Selected Organ Works of Joseph Ahrens: a Stylistic Analysis of Freely Composed Works and Serial Compositions

Selected Organ Works of Joseph Ahrens: A Stylistic Analysis of Freely Composed Works and Serial Compositions

A document submitted to

The Graduate School of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Keyboard Studies Division of the College-Conservatory of Music

2013

Eun Hye Kim

MM, University of Cincinnati, 2007 MM, Hansei University, 2004 BA, Seoul Jangsin University and Theological Seminary, 2002

Committee Chair: Roberta Gary, DMA Committee Member: John Deaver, DMA Committee Member: David Berry, PhD

Abstract

Joseph Ahrens (1904–97) was a twentieth-century German composer, virtuoso organist, and teacher. He was a professor of church music at the Berlin Academy of Music (Berlin

Hochschule für Musik), organist at the Cathedral of St. Hedwig, and choir director and organist at the Salvator Church in Berlin. He contributed to twentieth-century church music, especially of the Roman Catholic Church, and composed many works for organ and various choral forces. His organ pieces comprise chorale-based pieces, free (non-chorale) works, liturgical pieces, and serial compositions. He was strongly influenced by twentieth-century German music trends such as the organ reform movement, neo-baroque style, and, in his late period, serial techniques.

This document examines one freely composed work and two serial compositions by

Joseph Ahrens: Canzone in cis (1944), Fantasie und Ricercare (1967), and Trilogia

Dodekaphonica (1978). The purpose is to demonstrate that Ahrens’s style developed throughout his career, from a post-Wagnerian harmonic language to one that adopted twentieth-century techniques, including serialism, while retaining the use of developed thematic material and a connection to neo-baroque characteristics in terms of forms and textures.

iii

Acknowledgements

First and foremost, I would like to thank God. He has given me the power and strength to pursue my dreams and make every step in my life. I could never have done my study without the faith I have in Him.

I would like to express my sincere gratitude to Dr. Roberta Gary, my advisor and the document committee chair, for her devoted advisement throughout this entire project. Her unconditional support and encouragement have always given me motivation and inspiration during my graduate studies at CCM. In addition, I wish to acknowledge my two other committee members, Dr. John Deaver and Dr. David Berry, for their guidance and support for this document.

I also would like to extend special thanks to my parents, Seung-nyun Kim and Junghee

Hyun, for their infinite love and constant encouragement. My appreciation also goes to my beloved husband and daughter, Yongtae and Hannah Kang, my two sisters, Eun-young and Eun- kyoung, and other family members who have supported in numerous ways. Finally, I thank all my church members and friends for their affection and help toward me.

Table of Contents

Abstract ……………………………………..…………………………………………………… ii

Acknowledgements ……………………………………..………………………………………. iv

List of Musical Examples ………………………………………….…………………………… vi

List of Tables ………………………………………….……………………………...……….. viii

Introduction ……………………………………………………………………………………... 1

Chapter 1: Joseph Ahrens (1904–97)

Biography ……………………………………………………………………………….. 8

Overview of Organ Compositions and Influential Organs ……...... ……………….…... 14

Chapter 2: Stylistic Analysis of Selected Organ Works

Canzone in cis (1944) ………………………………………………………………….. 25

Fantasie und Ricercare (1967) …………………………………………………………. 35

Trilogia Dodekaphonica (1978) ………………………………………………………... 48

Conclusion ……………………………………………………………………………………... 64

Bibliography …………………………………………………………………………………… 66

List of Musical Examples

1.1. Joseph Ahrens, Canzone in cis, mm. 1–10 ………………………………………………… 27

1.2. Joseph Ahrens, Canzone in cis, mm. 14–16 ……………………………………………….. 27

1.3. Joseph Ahrens, Canzone in cis, mm. 17–32 ……………………………………………….. 28

1.4. Joseph Ahrens, Canzone in cis, mm. 47–61 ……………………………………………….. 29

1.5. Joseph Ahrens, Canzone in cis, mm. 76–89 ……………………………………………….. 30

1.6. Joseph Ahrens, Canzone in cis, mm. 96–111 ………………….…………………………... 31

1.7. Joseph Ahrens, Canzone in cis, mm. 112–116 …………………………………………….. 32

1.8. Joseph Ahrens, Canzone in cis, mm. 128–139 …………………………………………….. 33

1.9. Joseph Ahrens, Canzone in cis, mm. 159–170 …………………………………………….. 34

1.10. Joseph Ahrens, Canzone in cis, mm. 232–235 …………………………………………… 34

2.1. Joseph Ahrens, Fantasie und Ricercare, theme ……………………………………………. 36

2.2. Joseph Ahrens, Fantasie und Ricercare, mm. 1–8 ………………………………………… 36

2.3. Joseph Ahrens, Fantasie und Ricercare, mm. 1–3 ………………………………………… 37

2.4. Joseph Ahrens, Fantasie und Ricercare, mm. 5–6 ………………………………………… 37

2.5. Joseph Ahrens, Fantasie und Ricercare, mm. 7–9 ………………………………………… 37

2.6. Joseph Ahrens, Fantasie und Ricercare, mm. 9–19 ……………………………………….. 38

2.7. Joseph Ahrens, Fantasie und Ricercare, mm. 10–11 ………………………………………. 39

2.8. Joseph Ahrens, Fantasie und Ricercare, mm. 17–20 ……………………………………… 39

2.9. Joseph Ahrens, Fantasie und Ricercare, mm. 24–30 ……………………………………… 40

2.10. Joseph Ahrens, Fantasie und Ricercare, m. 24 …………………………………………… 41

2.11. Joseph Ahrens, Fantasie und Ricercare, mm. 26–27 ……………………………………... 41

2.12. Joseph Ahrens, Fantasie und Ricercare, mm. 34–40 …………………………………….. 42

2.13. Joseph Ahrens, Fantasie und Ricercare, mm. 41–50 …………………………………….. 44

2.14. Joseph Ahrens, Fantasie und Ricercare, mm. 56–67 …………………………………….. 45

2.15. Joseph Ahrens, Fantasie und Ricercare, mm. 68–80 …………………………………….. 47

3.1. Joseph Ahrens, Trilogia Dodekaphonica, Unisono patético, theme ……………………….. 50

3.2. Joseph Ahrens, Trilogia Dodekaphonica, Unisono patético, mm. 1–3 ……………………. 50

3.3. Joseph Ahrens, Trilogia Dodekaphonica, Unisono patético, four transformations ………... 51

3.4. Joseph Ahrens, Trilogia Dodekaphonica, Unisono patético, m. 5 ………………………… 51

3.5. Joseph Ahrens, Trilogia Dodekaphonica, Duo alla siciliana, two themes ………………… 52

3.6. Joseph Ahrens, Trilogia Dodekaphonica, Duo alla siciliana, mm. 1–10 ………………….. 53

3.7. Joseph Ahrens, Trilogia Dodekaphonica, Duo alla siciliana, mm. 20–24 ………………… 54

3.8. Joseph Ahrens, Trilogia Dodekaphonica, Duo alla siciliana, mm. 33–37 ………………… 54

3.9. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, three themes of three row forms

……………………………………………………………………………………………… 57

3.10. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, mm. 1–2 …………………… 58

3.11. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, m. 3 ……………………….... 59

3.12. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, invariances of m. 3 ………… 59

3.13. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, m. 6 ………………………… 60

3.14. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, mm. 9–10 ………………….. 61

3.15. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, Coda ……………………….. 62

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List of Tables

1. Berlin, Cathedral of St. Hedwig, built by Johannes Kalis, 1932 ……………………………. 19

2. Berlin-Schmargendorf, Salvator Church, built by Johannes Kalis, 1935 …………………… 20

3. Berlin, Concert Hall of the Berlin Academy of Music, built by Karl Schuke, 1955 ………... 22

4. Berlin, House Organ of Joseph Ahrens, built by Karl Schuke, 1956 ………………………... 23

5. Berlin, Auditorium of the Church Music Department of the Berlin Academy of Music,

built by Karl Schuke, 1960 ………………………………………………………………….. 24

6. Joseph Ahrens, Trilogia Dodekaphonica, Duo alla siciliana, matrix of the first row form …. 55

7. Joseph Ahrens, Trilogia Dodekaphonica, Duo alla siciliana, matrix of the second row form . 55

8. Joseph Ahrens, Trilogia Dodekaphonica, Duo alla siciliana, matrix of the third row form … 56

9. Joseph Ahrens, Trilogia Dodekaphonica, Duo alla siciliana, matrix of the fourth row form .. 56

10. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, matrix of the first row form ….. 62

11. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, matrix of the second row form . 63

12. Joseph Ahrens, Trilogia Dodekaphonica, Triplum unicum, matrix of the third row form … 63

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Introduction

Joseph Ahrens’s compositional methods were influenced by a variety of forces from his life and career. After receiving his earliest musical training on the organ in the cities of Büren and Münster, he attended, beginning in 1925, the Berlin Academy for Church and School Music

(Berlin Akademie für Kirchen und Schulmusik), where he studied with the virtuoso organist

Alfred Sittard (1878–1942) and the musicologist Max Seiffert (1868–1948).1 Ahrens was strongly influenced by his interest in early music. He developed this appreciation and connection under the tutelage of Seiffert, who contributed to many publications of practical editions of

Baroque composers, such as Jan Pieterszoon Sweelinck (1562–1621), Dietrich Buxtehude

(1637–1707), and Johann Sebastian Bach (1685–1750).2

Another influence on Ahrens’s career was the organ reform movement (Orgelbewegung), which, in the 1920s, was just beginning to gain traction in Germany. The earliest proponent of this movement was Albert Schweitzer (1875–1965), who wrote a pamphlet, The Art of Organ

Building and Organ Playing in Germany and France, in 1906. He condemned organ builders of the time for their commercialism, lack of quality craftsmanship, and for what he viewed as the harsh and chaotic tones of the modern instrument.3 Schweitzer advocated a return to instrumental designs based on Baroque organs, and the notion of the Werk principle, in which the organ

1 Klemens Schnorr, “Ahrens, Joseph (Johannes Clemnes)” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/00339 (accessed March 24, 2011).

2 Anton Würz and Pamela M. Potter, “Seiffert, Max” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/25349 (accessed April 7, 2011).

3 Lawrence I. Phelps, “A Short History of the Organ Revival,” Church Music 67 (1967): 1.

1 consists of several separate divisions with its own independent case within the main case. Each division controls a specific set of pipes of flue chorus.4 This movement has long been viewed as being highly influential on later organ builders as well as performers and composers. Donald

Johns wrote, in 1967, that the movement provided “the basis and stimulus necessary for a renewal of interest in organ composition, and the beginnings of the present new school.”5

Ahrens’s own connection to the movement is clear. He despised what he called “tone monstrosities (Klangmonstren)” of the nineteenth-century, but also did not have much use for the majority of instruments produced as a result of the reform movement.6 However, he was enthusiastic about the music of the past, and he often used Baroque registrations in his music.

The organ reform movement coincided with an increase in the number of composers developing the neo-baroque style in Germany in the 1930s and beyond. Neo-baroque is a term used to describe music which presents idioms or forms of the seventeenth and eighteenth centuries but infused with twentieth-century tonal language. Other outstanding composers of the neo-baroque style include Paul Hindemith (1895–1963), Ernst Pepping (1901–81), Hermann

Schroeder (1904–84), Hugo Distler (1908–42), and Siegfried Reda (1916–68), among others.

