Coordinates

49°49′21″N19°2′40″N

{{infobox instrument | name

Organ | names | image OrgueSaintThomasStrasbourg.jpg | image_capt1741 Pipe organ in Église Saint-Thomas, Strasbourg, France. | color #FFEC8B | classification Keyboard instrument (Aerophone) | range | related see Keyboard instrument | musicians see List of organists | builders see List of pipe organ builders and :category:Organ builders | midi 016/017 (Drawbar Organ)017/018 (Percussive Organ)018/019 (Rock Organ)019/020 (Church Organ)020/021 (Reed Organ) | articles Pipe organTheatre organElectronic organHammond organReed organOrgan repertoire }}

The organ (from Greek ''όργανον'' organon, "organ, instrument, tool"), is a keyboard instrument of one or more divisions, each played with its own keyboard operated either with the hands or with the feet. The organ is a relatively old musical instrument in the Western musical tradition, dating from the time of Ctesibius of Alexandria who is credited with the invention of the hydraulis. By around the 8th century it had overcome early associations with gladiatorial combat and gradually assumed a prominent place in the liturgy of the Catholic Church; subsequently it has re-emerged as a secular and recital instrument.

Overview

Pipe organs use wind moving through pipes to produce sounds. Since the 16th century, pipe organs have used various materials of pipes, which can vary widely in timbre and volume. The pipes are divided into ranks and controlled by the use of hand stops and/or combination pistons. Although the keyboard is not expressive as on a piano and does not affect dynamics (pressing a key only turns the sound on or off), some divisions may be enclosed in a swell box, allowing the dynamics to be controlled by shutters. Some special registers with free reed pipes are expressive. These instruments vary greatly in size, ranging from a cubic yard to a height reaching five floors, and are built in churches, synagogues, concert halls, and homes. Small organs are called positive (i. e. easily placed in different locations) or portative (small enough to carry while playing). Increasingly hybrid organs are appearing in which pipes are augmented with electronic additions. Great economies of space as well as cost are possible especially when the lowest (and largest) of the pipes can be replaced.

Non-piped organs include the reed organ or harmonium, which like the accordion, harmonica or mouth organ use air to excite free reeds.

Electronic organs or digital organs generate electronically produced sound through one or more loudspeakers. .

Mechanical organs include the barrel organ, water organ, and Orchestrion. These are controlled by mechanical means such as pinned barrels or book music. Little Barrel organs dispense with the hands of an organist and bigger organs are powered in most cases by an organ grinder or today by other means such as an electric motor.

Pipe organs

The pipe organ is the grandest musical instrument in size and scope, and has existed in its current form since the 14th century (though other designs, such as the hydraulic organ, were already used in Antiquity). Along with the clock, it was considered one of the most complex human-made creations before the Industrial Revolution. Pipe organs range in size from a single short keyboard to huge instruments with over 10,000 pipes. A large modern organ typically has three or four keyboards (manuals) with five octaves (61 notes) each, and a two-and-a-half octave (32-note) pedal board.

Wolfgang Amadeus Mozart called the organ the "King of instruments". Some of the biggest instruments have 64-foot pipes (a foot here means "sonic-foot", a measure quite close to the English measurement unit), and it sounds to an 8 Hz frequency fundamental tone. Perhaps the most distinctive feature is the ability to range from the slightest sound to the most powerful, plein-jeu impressive sonic discharge, which can be sustained in time indefinitely by the organist. For instance, the Wanamaker organ, located in Philadelphia, USA, has sonic resources comparable with three simultaneous symphony orchestras. Another interesting feature lies in its intrinsic "polyphony" approach: each set of pipes can be played simultaneously with others, and the sounds mixed and interspersed in the environment, not in the instrument itself. (Contrast this with digital organs, where the electronically produced sound comes from loudspeakers.)

Church organs

thumb|left|150px|The Baroque Leżajsk organ, built by Stanisław Studziński and Jan Głowiński in 1693, has mechanical controls (tracker system) and 75 voices. It consists in fact of three separate instruments, this is why three organists can play simultaneously.

Most organs in North America, South America, Europe, Australia and New Zealand can be seen in Christian churches or Jewish synagogues. Therefore is generally called a church organ. The introduction of church organs is traditionally attributed to Pope Vitalian in the 7th century. Due to its ability to simultaneously provide a musical foundation below the vocal register, support in the vocal register, and increased brightness above the vocal register, the organ is ideally suited to accompany human voices, whether a congregation, a choir or a cantor or soloist. Most services also include solo organ repertoire for independent performance rather than by way of accompaniment, often as a prelude at the beginning the service and a postlude at the conclusion of the service.

Today this organ may be a pipe organ (see above), a digital or electronic organ that generates the sound with Digital Signal Processing (DSP) chips or a combination of pipes and electronics. It may be called a church organ or classical organ to differentiate it from the theater organ, which is a different style of instrument. However, as classical organ repertoire was developed for the pipe organ and in turn influenced its development, the line between a church and a concert organ is hard to draw.

Organs are also used to give recital concerts, called organ recitals. In the early 20th century, symphonic organs flourished in secular venues in the United States and UK, designed to replace symphony orchestras by playing transcriptions of orchestral pieces. Symphonic and orchestral organs largely fell out of favor as the Orgelbewegung (Organ Reform Movement) took hold in the middle of the 20th century and organ builders began to look to historical models for inspiration in constructing new instruments. Today, modern builders construct organs in a variety of styles and for both secular and sacred applications.

Chamber organs

A chamber organ is a small pipe organ, often with only one manual, and sometimes without separate pedal pipes that is placed in a small room, that this diminutive organ can fill with sound. It is often confined to chamber organ repertoire, as often the organs have too little voice capabilities to rival the grand pipe organs in the performance of the classics. The sound and touch are unique to the instrument, sounding nothing like a large organ with few stops drawn out, but rather much more intimate. They are usually tracker instruments, although the modern builders are often building electropneumatic chamber organs.

Theatre organs

The theatre organ or cinema organ was designed to accompany silent movies. Like a symphonic organ, it is made to replace an orchestra. However, it includes many more gadgets, such as percussion and special effects, to provide a more complete array of options to the theatre organist. Theatre organs tend not to take nearly as much space as standard organs, relying on extension and higher wind pressures to produce a greater variety of tone and larger volume of sound from fewer pipes.

This extension is called "unification", meaning that instead of one pipe for each key at all pitches, the higher octaves of pitch (and in some cases, lower octaves) are achieved by merely adding 12 pipes (one octave) to the top and/or bottom of a given division. Assuming there are sixty-one keys on an organ manual (a common number in concert organs and in North America), a classical organ will have, for diapason stops at 8', 4' and 2' pitch, a total of 183 pipes (61 plus 61 plus 61). The same chorus of diapasons on a theatre organ will have only 85 pipes (61 plus 12 plus 12). Some ranks, such as the Tibia Clausa, with up to 97 pipes, allow the organist to draw stops at 16', 8', 4', 2', and mutations from a single rank of pipes.

Unification gives a smaller instrument the capability of a much larger one, and works well for monophonic styles of playing (chordal, or chords with solo voice). The sound is, however, thicker and more homogeneous than a classically designed organ, and is very often reliant on the use of tremulant, which has a depth greater than that usually found on a classical organ. Unification also allows pipe ranks to be played from more than one manual and the pedals.

Other pipe organs

The bamboo organ called Bambuso sonoro is an experimental custom-made instrument designed by Hans van Koolwijk. The instrument has 100 flutes made of bamboo.

Reed organs

The reed organ and harmonium was the other main type of organ before the development of electronic organs. It generated its sounds using reeds similar to those of a piano accordion. Smaller, cheaper and more portable than the corresponding pipe instrument, these were widely used in smaller churches and in private homes, but their volume and tonal range was extremely limited, and they were generally limited to one or two manuals, pedalboards being extremely rare.

Chord organs

The chord organ was invented by Laurens Hammond in 1950. It provided chord buttons for the left hand, similar to an accordion. Other reed organ manufacturers have also produced chord organs.

Electronic organs

Since the 1930s, pipeless electric instruments have been available to produce similar sounds and perform similar roles to pipe organs. Many of these have been bought both by houses of worship and other potential pipe organ customers, and also by many musicians both professional and amateur for whom a pipe organ would not be a possibility. Far smaller and cheaper to buy than a corresponding pipe instrument, and in many cases portable, they have taken organ music into private homes and into dance bands and other new environments, and have almost completely replaced the reed organ.

Hammond organs

The Hammond organ was the first successful electric organ, released in the 1930s. It used mechanical, rotating tonewheels to produce the sound waveforms. Its system of drawbars allowed for setting volumes for specific sounds, and it provided vibrato-like effects. The drawbars allow the player to choose volume levels of 0-8 for each of the members of the harmonic series starting from 16'. By emphasizing certain harmonics from the overtone series, desired sounds (such as 'brass' or 'string') can be imitated. Generally, the older Hammond drawbar organs had only preamplifiers and were connected to an external, amplified speaker. The Leslie speaker became the most popular, which is a rotating type speaker. The three most popular models of Hammond organs were the consoles: the B-3, C-3, and A-100. Inside all three models, the tone generators, drawbars, and keyboards were identical. The B-3 cabinet stood on 4 legs, the C-3 was an enclosed "church" model, and the A100 series had built in amplifiers and speakers.

