Text Interpretation and Cyclic Unity in Buxtehude’s Nimm von uns Herr, du treuer Gott, BuxWV 207 Markus Rathey

Buxtehude’s variations compositions that fulfi ll a merely utilitar- Example 1: Melody, Nimm von uns Herr The number of chorale variations in ian purpose. The following essay will fo- Dietrich Buxtehude’s organ works is cus on Buxtehude’s chorale variations on considerably smaller than in the oeuvre the Nimm von uns Herr, du treuer of other northern and central German Gott, BuxWV 207, examining its musical composers like Samuel Scheidt, Georg structure, its function, and its contexts in Böhm, and Jan Pieterszoon Sweelinck. contemporary piety. Among Buxtehude’s organ works the chorale variations form a rather small Nimm von uns Herr, BuxWV 207 group of six sets:1 The variations are based on a Prot- estant chorale from the second half of BuxWV 177, Ach Gott und Herr, 2 the 16th century. The text has seven variations stanzas and was published in 1584 by BuxWV 179, Auf meinen lieben Gott, the 16th-century poet and theologian 5 variations Martin Moller (1547–1606); the words BuxWV 181, Danket dem Herren, 3 were traditionally combined with Mar- variations tin Luther’s melody for the hymn Vater Example 2: Buxtehude, Nimm von uns Herr, BuxWV 207/2 BuxWV 205, Meine Seele erhebt den unser, im Himmelreich. (See Example 1: Herren, 2 variations Melody, “Nimm von uns Herr.”) BuxWV 207, Nimm von uns Herr, du treuer Gott, 4 variations First movement BuxWV 213, Nun lob, mein Seel, den Buxtehude’s set of variations consists of Herren, 3 variations four verses. The fi rst verse is a three-part setting, with the cantus fi rmus in mostly An overview of Buxtehude’s chorale unembellished fashion in the upper Example 3: Sweelinck, Psalm 140 variations would, however, be incomplete voice. The occasional embellishments without considering the use of chorale- of the melody (mm. 8, 11, and 27) occur based variation in other genres. Among only at the beginning or the middle of a his organ works, we fi nd traditional tech- phrase, never at the end. This movement niques of the chorale variation in his is basically a fi guratively embellished chorale fantasies. Here, each phrase of chorale harmonization. The harmonic the melody is treated “separately and in backdrop is dissolved into a continuous different voices,”2 whereas in the chorale sixteenth-note motion. The lower voices Example 4: Scheidt, Cantio Sacra “Vater unser im Himmelreich,” versus 4 partita (or chorale variation) the tech- serve primarily as accompaniment. Only nique of variation changes with each occasionally (in the interludes between stanza of the hymn.3 Yet another type the lines of the chorale or later in mm. of “chorale variation” in Buxtehude’s 21–24) does the alto voice develop a cer- oeuvre is the variation of chorale melo- tain degree of independence and engage dies in his numerous chorale cantatas. into a motivic dialogue with the bass. The chorale cantatas are based on the The texture of the movement re- texts and melodies of Protestant , sembles the type we fi nd in the chorale in which each movement (or larger sec- variations of Buxtehude’s contemporary second and the beginning of the third and expression: the third tion) treats a single stanza employing a , and even in the works phrase. Only the short melismatic em- movement of BuxWV 207 different technique.4 Buxtehude’s cho- of Johann Gottfried Walther, who was of bellishment of the last phrase in the fi rst The third movement is exceptional. rale cantatas range from rather simple a later generation. Buxtehude himself movement fi nds no correspondence in It conforms to the type of chorale set- settings like , BuxWV 52, used this type only rarely. The single the second movement. ting that is traditionally labeled as “or- to complex compositions that transform Jesus Christus, unser We pass over the third movement for gan chorale” (Orgelchoral) or “monodic the traditional melody into an expressive Heiland, BuxWV 198, is very similar to a moment and come to the last section organ chorale” (monodischer Orgelcho- vocal , like Jesu, meine Freude, the fi rst verse of BuxWV 207. In both of Buxtehude’s chorale partita. It is an- ral).9 The melody in the upper voice BuxWV 60.5 pieces Buxtehude employs an analogous other bicinium with the cantus fi rmus in is highly embellished, while the lower While there is no doubt that Buxtehu- “running” sixteenth fi guration in the the upper voice and a vivid, motivically three