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

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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 by 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. ii Copyright © 2013 by Eun Hye Kim All rights reserved 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. iv 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 v 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 vi 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 vii 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 viii 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,
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