In addition to these console models, Hammond also produced spinet models, which differed from the consoles in the size of keyboard (44 keys per keyboard versus 61 for the consoles, and 12 or 13 pedals instead of 25) and the absence of foldback and scaling in the keyboards making them cheaper to manufacture. Other features of the console organs such as vibrato or percussion were included in the spinets; all the spinet models featured a built in amplifier and speaker; when used with the external amplified speaker (e.g.: Leslie) they sound similar to the console models. These smaller all-in-one organs were intended primarily for use in homes or very small churches.

Though originally produced to replace organs in the church, the Hammond organ, especially the model B-3, became popular in jazz, particularly soul jazz, and in gospel music. Since these were the roots of rock and roll, the Hammond organ became a part of the rock and roll sound. It was widely used in rock and popular music during the 1960s and 1970s by bands like The Doors, Pink Floyd, Procol Harum, Santana and Deep Purple. Its popularity resurged in pop music around 2000, in part due to the availability of clonewheel organs that were light enough for one person to carry.

Other electronic organs

Frequency divider organs used oscillators instead of mechanical parts to make sound. These were even cheaper and more portable than the Hammond. They featured an ability to bend pitches.

In the 1940s until the 1970s, small organs were sold that simplified traditional organ stops. These instruments can be considered the predecessor to modern portable keyboards, as they included one-touch chords, rhythm and accompaniment devices, and other electronically assisted gadgets. Lowrey was the leading manufacturer of this type of organs in the smaller (spinet) instruments.

In the '60s and '70s, a type of simple, portable electronic organ called the combo organ was popular, especially with pop and rock bands, and was a signature sound in the pop music of the period, such as The Doors, Led Zeppelin, and Iron Butterfly. The most popular combo organs were manufactured by Farfisa and Vox.

Conn-Selmer and Rodgers, dominant in more larger instrument market, also made electronic organs that used separate oscillators for each note, giving them a richer sound, closer to a pipe organ, due to the slight imperfections in tuning, by not using precise division.

Also available are hybrids, starting from early 20th century, which incorporating a few ranks of pipes to produce some sounds, and using electronic circuits or digital samples for other sounds and to resolve borrowing collisions. Major manufacturers include Allen, Walker, Compton, Wicks, Marshall & Ogletree, Phoenix, Makin Organs, Wyvern Organs and Rodgers.

Digital organs

The development of the integrated circuit enabled another revolution in electronic keyboard instruments. Digital organs sold since the 1970s utilize additive synthesis, then sampling technology (1980s) and physical modelling synthesis (1990s) are also utilized to produce the sound.

Virtual Pipe Organs, played via MIDI, access samples of real pipe organs stored on a computer, as opposed to digital organs that use DSP and processor hardware inside a console to produce sounds or deliver sound samples. They have high polyphony (up to about 40,000 pipes/1PC), which is necessary as there is a sample for every single pipe on the organ, plus samples and modeling effects such as mechanical action noise and pipe wind fluctuations. Addition of touch screen monitors or custom midi controllers allows the user to control the virtual organ console (drawing stops, operating couplers etc.) In its basic form, without a traditional wooden console, a Virtual Organ can be obtained at a much lower cost than other digital classical organs. With Stereo or mulitple channel audio systems, virtual organs can approach the acoustic realism of a real pipe organ. For example, for most Virtual Organs with a pedal division containing 16 ft or 32 ft pipes, a subwoofer arrangement is required to reproduce the powerful movement of air at frequencies around 32 Hz or lower. For personal purpose, typically small studio quality near-field monitors with subwoofer are used.

Steam organ

The wind can also be created by using pressurized steam instead of air. The steam organ, or calliope, was invented in the United States in 19th century. Calliopes usually have very loud and clean sound. Calliopes are used as outdoors instruments, and many have been built on wheeled platforms.

Organ music

Classical music

The organ has had an important place in classical music throughout its history. Antonio de Cabezón, Jan Pieterszoon Sweelinck, and Girolamo Frescobaldi were three of the most important composers and teachers before 1650. Influenced by these composers, the North German school then rose to prominence with notable composers including Dieterich Buxtehude and especially Johann Sebastian Bach, considered by many to have achieved the height of organ composition. During this time, the French Classical school also flourished.

After Bach, the organ's prominence gradually lost ground to the piano. Felix Mendelssohn, A.P.F. Boëly, and César Franck led a resurgence in the mid-19th century, leading a Romantic movement that would be carried further by Max Reger, Charles-Marie Widor, Louis Vierne, and others. In the 20th century, composers such as Marcel Dupré, Kaikhosru Sorabji and Olivier Messiaen added significant contributions to the organ repertoire.

Because the organ has both manuals and pedals, organ music has come to be notated on three staves. The music played on the manuals is laid out like music for other keyboard instruments on the top two staves, and the music for the pedals is notated on the third stave or sometimes, to save space, added to the bottom of the second stave as was the early practice. To aid the eye in reading three staves at once, the bar lines are broken between the lowest two staves; the brace surrounds only the upper two staves. Because music racks are often built quite low to preserve sightlines over the console, organ music is usually published in oblong or landscape format.

Soap operas

From their creation on radio in the 1930s to the times of television in the early 1970s, soap operas were perhaps the biggest users of organ music. Day in and day out, the melodramatic serials utilized the instrument in the background of scenes and in their opening and closing theme songs. Some of the best-known soap organists included Charles Paul, John Gart, and Paul Barranco. In the early 1970s, the organ was phased out in favor of more dramatic, full-blown orchestras, which in turn were replaced with more modern pop-style compositions.

Popular music

Church-style pipe organs are occasionally used in popular music. In some cases, groups have sought out the sound of the pipe organ, such as Tangerine Dream, and Arrogant Worms, which combined the distinctive sounds of electronic synthesizers and pipe organs when it recorded both music albums and videos in several cathedrals in Europe. Rick Wakeman of British progressive rock group Yes also used pipe organ to excellent effect in a number of the group's albums (including ''Close to the Edge'' and ''Going for the One''). Wakeman has also used pipe organ in his solo pieces such as "Jane Seymour" from ''The Six Wives Of Henry VIII'' and "Judas Iscariot" from ''Criminal Record''. Even more recently, he has recorded an entire album of organ pieces – ''Rick Wakeman at Lincoln Cathedral''. Likewise, Keith Emerson used a pipe organ with The Nice and progressive rock group Emerson, Lake and Palmer on their earlier albums on the songs "The Three Fates," "The Only Way" and "Promenade." George Duke employed the pipe organ in a flamboyant manner in the piece "50/50" on the Frank Zappa album ''Over-Nite Sensation''. Dennis DeYoung of American rock group Styx used the pipe organ at Chicago's St. James Cathedral on the song "I'm O.K." on the group's 1978 album ''Pieces of Eight''. In 2000 Radiohead frontman Thom Yorke played the organ on the ''Kid A'' album to great effect, most notably in "Motion Picture Soundtrack". More recently, Arcade Fire have used a church organ on the songs "Intervention" and "My Body Is a Cage" on their second album ''Neon Bible''. Muse have also used a church organ on their album ''Origin of Symmetry'' in the form of "Megalomania", played by their frontman Matt Bellamy. It has been performed live only once on a pipe organ, at the Royal Albert Hall. Roger Hodgson (formerly of Supertramp) used a pipe organ for the songs ''Say Goodbye'', ''Open the Door'' and Danielle in 2000 for the album ''Open the Door''.

On the other hand, electronic organs and electromechanical organs such as the Hammond organ have an established role in a number of non-"Classical" genres, such as blues, jazz, gospel, and 1960s and 1970s rock music. Electronic and electromechanical organs were originally designed as lower-cost substitutes for pipe organs. Despite this intended role as a sacred music instrument, electronic and electromechanical organs' distinctive tone-often modified with electronic effects such as vibrato, rotating Leslie speakers, and overdrive-became an important part of the sound of popular music. Billy Preston and Iron Butterfly's Doug Ingle have featured organ on popular recordings such as "Let it Be" and "In-A-Gadda-Da-Vida", respectively. Well-known rock artists using the Hammond organ include Counting Crows, Pink Floyd, Hootie & the Blowfish, Sheryl Crow, and Deep Purple.

Recent performers of Popular organ music include William Rowland of Broken Arrow, Oklahoma who is noted for his compositions of "Piano Rags," which he plays on a Wurlitzer theatre organ in Miami, Oklahoma; George Wright (1920–1998) whose "Jealousie" and "Puttin on the Ritz" are some of the finest performances of this genre and Virgil Fox (1912–1980), who bridged both the classical and religious areas of music with pop and so-called Heavy Organ concerts that he played on an electronic organ accompanied by a light show similar to those created in the 1960s for rock concerts. Jimmy Smith was a famous jazz organist of the 20th century.

The American Theatre Organ Society ATOS has been instrumental in programs to preserve the instruments originally installed in theatres for accompaniment of silent movies. In addition to local chapter events they hold an annual convention each year, highlighting performers and instruments in a specific locale. These instruments feature the Tibia pipe family as their foundation stops and regular use of tremulants. They were usually equipped with mechanical percussion accessories, pianos, and other imitative sounds useful in creating movie sound accompaniments such as auto horns, doorbells, and bird whistles.

Sporting organs

In the United States and Canada, organ music is commonly associated with several sports, most notably baseball and ice hockey.

