DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations The relationship of Max Reger's "Beitraege zur Modulationslehre" to his establishment of tonality in representative organ works Item Type text; Dissertation-Reproduction (electronic) Authors Smith, Jane Ann Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 12:14:43 Link to Item http://hdl.handle.net/10150/289855 INFORMATION TO USERS This manuscript has been reproduced from ttie microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will tie noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. ProQuest Information and teaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI' THE RELATIONSHIP OF MAX REGER'S BEITRAGE ZUR MODULATIONSLEHRE TO HIS ESTABLISHMENT OF TONALITY IN REPRESENTATIVE ORGAN WORKS by Jane Ann Smith Copyright © Jane Ann Smith 2002 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2002 UMI Number; 3073258 Copyright 2002 by Smith, Jane Ann All rights reserved. ® UMI UMI Microform 3073258 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor. Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certiiy that we have read the document prepared by Jane Ann Smith entitled The Relationship of Max Reger's Beitraqe zur Modulationslehre to His Establishment of Tonality in Representative Organ Works and reconunend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts (7^ jQ)y^ Pamela Decker Date ^ ^ Brian D. Ebie vfoj^01. Date C\ Rex A. Woods Ji_73 ^ Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the fmal copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Date STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED 4 TABLE OF CONTENTS LIST OF FIGURES 6 LIST OF MUSICAL EXAMPLES 7 ABSTRACT 8 INTRODUCTION 9 Reger the Man: Biography and Influences 11 Education and Early Experiences 11 First Appointments and Professional Activity 13 Growing Recognition 15 The Central Position of the Organ Works in Reger s Catalog 17 Lifelong Interest in the Instrument 18 Breadth of Genres Represented 18 Use of Characteristic Harmonic Language 20 Critical Opinion 21 Self-Estimation 21 Critical Evaluation 22 REGER THE THEORIST 24 Explanation of Analytical Notation and Techniques 24 Beitrdge zur Modulationslehre 29 Overview and General Observations 29 Reger's Harmonic Hierarchy 32 Other Theoretical Teachings 36 RELATING REGER'S THEORY TO PERFORMANCE: ANALYSIS OF SELECTED ORGAN LITERATURE 39 Small-Scale Chorale-Based Works: Op. 67 39 Introduction to the Collection 39 Analysis of an Echo Chorale: Seelenbrdutigam 41 Analysis of a Melody Chorale: O Lamm Gottes, umchuldig 48 Analysis of an Ornamented Chorale: Machs mii mir, Gott, nach deiner Giit' 53 Analysis of a Cantus Firmus Chorale: Es ist das Heil uns kommen her 59 A Large-Scale Chorale-Based Work: Halleluja! Gott zu loben bleibe meine Seelenfreud! Op. 52, No. 3 65 General Comments on Reger's Chorale Fantasies 65 Analysis of Halleluja! Gott zu loben bleibe meine Seelenfreud! Op. 52, No. 3 67 Small-Scale Free Works 77 Introduction to the Smaller Organ Works 77 Analysis of ScAerzo, Op.65. No. 10 78 5 TABLE OF CONTENTS - Continued A Large-Scale Free Work: Fantasia and Fugue in d minor. Op. 135b 85 Introduction to the Large Free Works and Reger's Late Style 85 Analysis of Fantasia and Fugue in d minor. Op. I35h 86 SUMMARY AND CONCLUSIONS 98 A New Understanding of Reger's Harmonic Thought 98 A New Context for Analyzing His Organ Literature 98 A New Appreciation of Reger's Place in Music History 99 REFERENCES 100 6 LIST OF FIGURES Figure 1, OctaveOesignations 26 Figure 2, Sample Chord Qualities 27 Figure 3, Sample Sonority Labels 27 Figure 4, Chromatic Chord Functions 28 Figure 5, Frequency of Certain Cadence Progressions 33 Figure 6, Comparison of Bach's and Reger's Chorale Harmonizations [Seelenbrautigam] 42 Figure 7, Comparison