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Baroque and Classical Style in Selected Organ Works of The BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. S. Bach's Organs 20 Characteristics of J. S. Bach's Organ Style 30 An Independent and Equal Pedal Part 30 Concertato Treatment 32 Small Chorale Prelude Style 33 Large Chorale Prelude Style 34 Level of Difficulty 35 Types of Chorale Preludes 36 Notes 44 III. CLASSICAL STYLE 50 Rococo 52 111 Pre-Classical or Galant Style 54 Melody 57 Harmony 58 Rhythm 58 Texture 58 Dynamics 59 Phrase Structure 60 Empfindsamkeit 61 Sturm und Drang 64 Classical Style 65 Periodicity and Symmetry 65 Harmony 67 Rhythm 72 Melody 75 Texture 82 Performance: Dynamics and Ornamentation 86 Form 89 Notes 96 IV. THE BACHSCHULE 105 Biographical Summary of Selected Members of the Bachschule 110 Wilhelm Friedemann Bach (1710-84) 111 Carl Philipp Emanuel (1714-88) 116 Johann Christoph Friedrich Bach (1732-95) 119 Johann Christian Bach (1735-82) 121 Johann Lorenz Bach (1695-73) 123 Johann Bemhard Bach (1700-43) 124 Samuel Anton Bach (1713-81) 125 Johann Ernst Bach (1722-77) 126 Carl Friedrich Abel (1723-87) 127 Jakob Adlung (1699-1762) 128 Johann Friedrich Agricola (1720-74) 129 Johann Christoph Altnikol (1719-59) 130 Johann Friedrich Doles (1715-97) 131 Cornelius Heinrich Dretzel (1697-1775) 133 Georg Friedrich Einicke (b. 1710) 134 Heinrich Nikolaus Gerber (1702-75) 135 T. C. Gerlach (1694-1768) 136 Johann Gottheb Theophilus Goldberg (1727-56) 136 Gottfried August Homilius (1714-85) 137 Johann Peter Kellner (1705-72) 139 iv Johann Phihpp Kimbergber (1721-83) 140 Johann Christian Kittel (1732-1809) 141 Johann Ludwig Krebs (1713-80) 143 Johann Tobias Krebs (1690-1762) 146 Lorenz Christoph Mizler (1711-78) 147 Johann Gottfiied Muthel (1728-80) 150 Christoph Nichelmann (1717-62) 151 David Traugott Nicolai (b. 1720) 152 Johann Christoph Oley (1738-89) 152 Johann Schneider (1702-88) 153 Johann Martin Schubart (1690-1721) 154 Johann Georg Schlibler (born ca. 1720) 155 Christoph Transchel (1721-1800) 155 Johann Trier (1716-90) 156 Johann Caspar Vogler (1696-1763) 156 Georg Gottfiied Wagner (1698-1756) 158 Christoph Gottlob Wecker 158 J. G. Ziegler (1688-1747) 159 Summary 159 Notes 161 V. THE DECLINE OF THE ORGAN 174 Mozart, Haydn, Beethoven and the Organ 174 The Role of the Organ in Worship 175 Continued Development amid Decline 179 Changes in the Organ's Role after Bach 181 Theological and Liturgical Factors 185 Philosophical Factors 187 PoUtical Factors 193 Social Factors 194 Musical Factors 198 Notes 202 VI. BAROQUE ORGAN WORKS 206 Works Resembling Compositions of J. S. Bach 206 "Prelude in F Minor" by J. L. Krebs 208 "Toccata in A Minor" by J. L. Krebs 213 Free Baroque Works 216 "Ricercar in C Major" by J. C. Altnikol 219 "Prelude and Fugue in C Major" by J. T. Krebs 221 "Fugue on B-A-C-H" by J. L. Krebs 223 "Eight Fugues Without Pedal For the Organ" by W. F. Bach 228 "Trio in A Minor" by J. Schneider 232 "Allabreve" by J. Schneider 235 Works Based Upon a Chorale 236 "Herr Christ, der einig Gottes Sohn" by J. Tobias Krebs 236 "Wer nur den lieben Gott lasst walten" (two settings) by J. L. Krebs 237 "Vater unser im Himmelreich" by Johann Schneider 240 "Herr Jesu Christ, dich zu uns wend' by J. P. Kirnberger 240 "Was mein Gott will, das g'sheh' allzeit' by W. F. Bach 243 "Ach Gott vom Himmel sieh darein" by J. G. Muthel 246 "Was Gott tut, das ist wohlgetan" by J. P. Kellner 247 Works Demonstrating Pedal Virtuosity 249 "Toccata in E Major" by J. L. Krebs 249 "Preludium" by J. G. Muthel 252 Notes 254 VII. CLASSICAL ORGAN WORKS 256 Works in Pre-Classical or Galant Style 256 "Trio in D Major" by J. L. Krebs 256 "Trio in A Minor" by J. Adlung 258 "Mein Gott, das Herze bring ich dir" by Johann Schneider 259 "Trio in D Major" by J. G. Schubler 263 "Concerto" by H. N. Gerber 266 Works in the Empfindsamer Stil 