The baseball organ has been referred to as "an accessory to the overall auditory experience of the ballpark." The first team to introduce an organ during breaks of play (before and after games, in between innings, and during longer stoppages) was the Chicago Cubs, who put an organ in Wrigley Field as an experiment in 1941 for two games. Ebbets Field, home of the Brooklyn Dodgers, hired baseball's first full-time organist, Gladys Goodding, the following year. Over the years, many ballparks caught on to the trend, and many organists became well-known and associated with their parks or signature tunes: Eddie Layton playing at Yankee Stadium for over 50 years, Jane Jarvis greeting the New York Mets at Shea Stadium with their club song "Meet the Mets", Ernie Hays serenading a Busch Memorial Stadium crowd with "Here Comes the King", Nancy Bea as the organist for the Dodgers, Chicago favorite Nancy Faust urging Chicago White Sox fans to tell an opposing pitcher or a Pale Hose home run to "Na Na Hey Hey (Kiss Him Goodbye)" or Rick DePiro playing for Cleveland Indians games and known for his youth and controversy with songs like "If I Only Had A Brain" played often for the Umpires. During the 1990s, several teams fired their organists and replaced them entirely with recorded music and sound effects. However, many fans support organs at ballparks, believing it to be a traditional aspect of the game. As a result, several teams (notably the St. Louis Cardinals and Pittsburgh Pirates) have begun to feature organ music more prominently, and in 2009 the Atlanta Braves re-introduced an organist at Turner Field, even going so far as to promote his Twitter feed to take requests from fans.

Jazz

The electronic organ, especially the Hammond B-3, has occupied a significant role in jazz ever since Jimmy Smith made it popular in the 1950s. It can function as a replacement for both piano and bass in the standard jazz combo.

Historical instruments

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Predecessors

Panpipes, pan flute, syrinx, and nai, ''etc.'', are considered as ancestor of the pipe organ.

Aulos, an ancient double reed instrument with two pipes, is the origin of the word ''Hydr-aulis'' (water-aerophone).

Early organs

3rd century BC - the Hydraulis, ancient Greek water-powered organ played by valves. 1st century (''at least'') - the ''Ptera''  and the ''Pteron'', ancient Roman organ similar in appearance to the portative organs 2nd century - the Magrepha, ancient Hebrew organ of ten pipes played by a keyboard

9th century - the automatic flute player (and possibly automatic hydropowered organ), a mechanical organ by the Banū Mūsā brothers

Medieval organs

Portative organ, a small portable medieval instrument

Positive organ, a somewhat larger though still portable instrument (occurs on an obelisk of the 4th century)

Regal, a small portable late-medieval instrument with reed pipes and two bellows. 16th century - useless resonance pipes were removed, and regal became a beating-reed organ. It may be seen as the ancestor of the harmonium and reed organs, and the varieties of 'squeezebox'

Various instruments

Reed organs

Harmonium or parlor organ, a reed instrument usually with many stops and two foot-operated bellows

American reed organ is a foot bellow or electric reed keyboard similar to the Harmonium, but that works on negative pressure—it sucks air through the reeds

Melodeon, a reed instrument with an air reservoir and a foot operated bellows—popular in the USA in the mid-19th century

Squeezeboxes

Squeezeboxes such as the accordion, concertina, ''Bandoneón'', etc., free reed instruments in which the bellows is operated by the squeezing action of the instrumentalist;

Mechanical organs

Barrel organ—made famous by organ grinders in its portable form, the larger form often equipped with keyboards for human performance

Novelty instruments or various types that operate on the same principles

* Orchestrion, fairground organ (or band organ in the USA), dutch street organ and Dance organ—these pipe organs use a ''piano roll'' player or other mechanical means instead of a keyboard to play a prepared song.

Sound art

''Hydraulophone''

Pyrophone (fire organ)

Sea organ

Water organ

Wave organ

Wind organ

Mouth-played instruments

''Pan flute''

Mouth organs such as:

* ''Recorder'', a kind of fipple flute that uses the same mechanism for sound production as the pipe organ.

* Harmonica, where the musician effectively blows directly onto the reeds, is also known as a mouth organ;

* Melodica, also known as 'blow-organ'

Bagpipes

Asian free reed instruments, such as the Chinese Sheng, Lusheng, Hulusi, Yu, Bawu, and Hulusheng, plus the Japanese Shō, Thai Khene, and Korean Saenghwang are known to be the inspiration for the western reed organ.

See also

Closed tube

Electronic organ

Hydraulis

Hydraulophone

List of organ builders

List of organ composers

List of organists

Open tube

Organ recital

Organ repertoire

Organ tablature

Organist

Organum

Pipe organ

Residence organ

Street organ

References

External links

Organ Music of the Day - Discover fascinating world of organ through Organ Music of the Day. Reed about and watch performances of some of the most exciting organ works. Updated regularly.

Music and organ recital at Notre-Dame de Paris

iao.org.uk - Regularly updated list of over 1600 hand-crafted links to websites covering all aspects of classical organs and organ music

npor.org.uk – Homepage of the National Pipe Organ Register of the British Institute of Organ Studies, with extensive information on and many audio samples of original instruments

orgel.edskes.net – Edskes Organ website with information and photos of various organs

Encyclopedia of Organ Stops – Information on construction and sound of various organ stops

Pipe organs

* ibiblio: The Organ UK Quarterly Magazine about pipe organs

* ibiblio: The Pipe Organ

* The American Guild of Organists – A professional association serving the organ and choral music fields

* The Incorporated Association of Organists - UK umbrella organisation for 90 affiliated organists' associations and 6,000 individual members

* The Organ Historical Society – The Society promotes a widespread musical and historical interest in American organbuilding through collection, preservation, and publication of historical information, and through recordings and public concerts.

* Organlive.com – Over 10,000 tracks of free organ music, delivered via streaming audio

* Pipedreams – organ radio broadcasts, articles, and more

* Pipe Organs 101

* The World's Largest Organs

* nzorgan.com – a vast website that chronicles in detail the installation of a pipe organ in New Zealand

* A Great Dom-Bedos Roubo Organ Project in Italy

Theatre organs

* American Theatre Organ Society

* TheatreOrgans.com

* The Walker Digital Unit Orchestra

Electronic organs

* Allen Organ Company history

* Hammond organs history

* Electronic Organ Constructor's Society

* Makin Organs (digitally sampled and hybrid organs)

* Rodgers Instruments (stereo digital sampled organs and hybrid digital/pipe organs)

* SCPOP : a digitally low-cost emulation of a pipe organ

Resources for Organ Audio Recordings

''Aeolus'' Germany CD company with recording of historic European Organs often with under recorded music

''JAV Recordings'' American CD Company with recording of historic American Pipe Organs by Skinner & Aeolian Skinner and also European Organs

''Regent Records'' British CD Company with recording of historic English Pipes Organ

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Coordinates	49°49′21″N19°2′40″N
Holiday name	All Saints
Type	Christian
Nonofficial name	Solemnity of All Saints
Nickname	All Hallows
Observedby	Roman Catholic Church,Eastern Orthodox churches,Anglican Communion,Lutheranism,Methodism,among other Protestant denominations
Litcolor	White
Date	November 1 (Western Christianity)Sunday after Pentecost (Eastern Christianity)
Observances	Church services
Relatedto	All Saints' Eve,All Souls' Day}}

All Saints' Day (in the Roman Catholic Church officially the Solemnity of All Saints and also called All Hallows or Hallowmas), often shortened to All Saints, is a solemnity celebrated on 1 November by parts of Western Christianity, and on the first Sunday after Pentecost in Eastern Christianity, in honor of all the saints, known and unknown.

In Western Christian theology, the day commemorates all those who have attained the beatific vision in Heaven. It is a national holiday in many historically Catholic countries. In the Roman Catholic Church, the next day, All Souls' Day, specifically commemorates the departed faithful who have not yet been purified and reached heaven. Catholics celebrate All Saints' Day and All Souls' Day in the fundamental belief that there is a prayerful spiritual communion between those in the state of grace who have died and are either being purified in purgatory or are in heaven (the 'church penitent' and the 'church triumphant', respectively), and the 'church militant' who are the living. Other Christian traditions define, remember and respond to the saints in different ways.

In the East

Eastern Christians of the Byzantine Tradition follow the earlier tradition of commemorating all saints collectively on the first Sunday after Pentecost, All Saints' Sunday (Greek: Αγίων Πάντων, ''Agiōn Pantōn'').

The feast of All Saints achieved great prominence in the ninth century, in the reign of the Byzantine Emperor, Leo VI "the Wise" (886–911). His wife, Empress Theophano—commemorated on December 16—lived a devout life. After her death in 893, her husband built a church, intending to dedicate it to her. When he was forbidden to do so, he decided to dedicate it to "All Saints," so that if his wife were in fact one of the righteous, she would also be honored whenever the feast was celebrated. According to tradition, it was Leo who expanded the feast from a commemoration of All Martyrs to a general commemoration of All Saints, whether martyrs or not.

This Sunday marks the close of the Paschal season. To the normal Sunday services are added special scriptural readings and hymns to all the saints (known and unknown) from the Pentecostarion.

The Sunday following All Saints' Sunday—the second Sunday after Pentecost—is set aside as a commemoration of all locally venerated saints, such as "All Saints of America", "All Saints of Mount Athos", etc. The third Sunday after Pentecost may be observed for even more localized saints, such as "All Saints of St. Petersburg", or for saints of a particular type, such as "New Martyrs of the Turkish Yoke."

In addition to the Sundays mentioned above, Saturdays throughout the year are days for general commemoration of all saints, and special hymns to all saints are chanted from the Octoechos.

In the West

The Western Christian holiday of All Saints' Day falls on November 1, followed by All Souls' Day on November 2, and is a Holy Day of Obligation in the Latin Rite of the Catholic Church.