voices serve as an accompaniment de’s chorale cantatas and chorale fanta- lower voices, while the chorale melody is independent lower voice of wide tes- and bridge the gaps between the chorale sies are signifi cant contributions to their played in the upper voice. Like BuxWV situra. The embellishments of the me- lines with short, imitative interludes. It respective genres, his chorale variations 207/1, the piece is not a strict trio but lodic line (again mainly passing notes) is the type of chorale setting Buxtehude stand, as far as their reception goes, in rather a fi guratively embellished chorale are at the same places as in the fi rst bi- uses in most of his single-movement the shadow of these more elaborate com- harmonization. The same is true for the cinium—a feature that ensures a certain chorale preludes.10 The structure is the positions. Kerala Snyder, in her seminal fi rst verse of the chorale variations on degree of motivic consistency between same as in the chorale preludes: the up- biography of Buxtehude, gives a rather Danket dem Herren, BuxWV 181, and the two bicinia. per voice begins (here with a vivid em- negative assessment: the second verse of the chorale partita Nun lob, mein Seel, den Herren, BuxWV Chorale variations play the least impor- 213. Even though he used it only rarely, DPMKMSP4AP?N@MMI tant role in Buxtehude’s keyboard music. Buxtehude seems to have preferred this 4A?RRCPCBJC?TCQ Not only are they few in number, but the style in which most of them are composed type of chorale setting mostly in his cho- is not distinctive. [...] With one signifi cant rale variations rather than in indepen- exception [BuxWV 179] these variation dent chorale preludes. Only one such in- “The Schoenstein speaks with a decid- sets do not form convincing cycles, and dividual setting (BuxWV 198) has come firm has carved edly English accent. It they appear to have been composed either down to us; however, it cannot be ruled out an enviable provides the general for alternatim performance or for teaching out that other, similar compositions by purposes.6 Buxtehude have been lost. reputation in recent tonal impression of a years for excellent vast cathedral organ Similarly, Kathryn Welter states that Second (and fourth) movement(s) Symphonic-style in what is really quite Buxtehude’s chorale variations have a The second movement of Nimm von organs. This large a small building. “non-distinctive style.”7 uns Herr is a traditional bicinium, stand- Arnfried Edler, on the other hand, ing in the tradition of similar pieces by 4-manual specimen Nigel Potts exploits its in his recent history of keyboard music, Jan Pieterszoon Sweelinck and Samuel is particularly well- potential and masters fi nds more positive words for Buxtehu- Scheidt. The melody in the upper voice, equipped for its task, its tricks with aplomb de’s chorale variations: even less embellished than in the fi rst as it was built primar- [in his new Herald movement, is accompanied by a lower The principle of a unifying climax in voice of extraordinarily wide tessitura, ily to accompany the CD British Fantasies sound and tension can be seen [in Buxte- spanning the range from alto (mm. 7–9) fine Anglo-Catholic and Fanfares].” hude’s chorale variations] to different de- to a low bass voice (m. 28). (See Example liturgy at St. Paul’s, grees; it is most obvious in Nun lob mein Peter Jewkes Seel den Herren (BuxWV 213), where the 2.) A comparison with similar settings and thus already variations begin with a bicinium; then fol- by Sweelinck (Example 3) and Scheidt Sydney Organ Journal lows a tricinium with cantus fi rmus in the (Example 4) exhibits Buxtehude’s roots upper voice until the set is closed by a tric- in these traditions. All three examples inium with bass cantus fi rmus.8 begin with the fi rst note of the cantus fi rmus; the accompanying voice enters For other chorale variations, however, later (here a quarter note) in unison, be- the unifying elements are less obvious fore it reaches the third of the chorale and often nonexistent. melody through passing notes. While the chorale partitas seem to lack The few embellishments of the mel- the compelling structural coherence and ody (mainly simple passing notes) in the depth in text interpretation exhibited Buxtehude’s bicinium are encountered  š by the fantasies and the cantatas, they at the same places as they were in the e     are more than simple Gebrauchsmusik, fi rst movement: in the middle of the

