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Organ Music of the Slovak Romantics

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Organ Music of the Slovak Romantics The Organ Music Of The Slovak Romantics by Viera Efflerova Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2019 Accepted by the faculty of the Indiana University Jaobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee __________________________________________ Andrew Washburn Mead, Research Director _________________________________________ Christopher Young, Chair _________________________________________ Vincent Carr _________________________________________ Janette Fishell September 18, 2019 ii Table Of Contents List of Examples…………………………………………………………………………………...v List of Tables……………………………………………………………………………………..vii Introduction ...................................................................................................................................... 1 Chapter 1: Historical Background .................................................................................................. 3 Chapter 2: A Brief History of the Organ in Slovakia ..................................................................... 8 “German” Towns and Veit ......................................................................................................... 14 Prešov......................................................................................................................................... 19 Trnava and Bratislava ................................................................................................................ 22 Chapter 3: General Traits of Historic Slovak Organs ................................................................... 26 Chapter 4: Ján LevoslavBella ....................................................................................................... 28 Sibiu ........................................................................................................................................... 30 Sonáta-Fantázia .......................................................................................................................... 32 Chapter 5: Mikuláš Moyzes .......................................................................................................... 41 Škola na Organ ........................................................................................................................... 44 Rozpomienka ............................................................................................................................. 47 Chapter 6: Mikuláš Schneider-Trnavský ...................................................................................... 51 Jednotný Katolícky Spevník ...................................................................................................... 52 Prelude 40 for Organ (Maestoso/Piu mosso) ............................................................................. 55 Chapter 7: Alexander Albrecht ..................................................................................................... 59 Andante con moto ...................................................................................................................... 61 iii Conclusion ..................................................................................................................................... 68 Bibliography .................................................................................................................................. 70 Additional Resources ..................................................................................................................... 74 iv List Of Examples Example 1. Ján Levoslav Bella, Phantasie-Sonate, mm. 90-101………………………………..35 Example 2. Ján Levoslav Bella, Phantasie-Sonate, mm. 172-179………………………………35 Example 3. Ján Levoslav Bella, Phantasie-Sonate, mm. 1-10…………………………………..36 Example 4. Ján Levoslav Bella, Phantasie-Sonate, mm. 15-24………………….……..……….37 Example 5, Ján Levoslav Bella, Phantasie-Sonate, mm. 25-31………………….……….……..37 Example 6. Ján Levoslav Bella, Phantasie-Sonate, mm. 109-115……………………..………..38 Example 7. Ján Levoslav Bella, Phantasie-Sonate, mm. 122-132………………………………39 Example 8. Mikuláš Moyzes, Škola na organ exercise 109……………………………...………45 Example 9. Mikuláš Moyzes, Škola na organ exercise 105……………………………..……….46 Example 10. Mikuláš Moyzes, Škola na organ exercise 106…………………………………….46 Example 11. Mikuláš Moyzes, Škola na organ exercise 107 (Adventná pieseň), mm.1-4………46 Example 12. Mikuláš Moyzes, Rozpomienka, mm. 1-15…………………………………….….47 Example 13. Mikuláš Moyzes, Rozpomienka, mm. 35-38………………………………..…….47 Example 14. Mikuláš Moyzes, Rozpomienka, mm. 41-44………………………….…………..48 Example 15. Mikuláš Moyzes, Rozpomienka, mm. 65-71………………………………..