The origin of the festival of All Saints celebrated in the West dates to May 13, 609 or 610, when Pope Boniface IV consecrated the Pantheon at Rome to the Blessed Virgin and all the martyrs; the feast of the ''dedicatio Sanctae Mariae ad Martyres'' has been celebrated at Rome ever since. There is evidence that from the fifth through the seventh centuries there existed in certain places and at sporadic intervals a feast date 13 May to celebrate the holy martyrs. The origin of All Saints' Day cannot be traced with certainty, and it has been observed on various days in different places. However, there are some who maintain the belief that it has origins in the pagan observation of 13 May, the Feast of the Lemures, in which the malevolent and restless spirits of the dead were propitiated. Liturgiologists base the idea that this ''Lemuria'' festival was the origin of that of All Saints on their identical dates and on the similar theme of "all the dead".

The feast of All Saints, on its current date, is traced to the foundation by Pope Gregory III (731–741) of an oratory in St. Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors, of all the just made perfect who are at rest throughout the world", with the day moved to 1 November and the 13 May feast suppressed.

This usually fell within a few weeks of the Celtic holiday of Samhain, which had a theme similar to the Roman festival of Lemuria, but which was also a harvest festival. The Irish, having celebrated Samhain in the past, did not celebrate All Hallows Day on this November 1 date, as extant historical documents attest that the celebration in Ireland took place in the spring: "...the ''Felire'' of Oengus and the ''Martyrology of Tallaght'' prove that the early medieval churches [in Ireland] celebrated the feast of All Saints on April 20."

A November festival of all the saints was already widely celebrated on November 1 in the days of Charlemagne. It was made a day of obligation throughout the Frankish empire in 835, by a decree of Louis the Pious, issued "at the instance of Pope Gregory IV and with the assent of all the bishops", which confirmed its celebration on November 1. The octave was added by Pope Sixtus IV (1471–1484).

The festival was retained after the Reformation in the calendar of the Anglican Church and in many Lutheran churches. In the Lutheran churches, such as the Church of Sweden, it assumes a role of general commemoration of the dead. In the Swedish calendar, the observance takes place on the Saturday between October 31 and November 6. In many Lutheran Churches, it is moved to the first Sunday of November. It is also celebrated by other Protestants of the English tradition, such as the United Church of Canada, the Methodist churches, and the Wesleyan Church.

Protestants generally regard all true Christian believers as saints and if they observe All Saints Day at all they use it to remember all Christians both past and present. In the United Methodist Church, All Saints' Day is celebrated on the first Sunday in November. It is held, not only to remember Saints, but also to remember all those that have died that were members of the local church congregation. In some congregations, a candle is lit by the Acolyte as each person's name is called out by the clergy. Prayers and responsive readings may accompany the event. Often, the names of those who have died in the past year are afixed to a memorial plaque.

In many Lutheran churches, All Saints' Day and Reformation Day are observed concurrently on the Sunday before or after those dates, given Reformation Day is observed in Protestant Churches on October 31. Typically, Martin Luther's A Mighty Fortress is Our God is sung during the service. Besides discussing Luther's role in the Protestant Reformation, some recognition of the prominent early leaders of the Reformed tradition, such as John Calvin and John Knox, occurs. The observance of Reformation Day may be immediately followed by a reading of those members of the local congregation who have died in the past year in observance of All Saints' Day. Otherwise, the recognition of deceased church members occurs at another designated portion of the service.

Roman Catholic Obligation

In the Roman Catholic Church, All Saints' Day is a Holy Day of Obligation in many (but not all) countries, meaning going to Mass on the date is required unless one has a good reason to be excused from that obligation, such as illness. However, in a number of countries that do list All Saints' Day as a Holy Day of Obligation, including England & Wales, the solemnity of All Saints' Day is transferred to the adjacent Sunday if 1 November falls on a Monday or a Saturday, while in the same circumstances in the United States the Solemnity is still celebrated on November 1 but the obligation to attend Mass is abrogated.

Customs

In Portugal, Spain, and Mexico, offerings (Portuguese: ''oferendas'', Spanish: ''ofrendas'') are made on this day. In Spain, the play ''Don Juan Tenorio'' is traditionally performed. In Mexico, All Saints Day coincides with the celebration of "Día de los Inocentes" (Day of the Innocents), the first day of the Day of the Dead (Dia de los Muertos) celebration, honoring deceased children and infants. In Portugal, children celebrate the Pão-por-Deus tradition, and go door to door where they receive cakes, nuts and pomegranates. This only occurs in some areas around Lisbon.

In Austria, Belgium, France, Hungary, Italy, Luxembourg, Malta, Portugal, Spain, and American Cities such as New Orleans people bring flowers to the graves of dead relatives.

In Poland, the Czech Republic, Sweden, Finland, Slovenia, Slovakia, Lithuania, Croatia, Austria, Romania, Moldova, Hungary and Catholic parts of Germany, the tradition is to light candles and visit the graves of deceased relatives.

In the Philippines, this day, called "''Undas''", "''Todos los Santos''" (literally "All Saints"), and sometimes "''Araw ng mga Patay''" (approximately "Day of the dead") is observed as All Souls' Day. This day and the one before and one after it is spent visiting the graves of deceased relatives, where prayers and flowers are offered, candles are lit and the graves themselves are cleaned, repaired and repainted.

In English-speaking countries, the festival is traditionally celebrated with the hymn "For All the Saints" by William Walsham How. The most familiar tune for this hymn is ''Sine Nomine'' by Ralph Vaughan Williams. Catholics generally celebrate with a day of rest consisting of avoiding physical exertion.

Popular culture

In professional sports, the New Orleans Saints franchise was awarded on All Saints' Day, November 1, 1966.

Notes

See also

Veneration of the dead

Halloween

Dziady

Day of the Dead

Irish calendar

Litany of the Saints

Allsaints (clothing)

External links

All Saints Day

All Saints and All Souls Day American Catholic

All Saints Sunday Orthodox England

A Vigil service for All Saints All Hallows' E'en - "Halloween"

First Sunday after Pentecost, or All Saints Sunday by Sergei Bulgakov, ''Handbook for Church Servers''

Synaxis of All Saints Icon and Synaxarion of the feast

Category:Catholic holy days Category:Eastern Orthodox liturgical days Category:People celebrated in the Lutheran liturgical calendar Category:Sainthood Category:Saints days Category:November observances

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right|frame|Tomaso AlbinoniTomaso Giovanni Albinoni (8 June 1671 – 17 January 1751) was a Venetian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, such as the concertos, some of which are regularly recorded.

Biography

Born in Venice, Republic of Venice, to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian, Cardinal Pietro Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de' Medici, Grand Duke of Tuscany.

In 1705, he was married; Antonino Biffi, the ''maestro di cappella'' of San Marco was a witness, and evidently was a friend of Albinoni's. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.

Unlike most composers of his time, he appears never to have sought a post at either a church or noble court, but then he was a man of independent means and had the option to compose music independently. In 1722, Maximilian II Emanuel, Elector of Bavaria, to whom Albinoni had dedicated a set of twelve concertos, invited him to direct two of his operas in Munich.

Around 1740, a collection of Albinoni's violin sonatas was published in France as a posthumous work, and scholars long presumed that meant that Albinoni had died by that time. However it appears he lived on in Venice in obscurity; a record from the parish of San Barnaba indicates Tomaso Albinoni died in Venice in 1751, of diabetes.

Music and influence

He wrote some fifty operas of which twenty-eight were produced in Venice between 1723 and 1740, while there are modern sources attributing — possibly exaggeratedly — 81 operas to the composer. Today he is most noted for his instrumental music, especially his oboe concertos. He is the first Italian known to employ the oboe as a solo instrument in concerti (c. 1715, in his masterful 12 concerti a cinque, op. 7) and publish such works, while it is likely that the first existing concerti featuring a solo oboe came from German composers such as Telemann or Händel, although probably unpublished. In Italy, Alessandro Marcello published his well known oboe concerto in D minor a little later, in 1717. Albinoni also employed the instrument often in his chamber works.

His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni's themes (Fugue on a Theme by Albinoni in A, BWV 950, Fugue on a Theme by Albinoni in B minor, BWV951) and constantly used his basses for harmony exercises for his pupils.

Part of Albinoni's work was lost in World War II with the destruction of the Dresden State Library. As a result, little is known of his life and music after the mid-1720s.

The famous Albinoni Adagio in G minor for violin, strings and organ, the subject of many modern recordings, was not composed by Albinoni, but is a composition by Remo Giazotto. (Main article:Adagio in G minor).

Works

See List of compositions by Tomaso Albinoni and List of operas by Albinoni.

Media

Footnotes

References

Eleanor Selfridge-Field, ''Venetian Instrumental Music, from Gabrieli to Vivaldi.'' New York, Dover Publications, 1994. ISBN 0-486-28151-5

Michael Talbot: "Tomaso Albinoni", Grove Music Online ed. L. Macy (Accessed June 25, 2005), (subscription access)

Franco Rossi: ''Catalogo Tematico delle composizioni di Tomaso Albinoni Tomo I - Le 12 opere strumentali a stampa'' - edition "I Solisti Veneti", Padova 2002

Franco Rossi: ''Catalogo Tematico delle composizioni di Tomaso Albinoni Tomo II - Le opere strumentali manoscritte - Le opere vocali - I libretti'' - edition "I Solisti Veneti", Padova 2003

External links

Category:1671 births Category:1751 deaths Category:Italian classical violinists Category:Italian composers Category:Baroque composers Category:Opera composers Category:People from Venice (city)

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Christopher Hugh Dearnley (11 February 1930 - 15 December 2000) was an English cathedral organist, who served in Salisbury Cathedral and St Paul's Cathedral

Background

Christopher Hugh Dearnley was born on 11 February 1930 in Wolverhampton. He was educated at Cranleigh School.

