Franz Liszt and Johann Gottlob Töpfer a Fruitful Relationship in Weimar by Jens Korndörfer

Nineteenth-century Studies Franz Liszt and Johann Gottlob Töpfer A Fruitful Relationship in Weimar By Jens Korndörfer

Introduction he liked.10 Milton Sutter believes that During the travels of his virtuoso two of Töpfer’s early works for organ (the Altenburg, artist unknown, after C. Hoff- Alexander Winterberger, by Sergey years, Franz Liszt liked to try out and Fantasia in C and the Sonata in D, of mann, original 1859 (copyright Klassik Stif- Lvovich Levitsky even perform on various organs through- which the latter had been performed in tung Weimar) out Europe.1 However, it was only after a recital with Liszt’s and Töpfer’s works!) his move to Weimar in 1848 that he was “influenced Liszt to a certain extent in 1848), premiered both “Ad nos” and 8′ Spitzflöte in regular contact with other organists2 that the first version of the Prelude and “B-A-C-H”.18 Thus, he was Liszt’s most 8′ Gamba and began to compose for the “pope of Fugue on B-A-C-H (1855) contains some important performer and was instrumen- 4′ Octave 3 4′ Spitzflöte instruments” —in fact, as Alan Walker material that seems to be an expansion tal in disseminating Liszt’s organ works 4′ Gamba points out, it is “unthinkable that Liszt of some of Töpfer’s ideas as expressed in with his recitals in Germany and Hol- 2′ Octave would have written his two organ master- the Fantasia and the Sonata.”11 land.19 Winterberger’s beginnings as an Cornet IV Mixtur IV pieces Ad nos, ad salutarem undam and Whereas Töpfer’s influence on Liszt’s organist are not entirely clear: Hintzen- Cymbal III Prelude and Fugue on B-A-C-H in any organ compositions cannot be ascertained, stern claims that he studied with Töpfer other environment than . . . Weimar.”4 there is more evidence for an influence in in Weimar (but does not give proof for Oberwerk As the Catholic Church in Weimar was the other direction. Töpfer’s three Choral his claim), whereas Holloway suggests 16′ Bordun 8′ Principal small and the organ—as well as ‘modern’ Fantasies (1859) can be considered the that he probably studied with Carl Ferdi- 8′ Schweitzerflöte music (e.g., chromaticism)—unwelcome precursors of Reger’s compositions in nand Becker (1804–1877) in Leipzig and 8′ Hohlflöte in the liturgy, Liszt became acquainted the same genre: the increased chromati- maybe also with Töpfer in Weimar.20 8′ Flauto traverso with a circle of Protestant organists, cism in these three pieces (compared to Christoph Bernhard Sulze (1829– 4′ Octave known as the Weimarer Organisten- earlier works by Töpfer), the quotation 1899) studied with Töpfer and became 4′ Gemshorn 5 2′ Octave kreis. The leading figure among the of the chorale in pianissimo just before his successor in the Stadtkirche in Wei- Mixtur V organists in Weimar was Johann Gottlob the hymnic final in major in Jesu, meine mar.21 He arranged some of Liszt’s works Scharff III Töpfer (1791–1870), organist at the Freude (in exactly the same position as in and developed—together with Liszt—a 8′ Vox humana Stadtkirche, professor at the Lehrerse- Liszt’s “B-A-C-H”), and the connection new system of pedal notation (notes for Unterwerk minar in Weimar and—perhaps most of the different variations with thematic the right foot beamed up, for the left foot 8′ Principal importantly—a leading authority in interludes in all three fantasies (similar to beamed down).22 8′ Gedackt organ building in Germany. Mendelssohn’s Sonata No. 6 and Liszt’s 