…….48 Example 16. Mikuláš Moyzes, Rozpomienka, mm. 11-12…………………………...…………49 Example 17. Mikuláš Moyzes, Elégia, mm. 11-12……………………………………….……..49 Example 18. Mikuláš Moyzes, Rozpomienka, mm. 39-42……………………………...………50 v Example 19. Mikuláš Moyzes, Elégia, mm. 39-42………………………………………..…….50 Example 20. Mikuláš Moyzes, Rozpomienka, mm. 51-53………………………………..…….50 Example 21. Mikuláš Moyzes, Elégia, mm. 51-54……………………………………...………50 Example 22. Mikuláš Schneider-Trnavský, No. 40, mm. 1-2……………………………..……56 Example 23. Mikuláš Schneider-Trnavský, No. 40, mm. 29-30………………………………..56 Example 24. Mikuláš Schneider-Trnavský, No. 40, mm. 72-75…………………………..……56 Example 25. Mikuláš Schneider-Trnavský, No. 40, mm. 5-6…………………………..………57 Example 26. Mikuláš Schneider-Trnavský, No. 40, mm. 11-14…………………………..……57 Example 27. Mikuláš Schneider-Trnavský, No. 40, mm. 31-33………………………..………57 Example 28. Mikuláš Schneider-Trnavský, No. 40, mm. 61-62………………………………..58 Example 29. Mikuláš Schneider-Trnavský, No. 40, mm. 70-73………………………………..58 Example 30. Mikuláš Schneider-Trnavský, No. 40, mm. 17-21…………………………..……58 Example 31. Alexander Albrecht, Andante con moto, mm. 1-4……………………………..…..62 Example 32. Alexander Albrecht, Andante con moto, mm. 28-30…………………………...…63 Example 33. Alexander Albrecht, Andante con moto, mm. 33-34………………………..…….63 Example 34. Alexander Albrecht, Andante con moto, mm. 5-8………………………….……..63 Example 35. Alexander Albrecht, Andante con moto, mm. 23-24…………………………..….65 Example 36. Alexander Albrecht, Andante con moto, mm. 57-63………………………..…… 66 vi List Of Tables Table 1. Key scheme of Mikuláš Schneider-Trnavský’s 40 Preludes…………………………...55 vii Introduction This project attempts to introduce a facet of organ literature that, to this day, remains unknown in the West. While research has been done on Czecho-Slovak music, current literature homes in on Czech composers with only a cursory mention of anything Slovak related. This pertains not only to western language literature, but that by Czech and other east European authors as well. In some instances, composers find themselves with attributed nationalities which, given their personalities and nationalist stances, would surprise even them. One such example can be found in Corliss Arnold’s “Organ Literature: A Comprehensive Survey.” Here, the author offers a discussion of Czech and Slovak organ music but primarily focuses on the better-known Czechs. He also erroneously identifies Ján Levoslav Bella as Hungarian.1 Bella, in contrast to Arnold’s depiction, was active in promoting Slovak identity and culture. This is evidenced through his literary works and participation in student ethnic choirs. He is also recognized by scholars as the founder of Slovak national music. He likewise never mastered the Hungarian language. He was, however, fluent in German. As fate would have it, he also left for Romania when the Hungarian language was being forcefully implemented in Slovak society. Understandably, confusion is caused by the shifting socio-political boundaries, as well as peoples’ unfamiliarity and inexperience with the delicate interplay of strong national identities that still exist in many European countries. While many people of past generations, for whom nationality was at times a matter of life and death, are no longer around, politics is still mindful of history- and history is still what informs and molds policies and trans-national relationships today. For most of its history prior to 1993- the year Slovakia permanently became a recognized nation- it was overshadowed by its “big brother,” the Czechs. Likewise, since their arrival in the 1 Corliss Richard Arnold, Organ Literature: a comprehensive survey, 3rd ed., vol. 1, Historical Survey (Metuchen: The Scarecrow Press, Inc., 1995), 278. 1 same territory between the end of the 9th and middle of the 10th centuries2, Hungarians have held power over the Slovak population. Politically, this power was wielded by Budapest. Religious oversight came via the Esztergom diocese starting in the 14th century, when its territory included a great swath of the south and east of Slovakia. By the end of the 19th century, pastors and priests were chosen by Budapest, now affecting the entire Slovak territory. Through a discussion of the organ works of four exceptional and prominent organist/composers, Ján Levoslav Bella, Mikuláš Moyzes, Mikuláš Schneider-Trnavský, and Alexander Albrecht, I aim to present a neutral, holistic view of this emerging national school of composition. These men made major contributions to both the music world and Slovak society, in many ways reflecting the evolving socio-political environment of an emerging nation. Because of this, it is fitting to address a range of historical topics in combination with their individual
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