of Bach's and Reger's Chorale Harmonizations [O Lamm Gottes, unschuldig] 48 Figure 8, Comparison of Bach's and Reger's Chorale Harmonizations [Machs mil mir. Got I, nach deiner Gut"] 57 Figure 9, Comparison of Bach's and Reger's Chorale Harmonizations ist das Heil uns kommen her] 60 Figure 10, Chart of the A section of Scherzo, Op. 65, No. 10 79 Figure 11, Chart of the B section of Scherzo, Op. 65, No. 10 82 Figure 12, Chart of the Concluding A section of Scherzo, Op. 65, No. W 84 7 LIST OF MUSICAL EXAMPLES Musical Example 1, Reger Modulation No. 19 25 Musical Example 2, Reger Modulation No. 23 26 Musical Example 3. Reger Modulation No. 31 31 Musical Example 4, RegerModulationNo.2 32 Musical Example 5, Reger Modulation No. 53 34 Musical Example 6, Seelenbrautigam, Op. 67, No. 35 43-45 Musical Example 7, Seelen-Brduligam [Chorale] 46 Musical Example 8, O Lamm Gottes, unschuldig. Op. 67, No. 33 49-50 Musical Example 9, O Lamm Gottes, unschuldig [Chorale] 51 Musical Example 10. Machs mit mir, Gott, nach deiner GutOp. 67, No 25 55-57 Musical Example 11, Machs mit mir, Gott, nach deiner Gut' [Chorale] 58 Musical Example 12, Es ist das Heil uns kommen her, Op. 67, No. 10 61-63 Musical Example 13, Es ist das Heil uns kommen her [Chorale] 63-64 Musical Example 14, Halleluja! Gott zu loben , mm 1-4 68 Musical Example 15. Halleluja! Gott zu loben , mm 15-16 70 Musical Example 16, Halleluja! Gott zu loben. mm64-68 70 Musical Example 17, Halleluja! Gott zu loben, mm96-101 74 Musical Example 18. Halleluja! Gottzu loben, mml35-137 74 Musical Example 19, Halleluja! Gott zu loben. mm 184-192 76 Musical Example 20, Scherzo, Op. 65, No. 10, mml-14 80 Musical Example 2i, Scherzo, Op. 65, No. 10, mm29-38: 81 Musical Example 22, Scherzo, Op. 65. No. 10, nim76-81 83 Musical Example 23, Scherzo, Op. 65, No. 10, mm 154-158 83 Musical Example 24. Fantasia, Op. 135b, mml-5 88-89 Musical Example 25, Fantasia, Op. 135b, mm22-25 89 Musical E.xample 26, Fantasia, Op. 135b, mm30-31 91 Musical Example 27, Fantasia, Op. 135b, mm49-50 91 Musical Example 28, Fugue, Op. 135b, mm 1-6 93 Musical Example 29, Fugue, Op. 135b, mm44-46 93 Musical Example 30, Fugue, Op. 135b, mm77-83 96 8 ABSTRACT Max Reger's treatise Beitrdge zur Modulationslehre (Supplement to the Theory of Modulation) has received little attention in the ninety-eight years since it was published. This document discusses the short treatise in detail and relates the information gained from this study to the analysis of representative organ works composed in typical genres. An introductory chapter provides biographical iiiformation about his early musical development and his career as organist, composer and conductor; the importance of his lifelong interest in composing for the organ and the critical regard in which he is held are also examined in this chapter. A thorough discussion of Beitrdge zur Modulationslehre highlights Reger's establishment of tonality as seen in the one hundred short examples of the treatise. Representative organ works (Op. 67, Nos. 10, 25, 33, and 35; Op. 52, No. 3; Op. 65, No. 10; and Op. 135b) are analyzed from a perspective that establishes a relationship between the harmonic practices of Reger's modulation examples and those found in the pieces selected from performance repertoire. Reger's dense harmonic style has resulted in mixed critical assessments concerning his music and his importance in music history. This document provides an additional perspective from which to analyze his compositions and evaluate his contributions to tum-of-the-century musical developments. 9 INTRODUCTION Many distinguished composers throughout the history of Western music have chosen the written word, in addition to musical composition, as a medium for expressing their thoughts on the art and craft of music.
