Toccata 16 Prelude 20 Toccata 17 Prelude 21 Toccata 18 Prelude 23 Toccata 19 Prelude 24 Toccata 20

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JOHANN ANTON KOBRICH'S WOHLGEUBTER ORGANIST

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

Nancy Warlick Carnes, B.M.

Denton, Texas

May, 1982 Carnes, Nancy W., Johann Anton Kobrich's "Wohlgefbter

Organist". Master of Music.(Musicology), May, 1982, 151.pp.,

3 plates, 9 examples, critical notes, bibliography, 44 titles.

Johann Anton Kobrich (1714-1791) was the priest and organist of the parish church of Landsberg am Lech in upper

Bavaria from 1730 until his death. A prolific composer,

Kobrich wrote several works for organ, including the Wohl- geubter Organist (1762), a three-part collection of preludes, fugues, and toccatas. The major portion of this thesis consists of an edition of twenty-six selected pieces from the original fifty-eight in this collection.

Also included are a bibliography of Kobrich, a discussion of his significance among other contemporary composers, and a survey of the organs and organ music of eighteenth-century southern Germany. In addition, there is an analysis of the Wohlgeubter Organist and a commentary on its significance. TABLE OF CONTENTS

Page LIST OF EXAMPLES...... 0 . . . . iv

LIST OF PLATES ...... V PART I. COMMENTARY

Chapter

I. JOHANN ANTON KOBRICH: HIS LIFE 0.0 .0 . ..0.0 AND WORKS . . . 0 .0 . . .

II. THE ORGAN AND ORGAN MUSIC OF EIGHTEENTH-CENTURY SOUTHERN GERMANY...... 12

BIBLIOGRAPHY,,,,-...... 51

PART II. EDITION AND CRITICAL NOTES WOHLGEUBTER ORGANIST ...... 55

Prelude 5 Toccata 1 Prelude 7 Toccata 9 Prelude 10 Toccata 12 Prelude 11 Toccata 13 Prelude 17 Toccata 15 Prelude 19 Toccata 16 Prelude 20 Toccata 17 Prelude 21 Toccata 18 Prelude 23 Toccata 19 Prelude 24 Toccata 20

Fugue 2 Fugue 5 Fugue 10 Fugue 11 Fugue 13 Fugue 14

CRITICAL NOTES -. . .0 0 9 ...... 5 0

iii LIST OF EXAMPLES

Example Page 1. Johann Anton Kobrich, Wohlgeubter Organist, Prelude 5, measures 3-6, 17-21, 32-35...... 0 .0 .0 .0 .0 24

2. Johann Anton Kobrich, Wohlgeubter Organist, Prelude 23, measures 48-53...... 25

3. Johann Anton Kobrich, Wohige bter Organist, Fugue 5, measures 1-14...... 0 27

4. Johann Anton Kobrich, Wohlgeibter Organist, Fugue 2, measures 26-31...... 28

5. Johann Anton Kobrich, Wohlgeubter Organist, Fugue 11, measures 48-56...... 0 .0 . . 29

6. Johann Anton Kobrich, Wohlgeubter Organist, Fugue 14, measures 1-11...... 30

7. Johann Anton Kobrich, Wohlgeubter Organist, Fugue 13, measures 5-8...... 31

8. Johann Anton Kobrich, Wohlge*bter Organist, Fugue 13, measures 10-12...... 31

9. Johann Anton Kobrich, Wohlgeibter Organist, Toccata 9, measures 1-4...... 33

iv LIST OF PLATES

Plate Page

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viii CHAPTER I

JOHANN ANTON KOBRICH: HIS LIFE AND WORKS

In investigating the organ music of southern

Germany of the eighteenth century, one encounters many composers whose names and contributions to organ literature are no longer widely known. One such person is

Johann Anton Kobrich, a prolific composer and organist well known to his contemporaries but now forgotten. A

study of his music will help us understand the organ music of this period and make a portion of Kobrich's organ works available to modern organists.

Kobrich's life seems to have centered around his hometown of Landsberg in upper Bavaria. According to the inscription on his gravestone, Kobrich was born May 30,

1714, in Landsberg, although Fdtis gives his date and place of birth as c. 1720 at Raudnitz in Bohemia.1 Kobrich came from a musical background. His father, Maximilian Adam

Kobrich, was organist at the Stadtpfarrkirche in Landsberg, and perhaps the younger Kobrich received his musical train- ing from his father. When his father died in 1730, Johann

1. F.J. Fetis, Biographie Universelle des Musiciens, 2nd ed., 8 vols. (Paris: Librarie de Firmin Didot Freres, 1870), V, 68.

1- 2

succeeded him as organist at the Stadtpfarrkirche and

served in this position until his own death in 1791.

Kobrich's gravestone notes this service of sixty-one years as organist at that church. Interestingly, Eitner tells us that Kobrich also served as the village priest.2 No further information is available concerning whether he was that church's sole priest, or if he shared these priestly duties with another. One can only speculate as to how he could carry out both jobs.

Whatever his clerical duties, Kobrich seems to have found plenty of time for composition. His musical output ranged from masses to string methods, and from litanies to organ preludes. Logically enough, many of his compositions are sacred in nature. Litanies, Masses,

Offertories, Psalms, Vesper services and sacred songs are all listed among his works.3 Most of these were published by either Johann Jakob Lotter in Augsburg or Johann Ulrich

Haffner in Ncrnberg.

Besides his sacred works, Kobrich produced

2. Robert Eitner, "Kobrich, Johann Anton," Quellen-Lexikon der Musiker und Musikgelehrten (Leipzig: Breitkopf und Hrtel, 1912-13-1914/16), repr. ed., 11 vols. (New York: Musurgia, 1946-47), V, 398.

3. For a complete listing of Kobrich's works see Karlheinz Schlager, ed., "Kobrich, Johann Anton," Rpertoire Inter- national des Sources Musicales, Series Al (Kassel: Bdrenreiter, 1975), V, 61-67. 3

several instrumental and pedagogical works. Among the lat-

ter is Der clavierspielende Schdfer, which was published in

two parts by Lotter in 1758 and 1768. According to the

title page of Part I, the work was intended for either

church or home use.4 Kobrich's Grindliche Klavierschule, which F6tis called a piano method, was published in 1782 by

Rieger of Augsburg; it even enjoyed a second edition in

1788.5 In addition to the keyboard treatises, Kobrich produced a violin method, the Praktisches Geig-Fundament of

1786 which was also published by Rieger.

Kobrich's keyboard compositions include XXXVI kurtze Praeludia, LXIV kurtze Fugen oder sogenannt Verset- ten und XVI Praeambula, VI leichte und angenehme Clavier-

Parthien (1748), and the Wohlgeibter Organist (1762); all of these were published by Haffner. 6 The VI Sonaten vor die Orgel und Clavier (1762) were published by Lotter in

Augsburg.

