Acknowledgments

A selection of acknowledgments, quotations of and references to my work.

With thanks to and appreciation of my highly estimated colleagues!


2016

Bach. A musical biography. 
Cambridge: Cambridge University Press, 2016.
p. xiv ("Acknowledgements").

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 ...])

"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.


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)

"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." 
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).


2015

"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.

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.

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).


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).

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).

"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


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).
PhD-dissertation.
Eugene: University of Oregon, 2012.  [available as pdf-file]
p. 18 (footnote 30, reference to my PhD-dissertation 2004).

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).


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, reference to presentation 2003).

"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.

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 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.).

Bjarke Moe:
"Heinrich Schütz as European cultural agent at the Danish courts."
In: Schütz-Jahrbuch 33, ed. by Walter Werbeck et. al. Kassel: Bärenreiter, 2011, pp. 129-142.
[The article is available as pdf-file]
p. 132 (footnote 21, reference to Ortgies "Neue Erkenntnisse" 1993).


2010

"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)

[Review of: Music and its Questions: Essays in Honor of Peter Williams by Thomas Donahue].
Review by: David S. Knight
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

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).

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.)

'Zur Ehre Gottes – und zum halben Preis...' Arp Schnitger und das norddeutsche Orgelbarock.
Deutschlandradio Kultur, "Alte Musik", April 15, 2008, 22:00 hrs (CET). 


2007

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).

Dieterich Buxtehude. Leben, Werk, Aufführungspraxis.
Kassel [u.a.] ; Bärenreiter, 2007.

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)

"Tercentenary Buxtehude." [Review of: Dieterich Buxtehude: Organist in Lübeck by Kerala J. Snyder]
Review by: Stephen Rose
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)."

[Review of: The Stylus Phantasticus and Free Keyboard Music of the North German Baroque by Paul Collins.]
Review by: Geoffrey Webber
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).


[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.).

"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)

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."
In: Early Music 34, no. 4 (2006), pp. 720-721.
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).
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

"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.

"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).

"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)

"The 'Famous Organist' Vincent Lübeck" [Review ofVincent Lübeck, Neue Ausgabe sämtlicher Orgel- und Clavierwerke ed. by Siegbert Rampe]
Review by: Douglas Hollick
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).


2004

Jürgen Neubacher: 
Georg Philipp Telemanns Hamburger Kirchenmusik und ihre Aufführungsbedingungen (1721-1767). Organisationsstrukturen, Musiker, Besetzungspraktiken.
Hildesheim: Olms, 2009.
p. 204, p. 205 (and more)

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.

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. 48, 61, 66 (and three more)

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

The Organ as a Mirror of Its Time. North European Reflections. 1610-2000.
Oxford: Oxford University Press, 2002.
p. vi (preface, acknowledgement).

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)


1997

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. 
p. 93 (reference to my article on the autographs of Matthias Weckman in Concerto 2003).

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)


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