These composers employ the traditional polyphonic forms of the Baroque, such as prelude, fugue, partita, and toccata, as well as a blend of traditional and contemporary harmonic languages, featuring dissonances, lean contrapuntal lines, quartal harmonies, and modal character.7

4 Ibid.

5 Donald Johns, “A Survey of Contemporary Organ Music: Germany and Austria,” Church Music 67 (1967): 25.

6 Rudolf Walter, “Orgelklangideal und Registrierweisen von Joseph Ahrens,” Aspeckte der Orgelbewegung 155 (1995): 464.

7 Corliss R. Arnold, Organ Literature: A Comprehensive Survey (Lanham, MD: The Scarecrow Press, 2003), 214.

Ahrens’s Catholic faith and employment also contributed in a significant way to his dedication to neo-baroque music. He held two prominent Catholic church positions until his retirement: as the organist at the Cathedral of St. Hedwig in Berlin from 1934 to 1943, and as the choir director and organist at the Salvator Church in Berlin-Schmargendorf from 1945 to 1972.

After the war, in 1945, he became a professor of church music at the Academic Senate of

University (Akademischen Senats der Hochschule) in addition to his position at the Salvator

Church. He composed many liturgical organ works such as an organ mass and a chorale partita while at the Salvator Church. His music demonstrates strong influence from the Roman Catholic liturgy and from the spirit of the reform movement. A large percentage of his compositions were written for the Catholic church. His primary objective was the renewal of Catholic church music according to the spirit of the “motu proprio” of Pope Pius X (1903).8 This document, the culmination of a century-long campaign against church music in the “theatrical style,” emphasized Gregorian chant and choral music in the Palestrina style as the model of all sacred music.9 It also went so far as to ban singing in any language other than Latin during the Mass, the use of piano and percussion, and women in the choir.10 Evidence of the church’s appreciation of Ahrens’s music and service can be found in the honors given to him, which included being granted knighthood in the Gregorian Order in 1965.11

In the 1960s, he began to write music using serial compositional techniques. Although

8 Johanna Schell, “Joseph Ahrens (1904–1997) im Spannungsfeld der Liturgiereform des II. Vatikanischen Konzils,” Kirchenmusikalisches Jahrbuch 86 (2002): 64.

9 Joseph Dyer, “Roman Catholic Church Music” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/46758 (accessed April 7, 2011).

10 Ibid.

11 Klemens Schnorr.

3 there is no evidence as to how and where his inspiration came from, Ahrens may have been influenced by the serial music of Arnold Schoenberg (1874-1951), which began in the 1920s, as well as by Boris Blacher (1903–75). Blacher was Ahrens’s close friend and colleague at the

Berlin Academy of Music for twenty-one years. Blacher taught composition there, and began to use serial techniques in his own works in 1950. Another influence was his membership, beginning in 1963, in the Berlin Academy of the Arts (Berlin Akademie der Künste), where he promoted and advocated musical arts within society. Ahrens retired in 1972, in part to have more time available for participation in the events of the Berlin Academy of Arts, but also because

Blacher had retired a year earlier. According to Frank M. Beyer, one of Ahrens’s students, Ahrens was very connected with Blacher, and the death of Blacher, in 1975, was a turning point in his life.12

Two pieces from this time, Fantasie und Ricercare (1967) and Trilogia Dodekaphonica

(1978), still employ neo-baroque forms and textures. These compositions contain the traditional forms fantasie and ricercare, as well as contrapuntal writing using imitation and double counterpoint with serial techniques. Fantasie und Ricercare consists of the pitch-class sets (026) and (0134), and Trilogia Dodekaphonica has a twelve-tone row as its basic theme.

There is relatively little scholarship on the life and music of Ahrens. The only dissertation related to Ahrens is Michael Rudd’s “Stylistic Trends in Contemporary Organ Music: A Formal and Stylistic Analysis of Post-World War II Works, 1945–1965.”13 This dissertation, written in

1967, includes an analysis of two organ pieces by Ahrens, Triptychon ueber B-A-C-H and

12 Frank M. Beyer, “Nachrufe 1997/1998: Joseph Ahrens,” Akademie der Künste 35 (1999), 6.

13 Michael Rudd, “Stylistic Trends in Contemporary Organ Music: A Formal and Stylistic Analysis of Post- World War II Works, 1945–1965” (PhD diss., Louisiana State University, 1967).

Verwandlungen I, as examples of neo-baroque and syncretic works. As the title suggests, it has a different focus from my approach and examines different pieces, though it covers similar compositional characteristics and stylistic trends. There are a few articles, many of which are written in German, about Ahrens and his music. I am able to use these sources, which are often very short and mainly provide biographical and archival information. Frank M. Beyer’s

“Nachrufe 1997/1998: Joseph Ahrens” and Bryan Hesford’s “The Organ Works of Hermann

Schröder and Joseph Ahrens” are useful articles for his biographical and musical information.14

One important study is Rudolf Walter’s “Orgelklangideal und Registrierweisen von Joseph

Ahrens (The ideal organ sound and the registrations of Joseph Ahrens),” in which the author focuses on Ahrens’s registration and the ideal sound of his organ music.15 Although this approach lies outside of my own scope, it is a good source in understanding Ahrens’s registrational practices and contains information on the various organs he had at his disposal.

Andrew Mead’s “Tonal Forms in Arnold Schoenberg’s Twelve-tone Music,” one of the secondary sources related to Schoenberg, is helpful in studying Ahrens’s serial music with tonal forms.16 This article describes the similarities between the compositional strategies of twelve- tone and tonal music; for example, the development section of the first movement of

Beethoven’s Piano Sonata, Op. 31 and Schoenberg’s Wind Quintet, Op. 26.17 Although the concept about twelve-tone music and large-scale tonal form is similar to my project, the point of

14 Bryan Hesford, “The Organ Works of Herman Schröder and Joseph Ahrens,” Musical Opinion 97 (1974): 290–91.

15 Rudolf Walter, 463–82.

16 Andrew Mead, “Tonal Forms in Arnold Schoenberg’s Twelve-tone Music,” Music Theory Spectrum 9 (1987): 67–92.

17 Ibid.

5 view for comparing twelve-tone with tonality and analytic approach of the mosaic interpretations of rows is different from my project. Ethan Haimo’s “Schoenberg’s Serial Odyssey: The

Evolution of His Twelve-tone Method, 1914–1928” and Humphrey Searle’s “Twentieth Century

Counterpoint: A Guide for Students” are useful to support my analysis for Trilogia

Dodekaphonica.18

In this document, I will analyze organ music of Ahrens in order to explore his compositional style. I have selected pieces from three different compositional periods in his development such as freely composed works, twelve-tone, and set-class compositions. I will extend our understanding of twentieth-century organ music by including a discussion of stylistic features to show how he used and cultivated the idioms of the seventeenth and eighteenth centuries in his compositions, even when combined with serial techniques.

Besides neo-baroque and serial techniques, one of Ahrens’s principal characteristics is the use of developing thematic material. Although developing thematic material is one of the basic methods of composition for all composers, Ahrens used this technique much more intentionally and elaborately than other composers. The initial theme of each piece has an important role and affects not only all musical elements of melody, rhythm, and harmonic progression, but also formal structure, which is usually balanced and symmetrical. For the serial pieces, I will examine how he manipulated the basic row or set within a point of view of developing thematic material.

Thus, I will apply thematic analysis in order to examine how Ahrens applied the initial theme to the whole piece. I will then identify the significant aspects of each piece related to developing thematic material, referring to his combination of techniques and motivic saturation. I also will

18 Ethan Haimo, Schoenberg’s Serial Odyssey: The Evolution of His Twelve-tone Method, 1914–1928 (Oxford: Clarendon Press, 1990) and Humphrey Searle, Twentieth Century Counterpoint: A Guide for Students (London: Benn, 1955).

6 demonstrate how he expresses his artistry while incorporating twentieth-century trends in his music. For instance, Trilogia Dodekaphonica, one of his twelve-tone pieces, has three movements: a unison, duo, and trio. The second movement, Duo alla siciliana, includes two voices with double counterpoint, in which he used four different row forms. The third movement,

Triplum unicum, has three different row forms, and he used only ten pitches, not twelve.

Chapter 1

Joseph Ahrens (1904–97)

Joseph Johannes Clemens Ahrens (1904–97) was born on 17 April 1904 in Sommersell

(now Nieheim), Westphalia, in Germany. His father, Robert Ahrens, was a bookkeeper in a savings and loan office who volunteered on holidays as a church organist.1 Due to his musical abilities, he taught and supported his son. Ahrens was playing for services at age eight. He also played the historic Patroclus-Möller organ in nearby Marienmünster.2 After studying with his father, he studied church music with Wilhelm Schnippering in Büren and Fritz Volbach (1861–

1940) at the University of Münster (Universität Münster) in 1924–25. He learned Gregorian chant in the Benedictine Abbeys of Gerleve and Beuron (Benediktinerabteien Gerleve und

Beuron).3

From 1925, he attended the Academy for Church and School Music in Berlin (Akademie für Kirchen und Schulmusik), where he studied with Alfred Sittard (1878–1942) and Wilhelm

Middelschulte (1863–1943) in organ, Carl Thiel (1862–1939) in choral conducting, and Max

Seiffert (1868–1948) in music history.4 Sittard was organist of the Cross Church (Kreuzkirche) in

Dresden and later the Church of St. Michaels (Michaelikirche) in Hamburg, and was considered

1 Rudolf Walter, “Joseph Ahrens: 17.4.1904–21.12.1997,” Orgel International 2 (1998): 57.

2 Ibid.

3 Ibid.

4 Ibid.

8 one of the most prominent organ virtuosos in Germany in his lifetime.5 Ahrens was strongly influenced by Sittard’s virtuosic organ style. Ahrens also attended Middelschulte’s organ master- classes in Berlin. Middelschulte, a renowned organist in Germany as well as in the United States, was greatly acclaimed for his interpretations of J. S. Bach. He was organist of the Theodore

Thomas Orchestra, now the Chicago Symphony Orchestra, and gave three performances at the

Columbian Exposition in 1893.6 Although he settled in Chicago, he often returned to Germany to give performances and master-classes. Ahrens gained a complete mastery of the organ under these two outstanding organists, and later Ahrens himself was regarded as one of the virtuoso organists of his time. Seiffert was a musicologist, music arranger, and pupil of Philipp Spitta

(1841–94), who was best-known for his biography of J. S. Bach. Seiffert contributed to many publications of practical editions of Baroque composers, such as Jan Pieterszoon Sweelinck

(1562–1621), Dietrich Buxtehude (1637–1707), and J. S. Bach.7 Ahrens was strongly influenced by his interest in early music, and developed this appreciation and connection under the tutelage of Seiffert.

Ahrens’s first job as a church musician was in St. Bonifatius in Berlin in 1927.8 He became a lecturer in organ improvisation and literature at the Berlin Academy (Berlin Akademie) in 1928. He was appointed organist at the Cathedral of St. Hedwig in Berlin in 1934. St.

Hedwig’s belonged to the Diocese of Berlin, although it was originally in the Diocese of Breslau.