Kobrich's reputation suffered at the hands of contemporary critics. In reviewing the Wohlgeiibter Organist,

4. Karlheinz Schlager, ed.,, "J.A. Kobrich, " Rdpertoire In- ternational des Sources Musicales, Series Al (Kassel: Barenreiter, 1975), V, 66.

5. F5tis, op._cit., V, 68.

6. August Scharnagl, "Kobrich, Johann Anton," Die Musik in Geschichte und Gegenwart, 16 vols., ed. Friedrich Blume (Kassel: Bdrenreiter, 1958), VII, 1287. 4

that is, the Well-Practiced Organist, Forkel suggests that

it would have been better titled the Unpracticed Organist. 7

Cramer, writing in the Magazin der Musik, labelled Kobrich's

Grndliche Clavierschule (1782) an "obscurity in clavier

8 instruction." He carps that Kobrich's question-and-

answer method of instruction is hackneyed and old-fashioned.

In comparing the style of the musical examples to those of the Wohlgejbter Organist, he laments that Kobrich's style

seems not to have changed in the twenty years between the two works. Ernst Gerber barely summarizes Kobrich's works and fails to mention specific titles, because, as he says, he finds these works "no great loss to forget." 9

Friedrich Marpurg was no kinder to Kobrich. Am- plifying the vituperations of Forkel, Marpurg suggests that the Wohlgeiibter Organist would have been better titled

"(The) Unpracticed and In-Need-of-Instruction Organist."

Writing specifically of the twenty-four preludes in Part I of the work, he declared them to be "absurd" and "hackneyed," consisting of "an endless racket with broken

7. J.N. Forkel, Musikalischer Almanach fUr Deutschland auf das Jahr 1784 (Leipzig: Schwickert, 178 5.

8. C.F. Cramer, Magazin der Musik, 2 vols. (Hamburg: Musicalische Niederlage, 1783-1786), 1309.

9. Ernst Ludwig Gerber, Historisch-Biographisches Lexikon der Tonkiinstler (Leipzig, 1790), repr. ed., 2 vols. (Graz: Akademische Druck- und Verlagsanstalt, 1977), I, 740. 5

passages, unprepared dissonances, unresolved dissonances,

fifths and octaves, empty phrases, incorrect bass

lines . . ." Perhaps, writes Marpurg, the twenty-four

preludes could be best used by someone needing "twenty-

four musical quodlibets for the barrel-organ."1 0 Noting

the overall decline in organ music in Roman Catholic Ger- many of the eighteenth century, he refers critics to

Kobrich's music for a source of prime examples.

In contrast to these critics, later commentators have been somewhat kinder to Kobrich. Fdtis (1870) char- acterizes Kobrich's compositions as having " . . . a certain 1 1 easy grace," but Eitner merely reports the events of Kobrich's life and refrains from any direct evaluation.

Frotscher discusses the characteristics of Kobrich's style

1 2 but draws no conclusions, while in one of the few positive references to Kobrich, Fellerer mentions the popularity

1 of his rural church music. 3 The most critical of modern

10. Friedrich W. Marpurg, Kritische Briefe, 2 vols. (Berlin: Birnstiel, 1760-63), II, 173-74.

11. Fetis, a. cit., V, 68. 12. Gotthold Frotscher, Geschichte des Orgelspiels und der Orgel Komposition, 2 vols., (Berlin: Max Hess, 1935), II, 1109, 1115.

13. Karl Gustav Fellerer, ed., Geschichte der Katholischen Kircheniusik, 2 vols. (Kassel: Brenreiter, 1976), II 170-71. 6

commentators is Griesbacher, who names Kobrich among the

"'mock' composers of the eighteenth century who flooded the

church music market with their vain products."1 4 Speaking

of the quality of the music of Kobrich's folk masses

(Op. 21), he ridiculed the flowery language used in the

titles and the instructions, and called his efforts "fruit-

less" and his instructions "useless."1 5

The question now arises as to why Kobrich's con-

temporaries judged his music so harshly, while at least

some later critics seem to have held more moderate views toward it. By examining some of Marpurg's comments in his

Kritische Briefe on other eighteenth-century composers who are well regarded today, one perhaps may better understand the bias of Kobrich's critics. Did Marpurg reserve his sharp tongue for the likes of Kobrich, or were composers such as J.S. Bach, Georg Philipp Telemann, Johann Philipp

Kirnberger, and others, also in danger of Marpurg's wrath?

Marpurg seems to have had a high regard for

Johann Sebastian Bach, although he was not above publicly correcting Bach's errors in counterpoint or text-setting.

14. Peter Griesbacher, Kirchenmusik Stilistik und Formen- lehre, 3 vols. (Regensberg: A. Coppenrath, 1913), III, 100.

15. Ibid., III, 202. 7

In one of the Kritsche Briefe, he not only stated, "I re- vere the memory of this great man," but also, " . . . Bach

should not have kept the {interval of al fourth in a 2-part

movement for a correct bass part."1 6 In one place, he

chided Kirnberger for finding fault with Bach's contra-- puntal technique:

I could similarly object to him {Kirnberger} that a critic like himself should not exercise the free- dom which a world-famous, proven contrapuntist (Bach) likes to take now and then in order to cam- ouflage his own faults, until he has produced for us as many master works as this or that famous man {i.e., Bach} . .e . ."17

While in another, he defended Bach's departure from strict

contrapuntal rules:

. . . in one of these fugues {Bach has written} entirely no inversion; in the other, no true countersubject, but only one invertible secondary harmony . . . this, . . . in a work of 24 fugues, where so many contrapuntal contrasts occur, is a beauty because of the variety, not once inverted according to the usual ways . . *"118

In his commentary on a group of twenty-four fugues by Bach, Marpurg was a bit more critical of Bach's counterpoint and his text setting:

16. Marpurg, op cit., I, 183.

17. Ibid., I, 191.

18. Ibid., I, 191-92. 8

Had the author of the fugue we are considering chosen the correct fugue theme, and if he had made the tenor the beginning (voice), then the printing of the noble words of the text would have become something practical, rather than merely a display of weakness, as it is now... If he (Bach) would have allowed the bass to begin, he would have had to have devised another main theme, which would have made the compass of the bass more appropriate. However, this lack of stress perhaps might be only the smal- lest oversight, if the rest were correct. If it is important to adhere to a musically correct declamation, with the expression being appropriate to the words, then it is certainly important in the main theme of a fugue, which is so often repeated.19

Thus, while Marpurg was not afraid to criticize Bach, he

still considered him a "great man" and a "world-famous

contrapuntist."