270 "Prelude in Bb Major" by J. L. Krebs 270 "Erbarm dich mein, o Herre Gott" by J. L. Krebs 274 "Christus, der ist mein Leben" by Jakob Adlung 276 vi "Fantasie and Fugue in C Minor" (Wq 119/7) by C. P. E. Bach 279 Works in Classical Style 283 "Fantasia a giusto italiano" by J. L. Krebs 283 "Nachspiel" by J. C. Kittel 288 "Sonata in D Major" (Wq 70/5) by C. P. E. Bach 291 Works Based Upon a Chorale 296 "Lobt Gott, ihr Christen, allzugleich" by J. C. Bach 296 "Herzlich tut mich verlangen" by J. P. Kirnberger 297 "Sei Lob und Ehr dem hochsten Gut" byJ.L. Krebs 299 "Nun bitten wir den heiligen Geist" by J. C. Oley 301 "Nun bitten wir den heiligen Geist" byJ.C. Kittel 303 Notes 306 VIII. ORGAN WORKS IN MIXED STYLES 307 Non-Chorale Based Works 307 "Prelude and Fugue in E Major" by J. L. Krebs 307 "Prelude in C Minor" by J. L. Krebs 312 "Trio in G Major" by G. A. Homilius 315 "Preludium" by J. G. Muthel 319 "Praludium in C Major" by J. P. Kellner 321 "Prelude and Fugue in C Major" by J. C. Vogler 325 Works Based on a Chorale 328 "Warum sollt' ich mich den Gramen" by J. L. Krebs 328 "Ein' veste Burg ist unser Gott" (two settings) byJ.C. Kittel 330 "Ach Herr mich armen Sunder" by G. A. Homihus 334 Notes 338 IX. CONCLUSION 339 BIBLIOGRAPHY 348 vii APPENDDC: MUSIC SOURCES 361 Vlll ABSTRACT The middle years of the eighteenth century constitute a period of transition from baroque to classical styles in music, and are marked by great changes in the basic elements of musical style (melody, harmony, rhythm, form, texture). Because of the overlap of the decline of the old and the rise of a new style, characteristics of both are found in the music of the period. The years covered by Johann Sebastian Bach's pupils span almost the entire century, and the organ works of the Bachschule embrace all phases of the transition. This dissertation examines the different styles existing simultaneously during this period, including the late baroque. Rococo, Pre- Classic or Galant, Empfindsamkeit, Sturm und Drang, and the mature Classical, and includes a discussion of the late baroque style of J. S. Bach's organ works and the organs on which Bach played. The different style phases are defined and discussed according to their musical style elements, which also provides a framework for the analysis of the compositions of the Bachschule selected for study. There are brief biographies of thirty-eight Bach organ pupils, and a section on the decline of organ composition, performance, and its central importance in the worship of the church. The decline in the organ's role after Bach is examined as it resulted from theological, philosophical, political, social, and musical factors. Discussion and analysis of forty-eight selected works by eighteen BachschUlers show how Bach's pupils variously avoided or participated in the new styles. Some eagerly embraced the new music, even playing an important role in its development. Others clung to the past and remained ix the last exponents of the heritage and training they had received from Bach. Others remained somewhere in between, to varying degrees adopting aspects of both the old and new in their work. Some works are discussed in their relationship to existing works by Bach, especially if there appears to be a relationship of imitation or modeling. Compositions have been selected to represent a variety of organ genres, including free works, chorale-based works, pedal solo, toccata, fugue, trio, sonata, and concerto. LIST OF TABLES 2.1 Bach's Organ at the Amstadt Neukirche, Tested 1703. 21 2.2 Bach's Organ at Muhlhausen, 1708. 22 2.3 Muhlhausen Organ After Renovation, 1709. 23 2.4 Bach's Weimar Castle Church Organ Before Renovation. 24 2.5 Bach's Thomaskirche Organ, Leipzig, 1722. 26 2.6 Paulinuskirche Organ, Leipzig, 1717. 27 2.7 Johanniskirche Organ, Leipzig, 1744.
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