5 Bryan Hesford, “The Organ World: The Organ Works of Hermann Schröder and Joseph Ahrens,” Musical Opinion 97 (1974): 290.

6 Brink Bush, “Middelschulte, Wilhelm” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/51821 (accessed April 7, 2011).

7 Anton Würz and Pamela M. Potter, “Seiffert, Max” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/25349 (accessed April 7, 2011).

8 Rudolf Walter, 57.

The Diocese of Berlin was then relatively young, having been established in 1930. The Diocese of Berlin supported St. Hedwig’s, built in 1773, to modify the interior of the cathedral and to build a large organ in 1932. The organ was built by Johannes Klais (1852–1925), whose firm was located in Bonn.9 Ahrens’s position was not full-time at St. Hedwig’s, where he worked with

Karl Forster (1904–34), priest and musicologist in addition to being choirmaster at St.

Hedwig’s.10 Although their cooperation did not go smoothly because of their different backgrounds and personalities, they had soon elevated church music at the cathedral to respectable levels.11 Ahrens, with approval of the clergy, organized organ recitals in addition to the regular worship service. He used the title “Orgelabende (organ-evenings),” instead of the word “Konzert (concert)” for the recitals.12 These events were announced to the public with posters and were a novelty in Berlin at that time. Ahrens played not only the classic repertoire but also some contemporary organ works, including his own, during those recitals. The

“Orgelabende” began on 19 November 1934. The last recital was on 28 February 1943; in early

March of that year, during the Second World War, the cathedral was destroyed by fire bombs.13

Ahrens had brought the traditional organ recital to a higher level than before, with more widespread public impact. He also gave organ recitals in other European cities, such as Cologne,

Freiburg, Paris, and Vienna.14 Ahrens established his reputation as a master of improvisation and

9 Johanna Schell, “Lebendiger Kontakt zur Liturgischen Gemeinschaft: Joseph Ahrens zum 100. Geburtstag,” Musica Sacra 124 (2004): 6.

10 Ibid.

11 Ibid.

12 Ibid.

13 Ibid.

14 Rudolf Walter, 57.

10 as a virtuoso organist while at St. Hedwig’s. He wrote numerous freely composed works for St.

Hedwig’s organ, including Konzert in e-Moll (1941), Praeludium und Fuge f-Moll (1942), and

Concertino G-Dur (1943).

Ahrens was promoted to professor of Catholic Church Music at the Berlin Academy in

1936.15 Adding new subjects of music theory and Gregorian chant to his classes, he focused on training for the Catholic church music students, emphasizing a renewal of sacred music.16 He was already a very popular teacher at that time. His students were young and talented musicians with outstanding achievements, and they joined with him in working towards the renewal of sacred music. During the Second World War, some of his students and trained church musicians were drafted into military service, and many did not return. Ahrens also was called to short-term military conscription in June 1940, interrupting his teaching. As a result of the destruction of St.

Hedwig’s Cathedral and its organ in early March 1943, Ahrens lost his job and some of his students. Although the Nazi Party offered him some national positions carrying the assurance of exemption from military service, he did not accept their offers.17

After the war, at the end of May 1945, Ahrens traveled to Berlin with his family, in search of a new church job and instrument. He remembered the Klais organ at the Salvator Church in

Berlin-Schmargendorf because he had played for its inauguration.18 The Klais organ, built in

1935 with three manuals and twenty-six registers, had survived the war. In Berlin, Ahrens met

15 Johanna Schell, 7.

16 Ibid.

17 Frank M. Beyer, 6.

18 Johanna Schell, 7.

11 with Father Gregor Niederer, the superior of the Salvatorian College and pastor of the church.19

With Niederer’s approval, Ahrens became choir director and organist at the Salvator Church from 1945 until his retirement in 1972. He was nominated an organ expert of the Bishopric

Berlin (Orgelsachverständiger des Bistums Berlin), and initiated a cycle of eight organ concerts in the Salvator Church beginning in June 1945.20 Here Ahrens composed many songs and motets, choral arrangements, chorale variations, and five polyphonic Latin Mass ordinaries (1945–49).

His daughter, Sieglinde Ahrens (b. 1936), also an organist and composer, learned the organ from her father. She played her first organ concert at Salvator Church in 1947, and later became an organist there.21

In addition, Ahrens was appointed Professor of Catholic Church Music at the Academic

Senats of University (Akademischen Senats der Hochschule) in 1945. He obtained a full professorship in 1953, and was head of the keyboard department and deputy director of the

University from 1954 to 1958. He became chair of the church music department in 1955, having succeeded Professor Wolfgang Reimanns, and remained until his retirement in 1972. He invited

French organists and composers Olivier Messiaen (1908–92) in 1958 and Gaston Litaize (1909–

91) in 1960 for organ concerts.22

Ahrens began to write music using serial compositional techniques in the 1960s, such as

Verwandlungen (1963–65), Fünf Leisen (1969), and Trilogia Dodekaphonica (1978). He already anticipated atonality in his liturgical organ music. He had made a report about contemporary

19 Ibid.

20 Ibid., 8.

21 John Morgan and Roswitha Sperber, “Ahrens, Sieglinde” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/2019874 (accessed April 7, 2011).

22 Johanna Schell.

12 organ music in the liturgy a few years before, in 1950, at the first international congress for

Catholic church music in Rome.23 At the conclusion of his speech, he said “for the creative church musician, there is no doubt about it that it is beneficial when he/she is staying in a close contact to the liturgical community because this connection is the best corrective for too exposed artistic goals”.24

Joseph Ahrens died on 21 December 1997 in Berlin at the age of ninety-three. He is now acclaimed as one of the leading Catholic Church composers of the twentieth century, and as one of the most active forces in the renewal of Catholic Church Music, especially in the spirit of the

“motu proprio” of Pope Pius X (1903). He was elected to the Berlin Academy of the Arts in 1963, where he promoted and advocated the musical arts within society. He received many additional honors during his lifetime, including the Arts Prize of the City of Berlin (1955), knighthood in the Gregorian Order (1965), and the silver pontifical medal (1968).25 His life, always focused on praising God and on the cultivation of the faithful, was devoted to high artistic goals.

23 Ibid.

24 Ibid.

25 Klemens Schnorr.

Overview of Organ Compositions and Influential Organs

Ahrens composed about thirty-six organ works, including chorale-based pieces, freely composed works, liturgical pieces and serial compositions. Most of his organ works follow twentieth-century German music trends such as neo-baroque style and the organ reform movement, even when combined with serial techniques in his late period. His Catholic faith and employment manifest themselves in his output of numerous sacred works. His organ compositions are primarily virtuoso in character, demanding brilliant keyboard and pedal technique from the performer. Most are based on Gregorian melodies and German chorales with the words of the texts adding a spiritual dimension. He employs various compositional techniques such as variation, partita, canzona, fugue, aria, prelude, fantasie, cantus-firmus composition, and toccata. He gives instructions for manual changes, dynamics, and registrations in his compositions. His compositions are characterized by a continually evolving style of motivic and intervallic structures and use of church modes and extended major and minor tonalities. He often provides characteristic markings such as “klare, kräftige Stimmen (clear, strong sound),” “silbern (silver),” or “helle, glitzernde Registrierung (bright, glittering registration),” instead of stop names for registration.26 His organ works can be divided into four categories: the earlier compositions, compositions based on the new organ of the Cathedral of St.

Hedwig, compositions at the Salvator Church, and the serial compositions of his late period.

The earliest existing piece is the Partita “Zu Bethlehem geboren” in 1929. He composed

26 Rudolf Walter, “Orgelklangideal und Registrierweisen von Joseph Ahrens,” Aspeckte der Orgelbewegung 155 (1995): 465.

14 numerous cantus-firmus works, primarily on Gregorian melodies and German chorales, in which the text has a spiritual connection. Examples include Partita “Christus ist erstanden” (1935) and

Hymnus “Pange lingua” (1935). Fantasie “Regina coeli” (1937) is a relatively simple and short piece, quasi-traditional in terms of texture and harmonic progression. The freely composed pieces of his early period are frequently improvisatory in style, featuring fast running passages in the hands, double counterpoint, sometimes chromaticism, virtuosic pedal parts, massive chords, and sometimes a fugal section. Examples of the freely composed pieces include Canzone F-Dur

(1930), Praeludium, Aria und Toccata a-Moll (1931), Toccata eroica C-Dur (1932), Passamezzo und Fuge g-Moll (1933), Ricercare a-Moll (1934), and Dorishe Toccata (1938). These examples show his interest in the early classical forms. Ricercare a-Moll includes a lot of fugal elements, such as the relationship of subject and answer, inversion and diminution of subject, stretto, and the presentation of the theme once in all voices. Fünf kleine Stücke (1936) contains five short pieces, Intrada, Intermezzo, Invention, Interludium, and Improvisation.

When Ahrens became organist at the Cathedral of St. Hedwig in 1934, he attempted to highlight its organ.27 Thus, indications of manual and registration are based on the organ of St.

Hedwig. The first publication of an organ composition was in 1934.28 The freely composed works from this period are Fantasie in c-Moll (1939), Kleine Musik in a-Moll (1940), Konzert in e-Moll (1941), Praeludium und Fuge e-Moll (1942), Toccata und Fuge e-Moll (1942), Fantasie h-Moll (1943), Concertino G-Dur (1943), and Canzone in cis (1944). Partita “Jesu, meine

Freude” (1942) is one of the cantus-firmus compositions.

Ahrens composed mature organ works, especially liturgical compositions, at the Salvator

27 Ibid.

28 Ibid.

Church. Registration suggestions are for the organ at the Salvator Church in these compositions.

Cantus-firmus works using Gregorian melodies and German chorales are Hymnus “Veni, Creator

Spiritus” (1947), Partita “Lobe den Herren” (1947), and Partita “Verleih uns Frieden gnädiglich” (1947). These partitas are more complex than earlier partitas in terms of shorter rhythmic values, a more active pedal part, accidentals, accents, and ornaments. The Orgelmesse

(1945) is a large-scale work with technical and musical demands on the organist. It has eleven versets for the Proper and Ordinary of the Mass, including Introitus, Kyrie, Gloria, Gradual,

Creed, Offertorium, Sanctus, Benedictus, Agnus Dei, Communio, and Exodos. Ahrens indicates the registration of Organo Pleno for Introit, Kyrie, Credo, Sanctus, Agnus Dei, and Exodos. Das

Heilige Jahr (The Holy Year, 1948–50) is a large collection of chorale works for the entire church year. Its spiritual model is probably J. S. Bach’s Orgelbüchlein (Little Organ Book).29 It is divided into three sets in three books: Book I is Advent, Weihnachten (Christmas), and Jesu

Namen (Jesus’ Name). Book II is Passion, Ostern (Easter), and Pfingsten (Pentecost). Book III is

Eucharistie (Eucharist), Marienlob (Praise of Mary), and Gotteslob (Praise of God). These nine sets each contain five to eight short pieces. Each set begins with a “programmatic piece” such as

Präambel (Preamble), Pastorale, Interludium, Ostinato, Introduction, Präludium, Hymnus,

Bicinium, and Intrada.30 The registration refers to the organ of Salvator Church, whose specification is given in the preface of the score. According to Bryan Hesford, this collection is

“the finest German liturgical organ music of this century for Catholic musicians.”31 The freely composed works are Triptychon über B-A-C-H (1949) and Concertino G-Dur für Positiv (1953).