In reviewing a collection of odes by Georg

Philipp Telemann, Marpurg said, "Among all possible ode

collections it is the only one which contains true

odes . . ." and, " . . . since his melodies require

neither the height of a wren, nor the depth of a bit-

tern, but stay in the middle range, they can do good

service . . . {so that} are not herein nearly all the main rules of an ode contained?"2 0

At the death of Karl Heinrich Graun in 1759,

19. Ibid., I, 264.

20. Ibid., I, 163. 9

Marpurg eulogized him in part as follows:

The jewel of the German muses; the master of the beautiful, of the noble songs; . . . af- fectionate, gentle, sympathetic, sublime, magnificent, thunderous; who tears, joy and astonishment draws from us; an artist, who uses art only for the purpose of imitating nature, charming nature, the more success- fully, the more expressively; . . . resource- ful, full of good ideas, an inexhaustive spirit; an example in spiritual music, matchless in the arena . ... 21

Marpurg considered Georg Christoph Wagenseil to

be a good piano player and a "very amicable man," but he

had some reservations about Wagenseil's compositions:

About his compositions? They would be only averagely good if they also were satisfactory with respect to the three parts necessary in a musical piece (harmony, melody, and rhythm); the necessary parts must be joined to knowledge of the rules, in order that a creative spirit, a fine judgement, and a diligent understanding may appear.2 2

In reviewing Herrn Professor Gellerts geistliche

Lieder mit Melodien von Carl Philipp Emanuel Bach, Marpurg extended his respect for the Bach family to C.P.E. Bach when he said, " . . . and who could expect from the divine art of a Bach anything else, but that which is

21. Ibid., I, 81.

22. Ibid., II, 141-42. 10

extraordinary and always excellent."2 3

Marpurg seems to have had a varied opinion of

Johann Philipp Kirnberger. Of Kirnberger's Lieder mit

Melodien, Marpurg said:

The publisher has not done wrong to have col- lected beautiful odes of the fine musician, which had been scattered in various other collections, into a separate work, along with the addition of many new pieces.2 4

In other places, however, Marpurg criticized Kirnberger's

ideas on counterpoint, as I have already mentioned.

Kirnberger, in seeking to prove his own theories, would

overlook compositional errors in his works. Similarly, he would ignore the mistakes in others' works when he wanted

to cite them as illustrations of his theories. In other

cases, however, he would call attention to minor errors of others while overlooking his own greater ones, causing

Marpurg to accuse him of straining at a gnat and swallow- ing a camel.2 6

Francis Xavier Murschhauser earned high marks from Marpurg for his treatment of the church modes and

23. Ibid., I, 250.

24. Ibid., II, 428.

25. Ibid., I, 183-84. 11

2 6 transposition. Marianus K'nigsperger was said by

Marpurg to have published "many practical musical works."2 7

Finally, Marpurg considered Ernst Eberlin to be proficient

in the use of the church modes, as demonstrated in his

Toccaten fUr die Orgel.2 8

Thus, it seems that Marpurg had a generally favorable opinion of most of the composers reviewed. Al-

though not afraid to criticize even so famous a composer

as J.S. Bach, he made largely positive comments regarding

him, as well as Telemann, Graun, C.P.E. Bach, Murschhauser,

K'nigsperger, and Eberlin. Only Wagenseil and Kirnberger

received harsh criticism.

By comparison, Marpurg's criticism of Kobrich is

much sharper than the comments made about the above-

mentioned composers. We have seen that Marpurg was not

unwilling to give praise where he thought it was deserved.

Therefore, we must conclude that, at least from Marpurg's

viewpoint, Kobrich's compositional abilities were greatly

lacking when compared to other composers of his time.

26. Ibid., I, 370.

27. Ibid., II, 28.

28. Ibid., I, 371. CHAPTER II

THE ORGAN AND ORGAN MUSIC OF EIGHTEENTH

CENTURY SOUTHERN GERMANY

South German Organ Music of the Eighteenth Century

As a result of the transition from the Baroque

to the galant style in the eighteenth century, the organ

lost some of its preeminence among instruments because it

lacked the "expressive and dynamic qualities" 1 required by

the empfindsamer Stil. The organ was often limited to use

as a continuo instrument and frequently was replaced by

orchestral instruments in the church. Many composers lost

interest in the traditional, pure style of organ music and

began to turn more and more toward the harpsichord. Often,

elements of harpsichord style, as well as other secular

elements such as opera and the dance, crept into or even

dominated eighteenth-century South German organ works.

Thus, those composers who did write for solo organ were

often caught in a dilemma between the old contrapuntal

style and the new galant style with its melodic

1. Marilou Kratzenstein, Survey of Organ Literature and Editions (Ames, Iowa: The Iowa State University Press, 1980), 46.

12 13

expressiveness, variety of motivic ideas, and free treatment

2 of texture. Some composers succumbed to the "modern" tech-

niques; others attempted to remain true to the strict style

of organ composition. Even the contemporary instruction

books often " . . . came under the strong and debilitating

influence of operatic, secular, orchestral, concert and

dance music." 3

The South German masters of the seventeenth cen-

tury, including Johann Jakob Froberger, Johann Caspar Kerll,

Alessandro Poglietti, and Johann Kaspar Ferdinand Fischer,

had been the transmitters of Italian styles and forms to

South German keyboard music. They left an inheritance of mastery of such forms as toccata, canzona, ricercar, cap-

riccio, fantasia, and fugue. It remained the task of the

eighteenth-century South German composers to utilize these forms in relation to the demands of both the old, strict

style and the new galant style. In this chapter we will discuss several South German composers of the eighteenth century and attempt to establish Johann Anton Kobrich's place among them by -xamining his Wohlgebter Organist.

2. David A. Sheldon, "The Galant Style Revisited and Re- evaluated," Acta Musicologia XLVII (July-December 1975), 269-70.

3. Corliss R. Arnold, Organ Literature: A Comprehensive Survey (Metuchen, N.J.: The Scarecrow Press, Inc., 1973), 87. 14

In order to put Kobrich's importance in perspective, let us first examine the compositional characteristics of a few of the more significant South German composers of Kobrich's time. 4

Gottlieb Muffat (1690-1770), son: of Georg Muffat and first court organist in Vienna, published in 1726 as his principal work for organ the 7 2 Versetl Sammt12 Toccaten besonders zum Kirchen-Dienst bey Choral-Aemtern und Vespern dienlich. This collection consists of twelve toccatas in twelve modes, each followed by six fugal versets, and was intended for instructional as well as liturgical use. The toccatas employ motivic work, sequence, and various moods

(song-like, tranquil, animated) so that each toccata is like

"a 5 small impressionistic picture." The versets are fuqal movements of small proportions, most with four to six thematic entries. The number of voices varies, but there are seldom more than three. Muffat's themes use such devices as scales, repetition, sequence, various motivic combinations, and dance rhythms. Like the toccatas, the versets could also be considered "impressionistic pictures in

4. For detailed discussions of these and other eighteenth- century South German organ composers, see Gotthold Frotscher, Geschichte des Orgelspiels und der Orgel om- position, 2 vols, (Berlin: Max Hess, 1935), I, 532-559.

5. Ibid., I, 535. 15

6 miniature." The melodic themes and the use of written-out

ornamentation or agrements point toward the new gallant

style. The seventy-two versets make no use of the pedal.