JULY, 2009 21

July 09 pp. 21-23.indd 21 6/11/09 7:34:44 AM bellishment of the fi rst note of the hymn) The combination of unembellished Example 5: Buxtehude, Nimm von uns Herr, BuxWV 207/3 before the three lower voices enter with and highly embellished verses in a cho- a mostly homophonic accompaniment.11 rale variation was not entirely unusual in (See Examples 5 and 6.) the 17th century. We fi nd similar combi- While the majority of Buxtehude’s nations in the chorale variations by Hein- settings of this type begin with a simple rich Scheidemann (~1596–1663), who, as long note in the upper voice,12 this one is Kerala Snyder suggests, could have been opened by an extensive, octave-encom- Buxtehude’s teacher in Hamburg.14 But passing embellishment of the fi rst note even if Buxtehude did not directly study of the cantus fi rmus, establishing the d- with Scheidemann, the latter’s pieces minor tonality, which is later confi rmed were widely disseminated in manuscripts, by the entrance of the lower voices. and Buxtehude surely had access to com- Example 6, Buxtehude’s setting of the positions by the Hamburg organ master. hymn Komm, Heiliger Geist, shows that In other words, Buxtehude’s chorale the composer occasionally employs a variations on Nimm von uns Herr—even similar opening in other monodic cho- though they seem to be incoherent—stay rale settings as well. within the margins of both the compos- While the movement stays within the er’s style and the style of northern Ger- margins of Buxtehude’s style, it is unusual man organ music in the second half of the to fi nd a setting of this type in the context 17th century in general. of an otherwise rather simple chorale par- tita, breaking up the frame established by Form and function the other movements. It is also the only How was Buxtehude’s chorale partita Example 6: Buxtehude, Komm, Heiliger Geist, BuxWV 199 movement in the partita that requires used? We know from Lübeck sources pedal. The unusual structure of the set of from the 17th and early 18th centuries variations requires explanation. that were sung “alternatim,” One explanation could be that the which means that the congregation and chorale partita, in its current form, is the organ alternated in the performance not the partita Buxtehude composed. of the hymns.15 One verse was sung by A reduction of the work to verses 1, 2 the congregation, which in Lübeck at and 4 would turn the composition into this time still normally sang without the a more coherent set of three variations accompaniment of the organ. The next for manual only, with a three-part set- verse was then played by the organist ting at the beginning and two bicinia while the congregation “sang” the text The four movements fi t perfectly into musical structure refl ects the theological following. In that way, the composition of the stanza, which they knew by heart, the seven-verse structure of the hymn. structure of the hymn text. would somewhat resemble the chorale in their minds. Then another verse was The fi rst movement served as a prelude; Stanza four of the chorale was re- variations on Nun lob, mein Seel, den sung by the congregation, and so forth. the remaining movements replaced the placed with the extraordinarily embel- Herren, BuxWV 213 (Bicinium–Trio– Furthermore, the hymns were preceded even numbered verses, while the con- lished third verse of the partita. Trio). However, the sources for the par- by an organ prelude. gregation sang the odd numbered. tita do not justify the exclusion of the We can assume that the chorale varia- A comparison between the hymn stan- Warum willt du doch zornig sein third movement. Not a single source tions on Nimm von uns Herr were also zas the organ replaced and Buxtehude’s Über uns arme Würmelein? (even those with that are incomplete) used in alternation with the singing of compositional realization suggests a cor- Weißt du doch wohl, du großer Gott, preserves the chorale partita without the congregation. They were probably respondence between musical form and Daß wir nichts sind als Erd und Kot; 13 Es ist ja vor deim Angesicht the third movement. One manuscript performed in the following way: lyrical content. The fi rst bicinium in the Unser Schwachheit verborgen nicht. (the now lost Königsberg manuscript, set of variations (movement 2) replaced Sammlung Gotthold Ms 15.839, copied BuxWV 207/1 Organ prelude the following stanza: Why would you be so angry by Johann Gottfried Walther) contains