. L’Umbria nel quadro europeo, ed. by Erika Bellini. Perugia: Deputazione di Storia patria per l’Umbria, 2008, pp. 125-130).
p. 127 (footnote 2, reference to my article on subsemitones/split keys 2003).
Patrizio Barbieri: Enharmonic instruments and music, 1470-1900. Revised and translated studies.
Latina : Il Levante Libreria Editrice, 2008. (= Tastata. Studi e documenti.TAS 2)
p. 21 (reference to my article on subsemitones/split keys 2003), p. 297 (reference to Lindley/Ortgies 2006) – and on further four pages.
Andreas Hahn: "Faszination Michael Engler. Die Michael Engler Orgel in Grüssau/Krzeszow. Restaurierung und Rekonstruktion." (Polish) "Fascynacja Michaelem Englerem. Organy Michaela Englera w kreszowie. Konserwacja i rekonstrukcja. Kilka słów obudowniczym".
In: Organy Michaela Englera w bazylice p.w. Wniebowzięcia Najświętszej Maryi Panny w Krzeszowie [Die Orgel Michael Englers in der der Himmelfahrt der gesegneten Jungfrau Maria gewidmeten Basilika zu Krzeszów (Grüssau)], ed. by Piotr Grinholc and Diecezja Legnicka (Diocese of Legnica).
Krzeszów: Diecezja Legnicka, 2008, pp. S. 21–36 (polish), 58–74 (German),
p. 35–36, note 56 / p. 74, note 114 (acknoledgment of to my suggestion for the reconstruction of the temperament. My suggestion was chosen and is described in some detail in the footnote.)
In the Polish version.)
Wolfgang Kostujak: 'Zur Ehre Gottes – und zum halben Preis...' Arp Schnitger und das norddeutsche Orgelbarock.
Deutschlandradio Kultur, "Alte Musik", April 15, 2008, 22:00 hrs (CET).
(Link to the manuscript)
Lynn Edwards Butler: "New Dimensions in Organ Documentation and Conservation. A Symposium co-sponsored by the Eastman School of Music and the American Organ Archives of the Organ Historical Society. October 11-14, 2007. Eastman School of Music, Rochester, New York." [Report about the symposium]
In: The Tracker 52, no. 2 (Spring 2008): p. 30-33.
Catherine M. Oertel, Shefford P. Baker, Annika Niklasson, Lars-Gunnar Johansson, and Jan- Erik Svensson: "Focused-Ion Beam and Electron Microscopy Analysis of Corrosion of Lead-Tin Alloys: Applications to Conservation of Organ Pipes."
In: Materials Research Society Symposium Proceedings 1047 (Symposium Y – Materials Issues in Art and Archaeology VIII). doi:10.1557/PROC-1047-Y05-01
2nd page (photo acknowledgment: "Photograph of a corroded pipe from an organ in L ̧beck, Germany. The pipe was part of the original organ constructed in 1467 and was retained when the instrument was rebuilt by Friedrich Stellwagen in 1636-37.")
2007 (or later)
Mark Lindley: "Recapitulation of an approach to mathematical modeling of musical scales and notes on an analogous approach in regard to musical meter."
In: [ ... , written after November 2006. Undated], 7 pages. [online at academia.edu]
(p. 5), footnote 15, reference to Lindley/Ortgies, 2006.
2007
Kerala J. Snyder: Buxtehude. Organist in Lübeck.
Rochester, NY; Woodbridge, Suffolk: Univ. of Rochester Press, 2007.
pp. xii (preface, acknowledgment) 84, 86, Text) 229 (text) 232 , 462 (acknowledgment), 501 (three references), 534 (reference).
Kerala J. Snyder: Dieterich Buxtehude. Leben, Werk, Aufführungspraxis.
Transl. by Hans-Joachim Schulze.
Kassel [u.a.] ; Bärenreiter, 2007.
Mary Frandsen: "Musikpflege in Sachsen nach Heinrich Schütz: die italienische Hofkapelle Johann Georgs II. und die städtischen Musikorganisationen."
In: Schütz-Jahrbuch 29 (2007), ed. by Walter Werbeck et. al. Section: Referate des Symposiums Freiburg 1999. Kassel: Bärenreiter, 2007, pp. 17-34. [The article is available as pdf-file]
p. 17 footnote 1, acknowledgment for assistance with translation.