Load more

Recommended publications
  • Introduction
    INTRODUCTION Carl Philipp Emanuel Bach wrote the two keyboard con- composed the concertos for performance by or with the certos contained in the present volume—the Concerto princess’s musical establishment, or she herself may have in G Major, Wq 34 and the Concerto in E-flat Major, commissioned them directly from Bach. There is, however, Wq 35—in 1755 and 1759, respectively. They are listed on no explicit evidence that confirms this supposition. Bach pages 32–33 in NV 1790: subsequently adapted both works for harpsichord for his No. 35. G. dur. B. 1755. Orgel oder Clavier, 2 Violinen, own use and also arranged the G-major concerto for flute 4 Bratsche und Baß; ist auch für die Flöte gesetzt. (Wq 169). Neither work was published in Bach’s lifetime. No. 36. Es. dur. B. 1759. Orgel oder Clavier, 2 Hörner, The source record for both Wq 34 and 35 is good. Au- 2 Violinen, Bratsche und Baß. tograph or partly autograph scores and parts survive for both works. These indicate that Bach made alterations and Except for the Concerto in E-flat Major for Harpsichord improvements at a somewhat later time after the works and Fortepiano, Wq 47, these two concertos are the only were composed. In addition, more than a dozen contem- keyboard concertos for which a keyboard instrument porary copies of each work exist, indicating that they were other than the harpsichord is noted in NV 1790. The fact both well-known and popular with the North German that the organ is listed before the harpsichord in the de- musical public.
    [Show full text]
  • Matt Machemer
    GRADUATE ORGAN RECITAL Matthew A. Machemer In partial fulfillment of the requirements for the degree Master of Church Music June 25, 2021 7:00 P.M. Chapel of Christ Triumphant Concordia University Wisconsin Praeludium in G Nicolaus Bruhns 1665 – 1697 While Nicolaus Bruhns was not blessed with a long life, he was gifted with incredible musical abilities and a keen compositional sense. He was both a gifted violinist and viola de gamba player as well as an acclaimed organist. By his mid-twenties, Bruhns had studied with some of the most celebrated musicians of his time, most notably Dietrich Buxtehude, who was particularly fond of the young musician and whose influence can be seen in Bruhn’s own compositions. One such example is Bruhns’ Praeludium in G: an excellent example of the Stylus Phantasticus made famous under by Buxtehude himself. The Praeludium in G is perhaps Bruhns’ most structurally significant work. The praeludium is ordered according to the common five-part structure indicative of most north German organ praeludia of the time. The piece opens with a virtuosic fanfare section, interspersing manual and pedal flourishes with more structured motivic material. This motivic material forms the basis of the first fugal section, which features six voices: four in the manuals and two in the pedals. One can imagine young Nicolaus, who was known to play the violin and the organ pedals simultaneously, delighting in this masterful display. A middle improvisatory section follows featuring pedal solos and manual figurations reminiscent of a fiery violin solo. The fourth section is the final fugue, which closely mirrors the first, though the subject is presented in a different time signature and features only five voices instead of six.