Johann Nicolas Torner (c. 1700-1762), organist in Trier, wrote his

A.B.C. Per tertiam Minorem Continens octo Can- t-ilenaspro Off ertorio, tot pro Elevatione , et octoproCommunione . . . duodecim Toccatae, Currentes, atque Ariae Cantabiles etc. multum in se Continentes .

around 1740. Torner seems to have abandoned the old contrapuntal style, since he departs from traditional limitations on fugal technique and brings the harpsichord style to the organ, as well as the forms and means of expression of the sinfonia, sonata, concerto and suite, exhibiting in this way the secular influence on eighteenth century organ music. The offertory, elevation and comnmu- nion pieces are arranged as sentimental, melodic movements in Allegro-Adagio-Allegro order. Also prominent are the rhythms of the Allemande, Courante, and Gigue.

Franz Anton Maichelbeck (1702-1750), who taught Italian in Freiburg, produced two significant organ works.

6. Ibid., I, 536. 16

They are the

Die auf dem Clavier spielende, und das Geho5r vergnugendeCaecilia, Das ist: VIII. Sonaten, So nach der jetzigen Welschen Art, Regel- und Geh5r-mdSig ausgearbeitet, sowohl auf denen Kirchen- als Zimmer-Clavieren zu uchen 1736

and

Die auf dem Clavier lehrende Caecilia, Welche guten Unterricht ertheilet, Wie man nicht allein um Partitur-Schlagen mit 3. und 4. Stimmen spiel- en,_sondern auch, wie man aus der Partitur Schlag- Stt~ck verfertigen, und allerhand Lauff erfinden kbnne. Darneben auch die Regeln zum componiren .u . mit Beyfuung vieler Exempeln, nebst denen 8. Choral-Tonen, wie auch denen Maniren zur O l und 8. Kirchen-Thonen mit Schlag-Stu*cken an die Hand giebt . . . 1738.

Die auf dem Clavier spielende . . . Caecilia contains eight sets of pieces that combine elements of both sonata and suite with traits of the Italian keyboard and string techniques. The formal and technical elements of the work seem to point to the harpsichord.

Perhaps more in the manner of traditional organ compositions is the textbook Die auf dem Clavier lehrende

Caecilia, which instructs the student in counterpoint, figured bass, improvisation, modes and fingering. Practical examples of figuration, preludes, fugues and versets are included. Maichelbeck's preludes make use of skillful motivic formulae and pedal point. In his fugues, the 17

countervoices are unusually well-developed. The fugal ver-

sets resemble the capriccio form in their use of sequences,

suspensions, and motivic interpolation.

In 1733, Karlmann Kolb (1703-1765), the organist

at the Abbey of Aspach in Bavaria, published the Certamen

Aonium id est Lusus inter se innocue Concertantium, Con-

tinens Praeambula, Versett: atque Cadentias ab octo tonis.

The versets are short, figurative fughettas, with little

contrapuntal development of countervoices, while the pre-

ludes are in toccata style and point strongly toward the harpsichord.

Valentin Rathgeber, a Benedictine monk of the

cloister at Banz, made further use of the harpsichord

style in his

Musicalischer Zeit-Vertreib auf dem Clavier, bestehend in IX. Schlag-Arien, Worunter die letzte X. Pastorellen vor die Weynacht-Zeit auf die neueste und leichteste Art einger- ichtet (1743).

The majority of the collection is made up of fifty two- and three-voice song movements and dance movements. The ten pastorales, actually galant pieces, 7 use harpsichord figuration to the limit allowed by the organ. Sustained

7. Ibid., I, 543. 18

tones are performed by the pedal. The arias are strongly

melodic, with animated rhythms.

The transition from Baroque to galant is evident

in the works of Johann Ernst Eberlin (1702-1762), Cathe-

dral organist and choirmaster in Salzburg. His major work

is the IX Toccate e Fughe per l'organo, published in 1747,

which can be played on either organ or harpsichord. His

toccatas are figurative, with some evidence of the sonata

appearing in his arrangement of the melodic elements. In

his fugues, th'a theme is often fragmented and then se-

quenced in motivic imitation; a neglect of the original

form of the theme results. His preludes employ figuration,

sequence, and motivic imitation.

Despite the strong stylistic trend toward galant and harpsichord characteristics, some composers remained true to the old, stricter forms. The most significant of

these composers was Marianus Konigsperger (1708-1769), a

Benedictine monk of the Cloister Prufening near Regensburg.

His preludes and fugues in the eight modes (1749-1756) avoid all secular elements. Their purpose was to teach

"the unestablished and half-learned organists . . . what type of prelude one should play in church . . . and get

{them} accustomed to a good eccelesiastical style. "8 His

8. Ibid., I, 545-56. 19

imitative preludes avoid the virtuosic style of the toccata in favor of a strong melodic structure, while his use of sequence is softened by chromaticism. The inner voices of

Kdnigsperger's fugues play a part in the thematic treatment, and his countersubjects are also significant.

The Nordlingen organist, teacher and music dir- ector Johann Kaspar Simon (c. 1705-after 1750), contributed several organ works that tend toward the traditional style.

Most prominent is thd

Musicalisches A.B.C. in kleinen und leichten vugetten, Denen Anf~ngern auf der Orgel, wie auch denen Organisten und Schul-Meistern auf dem Land zum Besten entworffen, und Nebst Einigen Vers: ex G. und F. dur heraus gege- ben. 1749.

This collection shows the influence of Pachelbel in its fugal writing, which is of better quality than that of most of Simon's contemporaries. His miniature versetts (2-10 measures long) display enough variety of compositional devices, such as sequence, arpeggios, and thematic repetition to serve as good teaching examples. The Leichte Praeludia und Fugen durch die Tone: C.D.E.F.G.A.B. . . . Erster

Theil. 1750 and the Leichte und wohlklingende Praeludia und Fugen durch die Tone: C.D.E.F.G.A.H. moll . . . An- derer Theil. 1751. contain figurative preludes interspersed with chords, and fugues combining toccata-like figuration 20

and chordal movement. Although chorale-based works were

uncommon in South Germany, Simon's Erster Versuch einiger

variirt- und fugirten Chorale . . . 1754 contains six

chorales commonly sung in South Germany, each treated in

three different ways. The first type of treatment is

based on Pachelbel's short chorale-fugue, using the first line of the chorale, sometimes setting it against the melody of the second line, In the second style, the cantus firmus is set over a figurative lower voice. The chorale melody is set chordally, interrupted by unison figuration in the third type of treatment.

Another composer who continued in the traditional style was Johann Baptist Anton Vallade, whose works were intended for the instruction of young organists. His

Dreyfaches Musicalisches Exercitium auf die Orgel, oder

VII. Praeambula und Fugen . . . 1775 explains how to improvise over a given figured bass, and how to use harmony as a guide to ornamentation and motivic development.

In Der Praeludierende Organist, . . . 2 Teile, (1757), the preludes can be concluded at any of several different cadences, or can be extended by repetition of individual sections. Vallade's fugues, however, suffer from monot- ony caused by uninteresting themes and too much use of sequence, two defects not common among South German organ compositions. 21

The works of these composers make it evident that

the transition toward the galant was present in much of

their music. The galant characteristics are seen in lack

of contrapuntal development; long sequences; varying tex-

tures; variety of motivic ideas; lack of interesting

countervoices; dance elements; harpsichord characteristics;

and sinfonia, sonata and suite elements. The traditional

strict style of organ composition was still present, how-

ever, as is evidenced by the skillful motivic development,

well-developed countervoices, chorale-based composition,

and attention to figured bass, counterpoint, and modes

that occasionally appeared in the music.