29 Ibid., 467.

30 Ibid.

31 Bryan Hesford, 291.

Triptychon über B-A-C-H is one of the examples of the neo-baroque style. Three movements,

Toccata, Ostinato, and Ricercare, are based on the B-A-C-H motive. Concertino G-Dur für

Positiv was written for an historical instrument of 1650. Ahrens was invited to a concert to be played on a positive organ of the Central Organization for Protestant Church Music (Zentralstelle für evangelische Kirchenmusik, Berlin-Steglitz) on 22 October 1950.32

Ahrens began to write music using serial techniques for the organ in the 1960s. The compositions may be analyzed in terms of set classes or twelve-tone rows. He applies the modern technique to freely composed works as well as to sacred works. These works often include neo-baroque characteristics in terms of forms and textures. The specification of registration for these compositions refers to three organs of Karl Schuke’s organ firm: the organ of the Concert Hall of the Berlin Academy of Music (Konzertsaal der Berlin Musikhochschule,

Berlin, 1955), Ahrens’s house organ (1956), and the organ of the Auditorium of the Church

Music Department of the Berlin Academy of Music (Aula der Kirchenmusikabteilung, Berlin,

1960).33

Trilogia Sacra (Sacred Trilogy, three volumes, 1959–60) is divided into three parts:

Domus Dei (House of God), Regnum Dei (Kingdom of God), and Civitas Dei (City of God).

Each part has seven meditations, and he emphasizes seven as the sacred number in this collection.34 The first and third parts are for the organ, but the second part, Regnum Dei, contains

Gregorian chant for baritone and seven instruments (flute, oboe, English horn, clarinet, horn, bassoon, and double bass). Fünf Leisen (Five Makers, 1969) is a chorale prelude, based on five

32 Rudolf Walter, 467.

33 Ibid., 468.

34 Ibid.

German hymns, with an attached set of hymn accompaniments. Fantasie und Ricercare (1967) and Passacaglia Dodekaphonica (1980) have an indication of registration for the house organ of the composer.35 The other serial compositions are: Cantiones Gregorianae (three volumes 1957),

Verwandlungen (Transformations, three volumes, 1963–65), Trilogia Contrapunctica (three volumes, 1972, 1975, and 1976), and Trilogia Dodekaphonica (1978).

There are six organs that influenced the registration of his compositions: the organs of St.

Hedwig, the Salvator Church, and the positive of the Central Organization for Protestant Church

Music. The other three organs are those on which he collaborated with the organ builder, Karl

Schuke (1906–87): the organs of the Concert Hall and Auditorium of the Berlin Academy of

Music and Ahrens’s house organ.

The organs of Cathedral of St. Hedwig were built by Johannes Klais, whose firm was located in Bonn, in 1932. There are two organs, gallery organ and altar organ. The gallery organ has four manuals and pedal with forty-four stops, and the altar organ has two manuals and pedal with thirty-four stops for the medium sized room (see Table 1).36

35 Ibid.

36 Ibid.

Table 1. Berlin, Cathedral of St. Hedwig, built by Johannes Klais, 1932.37

Altar-Orgel

I. HAUPTWERK • C—a3 II. BRUSTWERK • C—a3 PEDAL • C—g1

Principal 16' Bordun 16' Principalbaß 16' Principal 8' Diapason 8' Subbaß 16' Offenflöte 8' Rohrflöte 8' Bordun 16' Salicional 8' Spitzgambe 8' Quintbaß 102/3' Octave 4' Praestant 4' Octavbaß 8' Hohlflöte 4' Spillpfeife 4' Bagflöte 8' Quinte 22/3' Sifflöte 2' Praestant 4' Schwegel 2' Sesquialter 2fach Hintersatz 3-7fach Mixtur 4-6fach Scharff 4fach Contrafagott 32' Trombone 16' Geigendregal 4' Posaune 16' Trompete 8' Baßtrompete 8' Clairon 4' Schalmey 4'

Emporenorgel I. HAUPTWERK • C—a3 II. BRUSTWERK • C—a3 III. SCHWELLWERK • C—a4

Nachthorngedeckt 16' Holzflöte 8' Geigenprinzipal 8' Principal 8' Quintadena 8' Rohrgedackt 8' Querflöte 4' Spitzflöte 8' Singendprincipal 4' Nasard 22/3' Oktave 4' Blockflöte 4' Waldflöte 2' Rohrflöte 4' Flageolet 2' Nachthorn 1' Gemsquinte 22/3' Terz 13/5' Progressio 3-5fach Dulcian 16' Gemshorn 2' Quintflöte 1'/3' Fagott-Oboe 8' Mixtur 4fach Cymbel 3-4fach Kopftrompete 4' Krummhorn 8'

IV. BOMBARDWERK • C—a4 PEDAL • C—g' Spielhilfen für jede Orgel

Gemshorn 8' Contrabaß 16' General-Tutti Fernflöte 8' Gedacktbaß 16' Normalkoppeln Flötenschwebung 8' Spitzflöte 8' Wenigstens 2 freie Cornett 3-5fach Gedacktpommer 8' Kombinationen Bombarde 16' Quinte 51/3' Rohrwerksabsteller Tromp. harmonique 8' Choralbaß 4' Tutti Cymbelregal 2fach Flachflöte 2' Far die Emporenorgel: (in besonderem Cornett 3fach Oberoktavkoppe III Schwellkasten) Dulcian 16' Oberoktavkoppel IV MindestensOberoktavkoppe 1 Tremulant

Oboe 8' IV G

37 Ibid., 469.

The organ of the Salvator Church was built by Klais in 1935. It consists of three manuals and pedal with twenty-two stops. The organ is relatively small, but it has abundant and diverse sound qualities, including Quintadena 16’ of the Hauptwerk and Flachflöte 2’ of the Pedal (see

Table 2).38

Table 2. Berlin-Schmargendorf, Salvator Church, built by Johannes Klais, 1935.39

HAUPTWERK • C—g3 SCHWELLWERK • C—g3

Quintadena 16' Holzflöte 8' Praestant 8' Salicional 8' Gemshorn 8' weit Principal 4' Querflöte 4' Zartflöte 4' Spitzflöte 2' Quinte 22/3' Mixture 4fach Schweizerpfeife 2' Tertian 2-3fach Krummhorn 8' Tremulant

RUCKPOSITIV • C—g3 PEDAL • C—f1

Rohrflöte 8' Subbaß 16' Singend Gedackt 4' — Gedacktbaß 8' Ext. Octav 2' Quintadena 16' Tr. Cymbel 3fach Octavbaß 8' Trompetenregal 8' — Choralbaß 4' Ext. —Flachflöte 2' Ext. Posaune 16'

6 Normalkoppeln Rohrwerksabsteller, 2 freie Kombinationen, Organo pleno

The positive organ in the Central Organization for Protestant Church Music was built by an unknown organ builder in 1650 in Berlin-Steglitz. The stops of the organ are Hoelzern

38 Ibid., 470.

39 Ibid., 471.

Gedackt 8’, Quintadena 4’, Prinzipal 2’, Siffloet 1’, Cymbel 1fech 1/6’, and Tremulant.40 The keyboard compass ranges from C, D to c3, and is divided. The dividing point is at c1/d1, as was common at that time.41 The organ was technically restored and expanded by Wilhelm Sauer

(1831–1916), a German organ builder whose firm was located in Frankfurt an der Oder.42

The organ in the Concert Hall of the Berlin Academy of Music was completed in 1955, built by Karl Schuke. Ahrens collaborated to build this organ with Schuke. The organ consists of four manuals and pedal with seventy stops. It also has abundant sound with several 8’ stops on each manual and four 16’ stops in the pedal (see Table 3).43

40 Ibid.

41 Ibid.

42 Ibid.

43 Ibid., 472.

Table 3. Berlin, Concert Hall of the Berlin Academy of Music, built by Karl Schuke, 1955.44

I. POSITIV • C—a3 II. HAUPTWERK • C—a3 III. BRUSTWERK • C—a3

Holzgedackt 8' Quintadena 16' Holzflöte 8' Quintadena 4' Principal 8' Gedackt 8' Principal 2' Rohrflöte 8' Quintadena 8' Terz 13/5' Gemshorn 8' Principal 4' Quinte 11/3' Oktave 4' Rohrflöte 4' 2 Cymbel 3fach Nachthorn 4' Quinte 2 /3' 2 Krummhorn 8' Nasat 2 /3' Gemshorn 2' 1 Regal 4' Oktave 2' Quinte 1 /3' Tremulant Blockflöte 2' Sesquialtera 2fach Mixtur 6-8fach Scharff 6fach Scharff 4fach Bärpfeife 16' Trompete 16' Trichterregal 8' Trompete 8' Tremulant Clairon 4'

IV. SCHWELLWERK • C—a3 PEDAL • C—g1 Spielhilfen

Nachthorn 16' Principal 16' I/II, I/III, I/IV Flöte 8' Contrabaß 16' II/I, II/III, II/IV Singend Gedackt 8' Subbaß 16' III/I, III/II, III/IV Salicional 8' Zartbaß 16' IV/I, IV/II, IV/III 2 2 Ital. Principal 4' Großsesquialtera 2fach 10 /3' 6 /5' I/P, II/P, III/P, IV/P, Pommer 4' Hohlflöte 8' 10 Setzerkombinationen Zartflöte 4' Baßflöte 8' 1 freie Kombination Nasat 22/3' Oktave 4' Organo pleno Waldflöte 2' Pommer 4' Tutti Terz 13/s' Nachthorn 2' Generalkoppel Quinte 11/3' Baßaliquote 4fach Manual-16' 1 1 2 2 Septime 11/7' 5 /3' 3 /s' 2 /3' 2 /7' Rohrwerksabsteller Sifflöte 1' Hintersatz 6fach

None 8/9' Posaune 16' Mixtur 4-5fach Dulcian 16' Cymbel 3fach Trompete 8' Dulcian 16' Kopftrompete 4' Oboe 8' Vox humana 8' Schalmei 4' Tremulant

In 1956, Ahrens and Schuke built a two-manual house organ for Ahrens’s house. The organ contains a small Organo Pleno of four stops in the first manual, and the rich colors of six stops in the second manual. The 16’, 4’, and 2’ stops of the pedal allow playing the cantus-firmus

44 Ibid.

22 melody in the pedal part. The organ has slider chests and tracker action (see Table 4).45

Table 4. Berlin, House Organ of Joseph Ahrens, built by Karl Schuke, 1956.46

MANUAL I • C—g3 MANUAL II • C—g3 PEDAL • C—g'

Principal 4' Holzgedackt 8' Quintadena 16' Rohrflöte 8' Rohrflöte 4' Rohrpommer 4' 2 Waldflöte 2' Rohrquinte 2 /3' Weitprincipal 2' Mixtur 3-4fach Rohrquinte 2' , Tertian 2fach 2/3 2/5' 3 1 g°: 1 /5' 1 /3' , Obertonzug 2/7 2/9 ' Obertonzug 1 8 g°: 1 /7' /9' 3 Normalkoppeln Tremulant

The organ in the Auditorium of the Church Music Department of the Berlin Academy of

Music has three manuals and pedal with slider chests and electric stop action.47 The organ was stylistically influenced by the Baroque organ in terms of its disposition and timbre.48 Ahrens and

Schuke attempted to find a balance for building a good organ, neither an historical nor a modernistic designed instrument. The neo-baroque organs provide a variety of tone colors, and

Ahrens composes his organ music with a focus on tone color. Ahrens brought his experience and ideas as a composer and organist, and Schuke tried to provide an instrument of good quality as a successful organ builder (see Table 5).