He was organ scholar at Worcester College, Oxford 1948 - 1952.

Whilst organist at St Paul's he would greatly amuse the choristers by turning up for choir practice in his plus fours which he would also wear whilst cycling around the City of London early in the mornings doing a (presumably one of his children's) paper round.

He died in Australia on 15 December 2000.

Career

Assistant organist of:

Salisbury Cathedral 1954 - 1957

Organist of:

Salisbury Cathedral 1957 - 1968

St Paul's Cathedral 1968 - 1990

{{s-ttl|title=Organist and Master of the Choristers of Salisbury Cathedral |years=1957-1968}} {{s-ttl|title=Organist and Master of the Choristers of St Paul's Cathedral |years=1968-1990}}

References

Category:Organists Category:English organists Category:English classical organists Category:Cathedral organists Category:1930 births Category:2000 deaths Category:Alumni of Worcester College, Oxford Category:Old Cranleighans

Coordinates	49°49′21″N19°2′40″N
name	Albert Schweitzer
birth date	January 14, 1875
birth place	Kaysersberg, (Alsace-Lorraine), Germany (now Haut-Rhin, France)
death date	September 04, 1965
death place	Lambaréné, Gabon
nationality	German (1875–1919)French (1919–1965)
field	Medicine, music, philosophy, theology
known for	Music, Philanthropy, Theology
prizes	Goethe Prize (1928)Nobel Peace Prize (1952) }}

Albert Schweitzer OM (14 January 1875 – 4 September 1965) was an Alsatian theologian, organist, philosopher, physician, and medical missionary. He was born in Kaysersberg in the province of Alsace-Lorraine, at that time part of the German Empire. Schweitzer, a Lutheran, challenged both the secular view of Jesus as depicted by historical-critical methodology current at his time in certain academic circles, as well as the traditional Christian view. He depicted Jesus as one who literally believed the end of the world was coming in his own lifetime and believed himself to be a world savior. He received the 1952 Nobel Peace Prize for his philosophy of "Reverence for Life", expressed in many ways, but most famously in founding and sustaining the Albert Schweitzer Hospital in Lambaréné, now in Gabon, west central Africa (then French Equatorial Africa). As a music scholar and organist, he studied the music of German composer Johann Sebastian Bach and influenced the Organ reform movement (''Orgelbewegung'').

Schweitzer's passionate quest was to discover a universal ethical philosophy, anchored in a universal reality, and make it directly available to all of humanity.

Education

Born in Kaysersberg, Schweitzer spent his childhood in the village of Gunsbach, Alsace (), where his father, the local Lutheran-Evangelical pastor, taught him how to play music. Long disputed, the predominantly German-speaking region of Alsace or Elsaß was annexed by Germany in 1871; after World War I, it was reintegrated into France. The tiny village is home to the Association Internationale Albert Schweitzer (AIAS). The medieval parish church of Gunsbach was of a special Protestant-Catholic kind found in various places in Germany even today. It was shared by the two congregations, which held their prayers in different areas of the same church at different times on Sundays. This compromise arose after the Protestant Reformation and the Thirty Years War. Schweitzer, the pastor's son, grew up in this exceptional environment of religious tolerance, and developed the belief that true Christianity should always work towards a unity of faith and purpose.

Schweitzer's home language was an Alsatian dialect of German. At Mulhouse high school he got his "Abitur" (the certificate at the end of secondary education), in 1893. He studied organ there from 1885–1893 with Eugène Munch, organist of the Protestant Temple, who inspired Schweitzer with his profound enthusiasm for the music of German composer Richard Wagner. In 1893 he played for the French organist Charles-Marie Widor (at Saint-Sulpice, Paris), for whom Johann Sebastian Bach's organ-music contained a mystic sense of the eternal. Widor, deeply impressed, agreed to teach Schweitzer without fee, and a great and influential friendship was begun.

From 1893 he studied Protestant theology at the Kaiser Wilhelm Universität of Straßburg. There he also received instruction in piano and counterpoint from professor Gustav Jacobsthal, and associated closely with Ernest Munch (the brother of his former teacher), organist of St William church, who was also a passionate admirer of J.S. Bach's music. Schweitzer did his one year's obligatory military service in 1894. Schweitzer saw many operas of Richard Wagner at Straßburg (under Otto Lohse), and in 1896 he pulled together the funds to visit Bayreuth to see Wagner's ''Der Ring des Nibelungen'' and ''Parsifal'', and was deeply affected. Soon afterwards he visited the new organ in the Liederhalle at Stuttgart, and, appalled by its lack of clarity, experienced another great realization. In 1898 he went back to Paris to write a PhD dissertation on ''The Religious Philosophy of Kant'' at the Sorbonne, and to study in earnest with Widor. Here he often met with the elderly Aristide Cavaillé-Coll. He also studied piano at that time with Marie Jaëll. He completed his theology degree in 1899 and published his PhD at the University of Tübingen in 1899.

Music

Schweitzer rapidly gained prominence as a musical scholar and organist, dedicated also to the rescue, restoration and study of historic pipe organs. With theological insight, he interpreted the use of pictorial and symbolical representation in J. S. Bach's religious music. In 1899 he astonished Widor by explaining figures and motifs in Bach's Chorale Preludes as painter-like tonal and rhythmic imagery illustrating themes from the words of the hymns on which they were based. They were works of devotional contemplation in which the musical design corresponded to literary ideas, conceived visually. (Widor had not grown up with knowledge of the old Lutheran hymns.)

The exposition of these ideas, encouraged by Widor and Munch, became Schweitzer's next task, and appeared in the masterly study ''J. S. Bach: Le Musicien-Poète'', written in French and published in 1905. During its preparation he became a friend of Cosima Wagner (then in Strasbourg), with whom he had many theological and musical conversations, exploring his view of Bach's descriptive music, and playing the major Chorale Preludes for her at the Temple Neuf. There was a great demand for a German edition, but instead he rewrote it in two volumes (''J. S. Bach'') in German, which were published in 1908, and in an English translation by Ernest Newman in 1911. Schweitzer's interpretative approach greatly influenced the modern understanding of Bach's music. He became a welcome guest at the Wagner's home, Wahnfried. His pamphlet "The Art of Organ Building and Organ Playing in Germany and France" (1906, republished with an appendix on the state of the organ-building industry in 1927) effectively launched the 20th century ''Orgelbewegung'', which turned away from romantic extremes and rediscovered baroque principles—although this sweeping reform movement in organ building eventually went further than Schweitzer himself had intended. In 1909 he addressed the ''Third Congress of the International Society of Music'' at Vienna on the subject. Having circulated a questionnaire among players and organ-builders in several European countries, he produced a very considered report. This provided the basis for the ''International Regulations for Organ Building''. He envisaged instruments in which the French late-romantic full-organ sound should work integrally with the English and German romantic reed pipes, and with the classical Alsace Silbermann organ resources and baroque flue pipes, all in registers regulated (by stops) to access distinct voices in fugue or counterpoint capable of combination without loss of distinctness: different voices singing together in the same music.

Schweitzer also studied piano under Isidor Philipp, head of the piano department at the Paris Conservatory.

In 1905 Widor and Schweitzer were among the six musicians who founded the Paris Bach Society, a choir dedicated to performing J.S. Bach's music, for whose concerts Schweitzer took the organ part regularly until 1913. He was also appointed organist for the Bach Concerts of the Orféo Català at Barcelona and often travelled there for that purpose. He and Widor collaborated on a new edition of Bach's organ works, with detailed analysis of each work in three languages (English, French, German). Schweitzer, who insisted that the score should show Bach's notation with no additional markings, wrote the commentaries for the Preludes and Fugues, and Widor those for the Sonatas and Concertos: six volumes were published in 1912–14. Three more, to contain the Chorale Preludes with Schweitzer's analyses, were to be worked on in Africa: but these were never completed, perhaps because for him they were inseparable from his evolving theological thought.

On departure for Lambaréné in 1913 he was presented with a pedal piano, a piano with pedal attachments (to operate like an organ pedal-keyboard). Built especially for the tropics, it was delivered by river in a huge dug-out canoe to Lambaréné, packed in a zinc-lined case. At first he regarded his new life as a renunciation of his art, and fell out of practise: but after some time he resolved to study and learn by heart the works of Bach, Mendelssohn, Widor, César Franck, and Max Reger systematically. It became his custom to play during the lunch hour and on Sunday afternoons. Schweitzer's pedal piano was still in use at Lambaréné in 1946.

Sir Donald Tovey dedicated his conjectural completion of Bach's ''Die Kunst der Fuge'' (Art of the Fugue) to Schweitzer.

Dr Schweitzer's recordings of organ-music, and his innovative recording technique, are described separately below.

One of his notable pupils was conductor and composer Hans Münch.

Theology

In 1899 Schweitzer became a deacon at the church Saint-Nicolas of Strasbourg. In 1900, with the completion of his licentiate in theology, he was ordained as curate, and that year he witnessed the Oberammergau Passion Play. In the following year he became provisional Principal of the Theological College of Saint Thomas (from which he had just graduated), and in 1903 his appointment was made permanent.