Arnfried Edler: Geschichte der Klavier- und Orgelmusik, vol 1.
Laaber: Laaber-Verlag, 2007.
p. 108 (reference to my research about Weckman, cf. Ortgies 1993)
[Report about my "Schnitger-Itinerary" on Google Maps]
Ars organi 55 (2007), no. 2, p. 137.
Niclas Fredriksson: The Medåker organ in the Nordic Museum, Sweden.
Göteborg: Göteborg Organ Art Center (University of Gothenburg), 2007. (= GOArt Organ Documentation Reports 4).
pp. 29, 66, and 129 (reference to my article on subsemitones/split keys 2003)
Stephen Rose: "Tercentenary Buxtehude." [Review of Dieterich Buxtehude: Organist in Lübeck by Kerala J. Snyder]
In: Early Music 35, no. 3 (2007), pp. 459-460.
p. 459: "Snyder also grapples with new theories about Buxtehude and his music. One of the most thought-provoking is the suggestion, made separately by Ibo Ortgies and Siegbert Rampe, that Buxtehude notated his pedaliter keyboard pieces not with the intention of playing them on the organs of the Marienkirche, but 'as models in the teaching of improvisation and composition, which was done not in the church but at a stringed keyboard instrument in the teacher's home' (p. 229). Such a hypothesis stems partly from the conundrum that many of Buxtehude's pieces are 'not readily playable on a mean-tone organ without subsemitones and with a short octave in the bass' (p. 229)."
Geoffrey Webber: [Review of] The Stylus Phantasticus and Free Keyboard Music of the North German Baroque by Paul Collins.]
In: Music & Letters 88, n. 3 (2007), pp. 487–489.
p. 489: "One minor issue that requires some caution is the problem of the temperament of Buxtehude's organ in the Marienkirche in Lübeck. Collins cites Snyder's comments about the retuning of the organ in 1683, but recent research by Ibo Ortgies has cast serious doubt on what actually took place at this time, and the dating of Buxtehude's organ works based on this retuning has thus also been thrown into doubt."
Geoffrey Webber: "Aspects of Performance Practice in Buxtehude's Organ Works."
Paper on a Website of the Royal College of Organists, London, 2007, (26 pages).
p. 15 and 26 (reference to my article on subsemitones, cf. Ortgies 2000).
Verena Jakobsen Barth: Die Trompete als Soloinstrument in der Kunstmusik Europas seit 1900: mit besonderer Berücksichtigung der Entwicklung ab 1980 am Beispiel der Solisten Håkan Hardenberger, Ole Edvard Antonsen und Reinhold Friedrich.
PhD-dissertation (abstract).
Göteborg: Institutionen för Kultur, Esthetik och Medier, 2007
p. x (acknowledgment for some comments and minor advice)
[N.N.]
In: International Record Review 8 [ISSN 1468-5027], no. 1,
p. 60 (reference to Lindley/Ortgies 2006).
2006
Mary E. Frandsen: Crossing confessional boundaries. The patronage of Italian sacred music in seventeenth-century Dresden.
Oxford: Oxford University Press, 2006.
pp. vii (acknowledgement), 21 (footnote 76, reference to Ortgies "Neue Erkenntnisse" 1993), p. 495 (reference).
Christoph Wolff, Markus Zepf: Die Orgeln J. S. Bachs. Ein Handbuch.
Stuttgart: Carus-Verlag, 2006.
p. 76 (references to my articles 2004 [on Bartold Hering] and on the Lübeck, St. Mary's/Marienkirche [Harald-Vogel-Festschrift 2006]).
p. 166 (reference to MGG-Schnitger 2005).
p. 178 (reference list: Besides the previously mentioned articles my PhD-dissertation 2004 is listed here.).
Matthias Schneider: "Ein 'Kleines harmonisches Labyrinth': Buxtehudes Orgelmusik und ihre Stimmungen."
In: Orgelbau, Orgelmusik und Organisten des Ostseeraums im 17. und 19. Jahrhundert.
Bern: Peter Lang, 2006.
p. 69
[N.N.] "[...]."