    [Show full text]
  • Fugal Procedures in the Mendelssohn Organ Sonatas
    The Woman's College of The University of North Carolina LIBRARY CQ tio.ssi COLLEGE COLLECTION Gift of Charlotte Alston ALSTON, CHARLOTTE LENORA. Fugal Procedures in the Mendelssohn Organ Sonatas. (1968) Directed by: Mr. Jack Jarrett. pp. 54 Felix Mendelssohn (1809-1847) wrote Six Sonatas for Organ, Opus 65, published in 1845. Fugal procedures are a predominant feature in these sonatas. With the exception of two independent fugues, the Mendelssohn sonatas represent an instance in com- position where monothematic-form techniques and multi-thematic form techniques are used within the same movement. An examination of the Mendelssohn sonatas was made in an attempt to discover how Mendelssohn uses fugal procedures in multi-thematic forms. The study reveals that Mendelssohn uses fugal procedures within the context of sonata-allegro form and ternary form. The use of fugal procedures within the sonata- allegro form is represented in the first movement of the First Sonata. Its use in the ternary form is found in the first move- ment of the Third Sonata and the first and fourth movements of the Fourth Sonata. The study reveals that the first movement of the First Sonata is a modified fugue in sonata-allegro form. This relation- ship of fugal procedures and sonata-allegro form poses a funda- mental problem of fugal continuity. Accordingly, cadences play an important role in this movement. The basic outline of the tonal structure of the movement was found to be that of sonata- allegro form. The type of punctuation normally associated with sonata-allegro form is modified to allow for fugal continuity.
    [Show full text]
  • Rhythmic Freedom in Mendelssohn's Six Organ Sonatas
    Rhythmic Freedom in Mendelssohn's Six Organ Sonatas Item Type text; Electronic Dissertation Authors Thomas , William Kullen Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:16:54 Link to Item http://hdl.handle.net/10150/642104 RHYTHMIC FREEDOM IN MENDELSSOHN’S SIX ORGAN SONATAS by William Kullen Thomas _____________________________ Copyright ©William Kullen Thomas 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by William Kullen Thomas, titled Rhythmic Freedom in Mendelssohn’s Six Organ Sonatas and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ___ ____________________________________ Date: June 15, 2020 Professor Rex A. Woods ___ ______________________________________ Date: June 15, 2020 Dr. Jay Rosenblatt Date: June 15, 2020 Professor Edward Reid Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Schübler and Leipzig Chorales Canonic Variations Kåre Nordstoga Schnitger Organ St
    BACH SCHÜBLER AND LEIPZIG CHORALES CANONIC VARIATIONS KÅRE NORDSTOGA SCHNITGER ORGAN ST. MARTIN’S CHURCH OF GRONINGEN BACH ORGAN WORKS ‡ ‡ DA BACH VILLE OPPSUMMERE Mot slutten av sitt virke hadde blir demonstrert og uttømt med Bach-eleven Lorenz Mizler, og Den overlegne beherskelsen av Samlingen «Orgelbüchlein» med utsmykket melodi som en vug- J.S. Bach bedre tid enn i de en uovertruffen kunstferdighet. medlemslisten omfattet allerede kanonteknikken er beslektet med korte koralbearbeidelser fra gende sarabande. første årene i Leipzig fra 1723. Telemann og Händel. matematiske løsninger. Det er Weimar får i dette Leipzig-verket Han hadde bygget opp et re- EINIGE CANONISCHE hevdet at hvis ikke Bach hadde en avansert parallell. Teknikker 3. An Wasserflüssen Babylon, pertoar innen mange genrer han De musikalske bidragene skulle blitt musiker, hadde han kanskje fra tysk tradisjon (Pachelbel og BWV 653 VERÄNDERUNGEN ÜBER DAS kunne gripe tilbake til, ikke minst ha vitenskapelig kvalitet, men vært matematiker på høyeste nivå. Buxtehude) finslipes og bringes biblioteket av kantater til sønda- WEYNACHT-LIED «VOM HIMMEL ikke som «en unyttig teori». De Det kan også være en opplevelse opp til nye dimensjoner. Den tyske salmeteksten bygger gens gudstjenester. HOCH, DA KOMM ICH HER» skulle «vekke eller tilfredsstille å studere de skrevne notene med på jødenes klagesang ved Baby- PER CANONES Á 2 CLAVIERS ET menneskers lidenskap». sin kunstferdige kontrapunktikk. Manuskriptet åpner med boksta- lons floder i Salme 137. På norsk Den kortsiktige arbeidsinnsatsen Det er ikke bare «øremusikk», men vene «J.J.», «Jesu juva»: «Hjelp, (og også på tysk) er koralen PÉDALE, BWV 769 med nye verker fra uke til uke Sammen med sitt portrett, det også «øyemusikk»! Jesus».