45 Ibid., 474.

46 Ibid.

47 Ibid., 473.

48 Ibid.

Table 5. Berlin, Auditorium of the Church Music Department of the Berlin Academy of Music, built by Karl Schuke, 1960.49

I. HAUPTWERK • C—a3 II. BRUSTWERK (SW) • C—a3 III. SCHWELLWERK • C—a3

Pommer 16' Holzgedackt 8' Gemshorn 8' Principal 8' Rohrflöte 4' Gedackt 8' Rohrflöte 8' Principal 2' Ital. Principal 4' Oktave 4' Rohrpfeife 2' Salicional 4' Spillpfeife 4' Terzian 2fach Nachthorn 2' Nasat 22/3' Cymbel 3fach Sesquialtera 2fach Oktave 2' Krummhorn 8' Sifflöte 11/3' 1 8

Mixtur 4-6fach Tremulant Oberton 2fach 1 /7' /9'

Trompete 8' Scharff 4-5fach Dulcian 16' Oboe 8' Tremulant

PEDAL • C—g' Spielhilfen

Principal 16' Baßaliquote 3fach 6 Normalkoppeln Subbaß 16' 51/3' 31/s' 22/7' Generalkoppel Oktave 8' Hintersatz 5fach Manual 16' ab Baßfliite 8' Posaune 16' Rohrwerksabsteller Choralbaß 4' Trompete 8' 4 freie Kombinationen Pommer 4' Schalmei 4' Tutti

Weitprincipal 2'

49 Ibid.

Chapter 2

Canzone in cis (1944)

Canzone in cis (1944) is one of the tonal compositions of Ahrens. “Canzona” is one of the instrumental forms of the sixteenth and seventeenth centuries. It is typically characterized by simple harmonies, vital rhythms, casual imitation, and multi-sectional structure with sectional repetition such as ABBA, AABC, and ABA’CA.1 Ahrens entitled this piece Canzona, as it is a sectional structure with rondo form, simple and lively rhythms, and fugal imitation.

This piece has five sections in a symmetrical structure, free-imitative-free-imitative-free, with meter and tempo changes similar to the free organ works of the early seventeenth century.

For a contrasting effect, the composer uses hands alone for the free parts, and two hands and pedal for the imitative parts. Each section is related to the initial theme for coherence. He employs both rhythmic and melodic alterations of the theme, and treats contrapuntally the melodic fragments throughout.

The free sections feature virtuosic and improvisational keyboard writing with fast running notes and scales. Ahrens uses an entire free section as a refrain in rondo form, ABA’CA.

The first and last free sections are exactly the same, and the middle section is an inversion of the whole free section. It is an interesting idea to combine the alternation of free and imitative sections in rondo form.

1 John Caldwell, “Canzona” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/04804 (accessed November 27, 2012).

The initial theme of two measures consists of short motives, ornament-like figures and scales in mm. 1–2. It is repeated twice an octave lower in mm. 2–3. The intervals of the first three ornament-like motives increase from a second to a fourth. These increasing and later decreasing intervals and scales are primary methods to develop thematic materials of the free sections. For example, there are successive increasing intervals from a fifth to a seventh at mm.

5–7 and increasing and decreasing intervals from a fourth to a seventh at mm. 11–14. In addition, one of the composer’s main concerns in the free sections is rhythmic variety, using rhythmic diminution and displacement. Chord progression is prolonged by small note values in short motives. The tonic triads of C# minor slowly move on the beat in mm. 1–7. For example, the tonic (C#) stays on each beat in mm. 1–4, and the third note of C#-minor (E) stays in m. 3.

Ahrens often uses artificial groupings with a slur to embellish the notes such as nontuplets (m. 4 and m. 9), decuplets, and undecuplets of thirty-second notes (mm. 15–16). Ahrens employs rhythmic displacement for an ambiguous regular beat. For instance, the first note of strong beat is the last added note of the previous measure which is grouped with a beam in mm. 4–7. Ahrens indicates the registration Helle, gliternde Registrierung (bright, glittering registration) at the beginning of the piece (see Figures 1.1 and 1.2).

Fig. 1.1. Canzone in cis, mm. 1–10.

5th to 7th 6

th th th th 5 to 7 5 to 7 5th to 7th 8

In mm. 15–16, there is the harmonic relationship of tonic and dominant (C# and G#) before the imitative section starts (see Figure 1.2).

Fig. 1.2. Canzone in cis, mm. 14–16.

The theme of the first imitative B section is based on the initial theme in duple meter.

This part has a lot of the elements found in fugues, such as the relationship of subject and answer, sequences, and the presentation of the theme once in all voices. The subject of four measures presents on tonic in mm. 17–20, following the real answer on dominant in mm. 21–24. After the successive sequences of five measures, the subject of the top voice enters on tonic in mm. 30–33, and then the real answer of pedal part appears on dominant in mm. 38–41. The counter subject comes from the subject, and consists of two eighth notes and three quarter notes. Ahrens indicates Ruhig singend (quiet singing) and the registration of Volle, weiche Farben 8’and 4’ (full, soft colors 8’ and 4’) for this part (see Figure 1.3).

Fig. 1.3. Canzone in cis, mm. 17–32.

In the sequence part, there are descending notes from F# to C# in the top voice (mm. 50–

53) with a Neapolitan chord (mm. 50–57). The subject enters on Neapolitan harmony in the left hand in mm. 54–57. And then, the inverted subject appears for the first time in mm. 58–61. A

Neapolitan chord resolves to F# major, the subdominant key of C# minor. Ahrens indicates the

28 manual change for the left hand alone in m. 54 and four bars later the right hand in m. 58 (see

Figure 1.4).

Fig. 1.4. Canzone in cis, mm. 47–61.

Ahrens applies stretto of the subject and inversion at the same time in mm. 76–99. The counter subject has no particular pattern against the subject from m. 88 to the end of the first imitative part (see Figure 1.5).

Fig. 1.5. Canzone in cis, mm. 76–89.

The inversion enters on Neapolitan harmony in mm. 96–99. A Neapolitan chord resolves to the tonic in m. 100. The first two notes of the measure include ascending intervals from perfect fifth to octave in the left hand in mm. 96–99. In addition, there are leaping notes of D and

A in the pedal part. The inversion of the top voice (mm. 100–103) combines with the augmented subject (mm. 100–107) in the pedal. After the pedal point of the tonic (C#) is given, the imitative section ends on the dominant chord of C# minor in mm. 108–111 (see Figure 1.6).

Fig. 1.6. Canzone in cis, mm. 96–111.

101

106

The middle free section (A’ part) is an inversion of the whole part of the first free section in mm. 112–127. Although there is no indication of registration, it has the same registration as the beginning of the piece (see Figure 1.7).

Fig. 1.7. Canzone in cis, mm. 112–116.

112

115

The theme of the second imitative section (C part) is the inversion of the theme of the first imitative part in triple meter, repeating tonic notes. This section also has a lot of the elements found in fugues, such as the relationship of subject and answer, sequences, and the presentation of the theme once in all voices. The subject of four measures enters on tonic in mm.

128–131, following the tonal answer on subdominant in mm. 132–135. The counter subject includes duplets of half notes, and there is no particular pattern against the subject. Ahrens indicates Beschwingt (lively) and the registration of Flötenstimmen 8’, 4’, 2’ (flute 8’ , 4’ , 2’)

(see Figure 1.8).

Fig. 1.8. Canzone in cis, mm. 128–139.

128

134

In mm. 159–177, the inverted subject combines with the inversion of the first imitative section. For example, inversion of the second imitative section appears in the right hand with inversion of the first imitative section in the left hand at the same time in mm. 159–162. The inversion of the first imitative section is augmented by duplets of half notes and quarter notes

(see Figure 1.9).

Fig. 1.9. Canzone in cis, mm. 159–170.

159

165

The last free section (mm. 217–235) is the same as the first free section. It begins with octave doubling between the hands and its inversion of the pedal part in mm. 217–218. The initial theme of this section returns at the end of the piece in mm. 232–235, where it is embellished by the undecuplet scales of thirty-second notes and written-out trills with Ganz breit

(quite broadly). The registration is Organo plemum ohne 16’ (full organ without 16’) (see Figure

1.10).

Fig. 1.10. Canzone in cis, mm. 232–235.

232

Fantasie und Ricercare (1967)

Fantasie und Ricercare (1967) is a composition that may be analyzed in terms of set classes. The main theme is derived from a work by Joannis Cabanilles (1644–1712), a Spanish composer of the seventeenth century. The theme is used as a subject for contrapuntal writing in

Ricercare. It can be divided into two sets: (026) and (0134) (see Figure 2.1). These two sets alternate in Fantasie. For example, (026) is the basis of mm. 1–16 and mm. 24–35, and (0134) is the basis of mm. 17–23 and mm. 34–40. Ahrens applies various methods to develop these two sets as a motive: contour relationships, common tones under transposition (Tn) or inversion (TnI), transpositional or inversional symmetry, subset and superset relationships, compound melodies, tone clusters, and subsets of whole-tone and octatonic scales. This piece is closely related to whole-tone and octatonic scales. The (026) section connects with the whole-tone scale and the

(0134) section associates with the octatonic scale, because they are subsets of the larger scales.

Fantasie is sectional and has improvisational features, alternating sections of rapid passagework and slower chordal parts of clashing harmonies. Ahrens attempts to combine a conventional fantasia style of the Baroque period with a new idiom (set-class motive) of the twentieth century. This piece is characterized by imitative contrapuntal writing, tone clusters with sustained pitches, extreme rhythmic complexity, and the use of the fermata for marking the end of a phrase.

Fig. 2.1. Fantasie und Ricercare, theme. (026) (0134)

Fantasie starts on four (026) sets in two imitative groups. These sets together form the complete whole-tone scale (02468T, WT0) in mm. 1–3. The (026) set is often related by transposition level to another set, with common tones. For example, two T4 relationships occur at mm. 1–2, including common tones between sets (see Figure 2.3). In addition, there are three T7 relationships with descending motion in the pedal part in mm. 5–6, and it contains a half-step relationship between adjacent sets (see Figure 2.4). In terms of tonal music, these transpositions are the intervals of a third and fifth as per the major triad. In mm. 7–9, there are tone clusters in both hands, and two T8 relationships between sets in the right hand (see Figures 2.2 and 2.5).

Fig. 2.2. Fantasie und Ricercare, mm. 1–8.

Fig. 2.3. Fantasie und Ricercare, mm. 1–3.

WT0 WT0

T4 T4

0 T 6 4 2 T 8 6 2 0 T 6 6 4 0

Fig. 2.4. Fantasie und Ricercare, mm. 5–6.