8′ Salicional In this article, I will explore the pro- “Ad nos”) point towards an influence of The organs in Weimar (Stadt- 8′ Flauto dolce 12 8′ Harmonikaflöte fessional relationship between Liszt and Liszt’s oeuvre on Töpfer’s late works. As kirche) and Denstedt 4′ Octave Töpfer. The mutual influence between Bähr points out, Töpfer did maintain his “Töpfer’s credentials as a teacher were 4′ Flauto dolce the two relates to four different areas: conservative style throughout his lifetime, impeccable, [but] his real claim to fame 2′ Octave Cornett III 1) Their direct relationship, including but he also was open to new influences was as an organ builder, a field over which Mixtur IV knowledge and performance of and from eminent colleagues like Liszt.13 he exerted great influence.”23 Two of the influence on each other’s compositions; instruments that were built according to Pedal 2) Mutual students; 3) Organs that were Töpfer’s students and Liszt Töpfer’s ideas24 were very important to 32′ Untersatz 16′ Principal built according to Töpfer’s ideas and well During his 53-year-long tenure as Liszt as he used them for performances 16′ Violon known to Liszt; 4) Indirect influence on city organist and professor for organ at and teaching: the Trampeli/Schulze 16′ Subbas each other’s registrational practice. the seminary, Töpfer taught numerous organ (1812/1824) in the Stadtkirche in 8′ Principalbass German organists: three of them also Weimar and the Peternell organ in Den- 8′ Octave Professional relationship 25 8′ Violon became students of or collaborated with stedt (1859/60). 8′ Bordun 1 between Liszt and Töpfer Liszt. We can assume that through their 5 ⁄3′ Quint When Liszt first arrived in Weimar, playing and in their discussions, they Peternell organ in Denstedt (II/19) 4′ Octave the older Töpfer was “first skeptical and further familiarized the pianist Liszt with Cornett V Hauptwerk C–f′′′ 32′ Posaune hostile towards the progress instigated Töpfer’s ideas. 16′ Quintatön 16′ Posaune by Liszt. . . . Later he was honest enough The most important organist in Liszt’s 8′ Principal 8′ Trompete to admit that much nice and great music life, his editor and link to other organists 8′ Hohlflöte 4′ Clarine has been created by the new direction.”6 as well as his close friend, was Alexander 8′ Viola da Gamba 14 4′ Octave That there was indeed a significant Wilhelm Gottschalg (1827–1908). A 4′ Hohlflöte The Weimar organ is considered to improvement in their mutual esteem student of Töpfer, Gottschalg became 3′ Quintflöte be the “earliest example of [a] Ger- can also be witnessed by Liszt dedicat- the great pianist’s disciple when Liszt 2′ Octave man romantic instrument,”26 and is ing two of his arrangements for organ to accidentally overheard Gottschalg prac- Mixtur IV characterized by its full, warm sound Töpfer (Aus tiefer Not, BWV 38, in 1856 ticing one of Liszt’s organ arrangements Oberwerk C–f′′′ (dominance of foundation stops), the and Ich hatte viel Bekümmernis, BWV in Tiefurt and had technical difficulties. 