Značaj orgulja u stvaralaštvu bečkih klasičara

Orguljsko stvaralaštvo bečkih klasičara – Josepha Haydna (1732. – 1809.), Wolfganga Amadeusa Mozarta (1756. – 1791.) i Ludwiga van Beethovena (1770. – 1827.) – doima se prilično oskudnim u odnosu na njihova druga djela kao što su brojne klavirske sonate, gudački kvarteti ili simfonije, iako je poznato da su sva tri skladatelja dolazila u doticaj s orguljama i djelovali kao orguljaši. Svrha je ovog diplomskog rada rasvijetliti povijesne okolnosti koje su dovele do razmjerno malena broja skladbi bečkih klasičara za orgulje uz kraći pregled njihovih djela kao i djela nekih suvremenika poput Salierija, Vanhala i drugih.The organ works of the First Viennese School composers – Joseph Haydn (1732–1809), Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827) – seem rather scarce compared to their other works such as numerous piano sonatas, string quartets or symphonies, although all three composers are known to have come in contact with organ and worked as organists. The purpose of this thesis is to shed light on the historical circumstances that led to the relatively small number of organ compositions by the First Viennese School composers with a brief overview of their organ works as well as those of some contemporaries such as Salieri, Vanhal and others