T7 T7 T7

3 1 9 T 8 4 5 3 E 0 T 6

Fig. 2.5. Fantasie und Ricercare, mm. 7–9.

T8 T8

1 5 9 E 1 5 7 9 1

In mm. 10–16, this part contains only (02468) and (02468T) between adjacent sets, and each (02468) set connects with common tones (see Figure 2.7). Ahrens indicates a dynamic marking from fortissimo to mezzo-forte and manual change from the first to second manual. He also employs various compositional techniques such as compound melody (m. 12), inversion between inner voices (mm. 12, 13, 15, and 16), imitative technique (m. 13 and m. 14), and rhythmic displacement with triplets (m. 14). The first phrase of this section begins and ends with a whole-tone scale in m. 10 and m. 13. It also has rhythmic changes from sextuplets to longer note values such as whole notes and double whole notes in mm. 10–13 (see Figure 2.6). The

37 second phrase also involves longer note values ranging from triplets to whole notes with rhythmic displacement by using rests in mm. 14–16. This part ends with a fermata, and then a new (0134) motive begins at m. 17.

Fig. 2.6. Fantasie und Ricercare, mm. 9–19.

Compound melody 12

Fig. 2.7. Fantasie und Ricercare, mm. 10–11.

WT0 WT1 (02468) (02468) (02468) (02468) WT0 (02468) R.H. 2 4 8 9 E 3 5 9 E 4 2 T 3 5 9 3 9 E 0 2 6 3 9 E

L.H. 0 T 6 7 5 1 0 2 8 5 9 E 7 9 1 4 8 T 7 9 1 1 3 7

(02468)

Pedal 2 0 8 4 6 T WT0

In mm. 17–23, two adjacent (0134) sets combine to form (013467). These six pitches belong to three octatonic scales, such as Oct (0, 1), Oct (1, 2), and Oct (2, 3), with rhythmic and register changes (see Figure 2.8).

Fig. 2.8. Fantasie und Ricercare, mm. 17–20.

(013467) Oct01 (013467) Oct23 Hands: 3 4 6 7 6 7 9 T 2 3 5 6 E 1 2 3

Pedal: 6 7 9 T 7 8 T E T E 1 2

(013467) (013467) Oct01 Oct12

After a one beat rest at m. 23, (026) in the hands and (0134) in pedal part appear simultaneously for the first time at m. 24. The sextuplet figures contain only four pitches, and these all form (0248). Each (0248) has an axis of symmetry, alternating ascending and descending motions (see Figures 2.9 and 2.10). There are indications of Organo Pleno and Breit

(broad) at m. 25. The ascending line of the right hand and descending line of the left hand are

39 symmetrical, both showing the two notes of the axis of symmetry (A and Eb) vertically at the same time in both parts at m. 25. These pitches consist of a whole-tone scale, which ends on a fermata at m. 25 (see Figure 2.9).

In mm. 25–27, each (026) set is under a T4 relationship with common tone. The adjacent two sets combine to form (02468), and all pitches belong to the whole-tone scale (see Figure

2.11). The descending ten pitches of both hands produce a tone cluster, a group of adjacent notes played at the same time, by adding one note in mm. 26–27. These three measures (mm. 25–27) contrast with the next five measures (mm. 27–32), using changes of registration and dynamic.

Ahrens indicates a soft registration, 8’ flute or string stop plus tremolo, with piano and dolce in

mm. 27–32. Both kinds of whole-tone scale are present: WT0 at m. 28 and WT1 at m. 29. In mm.

30–32, three pitches of (026) appear as the simultaneity. All (026) sets combine with adjacent

(026), and form (0246), (02468), or (02468T) in mm. 30–32 (see Figures 2.9 and 2.12).

Fig. 2.9. Fantasie und Ricercare, mm. 24–30.

Fig. 2.10. Fantasie und Ricercare, m. 24.

T 0 4 4 6 T 1 E 7 7 5 1 2 4 8 8 T 2 6 4 0 0 T 6

T6 T6 T6 T6

Fig. 2.11. Fantasie und Ricercare, mm. 26–27.

0 T 6 T 2 4 2 6 8 6 T 0 T 2 4

T4 T4 T4 T4

The complete theme of this piece appears in the pedal part for the first time in mm. 33–35.

There is an indication of manual and dynamic changes, the first manual and forte at m. 33. The descending and ascending figures of the hands have (0246) or (02468) with imitation and inversion (see Figure 2.12).

In mm. 36-40, the second (0134) section of Fantasie has intensive use of the second half of the theme with imitative techniques. Ahrens indicates the registration of Organo Pleno for this part. All (0134) sets are related by transposition (T7, T9, T10, T1, T3, etc.). He also builds a thicker texture from three to eight voices with an augmented theme in the top voice. This section looks like the end of a fugal piece with its augmented and imitative themes, because it anticipates the

Ricercare. The most interesting aspect of this part is the use of the octatonic scale. The theme

(01346), a combination of (026) and (0134), is a subset of the octatonic scale. Additionally, two complete octatonic scales (0134679T) appear for the first time at the end of Fantasie at mm. 38–

40. Fantasie ends on A-major chord, even though the music is very chromatic (see Figure 2.12).

Fig. 2.12. Fantasie und Ricercare, mm. 31–40.

Theme

Oct01 Oct01

Ricercare

Ahrens entitled this part Ricercare instead of fugue, as it is short in length and less strict and serious than the fugue. “Ricercare” refers to a predecessor of the fugue. However, this piece has many fugal techniques, such as a real answer, entry of subjects, augmented subject, and stretto. Ahrens uses the complete theme from the Fantasie as the subject of Ricercare. The subject of two measures occurs continuously in this piece, alternating between the original and

42 its inversion. It can be divided into three parts: original (mm. 41–48), inversion (mm. 49–56), and both original and inversion (mm. 57–66). This idea is supported by dynamic and manual changes: subject with piano on the second manual, inversion with mezzo-piano, and both original and its inversion on the first manual. In mm. 66–80, two sets of (026) and (0134) of Fantasie reappear at the end of Ricercare.

The counter motive comes from the subject, and it appears as motivic figures of three or four notes. There is no particular pattern against the subject. That is the reason why it is a counter motive against the subject, rather than a counter subject. The counter motive can be divided into two groups of motives, three and four notes. The counter motive of three notes comes from three pitches of the first half of the theme of the Fantasie. It contains almost the same rhythmic pattern, one quarter rest and three quarter notes, but has a different prime form such as (012), (013),

(015), (016), (024), and (026). The counter motive of four notes comes from the second half of the theme, and it consists of one neighbor and one passing note. There is no fixed pattern between counter motives; they are freely composed according to the subjects (see Figure 2.13).

The subject appears in the left hand at mm. 41–42, following a real answer in the right hand in mm. 43–44. The subject appears again in the top voice in mm. 45–46, following a real answer in the pedal part at mm. 47–48. After all voices have presented the subject once, the inverted subject appears in all voices in mm. 49 –58 (see Figure 2.13).

Fig. 2.13. Fantasie und Ricercare, mm. 41–50.

The subject of Ricercare begins on C, but the subject at re-entry is on E with stretto in mm. 57–58. After two measures, the subject is presented on C in the right hand in mm. 59–60.

The main characteristic of the last part of Ricercare is an intensive use of stretto in mm. 57–66.

Furthermore, Ahrens breaks up the subject through rests, giving subjects rhythmic variety by using rhythmic displacement in mm. 57–66 (see Figure 2.14).

The inverted subject in the right hand combines with the subject in the left hand in mm.

57–58. In m. 57, the pedal part has the same pitches as the second half of the inverted subject of m. 58, by vertically containing an inverted subject. The next measure, m. 58, also vertically has an inverted subject. Therefore, both subject and inverted subject are vertically and horizontally used in two measures in mm. 57–58 (see Figure 2.14).

In mm. 59-60, the subject begins on C, and the inverted subject begins on Bb a half beat later, showing rhythmic displacement. There is a stretto of five voices, four subjects and one inverted subject, in mm. 60–61, and they have the relationship of subject and real answer with

44 rhythmic displacement. The main subject on C enters in the left hand, and its real answer comes in the pedal part after one beat in m. 61. The subject on D at m. 62 is a real answer of the subject on G in the pedal part at m. 61. In other words, the first note of the subject in these measures starts on the pitch of the circle-of-fifth progression (C, G, and D). The main subjects are presented with augmentation in the top voice and the pedal part in mm. 62–66. The second half of the subject repeats with circle-of-fifth relationship (C, G, and D) in inner voices at mm. 63–66

(see Figure 2.14).

Fig. 2.14. Fantasie und Ricercare, mm. 56–67.

WT0

After the Ricercare proper, there is a coda from m. 66 to the end. The set-class motives of the Fantasie appear again with the Cadenza ad libitum. In mm. 66–74, Ahrens uses double pedal without hands for this section, and it requires a skillful pedal technique. The coda section begins

45 with the main theme of the compound melody in mm. 66–70. Three pitches of (026) repeat four times in the pedal at mm. 66–69, following the second half of the theme (0134) at mm. 69–70.

These (026) sets have inversional and transpositional relationships at the same time in mm. 66–

69. Moreover, the ornaments of the first two (026) sets form whole-tone scale in mm. 66–67 (see

Figure 2.14). Two (0134) sets of the compound melody consist of (013467) in mm. 69–70. After the main theme is presented, there is a silence with fermata in m. 70, and then only (026) is heard again until the end of the piece. In mm. 70–73, the sets of the compound melody have a relationship under transpositional and inversional level and these two voices cross over each other between m. 71 and m. 72 (see Figure 2.15).

There is a dynamic change to fortissimo with Tempo I in m. 74, beginning with the whole-tone scale. Ahrens uses a pedal point of three voices with subsets of whole-tone scales in mm. 74–78. This piece ends on two complete whole-tone scales in mm. 77–80 (see Figure 2.15).

Fig. 2.15. Fantasie und Ricercare, mm. 68–80.

WT0

One of the compositional characteristics is structural balance and coherence. Ahrens composed forty measures for Fantasie and forty measures for Ricercare, including the coda. He also uses the whole-tone and octatonic scales for coherence. For example, he applies the whole- tone scale in the beginning of Fantasie (mm. 1–2) and in the coda (mm. 66–67). Also, the two

(0134) sets of compound melody form (013467) in mm. 69–70 are similar to the end of

Ricercare. This piece, Fantasie und Ricercare, begins and ends with two whole-tone scales at mm. 1–2 and mm. 79–80.

Trilogia Dodekaphonica (1978)

Trilogia Dodekaphonica (1978) is a twelve-tone work by Ahrens. This piece has three movements, Unisono patético, Duo alla siciliana, and Triplum unicum. They are related to each other by using the same compositional methods to manipulate the rows and pitches. As the title indicates, the texture of each movement extends from single line to three voices. The first and third movements employ the same meter, 1/2. The meter of second movement alternates 12/8,

6/8, and 9/8. There are a prime row (P) and its transformations, including inversion (I), retrograde (R), retrograde-inversion (RI) in each movement. One of the characteristics of the second and third movements is the use of three or four different row forms in each voice at the same time. The four forms of a row (P, I, R, and RI) have forty-eight forms; these form a matrix, for each row. Therefore, there are three or four matrixes in the second and third movements. It seems that Ahrens emphasizes density through a complicated texture. He also employs various compositional techniques to develop the thematic materials and to manipulate the rows and pitches in all three movements. For example, Unisono patético presents the repetition of the row twelve times with rotational row technique, which is the presentation of a row in order, but using a different starting note. Ahrens employs this technique in the first and third movements. Duo alla siciliana is a duet using double counterpoint. In Triplum unicum, the third row form has only ten pitches, not twelve. In the first and second movement, the row forms mostly lack characteristic motives or patterns. However, the basic row of the third movement is composed of two whole-tone scales.