    [Show full text]
  • Rethinking J.S. Bach's Musical Offering
    Rethinking J.S. Bach’s Musical Offering Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Anatoly Milka All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3706-4 ISBN (13): 978-1-5275-3706-4 TABLE OF CONTENTS List of Figures........................................................................................... vii List of Schemes ....................................................................................... viii List of Music Examples .............................................................................. x List of Tables ............................................................................................ xii List of Abbreviations ............................................................................... xiii Preface ...................................................................................................... xv Introduction ...............................................................................................
    [Show full text]
  • NACH BACH (1750-1850) GERMAN GRADED ORGAN REPERTOIRE by Dr
    NACH BACH (1750-1850) GERMAN GRADED ORGAN REPERTOIRE By Dr. Shelly Moorman-Stahlman [email protected]; copyright Feb. 2007 LEVEL ONE Bach, Carl Phillip Emmanuel Leichte Spielstücke für Klavier This collection is one of most accessible collections for young keyboardists at late elementary or early intermediate level Bach, Wilhelm Friedermann Leichte Spielstücke für Klavier Mozart, Leopold Notenbuch für Nannerl Includes instructional pieces by anonymous composers of the period as well as early pieces by Wolfgang Amadeus Merkel, Gustav Examples and Verses for finger substitution and repeated notes WL Schneider, Johann Christian Friderich Examples including finger substitution included in: WL Türk, Daniel Gottlob (1750-1813) Sixty Pieces for Aspiring Players, Book II Based on Türk’s instructional manual, 120 Handstücke für angehende Klavierspieler, Books I and II, published in 1792 and 1795 Three voice manual pieces (listed in order of difficulty) Bach, C.P.E. Prelude in E Minor TCO, I Kittel, Johann Christian TCO, I Prelude in A Major Vierling, Johann Gottfried OMM V Short Prelude in C Minor Litzau, Johannes Barend Short Prelude in E Minor OMM V Four Short Preludes OMM III 1 Töpfer, Johann Gottlob OB I Komm Gott, Schöpfer, Heiliger Geist (stepwise motion) Kittel, Johann Christian Prelude in A Major OMM IV Fischer, Michael Gotthardt LO III Piu Allegro (dotted rhythms and held voices) Four voice manual pieces Albrechtsberger, Johann Georg Prelude in G Minor OMM, I Gebhardi, Ludwig Ernst Prelude in D Minor OMM, I Korner, Gotthilf Wilhelm LO I
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • CC 8805 Engl.Indd
    1 Commentary Abbreviations and Sigla To proclaim this date as terminus post quem for the conception of the sonata collection a.c. ante correcturam including the revision of the two named movements appears to be premature in light P Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Musikabteilung, Mus. Ms. of the possibility that Bach did not intend to make the sonatas available to his students Bach (shelf number for scores) for copying. It is unlikely that Bach left Vogler a three-part organ work for copying at the Ped Pedal system end of 1729 (BWV 545 with BWV 529/2) when at this point the second movement had St Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Musikabteilung, Mus. Ms. already found its defi nitive designation as the middle movement of the fi fth sonata. A Bach (shelf number for parts) date of around 1731 thus stands out. The time signature 2| in BWV 526/3, seldom-used by Bach, also points to 1731.3 Perhaps the origin of the sonata collection stands in di- In the individual notes, voices are indicated by Roman numerals for the system and, if rect connection with Bach’s appearance as organist in Dresden in September 1731;4 an necessary, Arabic numerals for the individual voices within the system, each in increas- organ concert in the Dresden Sophienkirche on September 14 is evidence.5 ing order (I 2 = fi rst system, second voice). These designations pertain to the notation of the present edition. Origin of the Primary Source Unless otherwise noted, the individual notes are concerned with differences between Although P 271 is a pure copy, corrections and small modifi cations common to Bach the respective primary source and the notation of the present edition.