Congregation Verse 1 Against us poor little worms? only the third movement, but it is more BuxWV 207/2 Verse 2 Erbarm dich deiner bösen Knecht. For you know well, great God, likely that Walther (or the source he Congregation Verse 3 Wir bitten Gnad und nicht das Recht; That we are nothing but dirt and dung; Denn so du, Herr, den rechten Lohn Indeed before your face used) took the piece out of its original BuxWV 207/3 Verse 4 our weakness is not hidden. context than that the movement was Congregation Verse 5 Uns geben wolltst nach unserm Thun, So müßt die ganze Welt vergehn inserted into the already existing set of BuxWV 207/4 Verse 6 Und könnt kein Mensch vor dir bestehn. the variations 1, 2, and 4. Congregation Verse 7 Between wrath and melancholy Have mercy upon your evil servants. Even though is it possible to fi nd cor- We ask for mercy and not for justice; respondences between single words of For if you, Lord, wanted to give the text and Buxtehude’s way of embel- The earned reward to us for our deeds, lishing the chorale melody (the wrathful The whole world would have to perish God, mentioned in the initial line, could And no man could stand before thee. be the reason for the rhythmically agi- tated embellishment of the fi rst note of It would be too much to expect a set of the melody), it is more important to see chorale variations of this time to give a how the movement captures the mood of musical exegesis of the text; however, the the entire stanza. The most agitated and movement clearly transfers the affect of graphic verse of the text fi nds its equiva- the stanza into music. The restrained lent in the most agitated and expressive sonority of the two-part texture, the verse of the partita. That this correspon- chromaticism and hushed thirty-second dence between text and instrumental notes accompanying the third phrase of realization is more than a coincidence the melody (“for if you, Lord, wanted to is revealed through a comparison with give the earned reward,” mm. 12–14), a vocal setting of the same hymn by Jo- and the restless sixteenth-note motion hann Sebastian Bach. While Buxtehude towards the end of the setting (“and no himself in his Nimm von man could stand before thee”) capture uns Herr, BuxWV 78, leaves out verses the mood of the text, a feeling of trepida- 4–6 of the hymn and only sets 1–3 and tion and hope. 7, Bach in his chorale cantata BWV 101 The second bicinium, replacing the (composed in 1724) employs all seven sixth stanza, refl ects the general affect of verses (even though some appear in free the words in a similar fashion: paraphrase). Bach writes a similarly agi- tated when he sets the fourth verse Gedenk an deins Sohns bittern Tod, of the hymn.16 He even features an agi- Sieh an sein heilig Wunden rot, Die sind ja für die ganze Welt tated broken minor chord at the very Die Zahlung und das Lösegeld, beginning, just as Buxtehude does. The Des trösten wir uns allezeit paraphrase of the fourth stanza in Bach’s Und hoffen auf Barmherzigkeit. cantata can be read as a theological com- mentary on the chorale text, enforcing Remember your son’s bitter death, the dramatic affect of the hymn text: Look upon His holy red wounds, That are indeed for the entire world The settlement and ransom, Warum willst du so zornig sein? From this we gain consolation always Es schlagen deines Eifers Flammen And hope in your compassion. Schon über unserm Haupt zusammen. Ach, stelle doch die Strafen ein Und trag aus väterlicher Huld The restrained sonority of the two-part Mit unserm schwachen Fleisch Geduld. texture underlines the meditative char- acter of the text. An interesting melis- Why would You be so angry? matic embellishment appears in the The fl ames of Your zeal already second phrase, emphasizing the words Strike together over our heads. “look upon His holy red wounds.” Fur- Ah, leave off Your punishments thermore, the textural similarity between And out of paternal favor deal the two settings (both are bicinia with Patiently with our weak fl esh.17 the melody in the upper voice) under- lines the theological correspondence of The similarities between Bach and stanzas 2 and 6. Both focus on the juxta- Buxtehude are rooted in a similar type of position of grace and justice, using mon- religiosity. In the fourth verse, the hymn etary images (“reward” in verse 2 and talks about the remembrance of mortal- “ransom” in verse 6). In other words, the ity, an aspect of central importance to