Concerto no. 207
In: Concerto [Germany, ISSN 0177-5944] no. 207, 2006: pp. [...].
p. 40, note 1 (reference to Mark Lindley and my joint article about a modern Bach-temperament)
Greta Moens-Haenen: Deutsche Violintechnik.
Graz: Akademische Druck- und Verlagsanstalt, 2006.
p. 237 (reference to my article on subsemitones, cf. Ortgies 2000).
Rüdiger Wilhelm: "Die Braunschweiger Orgel- und Organistenszene zur Zeit der Braunschweiger Handschrift des Passamezos SSWV 107 (1635) aus Samuel Scheidts Tabulatura Nova".
In: Samuel Scheidt (1587-1654). Werk und Wirkung. Bericht über die Internationale wissenschaftliche Konferenz am 5. und 6. November 2004 im Rahmen der Scheidt-Ehrung 2004 in der Stadt Halle und über das Symposium in Creuzburg zum 350. Todesjahr, 25.-27. März 2004., ed. by Konstanze Musketa (= Schriften des Händelhauses in Halle 20 ).
Halle an der Saale: Händel-Haus, 2006, pp. 223–232.
p. 231 (reference to my work on the Zellerfeld-tablature [Zellerfelder Tabulatur/Orgeltabulatur] Ze 1, cf. Ortgies 1995)
Stephen Rose: "Düben goes digital."
Report on the conference "The dissemination of music in 17th-century Europe: Celebrating the Düben collection", at Uppsala University, 7–9 September 2006, at the occasion of the launch of the Düben Collection Database (Uppsala University).
In: Early Music 34, no. 4 (2006), pp. 720-721.
p. 721: "As Ibo Ortgies explained, the temperament of most church organs (including Buxtehude's instruments in Lübeck) would preclude performance of such continuo parts for harmonically adventurous motets. Private performance might therefore seem likely."
Andrea Frova: "Quale temperamento per Bach?"
In: Rivista Italiana di Musicologia 41, no. 1 (2006), pp. 167-180.
p. 171 (reference to Mark Lindley and my joint article about a modern Bach-temperament)
2005
Siegbert Rampe: "Abendmusik oder Gottesdienst? Zur Funktion der norddeutschen Orgelwerke des 17. und frühen 18. Jahrhunderts (Teil 4: Organologische Probleme. Teil 5: Musik zur Ausbildung von Organisten)."
In: Schütz-Jahrbuch 27 (2005), ed. by Werner Breig, Friedhelm Krummacher, Eva Linfield and Wolfram Steude.
Kassel: Bärenreiter, 2005, pp. 53–127.
p. 75 (footnote 142):
"Meines Wissens fragte Ibo Ortgies in seinem Vortrag "Another Re-Match Between Meantone and Well-Tempered Tunings? Or Are the Organ Works of Buxtehude Really Organ Works? A Contribution to Temperament Practice in North Germany in the 17th and 18th Centuries" [Paper presented at the conference "Musikvetenskap i dag", Svenska samfundet för musikforskning, June 5, 2003) vom Mai 2003 in Göteborg zum ersten Mal überhaupt "But then, where, when and by whom were actually and virtually 'unplayable' pieces played? Or: Were they played at all. Are they 'organ music', 'organ repertoire?"
p. 85 (reference to my research about the tuning and temperament of the organs in Lübeck), p. 117.
HansErik Svensson: "Hur lät klaveren förr? Om Musikmuseets dokumentationsinspelningar."
In: Dokumenterat 36 [ISSN 1404-9899], ed. by Inger Enquist. [available as pdf-file]
Stockholm: Statens musikbibliotek, 2005, pp. 31-41.
p. 40 (short, annotated literature list, reference to my PhD-dissertation 2004).
Stephen Bicknell: "The bad tempered organ."
In: Litterae organi. Essays in honor of Barbara Owen, ed. by John Ogasapian.
Richmond, Va.: OHS Press, 2005, [pp. ]
p. 193 and 194 (acknowledgment and reference to my work on Dutch and North German temperament history)
Ján Haluška, Ondrej Hutník, and Tomáš Mihály: "On a Diophantine equation derived from the theory of meantone systems." [available as pdf-file]
In: Proc. of Transcom 2005, The 6th. European Conf. of Young Researchers and Science Workers in Transport and Telecommunications. Žilina, June 27--29, 2005, Vol. Section 9.