Johann Anton Kobrich's "Wohlgeubter Organist"

The WohlgeUbter Organist is divided into three

parts; the first consists of twenty-four preludes, the

second of fourteen fugues, and the third of twenty tocca-

tas. All are independent pieces; none of the preludes or

toccatas are paired with any of the fugues. An examination of the keys of these pieces does not yield any specific relationships between pieces in the three different sections.

Although the first three-quarters of each portion is in major keys and the last quarter in minor, there is no arrangement of the pieces by key. For example, Prelude 1 22

is in C major, Fugue 1 is in Bb major, and Toccata 1 is in F major.

There is no preface or introduction to indicate

whether the pieces were intended for sacred, secular, or

pedagogical use, although the title, which means "well-

practiced organist," probably indicates a pedagogical

purpose. Perhaps the Wohlgeubter Organist was modeled on

such forerunners as Franz Anton Maichelbeck's Die auf dem

Clavier lehrende Caecilia, Johann Kaspar Simon's Musica-

lisches A.B.C., and Johann Baptist Anton Vallade's

Dreyfaches Musicalisches Exercitium. All of these works

provide the student organist with examples of motivic

development and sequential patterns that could be incor-

porated into weekly Sabbath improvisations.

For the purposes of this study, ten of the pre-

ludes (Numbers 5, 7, 10, 11, 17, 19, 20, 21, 23, 24), six

of the fugues (Numbers 2, 5, 10, 11, 13, 14) and ten of

the toccatas (Numbers 1, 9, 12, 13, 15, 16, 17, 18, 19, 20)

of the Wohlgeibter Organist were selected on the basis of musical interest for further examination.

Preludes of the "Wohlgeibter Organist"

During the Baroque period, the prelude, usually of an improvisatory or rhapsodic nature, was commonly used as the "first movement" of another piece, such as a fugue, 23

and was usually inseparably connected to it. A prelude

often began with a section in free style, followed and

closed by a short fugal section.9 All of Kobrich's pre-

ludes, however, seem to be independent pieces; they are in

free style, with no evidence of imitative writing or

connected sections. Of the ten preludes examined for this

study, each is based on motives used in sequence, scalar

passages, or passagework that outlines the harmonic struc-

ture, or a combination of all three. Generally, motives do

not reappear after they are used in sequence. In four of

the preludes, however, some of the motives are treated

thematically. For example, the first motive of Prelude 5

appears first in the tonic, later in the dominant, and

again at the end in the tonic (Ex. 1). In Prelude 11, one motive appears eleven times.

The preludes vary in length from 25 to 157 measures, with an average length of 52 measures. Struc- turally, eight of the ten preludes are characterized by a short, large note-value chordal introduction of 1-5 measures, followed by passagework or motivic development. Seven conclude with a tonic pedal point that is usually preceded by

9. Willi Apel, "Prelude," Harvard Dictionary of Music, 2nd ed. (Cambridge, Mass.: Harvard University Press, 1969), 693. 24 a dominant pedal point. Modulation occurs in four of the pieces an average of three times per piece, with the modulation being mostly to the dominant or relative minor.

Occasionally, however, it moves to the subdominant, major supertonic, or minor mediant. With the exception of the occasional 0 use of the #iv 7 chord, few altered chords appear in the preludes.

Example 1. Johann Anton Kobrich, Wohlgeibter Organist, Prelude 5, measures 3-6, 17-21, 32-35.

db I 'A*. L : Ploklli El

oof

I -db- I

r7 Alb dm

Ask

-iq -- 9A

?MIA WWI F Zil

Ask AOL--

woo 25

Triple meter is used in only two of the preludes; the re-

mainder are in duple meter. Whether a prelude is in major

or minor mode seems to have little effect on its structure,

although none of the preludes in the minor mode modulates.

For the most part, these preludes could be played

on the harpsichord or piano as well as the organ. As is

common in much South German organ music of this time, the

pedal is rarely used. It is indicated specifically only in

Preludes 11 and 23, and then only for the closing pedal point (Ex. 2).

Example 2. Johann Anton Kobrich, Wohlgeu'bter Organist, Prelude 23, measures 48-53.

I-M I- - -

Kobrich's preludes seem shackled by their de- pendence on long motivic sequences, with few contrasting elements to provide relief. In addition, the motives them- selves add little interest to the pieces. Prelude Numbers 26

5, 10, 20, and 21 seem to be the most musically attractive

of the preludes examined.

Fugues of the "WohlgeUbter Organist"

The fugue had reached its peak of development

during the Baroque period with the mastery of J.S. Bach.

The typical fugal procedure was characterized by a single

theme which was imitated by a consistent number of voices,

usually three or four. The theme, or subject, and usually

an accompanying countersubject, appeared in a series of ex-

positions which alternated with episodes in which the

subject did not appear. The theme usually entered alter-

nately in tonic-dominant order in the first exposition,

with modulations to other keys, such as the relative minor,

dominant, or subdominant in the succeeding entries. In the

first exposition, the voices commonly entered in the order

of Soprano-Alto-Tenor-Bass.

Kobrich's fugues generally fit into this format.

His fugues ostensibly have four voices, although the pre-

vailing texture is often three voices. Of the six fugues

examined, all have subjects five measures long, except

Fugue 14, whose subject is ten measures long. In each fugue, all of the answers are real. Kobrich follows the customary pattern of alternation between expositions and episodes, with the episodes varying in length from one to 27 eleven measures. The majority of the first expositions follow the common practice of SATB entries. However, in

Fugue 5 the order of voices begins with the bass. The second entry, in the tenor, replaces the bass after one measure; accompanied by a free tenor part, the final entry is in the soprano (Ex. 3).

Example 3. Johann Anton Kobrich, WohlgeUbter Organist, Fugue 5, measures 1-14. 28

Harmonically, most of Kobrich's first expositions

consist of subject statements in tonic-dominant order. Again, Fugue 5 is an exception, as all of its voices ex-

cept the first enter in the dominant. A more unusual. example is found in Fugue 14 in which the last of the five

voices of the exposition is cast into the major subtonic.

After the first exposition, Kobrich sometimes makes the usual sort of modulation to the relative major,

relative minor, or subdominant. Other, less common mod-

ulations include those to the minor supertonic (Ex. 4) (ii),

minor mediant (iii), and major subtonic (VII).

Example 4. Johann Anton Kobrich, Wohlge'dbter Organist, Fugue 2, measures 26-31.