16′ Lieblichgedackt (from Co) ‘thunderous’ pedal, its quick response, 21, in 1860), Töpfer’s first performance His low technical level also prevented 8′ Geigenprincipal and its expressive and poetic voices, of two compositions by Liszt (Psalm 23 Gottschalg from playing Liszt’s large- 8′ Lieblichgedackt which were praised for their Lieblich- for soprano, harp, and organ, and Psalm scale organ works, but Liszt would teach 8′ Harmonika keit; however, it had neither a swell box 4′ Geigenprincipal 27 137 for soprano, violin, harp, and organ him nonetheless (Orgelconferencen in 4′ Flauto dolce nor playing aids. in October 1859, on the same program Denstedt and Tiefurt in 1860) and rework The organ in Denstedt was designed were two pieces by Töpfer: his Sonata many of Gottschalg’s arrangements (for Pedal C–d′ for service playing and not for concert. in D Minor and the Nachspiel in C, example, the Pilgerchor from Wagner’s 16′ Subbas However, the essential—and poetic— 7 15 16′ Violon performed by Gottschalg and Buckel), Tannhäuser). Gottschalg’s Repertorium 8′ Principalbass foundation stops are there, and some of Liszt’s contribution of two pieces for (1869–75),16 a compendium of mostly 8′ Gedacktbass Liszt’s works can be performed on such a Töpfer’s ‘Jubelalbum’ in 1867 (Consola- nineteenth-century organ music (origi- smaller instrument.28 tion No. 4 in D-flat and Hosanna: Choral nal compositions and numerous arrange- Couplers 8 II/I for Organ and Trombone), and other ments), contains twelve works by Liszt I/Ped Liszt’s registrational practice premieres of Liszt in Töpfer’s church that exhibit the ‘new spirit’: pianistic These two instruments (as well as the (Seligkeiten in 1859 and Psalm 18 in virtuosity, orchestral registration, and Calcantenwecker (wind signal) Ladegast organ in Merseburg), together 1861). In 1870, Liszt even led Töpfer’s constant connection to Bach are essen- with the organists Gottschalg and Win- 9 17 funeral procession. tial for Liszt’s view of the ideal organist Weimar, Stadtkirche (III/49) terberger, were of vital importance to Liszt owned several of Töpfer’s com- and his music. Liszt, as he would explore his (new) positions, including the Choralstudien The virtuosity that Gottschalg lacked Hauptwerk ideas for registration with them. As we (edited and published by Gottschalg in was Alexander Winterberger’s 16′ Principal shall see, this had repercussions for Töp- 16′ Quintatön 1871), a collection of Intonations, Pre- (1834–1914) strength: Winterberger, 8′ Octave fer, as he was either present at recitals ludes, Trios, and ‘Konzertsätze’, which one of the first students of Liszt (since 8′ Gedackt that Liszt had prepared or—in the case

24 n THE DIAPASON n AUGUST 2013 WWW.THEDIAPASON.COM Liszt, BACH

Liszt and his students of Gottschalg—would hear his former student play in a different way. Numerous contemporary sources, like Gottschalg and von Bülow, tell us that Liszt had “little knowledge of local organ practice [and] was willing to experiment with registration,” that he was praised for his “brilliant registration, [and] his rich range of nuances in creating only soft tone colors,”29 and his amazing skill in the combination of stops and choice of registration, as well as in the alterna- Gottschalg’s signature (copyright Feijoo) tion of the four manuals in Merseburg.30 In short, “Liszt enjoyed using the full Notes resources of the instrument and . . . 1. Hermann J. Busch, “Die Orgel Men- delssohns, Liszts und Brahms,” in Proceedings had no time for the cautious, colourless of the Göteborg International Organ Acad- renderings of Bach’s works which then emy 1994, ed. Hans Davidsson and Sverker prevailed in Germany,”31 to the extent Jullander (Göteborg: Göteborg University, that—after the performance of “Ad nos” 1995), 237. For a list of Liszt’s performances on organs in Europe between 1823 and 1847, in Merseburg in 1855—“other organists, see James Dale Holloway, “Performance who grew up in the old tradition, and Convention and Registrational Practice in the who used to play a quarter of an hour Weimar Organ Works of Franz Liszt” (Seattle: long on the same registration, ranted University of Washington, D.M.A. disserta- and raved about this deconsecration of tion, 1998), 36. 