Zilina. Zilina University 2005, p. 79-82.
p. 82 (reference to my dissertation 2004.)
Ján Haluška, Ondrej Hutník, and Tomáš Mihály: "The biscale of J. Rut" [available as pdf-file]
In: Proc. of Transcom 2005, The 6th. European Conf. of Young Researchers and Science Workers in Transport and Telecommunications. Žilina, June 27--29, 2005, Vol. Section 9.
Zilina. Zilina University 2005, p. 83-86.
p. 86 (reference to my dissertation 2004.)
Douglas Hollick: "The 'Famous Organist' Vincent Lübeck" [Review of: Vincent Lübeck, Neue Ausgabe sämtlicher Orgel- und Clavierwerke ed. by Siegbert Rampe]
In: Early Music 33, no. 4 (2005), pp. 713-714.
p. 714: "Rampe quotes research by Wolfram Syré and Ibo Ortgies to show that all organs in Hamburg seem to have used mean-tone tuning at this time."
Herbert L. Huestis: "Reflections on the Philosophical, Metaphysical and Practical Aspects of Dual Temperament in the Pasi Organ at St. Cecilia’s Cathedral, Omaha, Nebraska. Symposia held April 7–9 by the University of Nebraska-Lincoln and the Westfield Center".
In: The Diapason 96, 2005, pp. 16–17.
p. 17
Rodney Gisick: "Report on 2005 AGO National Conference on Organ Pedagogy [at the University of Notre Dame, South Bend, Ind.]."
In: The Newsletter of the Springfield Chapter of the American Guild of Organists, (November) 2005, pp. 6–7.
p. 7
[N.N.]
In: Newsweek [ISSN 0028-9604] 145
p. 288 (photo credits, photo of a corroded organ pipe, 1467, from the Stellwagen-organ in Lübeck, St. Jacobi).
Annika Niklasson, Lars-Gunnar Johansson and Jan-Erik Svensson: "Influence of Acetic Acid Vapor on the Atmospheric Corrosion of Lead."
In: Journal of The Electrochemical Society 152, no. 12, 2005, p. B519-B525 (doi: 10.1149/1.2084348)
p. B520 (photo acknowledgment "Corroded organ pipe 1467 from the famous Stellwagen organ in Lübeck, Germany").
2004
Praetorius, Michael [probably 1571-1621]; Jeffery T. Kite-Powell (transl., ed.): Syntagma musicum III [Termini musici].
Oxford: Oxford University Press, 2004.
p. vii (acknowledgment for assistance in some issues of the translation), p. 94 (footnotes 64 a. 65).
Michael Belotti: Die freien Orgelwerke Dieterich Buxtehudes. Überlieferungsgeschichtliche und stilkritische Studien.
Bern: Peter Lang AG, Internationaler Verlag der Wissenschaften, 2004.
Siegbert Rampe (ed.): Vincent Lübeck. Neue Ausgabe sämtlicher Orgel- und Clavierwerke.
Kassel: Bärenreiter, 2004.
p. x, xv, xxv (acknowledgment, reference to my research on North German organ temperament practice)
James L. Wallmann: [articles:] "Havingha, Gerhardus (1696–1753)", and "Schnitger, Franz Caspar (1693-1729)."
In: The organ. An encyclopedia, ed. by Douglas Bush a. Richard Kassel.
London a. New York: Routledge, 2004, pp. 245-246 and 498.
pp. 246 a. 498 (references to Ortgies/Van Wijk 2003).
Dietrich Wölfel: Die wunderbare Welt der Orgeln. Lübeck als Orgelstadt.
Lübeck: Schmidt-Römhild, 2004.
p. 37, 48, 61, 64, 66 (and one more)
Kristian Wegscheider: Mit reinem Herzen - reine Terzen. Für Jürgen Ahrend.
Online-publication at www.wegscheider.eu, available as pdf.
p. 4 (acknowledgment concerning my view on the case of the tuning work 1641 in Bremen, Liebfrauenkirche/St. Mary's/Our Lady's).