Since the mid-1890s Schweitzer had formed the inner resolve that it was needful for him as a Christian to repay to the world something for the happiness which it had given to him, and he determined that he would pursue his younger interests until the age of thirty and then give himself to serving humanity, with Jesus serving as his example.

In 1906 he published ''Geschichte der Leben-Jesu-Forschung'' ("History of Life-of-Jesus research"). This book, which established his reputation, was first translated into English by William Montgomery and published in 1910 as ''The Quest of the Historical Jesus''. Under this title the book became famous in the English-speaking world. A second German edition was published in 1913, containing theologically significant revisions and expansions: but this revised edition did not appear in English until 2001.

In ''The Quest'', Schweitzer reviewed all former work on the "historical Jesus" back to the late 18th century. He showed that the image of Jesus had changed with the times and outlooks of the various authors, and gave his own synopsis and interpretation of the previous century's findings. He maintained that the life of Jesus must be interpreted in the light of Jesus' own convictions, which reflected late Jewish eschatology. Schweitzer, however, writes: "The Jesus of Nazareth who came forward publicly as the Messiah, who preached the ethic of the kingdom of God, who founded the kingdom of heaven upon earth and died to give his work its final consecration never existed."

Sources

Schweitzer found many New Testament references to apparently show that 1st-century Christians believed literally in the imminent fulfillment of the promise of the World's ending, within the lifetime of Jesus's original followers, He noted that in the gospel of Mark, Jesus speaks of a "tribulation", with his coming in the clouds with great power and glory" (St Mark), and states when it will happen: "This generation shall not pass, till all these things be fulfilled" (St Matthew, 24:34) (or, "... have taken place" (Luke 21:32)): "All these things shall come upon this generation" (Matthew 23:36). "There be some standing here which shall not taste of death till they see the Son of man coming in his kingdom" (Matthew 16:28) (or, "...until they see that the kingdom of God has come with power" (Mark 9:1); or, "... till they see the kingdom of God" (Luke 9:27).)

Schweitzer notes that St. Paul apparently believed in the immediacy of the "Second Coming of Jesus": "Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord" (1 Thessalonians 4.17). St Paul spoke of the 'last times': "Brethren, the time is short: it remaineth, that both they that have wives be as though they had none" (1 Corinthians 7:29); "God... Hath in these last days spoken unto us by his Son" (Hebrews 1:2). Similarly in St Peter: "Christ.. Who verily was foreordained before the foundation of the world, but was manifest in these last times for you" (1 Peter 1:20), and "But the end of all things is at hand" (1 Peter 4:7). "Surely I come quickly" (Revelation 22:20). (Again, note N.T.Wright, ''ibid''.)

Schweitzer writes that modern Christians of many kinds deliberately ignore the urgent message (so powerfully proclaimed by Jesus during the 1st century) of an imminent end of the world. Each new generation hopes to be the one to see the world destroyed, another world coming, and the saints governing a new earth. Schweitzer concludes that the 1st century theology, originating in the lifetimes of those who first followed Jesus, is both incompatible with, and far removed from, those beliefs later made official by the Roman Emperor Constantine in 325 CE.

Aftermath

The publication of ''The Quest for the Historical Jesus'', effectively put a stop for decades to work on the Historical Jesus as a sub-discipline of New Testament studies. This work resumed however with the development of the so-called "Second Quest", among whose notable exponents was Rudolf Bultmann's student Ernst Käsemann.

Schweitzer established his reputation further as a New Testament scholar with other theological studies including ''The Psychiatric Study of Jesus'' (1911); and his two studies of the apostle Paul, ''Paul and his Interpreters'', and the more complete ''The Mysticism of Paul the Apostle'' (1930). This examined the eschatological beliefs of Paul and (through this) the message of the New Testament.

Medicine

At the age of 30, in 1905, he answered the call of ''"The Society Of The Evangelist Missions of Paris"'' who was looking for a medical doctor. However, the committee of this French Missionary Society was not ready to accept his offer, considering his Lutheran theology to be "incorrect". He could easily have obtained a place in a German Evangelical mission, but wished to follow the original call despite the doctrinal difficulties. Amid a hail of protests from his friends, family and colleagues, he resigned his post and re-entered the University as a student in a punishing seven-year course towards the degree of a Doctorate in Medicine, a subject in which he had little knowledge or previous aptitude. He planned to spread the Gospel by the example of his Christian labor of healing, rather than through the verbal process of preaching, and believed that this service should be acceptable within any branch of Christian teaching.

Even in his study of medicine, and through his clinical course, Schweitzer pursued the ideal of the philosopher-scientist. By extreme application and hard work he completed his studies successfully at the end of 1911. His medical degree dissertation was another work on the historical Jesus, ''The Psychiatric Study of Jesus''. In June 1912 he married Helene Bresslau, daughter of the Jewish pan-Germanist historian Harry Bresslau.

In 1912, now armed with a medical degree, Schweitzer made a definite proposal to go as a medical doctor to work at his own expense in the Paris Missionary Society's mission at Lambaréné on the Ogooué river, in what is now the Gabon, in Africa (then a French colony). He refused to attend a committee to inquire into his doctrine, but met each committee member personally and was at last accepted. By concerts and other fund-raising he was ready to equip a small hospital. In Spring 1913 he and his wife set off to establish a hospital near an already existing mission post. The site was nearly 200 miles (14 days by raft) upstream from the mouth of the Ogooé at Port Gentil (Cape Lopez) (and so accessible to external communications), but downstream of most tributaries, so that internal communications within Gabon converged towards Lambaréné. In the first nine months he and his wife had about 2,000 patients to examine, some travelling many days and hundreds of kilometers to reach him. In addition to injuries he was often treating severe sandflea and crawcraw sores (washing with mercuric chloride), ''framboesia'' (using arseno-benzol injections), tropical eating sores (cleaning and potassium permanganate), heart disease (treated with digitalin), tropical dysentery (emetine (syrup of ipecac) and arseno-benzol), tropical malaria (quinine and Arrhenal arsenic), sleeping sickness, treated at that time with atoxyl, leprosy (chaulmoogra oil), fevers, strangulated hernias (surgery), necrosis, abdominal tumours and chronic constipation and nicotine poisoning, while also attempting to deal with deliberate poisonings, fetishism and fear of cannibalism among the Mbahouin.

Mrs. Helene Schweitzer was anaesthetist for surgical operations, using chloroform and Papaveretum, a synthesized morphine derivative. After briefly occupying a shed formerly used as a chicken hut, in autumn 1913 they built their first hospital of corrugated iron, with two 13-foot rooms (consulting room and operating theatre) and with a dispensary and sterilising room in spaces below the broad eaves. The waiting room and dormitory (42 by 20 feet), were built like native huts, of unhewn logs, along a 30-yard path leading from the hospital to the landing-place. The Schweitzers had their own bungalow, and employed as their assistant Joseph, a French-speaking Galoa (Mpongwe) who first came as a patient.

When World War I broke out in summer of 1914, Schweitzer and his wife, Germans in a French colony, were put under supervision at Lambaréné (where work continued) by the French military. In 1917, exhausted by over four years' work and by tropical anaemia, they were taken to Bordeaux and interned first in Garaison, and then from March 1918 in Saint-Rémy-de-Provence. In July 1918, after being transferred via Switzerland to his home in Alsace, he was a free man again. At this time Schweitzer, born a German citizen, had his parents' former (pre-1871) French citizenship reinstated and became a French citizen. Then, working as medical assistant and assistant-pastor in Strasbourg, he advanced his project on The Philosophy of Civilization, which had occupied his mind since 1900. By 1920, his health recovering, he was giving organ recitals and doing other fund-raising work to repay borrowings and raise funds for returning to Gabon. In 1922 he delivered the Dale Memorial Lectures in Oxford University, and from these in the following year appeared Volumes I and II of his great work, ''The Decay and Restoration of Civilization'' and ''Civilization and Ethics''. The two remaining volumes, on ''The World-View of Reverence for Life '' and a fourth on the Civilized State, were never completed.

In 1924 he returned without his wife but with an Oxford undergraduate, Noel Gillespie, as assistant. Everything was heavily decayed and building and doctoring progressed together for months. He now had salvarsan for treating syphilitic ulcers and framboesia. Additional medical staff, nurse (Miss) Kottmann and Dr. Victor Nessmann, joined him in 1924, and Dr. Mark Lauterberg in 1925; the growing hospital was manned by native orderlies. Later Dr. Trensz replaced Nessmann, and Martha Lauterberg and Hans Muggenstorm joined them. Joseph also returned. In 1925-6 new hospital buildings were constructed, and also a ward for white patients, so that the site became like a village. The onset of famine and a dysentery epidemic created fresh problems. Much of the building work was carried out with the help of local people and patients. Drug advances for sleeping sickness included Germanin and tryparsamide. Dr. Trensz conducted experiments showing that the non-amoebic strain of dysentery was caused by a paracholera vibrion (facultative anaerobic bacteria). With the new hospital built and the medical team established, Schweitzer returned to Europe in 1927, this time leaving a functioning hospital at work.

He was there again from 1929–1932. Gradually his opinions and concepts became acknowledged, not only in Europe, but worldwide. There was a further period of work in 1935. In January 1937 he returned again to Lambaréné, and continued working there throughout the Second World War.