32 2. Holloway, 40. the church organ.” 3. Martin Haselböck, Franz Liszt und die Töpfer, Grosse Concert Fantasie When Gottschalg played Bach’s Orgel, in Franz Liszt, Sämtliche Orgelwerke, Dorian Toccata and Passacaglia in Vol. X/b (Vienna: Universal Edition, 1998), 26. Ibid., 43. ——————. Franz Liszt und die Orgel. accordance with the teachings of Töpfer, 411. 27. Hermann J. Busch, “Die Orgelwelt In Franz Liszt, Sämtliche Orgelwerke. Vol. 4. Alan Walker, Franz Liszt: The Weimar Liszt answered: “Do you really believe Franz Liszts und die Klanggestalt seiner Or- X/a, b. Vienna: Universal Edition, 1998. Years 1848–1861, Vol. II (New York: Alfred A. gelmusik,” in Zur deutschen Orgelmusik des Hintzenstern, Michael von. “Der Kreis that Bach played these two compositions Knopf, 1989), 7. 19. Jahrhunderts, ed. Hermann J. Busch and evangelischer Kirchenmusiker um Franz continuously on the full organ? Never! 5. Michael von Hintzenstern, “Franz Liszt Michael Heinemann, 115–134 (Sankt Au- Liszt.” Musik und Kirche 3, no. 56 (1986): He was a far too great and sensitive und der Weimarer Organistenkreis,” in Das gustin: Butz, 1998), 104f. Busch, “Die Orgel 120–125. Weimarer Schaffen Franz Liszts und seine artist!”—and they reworked the piece, Mendelssohns, Liszts und Brahms,” 238. ——————. “Franz Liszt und der Wei- Ausstrahlung auf die Weltmusikkultur, ed. 28. Busch, “Die Orgelwelt Franz Liszts und marer Organistenkreis.” In Das Weimarer making use of Liszt’s “fantastic sense for Uta Eckardt and et al., 140–152 (Weimar: Der die Klanggestalt seiner Orgelmusik,” 114f. Schaffen Franz Liszts und seine Ausstrah- sound.” Gottschalg reports exactly the Arbeitskreis, 1987), 141ff. Hintzenstern, “Franz Liszt und sein ‘legend- lung auf die Weltmusikkultur, edited by same chain of events for his playing of 6. Ibid., 144. arischer Kantor’,” 116. Uta Eckardt and et al., 140–152. Weimar: 7. Ibid., 144f. 29. Holloway, 48, 160. Der Arbeitskreis, 1987. the Toccata in D. He later played all of 8. Holloway, 44. these pieces in the ‘new way’ for Töpfer, 9. Hintzenstern, “Franz Liszt und der Wei- 30. Haselböck, Franz Liszt und die Orgel, ——————. “Franz Liszt und sein ‘legend- who endorsed the new approach whole- marer Organistenkreis,” 145. Vol. X/a, 71. arischer Kantor’: Zur Zusammenarbeit mit 10. Ibid., 143f. 31. Walker, 159. Alexander Wilhelm Gottschalg.” Musik und heartedly and urged Gottschalg never to 32. Martin Haselböck, “Franz Liszt als Kirche 3, no. 56 (1986): 115–120. 33 11. Quoted in Holloway, 45. play in the old-fashioned way again. 12. Hans-Peter Bähr, “Im Schatten Liszts: Orgelkomponist,” Musik und Kirche 5, no. 56 Holloway, James Dale. “Performance Con- Interestingly, Töpfer indicates a cre- Johann Gottlob Töpfer,” in Zur deutschen Or- (1986), 218. vention and Registrational Practice in the scendo by adding stops in two of the final gelmusik des 19. Jahrhunderts, ed. Hermann 33. Haselböck, Franz Liszt und die Orgel, Weimar Organ Works of Franz Liszt.” J. Busch and Michael Heinemann, 209–217 Vol. X/b, 441f. Seattle: University of Washington, D.M.A. movements of the three chorale fanta- 34. Bähr, 193. dissertation, 1998. 34 (Sankt Augustin: Butz, 1986), 193ff. Hollo- sies. This could very well be another way, 45, 275. 