[Literature reference to my research on Bartold Hering, cf. Ortgies 2004 ]
In: Zeitschrift des Vereins für Lübeckische Geschichte und Altertumskunde 84, Lübeck: Schmidt-Römhild, 2004.
p. 380.
2003
Uwe Pape and Winfried Topp: Orgeln und Orgelbauer in Bremen.
Berlin: Pape, 2003.
p. 367–369 (acknowledgement for information on the organ history of Bremen-Walle).
Pier Paolo Donati: "Recensione a I. Ortgies".
In: Informazione Organistica XV (2003), pp. 258–259.
(About my article on subsemitones cf. Ortgies 2003)
[Reference in] In: Organ. Journal für die Orgel 6 (2003), p. 41.
Siegbert Rampe: "Abendmusik oder Gottesdienst? Zur Funktion der norddeutschen Orgelwerke des 17. und frühen 18. Jahrhunderts (Teil 1: Die gottesdienstlichen Aufgaben der Organisten)."
In: Schütz-Jahrbuch 25 (2003), ed. by Werner Breig, Friedhelm Krummacher, Eva Linfield and Wolfram Steude.
Kassel: Bärenreiter, 2003, pp.7–70.
p. 10
Beate Bugenhagen: [Report] "Greifswald, 8. bis 11. September 2002: 'Orgelbau, Orgelmusik und Organisten des Ostseeraums im 17. und 19. Jahrhundert'."
In: Die Musikforschung 56, no. 2 (2003), pp. 173-174.
p. 173: "[...], Ortgies präsentierte in seinem Referat wichtige neue Erkenntnisse über den Umbau der Lübecker Marienorgel durch Friedrich Stellwagen. Mit den Konsequenzen der Überlegungen Ortgies' für die Orgelmusik Buxtehudes und ihre Datierug beschäftigte sich Matthias Schneider (Greifswald)."
2002
Kerala J. Snyder (ed.): The Organ as a Mirror of Its Time. North European Reflections. 1610-2000.
Oxford: Oxford University Press, 2002.
p. vi (preface, acknowledgement).
Siegbert Rampe (ed.): Johann Jacob Froberger. Neue Ausgabe sämtlicher Clavier- und Orgelwerke.
Kassel: Bärenreiter, 2002.
pp. liii [53] and cii [102] (acknowledgment)
Johan Norrback: A Passable and Good Temperament. A New Methodology for Studying Tuning and Temperament in Organ Music.
Göteborg: Göteborg University: 2002.
PhD-dissertation [available as pdf-file]
p. 1 (Preface; acknowledgment for "expertise in the field of tuning and temperament, both regarding theory and practice" and assistance with transcription and translation of the German quotes).
p. 63, note 181 (reference to my view on the tuning of the organs in St. Mary's, Lübeck, in Buxtehude's times. My view, however, changed afterwards according to new evidence, cf. my PhD-dissertation 2004 and my articles on Lübeck, St. Mary's and Buxtehude.]
p. 66, note y, (reference to the Ludwig-Compenius-organ, 1658, in Weimar, Schlosskirche, in my first overview-article on split keys in historical organs between 1468 and 1721: "Subsemitoetsen bij historische orgels tussen 1468 en 1721". In: Het Orgel 96, no. 6 (2000): 20–26.)
p. 93 (reference to my occupation with tuning and temperament since the 1980s and to my method to compare temperaments with a special type of diagram (used on p. 94).
Tilman Skowroneck: "Beethoven's Erard piano: Its influence on his compositions and on Viennese fortepiano building."
In: Early Music 30, no. 4 (2002), pp. 522-538.
p. 536 (acknowledgment)
Dagmar Hoffmann-Axthelm: "Bibliographie der Neuerscheinungen zur Historischen Musikpraxis 2000/2001."
In: Basler Jahrbuch für historische Musikpraxis 25
Winterthur: Amadeus, 2002, pp. 201-304.
p. 267 (no. 688)
Heiko Maus: " 'Freue dich des Weibes deiner Jugend'. Eine unbekannte Hochzeitsmusik von Matthias Weckman".
In: Beiträge zur Musikgeschichte Hamburgs vom Mittelalter bis in die Neuzeit, ed. by Hans Joachim Marx.