Controversy and criticism

Schweitzer's views

Schweitzer considered his work as a medical missionary in Africa to be his response to Jesus' call to become "fishers of men" but also as a small recompense for the historic guilt of European colonizers:

Rather than being a supporter of colonialism, Schweitzer was one of its harshest critics. In a sermon that he preached on 6 January 1905, before he had told anyone of his plans to dedicate the rest of his life to work as a doctor in Africa, he said:

Criticism of Schweitzer

Schweitzer was nonetheless still sometimes accused of being paternalistic or colonialist in his attitude towards Africans, and in some ways his views did differ from that of many liberals and other critics of colonialism. For instance, he thought Gabonese independence came too early, without adequate education or accommodation to local circumstances. Edgar Berman quotes Schweitzer speaking these lines in 1960:

Chinua Achebe has quoted Schweitzer as saying: "The African is indeed my brother but my junior brother," which Achebe criticized him for, though Achebe seems to acknowledge that Schweitzer's use of the word "brother" at all was, for a European of the early 20th century, an unusual expression of human solidarity between whites and blacks. Later in his life, Schweitzer was quoted as saying: "The time for speaking of older and younger brothers has passed." It is also more likely that Schweitzer was speaking in terms of modern civilization than of class relationship of man; this would be consistent with his later statement that "the time for speaking of older and younger brothers is over", and his discussion of the modernization of "primeval" societies. Later in life he became more convinced that "modern civilization" was actually inferior or the same in morality than previous cultures.

The journalist James Cameron visited Lambaréné in 1953 (when Schweitzer was 78) and found significant flaws in the practices and attitudes of Schweitzer and his staff. The hospital suffered from squalor and was without modern amenities, and Schweitzer had little contact with the local people. Cameron did not make public what he had seen at the time: according to a recent BBC dramatisation, he made the unusual journalistic decision to withhold the story, and resisted the expressed wish of his employers to publish an exposé aimed at debunking Schweitzer.

American journalist John Gunther also visited Lambaréné in the 1950s and reported Schweitzer's patronizing attitude towards Africans. He also noted the lack of Africans trained to be skilled workers. After three decades in Africa Schweitzer still depended on Europe for nurses. By comparison, his contemporary Sir Albert Cook in Uganda had been training nurses and midwives since the 1910s and had published a manual of midwifery in the local language of Luganda.

Reverence for life

The keynote of Schweitzer's personal philosophy (which he considered to be his greatest contribution to mankind) was the idea of ''Reverence for Life'' ("''Ehrfurcht vor dem Leben''"). He thought that Western civilization was decaying because it had abandoned affirmation of (and respect for) life as its ethical foundation.

In the Preface to ''Civilization and Ethics'' (1923) he argued that Western philosophy from Descartes to Kant had set out to explain the objective world expecting that humanity would be found to have a special meaning within it. But no such meaning was found, and the rational, life-affirmating optimism of the Age of Enlightenment began to evaporate. A rift opened between this world-view, as material knowledge, and the life-view, understood as will, expressed in the pessimist philosophies from Schopenhauer onward. Scientific materialism (advanced by Spencer and Darwin) portrayed an objective world process devoid of ethics, entirely an expression of the will-to-live.

Schweitzer wrote: "True philosophy must start from the most immediate and comprehensive fact of consciousness, and this may be formulated as follows: 'I am life which wills to live, and I exist in the midst of life which wills to live'." In nature one form of life must always prey upon another. However, human consciousness holds an awareness of, and sympathy for, the will of other beings to live. An ethical human strives to escape from this contradiction so far as possible.

Though we cannot perfect the endeavour we should strive for it: the will-to-live constantly renews itself, for it is both an evolutionary necessity and a spiritual phenomenon. Life and love are rooted in this same principle, in a personal spiritual relationship to the universe. Ethics themselves proceed from the need to respect the wish of other beings to exist as one does towards oneself. Even so, Schweitzer found many instances in world religions and philosophies in which the principle was denied, not least in the European Middle Ages, and in the Indian Brahminic philosophy.

For Schweitzer, Mankind had to accept that objective reality is ethically neutral. It could then affirm a new Enlightenment through spiritual rationalism, by giving priority to volition or ethical will as the primary meaning of life. Mankind had to choose to create the moral structures of civilization: the world-view must derive from the life-view, not vice-versa. Respect for life, overcoming coarser impulses and hollow doctrines, leads the individual to live in the service of other people and of every living creature. In contemplation of the will-to-life, respect for the life of others becomes the highest principle and the defining purpose of humanity.

Such was the theory which Schweitzer sought to put into practice in his own life. According some authors, Schweitzer's thought and specifically his development for reverence for life was influenced by Indian religious thought and in particular Jain principle of ahimsa (non-violence) Albert Schweitzer has noted the contribution of Indian influence in his book ''Indian Thought and Its Development'':

Later life

After the birth of their daughter, Albert's wife, Mme Helene Schweitzer was no longer able to live in Lambaréné owing to her health. In 1923 the family moved to Königsfeld im Schwarzwald, Baden-Württemberg, where he was building a house for the family. This house is now maintained as a Schweitzer museum.

From 1939–48 he stayed in Lambaréné, unable to go back to Europe because of the war. Three years after the end of World War II, in 1948, he returned for the first time to Europe and kept traveling back and forth (and once to the USA) as long as he was able. During his return visits to his home village of Gunsbach, Schweitzer continued to make use of the family house, which after his death became an Archive and Museum to his life and work. His life was portrayed in the 1952 movie ''Il est minuit, Docteur Schweitzer'', starring Pierre Fresnay as Albert Schweitzer and Jeanne Moreau as his nurse Marie. Schweitzer inspired actor Hugh O'Brian when O'Brian visited in Africa. O'Brian returned to the United States and founded the Hugh O'Brian Youth Leadership Foundation (HOBY). The Nobel Peace Prize of 1952 was awarded to Dr Albert Schweitzer. His "The Problem of Peace" lecture is considered one of the best speeches ever given. From 1952 until his death he worked against nuclear tests and nuclear weapons with Albert Einstein, Otto Hahn and Bertrand Russell. In 1957 and 1958 he broadcast four speeches over Radio Oslo which were published in ''Peace or Atomic War''. In 1957, Schweitzer was one of the founders of The Committee for a Sane Nuclear Policy. On 23 April 1957, Dr. Schweitzer made his "Declaration of Conscience" speech; it was broadcast to the world over Radio Oslo, pleading for the abolition of nuclear weapons. He ended his speech, saying:

In 1955 he was made an honorary member of the Order of Merit by Queen Elizabeth II. He was also a chevalier of the Military and Hospitaller Order of Saint Lazarus of Jerusalem. Schweitzer died on 4 September 1965 at his beloved hospital in Lambaréné, Gabon. His grave, on the banks of the Ogowe River, is marked by a cross he made himself.

His grand niece Anne-Marie Schweitzer Sartre was the mother of Jean-Paul Sartre. Schweitzer was a vegetarian.

The Albert Schweitzer Fellowship was founded in 1940 by Dr. Schweitzer to unite U.S. supporters in filling the gap in support for his Hospital when his European supply lines was cut off by war, and continues to support the Lambaréné Hospital today. Schweitzer, however, considered his ethic of Reverence for Life, not his Hospital, his most important legacy, saying that his Lambaréné Hospital was just "my own improvisation on the theme of Reverence for Life. Everyone can have their own Lambaréné." Today ASF helps large numbers of young Americans in health-related professional fields find or create "their own Lambaréné" in the U.S. or internationally. ASF selects and supports nearly 250 new U.S. and Africa Schweitzer Fellows each year from over 100 of the leading U.S. schools of medicine, nursing, public health, and every other health-related field (including music, law, and divinity), helping launch them on lives of Schweitzer-spirited service. The peer-supporting lifelong network of "Schweitzer Fellows for Life" numbered over 2,000 members in 2008, and is growing by nearly 1,000 every four years. Nearly 150 of these Schweitzer Fellows have served at the Hospital in Lambaréné, for three month periods during their last year of medical school.

International Albert Schweitzer-Prize

First time awarded on 29th May 2011 to Eugen Drewermann and the physician couple Rolf and Raphaela Maibach in Königsfeld im Schwarzwald, location of Schweitzer's residence which now houses the Albert-Schweitzer Museum.

Sound recordings

Recordings of Schweitzer playing the music of Bach are available on CD. During 1934 and 1935 he was for some time in Britain, delivering the Gifford Lectures at Edinburgh University, and those on ''Religion in Modern Civilization'' at Oxford and London. He had originally conducted trials for recordings for HMV on the organ of the old Queen's Hall in London. These records did not satisfy him, the instrument being too harsh. In mid-December 1935 he began to record for Columbia Records on the organ of All Hallows, Barking-by-the-Tower (London). Then at his suggestion the sessions were transferred to the church of Ste Aurélie in Strasbourg, on a mid-18th century organ by Johann Andreas Silbermann (brother of Gottfried), an organ-builder greatly revered by Bach, which had been restored by the Lorraine organ-builder Frédéric Härpfer shortly before the First World War. These recordings were made in the course of a fortnight in October 1936.

The Schweitzer Technique

Dr. Schweitzer developed a technique for recording the performances of Bach's music. Known as "The Schweitzer Technique", it is a slight improvement on what is commonly known as mid-side. The mid-side sees a figure-8 microphone pointed off-axis, perpendicular to the sound source. Then a single cardioid microphone is placed on axis, bisecting the figure-8 pattern. The signal from the figure-8 is mult-ed, panned hard left and right, one of the signals being flipped out of polarity. In the Schweitzer method, the figure-8 is replaced by two small diaphragm condenser microphones pointed directly away from each other. The information that each capsule collects is unique, unlike the identical out-of-polarity information generated from the figure-8 in a regular mid-side. The on-axis microphone is often a large diaphragm condenser. The technique has since been used to record many modern instruments.