$I_T___

In three of the fugues, the subject is not heard again in its entirety after the first exposition, but re- appears only in a shortened or modified form. In all of 29

the fugues, the subjects generally alternate entry in so-

prano and bass only, with notes occasionally borrowed from

alto or tenor. This arrangement is seen in Example 5 from

Fugue 11, where in one exposition the subject enters bass-

soprano-bass-soprano, and the first soprano entry borrows alto notes.

Example 5. Johann Anton Kobrich, Wohlgebter Organist, Fugue 11, measures 48-56.

I-s

Middle entries of the subject are often arranged in stretto; in Fugue 11, Kobrich even borrowed a measure of the subject of Fugue 10 and repeated it several times. In 30

Fugue 14, part of the subject itself is used in diminution

in the latter part of the subject (Ex. 6).

Example 6. Johann Anton Kobrich, Wohlgeiibter Organist, Fugue 14, measures 1-11.

Except for Fugue 14, a countersubject is heard

whenever a fugal subject is stated. Kobrich's countersubjects are not typical of fugal procedure, however, because they do not always enter in the same voice order as the

subject, even in the first exposition. In the succeeding expositions, the countersubject often alternates between bass and alto while the subject alternates between soprano and bass. Kobrich sometimes modifies the form of the countersubject after it is first heard. In Fugue 13, as seen in Example 7, the countersubject appears first as a very angular line, with leaps of fifths and sixths alternating with seconds. In succeeding appearances of the 31 countersubject, however, the fifths and sixths are inverted to thirds and fourths, resulting in a smoother line (Ex. 8).

Example 7. Johann Anton Kobrich, WohlgeUbter Organist, Fugue 13, measures 5-8.

As was true in the preludes, little significance is given to the pedal. It is indicated just once, and then only for a pedal point at the end of Fugue 2.

Example 8. Johann Anton Kobrich, WohlgeUbter Organist, Fugue 13, measures 10-12.

While Kobrich does not vary greatly from the usual fugal procedures, the quality of his fugal writing still cannot be called outstanding. His subjects are not particularly interesting; neither does he devote much ef- fort to the development of the countervoices. His episodes 32 consist of little besides empty sequences. The total effect of most of these pieces is slightly boring; Fugues 5 and 13 seem to provide the most musical interest.

Toccatas of the "Wohlgeubter Organist"

By the time of the Baroque, the toccata consisted of sections of chords and running passages, often but not always alternative with sections in imitative style.1 0

Kobrich's toccatas include the chords and passagework, but not the imitative sections; there is a complete lack of imitative writing in these pieces. Constructed much like his preludes, Kobrich's toccatas consist mainly of motivic work in the form of sequence, scalar passages, and passagework that outline harmonic structures. All of the toccatas employ motives sequenced in various ways. Four of the ten toccatas examined, however, use at least one motive in a thematic style, having it appear several times throughout the piece.

As was true for most of Kobrich's preludes, all of the toccatas begin with a short chordal introduction in large note-values varied in length from one to seven measures (Ex. 9). Nine of the ten toccatas end with a passage

10. Willi Apel, "Toccata," Harvard Dictionary of Music, 2nd ed. (Cambridge, Mass.: Harvard University Press, 1969), 853. 33 over a tonic pedal point, which is usually preceded by a dominant pedal point. Only four of the toccatas clearly modulate to other keys (ii, IV, v), but the tonality of the pieces is often obscured by excessive sequencing. Some harmonic interest is created by use of altered chords such

0 as the #iv 7 .

Example 9. Johann Anton Kobrich, WohlgeUbter Organist, Toccata 9, measures 1-4.

Kobrich's toccatas also resemble his preludes in that they could be played on harpsichord or piano as well as organ. Pedal is indicated only for an opening pedal point in Toccata 16. Kobrich's reliance on long motivic sequence takes away from the musical interest of these toccatas. From the standpoint of musical interest, Numbers

15, 18, 19, and 20 are the most appealing of the toccatas.

In order to gain a better perspective on the

Wohlgeabter Organist, comparisons will be made between it and pieces by three of Kobrich contemporaries: Prelude 34 and Fugue in D major by Marianus K~nigsperger,1 1 Toccata

Prima and Fuga from IX Toccata e Fughe per l'Organo by

Johann Ernst Eberlin,12 and Praeludium Quartum from

Certamen Aonium by Karlmann Kolb.13

In comparing Kobrich's preludes with those of

Knigsperger and Kolb, one finds that all begin with a short, chordal introduction, followed by passagework.

They are composed largely of motives used in sequence and passagework, but neither K5nigsperger's nor Kolb's piece clearly modulates. The KOnigsperger prelude is in ABA' form; its measures 3-15 are repeated almost unchanged at the end of the piece. Kolb's prelude more closely re- sembles Kobrich's in that its opening motives do not reappear. Pedal is indicated in the K6nigsperger piece, but only for the closing two measures. Generally, the

K'Onigsperger and Kolb preludes are constructed similarly to

Kobrich's, but K6nigsperger's prelude seems to be the su- perior piece, owing to its sectional form.

11. Eberhard Kraus, ed., Orgelmusik in Benediktinerklostern, pub. as Vol. 5 of Cantantibus Org (Regensburg: Friedrich Pestet, 1959), 14-20.

12. Johann Ernst Eberlin, "Toccata Prima," "Fuga," 9 Tok- katen und Fugen, ed. Rudolf Walter (Alt6tting: Alfred Coppenrath, 1958), 3-10.

13. P. Karlmann Kolb, "Praeludium Quartum," Certamen Aonium, ed. Rudolf Walter (Altbtting: Alfred Coppenrath, 1959), 22-23. 35

Both the Fugue by Kt5nigsperger and the Fuga by

Eberlin are four-voiced fugues, as are Kobrich's.

K6nigsperger's is well-crafted, with definite expositions, episodes, and countersubject. Interestingly, the first 2 measures of the subject are identical to that of Kobrich's

Fugue 2. Eventually, the theme is heard in the relative minor and the subdominant,and the countersubject is always heard with the subject. The Eberlin fugue starts out normally enough, with the voices entering Soprano-Alto-

Tenor-Bass in tonic-dominant order. However, it quickly breaks down into a series of sequences based on the fugal material. There are no definite episodes and no countersubject. Kobrich's fugues are closer to the stricter form used by K*nigsperger than to Eberlin's freer treatment of the fugal style.

Eberlin's Toccata Prima and Kobrich's toccatas are similar in that they are constructed mainly of passagework and sequential motives. However, Eberlin's piece lacks the short chordal introduction, the tonic pedal point, and the thematic use of motives that are found in most of

Kobrich's toccatas. Pedal is indicated more frequently in

Eberlin's toccata than in those of the Wohlgeiibter Organist.

