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Possible Orchestral Tendencies in Registering Johann Sebastian Bach’S Organ Music: an Historical Perspective

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Possible Orchestral Tendencies in Registering Johann Sebastian Bach’S Organ Music: an Historical Perspective Copyright Ruth Elaine Dykstra 2004 The Treatise Committee for Ruth Elaine Dykstra Certifies that this is the approved version of the following treatise: Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective Committee: Edward Pearsall, Supervisor Frank Speller, Co-Supervisor David Hunter Timothy Lovelace Thomas O’Hare David Renner Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective by Ruth Elaine Dykstra, B. M., M. Mus. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2004 Dedication To Frank Speller mentor and friend, whose encouragement and faith in me were instrumental in bringing this project to fruition. Acknowledgments Special thanks to: my husband, Jerry, and son, Mark, for so willingly sharing their computer expertise to rescue me from all manner of computer anomalies; my friend and organ builder, Pieter Visser, for all of the explanations of and answers to technical questions; my co-supervisor, Ed Pearsall, whose guidance through this paper has helped me become a more analytical writer and reader; and to the remaining members of my treatise committee, for their time, input and support throughout the writing of this document. v Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective Publication No._____________ Ruth Elaine Dykstra, D.M.A. The University of Texas at Austin, 2004 Supervisors: Edward Pearsall and Frank Speller Many books have been written about Johann Sebastian Bach: his life, his music and his legacy. Known unquestionably as the finest organist and composer of organ music of his time, his musical knowledge was not limited to the organ. He wrote in virtually all forms and for all instruments and combinations of instruments. One area of Bach study that remains a mystery for organists is how to register his organ works. In spite of the vast number of works for organ, there are only four or five instances of specific registration suggestions made by Bach. German registrational practices during the first half of the eighteenth century were not well defined because of the great variety of styles of organ building. This treatise examines Bach’s knowledge of design and acoustics, major styles of organs of the period, the various colors available on those organs and vi Bach’s specific recommendations of registration. Chapter 1 begins with Bach’s early exposure to the organ and his life after the death of his parents. This is followed by study of Bach’s written assessments of organs, all of which provide information of his expectations about organ building. Chapter 2 is a study of organs during Bach’s lifetime and the changes brought about by construction changes as well as changes in taste. The organs of Schnitger, Silbermann and Hildebrandt are examined in depth as representatives of the different styles of the period. Chapter 3 begins with a discussion of the general nature of organ stops, including categories of organ pipes. An assessment of those stops found on the organs that were known to Bach (Appendix A, pp. 110-123) ends the chapter. Chapter 4 commences with a report of organo pleno as a means of registration through the Baroque period. The chapter continues and ends with Bach’s specific registrations and the manner in which they are used. Chapter 5 is an examination of other sources of registrational information from the period—specifically those of Kaufmann, Mattheson, Silbermann, Agricola, Adlung and Marpurg—and how those registrations might be applicable to the music of Bach. vii Table of Contents List of Examples....................................................................................................xii Introduction ............................................................................................................. 1 Chapter 1. Johann Sebastian Bach, Tester of Organs Early life......................................................................................................... 4 Information from written reports Blasiikirche, Mühlhausen...................................................................... 6 Marienkirche, Halle ............................................................................ 12 Paulinerkirche, Leipzig....................................................................... 13 Dorfkirche, Zschortau ......................................................................... 15 Wenzelskirche, Naumburg................................................................... 16 Heiliggeistkirche, Potsdam.................................................................. 19 Chapter 2. Principal Types of Organs Played by Bach Characteristics of organs at the end of the seventeenth century................... 21 Tonal changes to organs during Bach’s lifetime.......................................... 22 Physical changes to organs during Bach’s lifetime...................................... 23 Representative builders Arp Schnitger ...................................................................................... 24 Gottfried Silbermann........................................................................... 29 Zacharias Hildebrandt ......................................................................... 35 viii Chapter 3. The General Nature of Organ Stops History of imitative sounds on the organ ..................................................... 41 Tonal families of the organ .......................................................................... 46 Principals............................................................................................. 48 Flutes ................................................................................................... 48 Strings.................................................................................................. 49 Reeds ................................................................................................... 50 Mutations............................................................................................. 50 Mixtures .............................................................................................. 51 Generalities and Conclusions ....................................................................... 51 Chapter 4. Registrations Indicated by Bach in Association with Forms Plenum Bach’s use ........................................................................................... 57 How pipes respond to wind................................................................. 59 Historical definitions Compenius.................................................................................. 62 Werckmeister ............................................................................. 62 Mattheson................................................................................... 63 Adlung........................................................................................ 64 Agricola...................................................................................... 65 Trio form Sonatas ................................................................................................ 69 Chorale preludes Gottes Sohn ist kommen ............................................................. 70 Ein feste Burg............................................................................. 73 Transcriptions Concerto in d minor............................................................................. 75 Schubler Chorales ............................................................................... 78 Organ cantatas.............................................................................................. 79 ix Matthäuspassion........................................................................................... 82 Chapter 5. Registrations from Bach’s Contemporaries........................................ 88 Kaufmann ..................................................................................................... 89 Mattheson..................................................................................................... 93 Silbermann ................................................................................................... 97 Adlung.......................................................................................................... 99 Agricola...................................................................................................... 103 Marpurg...................................................................................................... 105 Appendix A: Glossary of Colors on Organs Known to Bach ............................ 110 Appendix B: Organs Played, Examined or Heard by Bach ............................... 124 Eisenach Georgenkirche ........................................................................... 125 Ohrdruf Michaeliskirche ........................................................................... 126 Lüneburg Michaeliskirche......................................................................... 127 Sangerhausen Jacobikirche....................................................................... 128 Arnstadt Bonifatiuskirche.......................................................................... 129 Lübeck Marienkirche ...............................................................................
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