Ahrens comments about the main themes as well as the characteristics of each movement

48 in the preface to the score for performers. It is helpful to identify a row and its transformations to interpret the composition. In his score, he employs a slash, single bar line, and double bar line. It is used to distinguish the row and to separate phrases and sections. The preface of

Verwandlungen I für Orgel (1965), Ahrens’s other twelve-tone work, contains an explanation of notation that he used.2 It can be applied to this piece to understand his practice about bar lines, accidentals, and the indication of registration. According to his suggestion, the single bar line is the completion of four transformations of a row. The double bar line includes the versions of one or more rows, and sometimes it can be played separately as a self-contained form. Usually, there are no regular bar lines, and accidentals apply only to the immediate note. The indication of registration is only a suggestion for performers, because of the difference of organs and their specifications.

Unisono patético

The first movement, Unisono patético (moving on one voice), is a monophonic line and has a ternary form (A–B–A). The first and last A sections are exactly the same. There is an accent on every note in this piece, and it is one of Ahrens’s compositional characteristics. The basic theme of this piece is P6 (see Figure 3.1).

2 Joseph Ahrens, Verwandlungen I für Orgel (New York: Schott Music Corp., 1965), preface.

Fig. 3.1. Trilogia Dodekaphonica, Unisono patético, theme.

After P6, its transformations of I3, R6, and RI0 follow with the same rhythms. These four presentations of pedal solo include a repetition of two pitches. For example, the first two pitches of P6 (F# and Bb) and I3 (Eb and B) and the last two pitches of R6 (Bb and F#) and RI0 (G# and

C) are repeated in m. 1. Ahrens emphasizes a diminished fourth by using repetition of notes. The axis of symmetry of P6 and I3 is between E/Bb and F/B, and these dyads remain in the same order position between rows. The axis of symmetry of R6 and RI0 is Eb/A with equivalent order position (see Figure 3.3). Ahrens indicates the registration, alle Register und Koppeln (all the stops and coupled) at the beginning of this piece (see Figure 3.2).

Fig. 3.2. Trilogia Dodekaphonica, Unisono patético, m. 1–4.

P6 I3

R6 RI0

Fig. 3.3. Trilogia Dodekaphonica, Unisono patético, four transformations.

P6 : 6 T 2 4 8 E 1 3 0 5 7 9

I3 : 3 E 7 5 1 T 8 6 9 4 2 0

R6 : 9 7 5 0 3 1 E 8 4 2 T 6

RI0: 9 E 1 6 3 5 7 T 2 4 8 0

The contrasting B section begins with P6 in both hands. P6 appears at the beginning of A and B sections for coherence. After presenting P6, it is repeated eleven times but with a rotational row technique. The row presents in the correct pitch order, but using a different starting note. For example, the first repetition begins with the second pitch of the row, the second repetition begins with the third pitch of the row, and the row continues until the twelfth pitch of the row is present

(see Figure 3.4). Ahrens employs this technique as one of the methods to develop a row in this work. There are manual changes from the second to the first manual and registration changes, adding and removing Mixture, with ritardando.

Fig. 3.4. Trilogia Dodekaphonica. Unisono patético, m. 5.

Duo alla siciliana

Ahrens applies double counterpoint in two voices without pedal and four different row forms in this movement, Duo alla siciliana (two voices in the style of the siciliana). The

“Siciliana” is a dance and aria form of the seventeenth and eighteenth centuries, perhaps Sicilian in origin. It is characterized by pastoral scenes, slow tempo, 6/8 or 12/8 meter, with a simple and lyrical melody of one or two measure phrases.3 The two voices are quite independent and linear.

He indicates the registration for two manuals, 8’ for the first manual and 8’, 4’, and tremolo for the second manual. It is divided into two contrasting sections, A and B, indicated by the double slash at m. 22 (see Figure 3.7). The first and second row forms are the basis of mm. 1–22 and the third and fourth row forms are the basis of mm. 23–34. The first part (mm. 1–22) has frequent changes of time signatures, 12/8, 6/8, and 9/8, but the second part (mm. 23–37) stays in 12/8.

There are two song-like themes. The first theme is P9 of the first row form, and the second theme is P0 of the third row form (see Figure 3.5).

Fig. 3.5. Trilogia Dodekaphonica, Duo alla siciliana, two themes.

[P9]

{P0}

[ ]: first row form, { }: third row form

3 Meredith Ellis Little, “Siciliana” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/25698 (accessed November 27, 2012).

After P9 is given in the right hand, it reappears in the left hand with P5 of the second row form in the right hand. The two different row forms between two voices proceed at the same time.

Each voice of the duet progresses through P, I, R, and RI forms (see figure 3.6).

To choose the rows, Ahrens considers the relationship of the rows by using voice leading and common tones between adjacent rows. The relationship between the horizontal rows has a voice leading by half steps and whole steps in the first section. For example, I7 of the first row form is finished on A, following the first note of I11 of the second row form, B at mm. 7–8. That is a whole-step relationship in the right hand. In the left hand, there is a relationship of half step,

A# and G, the last note of I11 of the second row form and the first pitch of I7 of the first row form, in mm. 7–8. The pair of row forms is vertically related to one or two common tones with equivalent order positions. For example, in mm. 3–4, P5 of the second row form and P9 of the first row form have two common tones, D and G. These pitches are between the second and third beats with the contrary motion in m. 3 and m. 4 (see figure 3.6).

Fig. 3.6. Trilogia Dodekaphonica, Duo alla siciliana, mm. 1–10.

[P9]

[I7] 5

[I7]

[ ]: first row form, < >: second row form

The second section begins with P0 of the third row form in the right hand at m. 23, following P7 of the fourth row form in m. 24. This part also contains the relationship of voice leading and common tone between adjacent rows (see Figure 3.7).

Fig. 3.7. Trilogia Dodekaphonica, Duo alla siciliana, mm. 20–24.

{P } 0 (P7) 20

{P0} { }: third row form, ( ): fourth row form

There is a short closing part, based on the first row, in mm. 35–37. Ahrens presents the initial row of P9 in the right hand for a brief recapitulation at the end of the piece. It contains two common tones of D and G that come from the first section in mm. 2–4 (see Figure 3.8).

Fig. 3.8. Trilogia Dodekaphonica, Duo alla siciliana, mm. 33–37. [P ] 33 9

[P5]

Table 6. Trilogia Dodekaphonica, Duo alla siciliana, matrix of the first row form.

I0 I11 I6 I4 I9 I2 I7 I3 I1 I8 I5 I10

P0 0 E 6 4 9 2 7 3 1 8 5 T R0

P1 1 0 7 5 T 3 8 4 2 9 6 E R1

P6 6 5 0 T 3 8 1 9 7 2 E 4 R6

P8 8 7 2 0 5 T 3 E 9 4 1 6 R8

P3 3 2 9 7 0 5 T 6 4 E 8 1 R3

P10 T 9 4 2 7 0 5 1 E 6 3 8 R10 P5 5 4 E 9 2 7 0 8 6 1 T 3 R5

P9 9 8 3 1 6 E 4 0 T 5 2 7 R9

P11 E T 5 3 8 1 6 2 0 7 4 9 R11

P4 4 3 T 8 1 6 E 7 5 0 9 2 R4

P7 7 6 1 E 4 9 2 T 8 3 0 5 R7

P2 2 1 8 6 E 4 9 5 3 T 7 0 R2

RI0 RI11 RI6 RI4 RI9 RI2 RI7 RI3 RI1 RI8 RI5 RI10

Table 7. Trilogia Dodekaphonica, Duo alla siciliana, matrix of the second row form.

I5 I0 I9 I11 I2 I7 I1 I8 I6 I4 I3 I10

P5 5 0 9 E 2 7 1 8 6 4 3 T R5

P10 T 5 2 4 7 0 6 1 E 9 8 3 R10

P1 1 8 5 7 T 3 9 4 2 0 E 6 R1

P11 E 6 3 5 8 1 7 2 0 T 9 4 R11

P8 8 3 0 2 5 T 4 E 9 7 6 1 R8

P3 3 T 7 9 0 5 E 6 4 2 1 8 R3

P9 9 4 1 3 6 E 5 0 T 8 7 2 R9

P2 2 9 6 8 E 4 T 5 3 1 0 7 R2

P4 4 E 8 T 1 6 0 7 5 3 2 9 R4

P6 6 1 T 0 3 8 2 9 7 5 4 E R6

P7 7 2 E 1 4 9 3 T 8 6 5 0 R7

P0 0 7 4 6 9 2 8 3 1 E T 5 R0

RI5 RI0 RI9 RI11 RI2 RI7 RI1 RI8 RI6 RI4 RI3 RI10

Table 8. Trilogia Dodekaphonica, Duo alla siciliana, matrix of the third row form.

I0 I11 I6 I7 I8 I2 I9 I3 I10 I1 I5 I4

P0 0 E 6 7 8 2 9 3 T 1 5 4 R0

P1 1 0 7 8 9 3 T 4 E 2 6 5 R1

P6 6 5 0 1 2 8 3 9 4 7 E T R6

P5 5 4 E 0 1 7 2 8 3 6 T 9 R5

P4 4 3 T E 0 6 1 7 2 5 9 8 R4

P10 T 9 4 5 6 0 7 1 8 E 3 2 R10 P3 3 2 9 T E 5 0 6 1 4 8 7 R3

P9 9 8 3 4 5 E 6 0 7 T 2 1 R9

P2 2 1 8 9 T 4 E 5 0 3 7 6 R2

P11 E T 5 6 7 1 8 2 9 0 4 3 R11

P7 7 6 1 2 3 9 4 T 5 8 0 E R7

P8 8 7 2 3 4 T 5 E 6 9 1 0 R8

RI0 RI11 RI6 RI7 RI8 RI2 RI9 RI3 RI10 RI1 RI5 RI4

Table 9. Trilogia Dodekaphonica, Duo alla siciliana, matrix of the fourth row form.

I7 I3 I4 I5 I0 I11 I6 I2 I10 I9 I8 I1

P R 7 7 3 4 5 0 E 6 2 T 9 8 1 7 P11 E 7 8 9 4 3 T 6 2 1 0 5 R11 P10 T 6 7 8 3 2 9 5 1 0 E 4 R10 P9 9 5 6 7 2 1 8 4 0 E T 3 R9 P2 2 T E 0 7 6 1 9 5 4 3 8 R2 P3 3 E 0 1 8 7 2 T 6 5 4 9 R3 P8 8 4 5 6 1 0 7 3 E T 9 2 R8 P0 0 8 9 T 5 4 E 7 3 2 1 6 R0 P4 4 0 1 2 9 8 3 E 7 6 5 T R4 P5 5 1 2 3 T 9 4 0 8 7 6 E R5 P6 6 2 3 4 E T 5 1 9 8 7 0 R6 P1 1 9 T E 6 5 0 8 4 3 2 7 R1 RI RI RI RI RI RI RI RI RI RI RI RI 7 3 4 5 0 11 6 2 10 9 8 1

Triplum unicum

The texture and length of Triplum unicum (unique three voices) are more extended than the first and second movements. It is divided into six sections and a coda, marked by a single or double bar line with fermata. Ahrens indicates the tempo, manual, and registration for each section. He manipulates the rows and pitches in various ways to develop the thematic materials.