Stylistically, however, Eberlin's and Kobrich's toccatas are comparable due to their construction based on passagework of motives. 36

On the whole, Kobrich's style of composition,

while not unlike that of his contemporaries, appears to be

a part of the general decline in the quality of organ com-

position during the eighteenth century. The preludes,

fugues and toccatas of the Wohlgebter Organist are cer-

tainly characterized by excessive use of sequence, use of

harpsichord style, little contrapuntal development, and

lack of musical attractiveness in the themes and countervoices. In the fugues, Kobrich attempts to follow traditional fugal procedures, but loyalty to tradition cannot replace the lack of musical interest in the sub-

jects. Kobrich's musical ideas in the Wohlgeubter Organist

simply lack the creative spark needed to elevate them above the average of eighteenth-century South German organ composition. When viewed as an instruction manual for the

"well-practiced" organist, however, the Wohlgeibter Or- ganist provides an interesting example of what may have been considered an essential part of an organist's education.

The OEgan of Eighteenth-Century South Germany

While the eighteenth-century South German organ was greatly influenced by Italian organ-building practices, it had its roots in sixteenth-century Germany, where the organ already possessed " . . . a wide range of colors, 37

multiple manuals, and independent pedal stops. "14 In con-

trast to the simplified Italian organs of that time, which

often had only one manual and few if any reeds, the six-

teenth-century South German organ was well-developed for

the time. For example, the 1554-1558 two-manual organ at

the Weingarten Benedictine Abbey must have been very color-

ful, containing as it did a selection of reeds, mixtures,

principal and flute choruses, and the possibility of manual

contrasts.15

Weingarten Benediktinerabtei M. RU**ck, 1554-58 Compass not known

Hauptwerk Positiv Pedal

*Praestant Praestant *Praestant Gross Hohlfl5te Hohlflbte *Oktave Quintadena Oktave *Superoktave *Oktave Schwegel *Mixtur Klein Hohlfl6te Hornli Posaune *Superoktave Schwegel Vogelgesang *Mixtur Zimbel Tremulant Rauschwerk (reed?)

Pedal ein Octaff under dem Manual--and borrowing its first four stops (*) therefrom?

By the late sixteenth century however, Italian influence began to infiltrate South Germany by way of such

14. Kratzenstein, op. cit., 25.

15. Peter Williams, The European Organ 1450-1850 (London: B.T. Batsford, Ltd., 1966), 65. 38 composers as Hans Leo Hassler, Johann Jakob Froberger,

Johann Kaspar Kerll, and Christian Erbach. Because the

type of music they so often composed (i.e., canzona, ricer-

care, fantasia) did not require much coloristic variation,

but rather a uniform ensemble, fewer resources were re-

quired on the organ. In this way the more varied South

German organ of the late sixteenth century became a simpler

instrument whose design was closer to that of the Italian

organ, which had fewer stops, usually only one manual, and

emphasized the medium-scale principal family. Instead of

the Italianate practice of having separate ranks up to the

highest pitches, however, many South German organs contin-

ued to include mixtures, but these were "milder and less

1 6 plentiful" than those of North Germany. The pedal solo

stops, such as a Trompete or Posaune, were sometimes pre-

sent. However, the pedalboard was not full-compass, so the pedal could not play an extensive cantus firmus. As a result, the pedal did not generally assume a major role in the music; instead it was assigned only a slow-moving bass line.

The following examples of organ specifications reveal the predominance of principal stops, the lack of reeds, and the limited pedal division of the South German

16. Kratzenstein, op. cit., 25. 39

organs of this period of Italian influence. 1 7

Innichen, Osttirol: Stiftskirche Andreas Putz, Passau: 1627

Werk Pedal

Prinzipal 8' Coppel 8' Subba 16' Octav 4' Flote 4' Superoctav 2' Quint 1 ' Mixtur II

Regensburg, Stadtmuseum Stefan Kunz, Neumark/Opf.: 1627

Werk

Prinzipal 2' Copula maior 8' Regal 8' Quint 1 '; Copula minor 4' Mixtur I' III

Munich, St. Peter Cyprian Maehrer: 1647

Hauptwerk Brustwerk

Prinzipal 8' Coppel 8' Prinzipal 4' Octav 4' Fl'bte 4' Octavel 2' Octavel 2' Flbte 4' Zimbelduodez (1 '1) Mixtur VI (zweiteilig)

Pedal

Octav 8' Subba 16' Octavel 4' Coppel 8'

Tremulant--Vogelgeschrei

17. Rudolf Quoika, Uber die Orcel in Altbayern (Berlin: Merseburger, 1968), 27-29. 40

Freising, Franziskanerkirche Caspar K6nig, Ingolstadt: 1660

Werk Pedal

Prinzipal 8' Copula 8' (oak) Octavba 8' H Octav 4' Flften 4' Octavba 4' Z Quint 3' Superoctav 2' Superoctave 2' Subba 16' Zimbel 2' II Mixtur 1 ' III

By the late seventeenth and early eighteenth cen- turies, the resources of the South German organs tended

toward a larger selection of 8' and 4' stops, including

strings and color stops (Quintadena 8', Salizional 8',

Flauto 8'). The proliferation of 8' stops, especially

strings, was due in part to the rising influence of the

orchestra. The function of the organ also began to change

from a solo instrument to a continuo instrument, for which

more 8' voices were needed.1 8

In Bavaria, the single-manual organ was predom-

inant in the smaller churches and chapels, while two-manual

instruments were more common in the larger churches.

Three-manual organs were uncommon. The two-manual organs

of Bavaria contained representative stops from all the

families, with the exception of reeds, which were seldom

present. In Lower Bavaria, where larger organs became more

18. P. Gregor Klaus, "Die Entwicklung der Orgelkunst in Sud- deutschland, " Kirchenmusikalisches Jahrbuch XL (1956), 100 41 common, characteristics included "few manual chorus-reeds,

. . . {a} large choice of 8' and 4' flue stops, 'colour- manuals' rather than classical secondary choruses, {and} large pedals with few solo stops . . ."19 Other common characteristics of Bavarian organs included a complete range of mixtures, the presence of mutations, including the

Terz, and delicate flutes.

The specifications of the organ of the

Dreifaltigkeitskirche in Regensburg demonstrates the wide choice of 8' and 4' stops, lack of reeds, and presence of color stops (i.e., Gamba 8', Quintade 16', Quintatn 8',

Unda maris 8') in the eighteenth-century South German organ.2 0

Regensburg, Dreifaltigkeitskirche Jakob Spaith, 1758

Hauptwerk Oberwerk Pedal

Prinzipal 8' Prinzipal 8' Prinzipal 16' Gamba 8' Oktav 4' Violinba 16' Scharff 5-7 fach Unda maris 8' Oktav 8' Kornet 3 fach Gro~gedeckt 8' Oktav 4' Terz 1 3/5' Traversfl6te 4' Subba 16' Waldfl6te 2' Zartfl6te 4' Quinte 2 2/3' Quinte 3' Oktav 41 Superoktave 2' Spitzfl6te 4' Scharff 3 fach Quintade 16' Quintatbn 8' Gedeckt 8' Coupler: Oberwerk to Hauptwerk

19. Williams, op. cit., 78.

20. Eberhard Kraus, ed., Die Orgel im Kirchenjahr, Adven Weihnachten, publ. as Vol. I of Cantatibus Organis (Regensburg: Friedrich Pustet, 1958), n.p. 42

Available information indicates that at least

some of the organs of Landsberg am Lech were more or less

typical of eighteenth-century construction. The organ of

the Jesuitkirche (since 1773 the Malteserkirche) is a two-

manual instrument with a broad selection of 8' stops on the

Hauptwerk, including Quintadena 8', Gamba 8', and Violetta

8'. Except for the Pedal Kornettba , there are no reeds.