Columbia recordings

Altogether his early Columbia discs included 25 records of Bach and eight of César Franck. The Bach titles were mainly distributed as follows:

Queen's Hall: Organ Prelude and Fugue in E minor (Edition Peters Vol 3, 10); Herzlich thut mich verlangen (BWV 727); Wenn wir in höchsten Nöten sein (Vol 7, 58 (Leipzig 18)). All Hallows: Prelude and Fugue in C major; Fantasia and Fugue in G minor (the Great); Prelude and Fugue in G major; Prelude and Fugue in F minor; Little Fugue in G minor; Toccata and Fugue in D minor. Ste Aurélie: Prelude and Fugue in C minor; Prelude and Fugue in E minor; Toccata and Fugue in D minor. Chorale Preludes: Schmücke dich, O liebe Seele (Peters Vol 7, 49 (Leipzig 4)); O Mensch, bewein' dein Sünde groß (Vol 5, 45); O Lamm' Gottes, unschuldig (Vol 7, 48 (Leipzig 6)); Christus der uns selig macht (Vol 5, 8); Da Jesus an dem Kreuze stand (Vol 5, 9); An Waßerflüßen Babylon (Vol 6, 12b); Christum wir wollen loben schon (Vol 5, 6); Liebster Jesu, wir sind hier (Vol 5, app 5); Mit Fried' und Freud' ich fahr' dahin (Vol 5, 4); Sei gegrusset, Jesu gutig (Var 11, Vol 5, app. 3); Jesus Christus, unser Heiland (Vol 6, 31 (Leipzig 15)); Christ lag in Todesbanden (Vol 5, 5); Erschienen ist der herrlich' Tag? (Vol 5, 15).

Later recordings were made at Parish church, Günsbach: Fugue in A minor (Peters, Vol 2, 8); Fantasia and Fugue in G minor (Great) (Vol 2, 4); Toccata, Adagio and Fugue in C major (Vol 3, 8). Prelude in C major (Vol 4, 1); Prelude in D major (Vol 4, 3); Canzona in D minor (Vol 4, 10) (with Mendelssohn, Sonata in D minor op 65.6). Chorale-Preludes: O Mensch, bewein' dein' Sünde gross (1st and 2nd vsns, Peters Vol 5, 45); Wenn wir in höchsten Nöten sein (Vor deinen Thron tret ich hiermit) (vol 7, 58 (Leipzig 18)); Ich ruf' zu dir, Herr Jesu Christ (Vol 5, 30); Gelobet seist du, Jesu Christ (Vol 5, 17); Herzlich tut mich verlangen (Vol 5, 27); Nun komm', der Heiden Heiland (vol 7, 45 (BWV 659a)).

Phillips recordings

J. S. Bach: Prelude and Fugue in A major, BWV 536; Prelude and Fugue in F minor, BWV 534; Prelude and Fugue in B minor, BWV 544; Toccata and Fugue in D minor, BWV 538. J. S. Bach: Passacaglia in C minor, BWV 582; Prelude and Fugue in E minor, BWV 533; Prelude and Fugue in A minor, BWV 543; Prelude and Fugue in G major, BWV 541; Toccata and Fugue in D minor, BWV 565. César Franck: Organ Chorales, no. 1 in E Major; no. 2 in B minor; no. 3 in A minor.

Film portrayals

In 1952 Pierre Fresnay played him in biographical film ''Il est minuit, Docteur Schweitzer''

In 1957 Schweitzer appeared as himself and Phillip Eckert played him in biographical film ''Albert Schweitzer''

In 1962 Jean-Pierre Marielle played him in a TV remake of ''Il est minuit, Docteur Schweitzer''

In 1982 Christopher Carey played him in an episode of ''Voyagers!''

In 1990 Malcolm McDowell played him in biographical film ''Schweitzer''

In 1992 Friedrich von Thun played him in two episodes of ''The Young Indiana Jones Chronicles''

In 1995 André Wilms played him in biographical film ''Le Grand blanc de Lambaréné''

Also in 1995, in an episode of Star Trek: Voyager called "Heroes and Demons", the holographic doctor chooses 'Schweitzer' as a potential name for himself.

In 2006 Jeff McCarthy played him in TV biographical film ''Albert Schweitzer: Called to Africa''

In 2009 Jeroen Krabbé played him in biographical film ''Albert Schweitzer – Ein Leben für Afrika''

Bibliography

''The Quest of the Historical Jesus; A Critical Study Of Its Progress From Reimarus To Wrede'', (German, 1906). English edition, translated by William Montgomery, A. & C. Black, London 1910, 1911. Augsburg Fortress Publishers, 2001 edition: ISBN 0800632885

''J. S. Bach, Le Musicien-Poète'', with introduction by C. M. Widor (Breitkopf & Härtel with P. Costellot, Leipzig 1905).

''J. S. Bach'' (enlarged German edition) (Breitkopf & Härtel, Leipzig 1908). (English translation by Ernest Newman, with author's alterations and additions, London 1911.)

''J. S. Bach''. Transl. in Russian by Ya. S. Druskin, Ed. by M. S. Druskin; L. G. Kovnatskaya. 2nd ed., enlarged. Moscow: Klassika – XXI, 2002. 816 pp.

''Deutsche und französische Orgelbaukunst und Orgelkunst'' (German and French organbuilding and organ art)(Breitkopf & Härtel, Leipzig 1906) (first printed in ''Musik'', vols 13 and 14 (5th year)).

''The Psychiatric Study of Jesus: Exposition and Criticism''. (1911), Gloucester, Massachusetts: Peter Smith Publisher. 1948. ISBN 0844628948

''The Mystery of the Kingdom of God: The Secret of Jesus' Messiahship and Passion''. (1914), Prometheus Books. 1985. ISBN 0879752947

''On the Edge of the Primeval Forest'' ("Zwischen Wasser und Urwald"), Translated by C. T. Campion. A. & C. Black, London 1922.

''The Decay and the Restoration of Civilization'' and ''Civilization and Ethics'' (''The Philosophy of Civilization'', Vols I & II of the projected but not completed four-volume work), A. & C. Black, London 1923. Material from these volumes is rearranged in a modern compilation, ''The Philosophy of Civilization'' (Prometheus Books, 1987), ISBN 0879754036.

''The Mysticism of Paul the Apostle''. (1930), Johns Hopkins University Press. 1998. ISBN 0801860989

''More From the Primeval Forest'' ("Mitteilungen aus Lambaréné"), Tr. C. T. Campion. A. & C. Black, London 1931.

''Out of My Life and Thought: An Autobiography''. ("Aus Meinem Leben und Denken", Felix Meiner Verlag, Leipzig, 1931), (English Translation 1933, George Allen & Unwin, Woking) Johns Hopkins University Press, 1998 edition with foreword by Jimmy Carter: ISBN 0801860970

''Indian Thought and Its Development''. Boston, Massachusetts: Beacon Press. 1935.

''Afrikanische Geschichten'' (Felix Meiner, Leipzig u. Hamburg 1938): tr. Mrs C. E. B. Russell as ''From My African Notebook'' (George Allen and Unwin, London 1938/Henry Holt, New York 1939). Modern edition with Foreword by Dr. L. Forrow (Syracuse University Press, 2002).

''Peace or Atomic War?'' New York: Henry Holt. 1958. ISBN 0804615519

''The Kingdom of God and Primitive Christianity'', with Ulrich Neuenschwander. New York: Seabury Press. 1968.

References

Further reading

Brabazon, James. ''Albert Schweitzer: A Biography''. New York: G. P. Putnam's Sons. 1975. ISBN 0399114211

Brabazon, James. ''Albert Schweitzer: A Biography: 2nd edition''. Syracuse, New York: Syracuse University Press. 2000. ISBN 978-0815606758

Rud, A.G. ''Albert Schweitzer's Legacy for Education: Reverence for Life'' (Palgrave Macmillan; 2011) 173 pages

External links

Reuters, "Albert Schweitzer, 90, Dies at His Hospital" (obituary), ''The New York Times'', 6 September 1965.

Albert Schweitzer — at AlbertSchweitzer.info

Albert Schweitzer — at Encyclopædia Britannica

Albert Schweitzer Fellowship

Schweitzer Fellows

"Albert Schweitzer: Exemplar of Life"

Albert Schweitzer Fellowship Records at Syracuse University

Albert Schweitzer Hopital in Haiti

The Albert Schweitzer Institute at Quinnipiac University

Albert Schweitzer and Music by Rainer Noll

The Albert Schweitzer Page

Albert Schweitzer Papers at Syracuse University

Albert Schweitzer Quotes

Association Internationale Albert Schweitzer

A Declaration of Conscience – 23 April 1957

Friends of Albert Schweitzer (UK) — a charity promoting Reverence for Life

Goethe: His Personality and His Work – keynote address at the Goethe Bicentennial Convocation, Aspen, Colorado, July 1949

Nobel e-Museum Schweitzer page

Readings on "Reverence for Life"

Schweitzer Institute

Schweitzer Nobel Presentation Speech by Gunnar Jahn

Schweitzerforlaget (Norwegian text only)

A Short History of the Organ Revival, by Lawrence Phelps (describes Schweitzer's work to reform organ building)

Transcript of a diary kept by Ava Helen Pauling recounting her visit to the Schweitzer compound at Lambaréné, Gabon

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