35. Holloway, 162. Walker, Alan. Franz Liszt: The Weimar Years influence of Liszt and his novel usage of 13. Bähr, 195. 36. Ibid., 276. 1848–1861. Vol. II. New York: Alfred A. the organ on the older Töpfer. 14. Michael von Hintzenstern, “Der Kreis Knopf, 1989. evangelischer Kirchenmusiker um Franz Bibliography Conclusion Liszt,” Musik und Kirche 3, no. 56 (1986), Bähr, Hans-Peter. “Im Schatten Liszts: Johann Jens Korndörfer is organist at First Pres- 120. General discussion in Michael von Hint- byterian Church in Atlanta, Georgia. He During the thirteen years that Liszt Gottlob Töpfer.” In Zur deutschen Orgel- zenstern, “Franz Liszt und sein ‘legendarisch- musik des 19. Jahrhunderts, edited by Her- has published articles in English, French, spent in Weimar, Töpfer and Liszt gradu- er Kantor’: Zur Zusammenarbeit mit Alexan- mann J. Busch and Michael Heinemann, German, and Russian music journals. He has der Wilhelm Gottschalg,” Musik und Kirche ally overcame their initial skepticism and 209-217. Sankt Augustin: Butz, 1986. performed widely, including at Westminster 3, no. 56 (1986): 115–120. Busch, Hermann J. “Die Orgel Mendels- learned to appreciate each other. Com- 15. Haselböck, Franz Liszt und die Orgel, Abbey in London, Notre Dame Cathedral in mon students and the usage of the same Vol. X/b, 311, 438. sohns, Liszts und Brahms.” In Proceed- Paris, the Minster in Ulm, Suntory Hall and 16. Holloway, 49ff. ings of the Göteborg International Organ Metropolitan Art Space in Tokyo, Kyoto Con- instruments provided a fruitful platform Academy 1994, edited by Hans Davidsson for mutual exchange in their ideas on 17. Michael Gailit, Julius Reubke (1834– cert Hall, St. Thomas Aquinas in Boston, St. 1858): Leben und Werk (Langen: Günter and Sverker Jullander. Göteborg: Göteborg organ composition and registration. University, 1995, 235–250. James Cathedral in Toronto, and Notre Dame Lade, 1995), 44. Haselböck, Franz Liszt und Basilica in Montreal. Especially in the latter area, there can die Orgel, Vol. X/b, 436. ——————. “Die Orgelwelt Franz Liszts be little doubt that Liszt’s new approach 18. Gailit, 32. und die Klanggestalt seiner Orgelmusik.” Jens Korndörfer holds degrees from the to the organ’s dynamic and expressive 19. Holloway, 275. In Zur deutschen Orgelmusik des 19. Jahr- Bayreuth Conservatory (Church Music 20. Hintzenstern, “Franz Liszt und der Wei- hunderts, edited by Hermann J. Busch Diploma in 2004), the Paris Conservatory possibilities—“guided by the spirit, not and Michael Heinemann, 115–134. Sankt 35 marer Organistenkreis,” 145. Holloway, 60. (Organ Diploma in 2007, studio of Olivier the letter of the law” —convinced the 21. Holloway, 64. Augustin: Butz, 1998. Latry and Michel Bouvard), the Oberlin Con- Gailit, Michael. Julius Reubke (1834–1858): representative of the old “Thuringian 22. Hintzenstern, “Franz Liszt und der servatory (Artist Diploma in 2009, studio of Weimarer Organistenkreis,” 149f. Haselböck, Leben und Werk. Langen: Günter Lade, Organo Pleno tradition for the works of James David Christie), and McGill University 36 Franz Liszt und die Orgel, Vol. X/b, 405. 1995. Bach” to reconsider his position and to 23. Walker, 159. Haselböck, Martin. “Franz Liszt als Orgel- in Montreal (D.Mus. in 2013, studio of Hans- incorporate a gradual crescendo in his 24. Holloway, 78ff. komponist.” Musik und Kirche 5, no. 56 Ola Ericsson, John Grew, and William Porter). later works. ■ 25. Stoplists in ibid., 105, 108. (1986): 215–218. His website is www.jenskorndoerfer.com.