Frankfurt a. M.: Peter Lang, 2001, pp. 111–130 (= Hamburger Jahrbuch für Musikwissenschaft 18).
p. 111, 119, 120 (reference to my research about Matthias Weckman)
2000
Mary E. Frandsen: "Allies in the Cause of Italian Music: Schütz, Prince Johann Georg II and Musical Politics in Dresden."
In: Journal of the Royal Musical Association. 125, no. 1, 2000, pp. 1-40. [Published online 2009]
p. 22 (footnote 76, reference to Ortgies "Neue Erkenntnisse" 1993).
[N. N.] "[...]"
In: Concerto. Das Magazin für Alte Musik 17 (2000)
p. 12 (reference to my research about Stralsund, St. Mary's and Stellwagen's work, 1653–1659)
Klaus Beckmann: "Hieronymus III Praetorius - die früh verstorbene "große Hoffnung" in musica et organis ".
In: Organ. Journal für die Orgel, no. 3, 2000. ISSN 1435-794
Footnote 22 (reference to my article about source Ze1 (1995). For more detils on Ze! details see also my article "Spekulation und Hypothese" from 2006.)
1997
Arnfried Edler: Gattungen der Musik für Tasteninstrumente, vol 1.
Laaber: Laaber-Verlag, 1997.
p. 60 (reference to my research about Weckman, cf. Ortgies 1993)
p. 448
"Das "Hintze-Manuskript" - Ein Dokument zu Biographie und Werk von Matthias Weckmann und Johann Jacob Froberger."
In: Schütz-Jahrbuch 19 (1997), ed. by Werner Breig, Friedhelm Krummacher, Eva Linfield and Wolfram Steude.
Kassel: Bärenreiter, 1997, pp.71–112.
p. 73, 75 u. 109 (reference to my work on Matthias Weckman's biography cf. Ortgies 1993, acknowledgment of my research on Weckman's handwriting in connection with the "Hintze"-ms.)
[Review of: Matthias Weckmann: The Interpretation of His Organ Music by Hans Davidsson; Proceedings of the Weckmann Symposium, Göteborg, 30 August-3 September 1991 by Sverker Jullander]
Review by: Keith Elcombe
In: Music & Letters 77, no. 4 (1996), pp. 605–610.
p. 605: [cf. Ortgies 1993] " [...] contributions to the symposium proceedings [...] Another five bear directly on Weckmann, the most important being Ibo Ortgies's 'Neue Erkentnisse zur Biographie Matthias Weckmans', which considerably enlarges and modifies our knowledge of Weckmann's life. (The spelling of the surname is variable, 'Weckman' being the composer's preferred usage."
1995
Dorothea Schröder: "Die Organisten der Hauptkirche St. Jacobi."
In: Die Arp Schnitger-Orgel der Hauptkirche St. Jacobi in Hamburg, ed. by Heimo Reinitzer.
Hamburg: Christians, 1995, pp. 67-93.
p. 93 (reference to my article on the autographs of Matthias Weckman in Concerto 2003).
Konrad Küster: "Weckmann und Mölich als Schütz-Schüler."
In: Schütz-Jahrbuch 17 (1995), ed. by Werner Breig et. al. Kassel: Bärenreiter, 1995, pp. 39-61.
pp. 43 and 47, footnotes 20 and 40, references to Ortgies "Neue Erkentnisse zur Biographie Matthias Weckmans", 1993.
Ralph Nickles: Orgelinventar der Krummhörn und der Stadt Emden. Historische Dokumentation.
Bremen: Verlag H. M. Hauschild, 1995.
p. v (acknowledgement), p. xxiv (two references to Ortgies 1987 and 1990).
[Review of the Proceedings of Proceedings of the Weckmann Symposium Göteborg 1991, ed. by Sverker Jullander, Göteborg: Göteborgs Universitet, 1993, cf. Ortgies 1993]
In: The American Organist, Band 29, no. 7-12.
p. 66
1991
Pieter van Dijk and Peter Westerbrink: Matthias Weckmann and the use of the organ in the Jacobikirche in Hamburg in the seventeenth century.
Sneek: Boeijenga, 1991.
p. 3 (acknowledgment for help and expert advice on the translation of all German texts)