22 THE DIAPASON

July 09 pp. 21-23.indd 22 6/11/09 7:35:53 AM the piety of the 17th and early 18th cen- 276. See also the descriptive overview in Jo- 9. Cf. the defi nition in Werner Breig, 13. Cf. critical commentary in Christoph Al- turies. The recognition of one’s own fal- sef Hedar, Dietrich Buxtehudes Orgelwerke: “Die geschichtliche Stellung von Buxtehu- brecht, Buxtehude: New Edition of the Com- libility and transience was a precondition Zur Geschichte des norddeutschen Orgelstils, des monodischem Orgelchoral,” in Dietrich plete Organ Works 5, Kassel et. al.: Bärenre- for salvation. Only one who recognized Stockholm: Nordiska Musikförlaget, 1951, Buxtehude und die europäische Musik seiner iter 1998, 79. 247–262. Zeit: Bericht über das Lübecker Symposion 14. Snyder, Buxtehude, 25. one’s sinfulness was also able to embrace 2. Snyder, Buxtehude, 262. 1987 (Kieler Schriften zur Musikwissenschaft 15. Cf. Snyder, Buxtehude, 99–100. God’s grace. The Lübeck Superinten- 3. See also Matthias Schneider, Buxtehudes XXXV), ed. by Arnfried Edler and Friedhelm 16. Alfred Dürr called the aria “passion- dent August Pfeiffer, at this time serving Choralfantasien: Textdeutung oder »phantas- Krummacher, Kassel: Bärenreiter, 1990, ately dramatic,” a description that would be at the same church as Buxtehude, in his tischer Stil«?, Kassel et al.: Bärenreiter, 1995. 260–261; Lawrence Archbold suggests the appropriate for the movement in BuxWV Anti-melancholicus, oder Melancholey- 4. Regarding Buxtehude’s vocal chorale term “expressive ,” see Arch- 207 as well; see Alfred Dürr, The Cantatas of Vertreiber (1691), gives a very graphic variations see also Kerala Snyder, “Tradition bold, “Towards a Critical Understanding of J. S. Bach: With their Librettos in German- description of the fi nal hours: with Variations: Chorale Settings per omnes Buxtehude’s Expressive Chorale Preludes,” English Parallel Text, Oxford: Oxford Univer- versus by Buxtehude and Bach,“ in Daniel in Church, Stage, and Studio–Music and Its sity Press, 2005, 485. I take fright as well whenever I think Zager (ed.), Music and Theology: Essays in Contexts in Seventeenth-Century , 17. Translation after Dürr, The Cantatas, that my limbs, which I so carefully nour- Honor of Robin A. Leaver, Lanham: Scare- ed. by Paul Walker, Ann Arbor and London: 482. ished and clothed and so tenderly cared crow, 2007, 31–50. UMI Press, 1990, 87–106. 18. August Pfeiffer, Anti-melancholicus, for in my lifetime and which did me such 5. Cf. Snyder, Buxtehude, 187–196; see also 10. Friedhelm Krummacher has described oder Melancholey-Vertreiber, Leipzig 1691 steadfast service, should moulder and rot the overview in Friedhelm Krummacher, Die this type of chorale setting by Buxtehude as (1st edition 1683): “Ich erschrecke auch/ in the earth, and become a stinking carcass, Choralbearbeitung in der protestantischen “eccentric,” and has pointed out its roots in wenn ich daran dencke wie diese mein Glie- dung, and fi lth, and perhaps be carried off Figuralmusik zwischen Praetorius und Bach the northern German stylus phantasticus, der die ich bey Lebzeit so sorgfältig ernehrt by a thousand worms or maggots.18 (Kieler Schriften zur Musikwissenschaft XXII), see: Krummacher, “Intimität und Exzen- und bedecket die ich so zärtlich gehalten/ die Kassel et al.: Bärenreiter, 1978, 160–192. trik–Buxtehudes Choralbearbeitungen für mir so viel treue Dienste gethan sollen in der 6. Snyder, Buxtehude, 276. Orgel,” in: Krummacher, Musik im Norden: Erden verwesen/ verfaulen zum stinckenden Pfeiffer’s text uses metaphors similar 7. Kathryn J. Welter, Johann Pachelbel: Abhandlungen zur skandinavischen und Todten-Aas/ Koth und Unfl ath und vielleicht to the fourth stanza of the hymn. The Organist, Teacher, Composer. A Critical Reex- norddeutschen Musikgeschichte, ed. by S. von 1000. Würmern oder Maden verschleppt memento mori, the remembrance (and amination of His Life, Works, and Historical Oechsle and others, Kassel et al.: Bärenreiter werden.” Pfeiffer, 583, translation by David awareness) of death, was a cornerstone Signifi cance, Diss. Harvard University 1998, 1996, 60–74. Yearsley, Bach and the Meaning of Coun- of contemporary piety. Again, if one 155. 11. The technique is historically based on terpoint, Cambridge: Cambridge University verse deserved an embellished treat- 8. “Das Prinzip der einheitsbildenden the coloration of , cf. Werner Breig, Press, 2002, 7. ment in the course of the chorale partita, klanglichen und spannungsmäßigen Steiger- Die Orgelwerke von 19. Cf. Markus Rathey, “Buxtehude and the it was the fourth one. Even if we mistrust ung ist in unterschiedlicher Prägnanz zu erken- (Beihefte zum Archiv für Musikwissenschaft Dance of Death: The Chorale Partita ‘Auf nen, am deutlichsten wohl in Nun lob mein III), Wiesbaden: Steiner, 1967, 96–100. meinen lieben Gott’ and the Ars Moriendi in a literal identifi cation of single embel- Seel den Herren (BuxWV 213), wo die drei 12. See for instance the chorale prelude the 17th Century” (in preparation). lishments with individual words of the Variationen vom Bicinium über das Tricinium Vater unser im Himmelreich, BuxWV 219, chorale text, we must concede that the mit Cantus fi rmus in der Oberstimme zum based on the same melody as BuxWV 207; Markus Rathey, Ph.D. is Associate Profes- emotional quality of the fourth stanza, a Tricinium mit Baß-Cantus fi rmus voransch- cf. the short analytical study of that piece by sor of Music History at the Yale Institute of quality that found its equivalent in the reiten.” Arnfried Edler, Gattungen der Musik Gary Verkade, “, Vater Sacred Music and the Yale School of Music. contemporary religiosity, lends itself to a für Tasteninstrumente 1: Von den Anfängen bis unser im Himmelreich: A Study in Expressive His research focuses on Johann Sebastian more emotional treatment in the set of 1750 (Handbuch der musikalischen Gattungen Content,” in: The Diapason 98/10 (October Bach and the relationship of music, religion chorale variations. 7,1), Laaber: Laaber Verlag, 1997, 62. 2007), 30–33. and society in the 17th and 18th centuries. Conclusions The initial question remains: What ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD

is a convincing cycle? The structure of GARLAND GOULDING & WOOD HENDRICKSON FISK DYER R. DOBSON CASAVANT FRERES the set of variations was obviously deter- mined by the text of the chorale. It also reacts to the necessities of its intended

performance practice (alternatim). The & partita was not intended for perfor- mance in a recital, but was planned as a composition that needed the integration

of congregational singing. In this con- BOODY TAYLOR text, the set of variations appeared as a prelude and an embellished organ cho- rale that was framed by two bicinia, with the congregation adding another layer of structure to the performance. One could label the resulting form a ritornello- structure—only that the “ritornello” was not provided by the composer because it was sung by the congregation. In this way, BuxWV 207 is different from Buxtehude’s partita Auf meinen lieben Gott, BuxWV 179, where the fi ve stanzas of the hymn are transfi gured into fi ve dances, forming the movements of a conventional dance suite. That piece was composed for use at home, specifi cally SCHANTZ SCHOENSTEIN for individual religious edifi cation in the realm of domestic piety. Each of the fi ve instrumental movements replaces the singing of the fi ve stanzas of the chorale, and Buxtehude chose the form of a suite as the external idea to connect the move- FRITTS ments.19 In our example, the circumstanc- es of the performance already provided a “convincing” cyclic concept, in which the composer only had to insert the move- ments of the chorale partita. This granted The Future of Church Music him the liberty to react to the individual RICHARDS-FOWKES texts of the chorale melody. The chorale variation is characterized not so much by is in These Fingers a lack of structure, but by the freedom given the composer through the existent structure in the alternatim practice. Share a 10 year-old’s sense of wonder as she first touches an organ’s keys! Delight in When we perform Buxtehude’s cho- rale variations today, we mostly do so in a a 12 year-old’s steady concentration, as he learns the pedals. Watch a 14 year old concert setting and not in the context of mature before your eyes during his first recital! the liturgy. However, a modern perfor- mance that simply strings together the Young people are forever changed when they play the pipe organ! Join APOBA in sup- four movements of BuxWV 207 neglects an important aspect of historical perfor- porting AGO outreach programs to the next generation of organists! mance practice. Even if we do not ask our concert audience to sing the verses of the hymn (but why should we not?), we could insert hymn settings of the cho- rale between the single movements. This To receive information about pipe organs would also enable the listeners, most of and recognized pipe organ builders whom are probably unaware of the ac- tual melody, to recognize the AP write or call toll free 1-800-473-5270 in the variations. This could be especially or on the web @ www.apoba.com helpful for the highly embellished third PASI Associated Pipe Organ Builders of America movement of the chorale partita. ■ O BA P.O. Box 155 • Chicago Ridge, Illinois 60415 Notes

1. I follow Kerala Snyder’s taxonomy of the OTT QUIMBY PARSONS REDMAN chorale variations; cf. Kerala Snyder, Diet- NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP erich Buxtehude: Organist in Lübeck, Roch- ester: University of Rochester Press, 2007,

JULY, 2009 23

July 09 pp. 21-23.indd 23 6/11/09 7:36:15 AM