    [Show full text]
  • JOHANN SEBASTIAN BACH the Complete Organ Works, Vol
    1 JOHANN SEBASTIAN BACH The Complete Organ Works, Vol. 8 DAVID GOODE Trinity College Chapel, Cambridge Toccata and Fugue, BWV 538 “Dorian” Concerto after Vivaldi Op.3 No. 8, BWV 593 1 I. Toccata 0 I. [Allegro] 2 II. Fugue q II. Adagio w III. Allegro 3 O Lamm Gottes unschuldig 4 Jesus, meine Zuversicht, BWV 728 e Ach Gott und Herr, BWV 714 r Valet will ich dir geben, BWV 736 Trio sonata No. 4, BWV 528 5 I. Adagio - Vivace t Trio in G BWV 1027a 6 II. Andante 7 III. Un poc’allegro Prelude and Fugue, BWV 548 “Wedge” y I. Prelude 8 Prelude, BWV 568 u II. Fugue 9 Fugue in F (BWV anh. 42) 2 BACH, BEAUTY AND BELIEF of St Blasius’s in Mühlhausen (1707 – 1708), court organist THE ORGAN WORKS OF J.S. BACH and chamber musician at Weimar (1708 – 1717), capellmeister at Cöthen (1717 – 1723) and cantor at St Thomas’ Church in Introduction – Bach and the Organ Leipzig (1723 – 1750). The organ loomed large from early on in Bach’s life. The foundations of his multifaceted career as a professional ‘The Complete Organ Works of Bach’ musician were clearly laid in the careful cultivation of Bach’s Given that strong foundation, it is no surprise that organ music prodigious talent as an organist whilst he was still a child. flowed from Bach’s pen throughout his life. Yet how do Bach’s Johann Sebastian Bach was born in Eisenach in 1685, and organ works cohere? For the monolithic notion of ‘The Complete after the death of his father – the director of municipal music Organ Works of Bach’ is misleading.
    [Show full text]
  • J. S. Bach and His Legacy Program
    J. S. Bach and His Legacy Program Organist: Dr. Robert Parkins March 21, 2021 Prelude and Fugue in E Minor, BWV 533 Johann Sebastian Bach (1685–1750) O Lamm Gottes, unschuldig, BWV 618 Prelude and Fugue in A Minor, BWV 543 O Mensch, bewein dein’ Sünde gross, BWV 622 Sonata in F Minor, Op. 65, No. 1 Felix Mendelssohn Bartholdy (1809–1847) Allegro moderato e serioso Adagio Andante recitativo Allegro assai vivace Fugue on the Name BACH, Op. 60, No. 3 Robert Schumann (1810–1856) Prelude and Fugue in A Minor Johannes Brahms (1833–1897) O Welt, ich muss dich lassen, Op. 122, No. 3 Introduction and Passacaglia in D Minor Max Reger (1873–1916) Performed on the Benjamin N. Duke Memorial Organ (Flentrop, 1976) Program Notes Although celebrated mainly as an organist during his lifetime, later generations would come to revere Johann Sebastian Bach (1685–1750) as the unparalleled master of composition for the organ. When the great com- poser’s complex harmony and counterpoint had been eclipsed by changes in musical fashion after his death, organ music also experienced a considerable decline. Although Felix Mendelssohn Bartholdy’s Three Preludes and Fugues for organ (1837) reflect the influence of Bach and the late Baroque, it was the publication of hisSix Sonatas in 1845 that signaled the resurgence of significant organ music in Germany. The legacy of J. S. Bach as a historical model was most profound among German Romantic composers, notably Mendelssohn, Robert Schumann, Johannes Brahms, and Max Reger. In 1829, Mendelssohn had already initi- ated a Bach revival with his celebrated performance of the St.
    [Show full text]
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]