For example, he uses only ten pitches, not twelve, in this movement. In addition, two, four, six, eight, or ten missing notes of a row appear at the end of the row with succeeding repetition in m.

1 and m. 10 (see Figures 3.10 and 3.14).

Ahrens provides an example of three themes with three row forms and their transformations in the preface of the score. He also comments about the characteristics of each section for the performers. The three themes are P4 of the first row form, P7 of the second row form, and P11 of the third row form (see Figure 3.9). The main theme of this piece (P4) includes two whole-tone scales, and it is in m. 1, m. 3, m. 6, and the coda. The rows of P7 and P11 are not in the score, but the rhythm can be found in mm. 3–4 (see Figures 3.10 and 3.11).

Fig. 3.9. Trilogia Dodekaphonica. Triplum unicum, three themes of three row forms.

P11

In the beginning of the piece, P4 appears with octave doubling between both hands on the first manual, including an accent on each note. Ahrens marks rubato and alle Register und

Koppeln, and the indication of registration is the same as in the first movement, Unisono patético.

The first section uses only the first row form. It is ternary form, A–B–A’, because A (P4) is

similar to A’ (I0) in terms of rhythmic figure, octave doubling, contrary motion, accent, and the

use of the first manual. The parallel part is based on P2 on the second manual, and then it is repeated five times with a rotational row technique. The row presents in order, but beginning with an odd number of the row. For example, the first repetition begins with the third pitch of the row, and the second repetition begins with the fifth pitch of the row. The row continues until the eleventh pitch of the row is present (see Figure 3.10).

Fig. 3.10. Trilogia Dodekaphonica. Triplum unicum, mm. 1–2.

P4 P2

I 2 0

The second section starts with P4 of the first row form in mm. 3–4. It consists of three row forms in three voices. Each row form has the same rhythm while it is repeated. The third

58 row form has only ten pitches, not twelve tones. At the beginning of this part, voices are added in turn (see Figure 3.11).

Fig. 3.11. Trilogia Dodekaphonica. Triplum unicum, m. 3.

[P2] 3

{P6} [P4]

[P11] [ ]: first row form, < >: second row form, { }: third row form

Each set of three voices relates by invariances to one another in the second (mm. 3–4), third (m. 5), and the fifth (mm. 7–8) sections. It includes the same pitch with equivalent order positions. The invariant relationships between different row forms play a role to associate each other, and each set includes at least two types of invariance. For instance, three invariances (C,

Bb, and E) occur at the second, third, and twelfth positions of a row in the set of P2 and P5 in m.

3 (see Figure 3.12). The third note of P5 of the second row form (Cb) is misprinted in the score, and the correct pitch is Bb in m. 3. The third set of P2, P6, and P11 has invariances of four notes

(A, G, C#, and Bb) in m. 3.

Fig. 3.12. Trilogia Dodekaphonica. Triplum unicum, invariances of m. 3.

P2: 2 0 T 8 6 E 1 3 5 7 9 4

P5: 5 0 T 2 3 7 6 E 1 9 8 4

In m. 6, the texture of the fourth part is relatively sparse compared to other sections. It has a pointillistic character, sharing the isolated pitches in three voices through long notes or rests. For instance, the first pitch (E) is in the right hand, the second (D) and third (C) pitches are in the pedal part, and the fourth (Bb) and fifth (Ab) notes appear in the left hand in m. 6. This part involves only the first row form and its four transformations of P4, I8, R0, and RI5. In addition, the pointillistic character makes various sound effects in a row, because of the indication of registration for the three voices (see Figure 3.13).

Fig. 3.13. Trilogia Dodekaphonica. Triplum unicum, m. 6.

[I8] [R0] [RI5] 6

[P4]

In the sixth section at mm. 9–10, several elements are similar to the beginning of this piece (m. 1). Specifically, the use of the first row form and its transformation, the indication of registration, texture, accent, ternary form, and manual change come from the initial part. R1 and

RI5 include octave doubling between three voices with an accent in mm. 9–10. P7 and RI1 are repeated on the second manual in m. 10. P7 has reordering pitch of the row and rotational row with repetition. For example, the sixth pitch of the row appears at the eleventh of the row in m.

10. RI1 is repeated three times with a rotational row technique. The row presents in order, but beginning with an odd number of the row. For example, the first repetition begins with the third

60 pitch of the row, and the second repetition begins with the fifth pitch of the row (see Figure 3.14).

Fig. 3.14. Trilogia Dodekaphonica. Triplum unicum, mm. 9–10.

[P ] [RI ] 9 10 7 1

[R1]

[RI5]

The coda has only the first row form and its transformations of P4, I4, R4, and RI8. The first five pitches (E, D, C, Bb, and Ab) are the same with the last five pitches of this part. Ahrens repeats two pitches of a row to extend a row and to stress the forth/fifth interval. For instance, the repeated notes of P4 are Ab and Db in the pedal part and B and F# in both hands. There is a pedal point, Ab, at the end of this work (see Figure 3.15).

Fig. 3.15. Trilogia Dodekaphonica. Triplum unicum, Coda.

[P4] [I4]

[RI8] [R4]

Table 10. Trilogia Dodekaphonica, Triplum unicum, matrix of the first row form.

I0 I10 I8 I6 I4 I9 I11 I1 I3 I5 I7 I2

P0 0 T 8 6 4 9 E 1 3 5 7 2 R0

P2 2 0 T 8 6 E 1 3 5 7 9 4 R2 P4 4 2 0 T 8 1 3 5 7 9 E 6 R4 P6 6 4 2 0 T 3 5 7 9 E 1 8 R6

P8 8 6 4 2 0 5 7 9 E 1 3 T R8

P3 3 1 E 9 7 0 2 4 6 8 T 5 R3 P1 1 E 9 7 5 T 0 2 4 6 8 3 R1 P11 E 9 7 5 3 8 T 0 2 4 6 1 R11 P9 9 7 5 3 1 6 8 T 0 2 4 E R9

P7 7 5 3 1 E 4 6 8 T 0 2 9 R7

P5 5 3 1 E 9 2 4 6 8 T 0 7 R5

P10 T 8 6 4 2 7 9 E 1 3 5 0 R10

RI0 RI10 RI8 RI6 RI4 RI9 RI11 RI1 RI3 RI5 RI7 RI2

Table 11. Trilogia Dodekaphonica, Triplum unicum, matrix of the second row form.

I5 I0 I10 I2 I3 I7 I6 I11 I1 I9 I8 I4 P5 5 0 T 2 3 7 6 E 1 9 8 4 R5 P10 T 5 3 7 8 0 E 4 6 2 1 9 R10 P0 0 7 5 9 T 2 1 6 8 4 3 E R0 P8 8 3 1 5 6 T 9 2 4 0 E 7 R8 P7 7 2 0 4 5 9 8 1 3 E T 6 R7 P3 3 T 8 0 1 5 4 9 E 7 6 2 R3 P4 4 E 9 1 2 6 5 T 0 8 7 3 R4 P11 E 6 4 8 9 1 0 5 7 3 2 T R11 P9 9 4 2 6 7 E T 3 5 1 0 8 R9 P1 1 8 6 T E 3 2 7 9 5 4 0 R1 P2 2 9 7 E 0 4 3 8 T 6 5 1 R2 P6 6 1 E 3 4 8 7 0 2 T 9 5 R6 RI5 RI0 RI10 RI2 RI3 RI7 RI6 RI11 RI1 RI9 RI8 RI4

Table 12. Trilogia Dodekaphonica, Triplum unicum, matrix of the third row form.

I6 I0 I11 I3 I4 I7 I1 I2 I10 I9 I5 I8

P6 6 0 E 3 4 7 1 2 T 9 5 8 R6

P0 0 6 5 9 T 1 7 8 4 3 E 2 R0

P1 1 7 6 T E 2 8 9 5 4 0 3 R1

P9 9 3 2 6 7 T 4 5 1 0 8 E R9

P8 8 2 1 5 6 9 3 4 0 E 7 T R8

P5 5 E T 2 3 6 0 1 9 8 4 7 R5

P11 E 5 4 8 9 0 6 7 3 2 T 1 R11

P10 T 4 3 7 8 E 5 6 2 1 9 0 R10

P2 2 8 7 E 0 3 9 T 6 5 1 4 R2

P3 3 9 8 0 1 4 T E 7 6 2 5 R3

P7 7 1 0 4 5 8 2 3 E T 6 9 R7

P4 4 T 9 1 2 5 E 0 8 7 3 6 R4

RI6 RI0 RI11 RI3 RI4 RI7 RI1 RI2 RI10 RI9 RI5 RI8

Conclusion

Joseph Ahrens’s organ compositions reflect twentieth-century German music trends such as the organ reform movement, neo-baroque style, and serial technique. His keen musical insights connect the past and present musical ideas. He often combines traditional forms and styles with a post-Wagnerian harmonic language and progressive ideas such as serialism. His compositions are highly unified and integrated structures developed by thematic materials through motives or other elements. The three pieces that I have selected demonstrate the three different compositional periods of freely composed works, twelve-tone, and set-classes composition.

In this document, I explored Joseph Ahrens’s compositional style as it developed throughout his career, from a post-Wagnerian harmonic language to one that adopted twentieth- century techniques, including serialism, while retaining the use of developed thematic material and a connection to neo-baroque characteristics. I tried to extend the understanding of twentieth- century organ music by including a discussion of stylistic features to show how he used and cultivated the idioms of the seventeenth and eighteenth centuries in his compositions, even when combined with serial techniques. I believe that a sufficient understanding and theoretical study of the piece is necessary for a successful performance of contemporary organ music, especially serial music. This document has provided musical ideas and theoretical analysis in order to help the performer to interpret the pieces.

The first chapter provided a brief biography of the composer and focused on the influences throughout his career related to twentieth-century German organ music trends, such as organ reform, neo-baroque style, and serial technique. In addition, I examined an overview of his

64 organ compositions and six organs that he played or collaborated on with the organ builder. The study of these six organs and their specifications is useful to discover the appropriate sounds for his compositions.

The second chapter explored the analytical aspects of the three organ pieces in order to examine how the composer applied the initial theme to a whole piece as well as how he expressed his creativity while incorporating twentieth-century trends into his music. I emphasized the developing thematic materials of each piece to show his unified style and considered the aspects of registration for performers.

Ahrens is acclaimed as one of the leading Roman Catholic Church composers of the twentieth century and as one of the most active forces in the renewal of Catholic Church Music, especially in the spirit of the “motu proprio” of Pope Pius X. He received many additional honors during his lifetime. Nevertheless, he still remains a relatively unknown composer in the present time. I hope that this study will encourage performances and further study about Ahrens.

I also hope that this document will assist organists who are preparing Ahrens’s organ compositions to have insightful and successful performances.

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