According to Klaus, the organ was probably built "by an

unknown master of the French school. "2 1 The specifici-

cations are as f ollows: 2 2

Sebastian Achamer, Hall, before 1670 Unknown Master, around 1740

Hauptwerk

Prinzipal 8' Coppel 8' Octav 4' Quintadena 8' Quint 3' Gamba 8' Superoctav 2' Violetta 8' Mixtur Flbte 8' Zimbel

Positive (Oberwerk)

Prinzipal 4' Coppel 8' Mixtur Flbte 4' Spitzflbte 4' Flautino 2'

Pedal

Octavbaa 8' Subba 16' Octavba 4' Kornettbaa (no pitch given)

21. Klaus, op. cit., 99.

22. Quoika, op. cit., 31. 43

One influence on South German organ-building that

was also active in Landsberg was that of the religious or-

ders. Competition between orders, as well as a desire to

provide fine music for religious festivals, often spurred

the building of large organs. Church architecture also ex- perienced a revival in the period of 1650-1800, due both to

the reconstruction that followed the Thirty Years War and

to the influence of the Counter-Reformation.

Near Landsberg, at Diessen, a Baroque church was

erected in 1732 by the Augustinian Prior Herculan Karg.

Kaspar K-nig of Ingolstadt installed an organ there in 1739.

Its characteristics seem to be consistent with eighteenth-

century South German organ construction practices in that there is a variety of 8' stops on the Hauptwerk, including a Gamba 8', several mixtures and mutations, and no reeds, with the exception of the Pedal Posaune 8'. The specifications are as follows:2 3

Hauptwerk C-c3 49T

Prinzipal 8' Octav 4' Groa Coppel 16' Spitzfl6te 4' Coppel 8' Quinte 3' Portun 8' Superoctav 2' Quintat6n 8' Mixtur major 4fach 2' Gamba 8' Mixtur 3fach

23. Hermann Fischer and Theodor Wohnhaas, "Notizen zum Or- gelbauder Augustinerchorherren in Bayern," Kirchen- musikalisches Jahrbuch LVIII/LIX (1974/75), 63. 44

Positiv C-c 49T Pedal C-f 18T

Principal 4' Principalba3 16' Coppel 8' Subba3 16' Flbtgedackt 4' Octavba 8' Octav 2' Quinte 6' Quint 1 ' Gedackt 4' Zimbel Mixtur 4fach 4' Posaune 8'

There is no information presently avaiable as to

the specifications of the organ at the Stadtpfarrkirche in

Landsberg, where Kobrich played, except that it had a back

or side positive.2 4 Built in 1458-88, this late Gothic

church was internally remodeled to a Baroque style in

1702,25 but it is not known whether the remodeling was

extended to the organ.

Registration Practice and the "Wohlgehbter Organist"

As was true for much German organ music of the

eighteenth century, no registration instructions are given

in the Wohlgeubter Organist. An examination of what is known about registration practice of this period may shed

light on appropriate registration for Kobrich's pieces.

One of the most significant factors in

24. Hermann Fischer, Hans Nadler, and Theodor Wohnhaas, "Der Bayerische Orgelbau," in Ausstellungkatalog, ed. by Folker Gothel, pub. as Vol. II of Musik in Bayern (Tutzing: Hans Schneider, 1972), 46.

25. Karl Baedeker, Southern Bavaria (New York: MacMillan, 1953), 85. 45

registering an organ piece is its character; that is,

whether it is a free work, such as a prelude, toccata or

fugue; a melody-accompaniment work, such as a chorale; or

a duo or trio. All of the pieces in the Wohlg'ter

Organist seem to be in the first category, that of free works. There are no pieces that are based on a cantus

firnas, and none is in duo or trio texture. The discussion of registration practices will therefore be limited to

those appropriate for free works, especially preludes,

fugues, and toccatas.

One surviving list of suggested organ registrations from this period is found in the Continuatio ad manuductionem organicum (1707) of Johann Baptist Samber, a Salzburg organist, whose registrations were " . worked out for the South German Catholic rite."2 6 Samber generally seems to concentrate on one-manual playing, and makes extensive use of the principal choir and flutes, with no reeds indicated.2 7

For the full organ, Samber gives the following

26. Frotscher, op.i II, 1032.

27. Hans Klotz, Uber die Orgelkunst der Gotik, der Renaissance und des Barock (Kassel: Barenreiter, 1975), 344. 46

recommendations: 2 8

Prinzipal 8', Oktave 4', Quinte 2 2/3, Superok- tave 2', Mixtur and Zimbel

Prinzipal 8', Oktave 4', Quinte 2 2/3, Superok- tave 2', Terz 1 3/5, Zimbel

Prinzipal 8', Quinte 2 2/3', Superoktave 2', Duodez 1 1/3, Zimbel

or Manual: Prinzipal 8', Koppel 8', Fl~te 4', Quinte 2 2/3', Superoktave 2', Duodez 1 1/3', Zimbel; Pedal: Subba 16', Holzflbte 8', Superoktave 4', Quinte 2 2/3', Quindez 2'

Koppel 8', Oktave 4', Quinte 2 2/3', Mixtur

Koppel 8', Flbte 4', Superoktave 2', Duodez 1 1/3

For preludes, he only suggests:

Koppel 8'

Koppel 8', Fl*te 4', Superoktave 2',

but for fugues, his recommendations are more extensive.

28. Ibid., p. 345. 47

Koppel 8', Duodez 1 1/3'

Koppel 8', Mixtur

Viola 8', Mixtur

Flote 8', Duodez 1 1/3'

Koppel 8', Quinte 2 2/3', Superoktave 2'

Koppel 8', Superoktave 2', Zimbel or

Fl'Ote 8', Quinte 2 2/3', Superoktave 2'

Prinzipal 8', Oktave 4', Quinte 2 2/3', Super- oktave 2'.

Samber gives only one registration for toccatas, that of Koppel 8', Oktave 4', Zimbel. He also indicates several separate registrations for the Pedal. For fugues, he suggests:

Oktave 8'

Superoktave 4'

or Quindez 2'. 48

When full organ is desired, he recommends:

Subba 16'

Oktave 8'

Quinte 5'/3', Superoktave 4', Quinte 2 2/3', Quindez 2'.

The majority of Samber's full organ registrations

are based on Principal 8' with a generous complement of

higher-pitched registers. All but four of the prelude,

fugue, and toccata registrations are based on Koppel 8',

drawn with only one or two stops of higher pitch, often a

mixture or mutation. Interestingly, Samber considers

Viola 8' and Mixtur suitable for fugue registration. No reeds are included in any of these combinations.

Contrasting to Samber's registration are those of

Karl Joseph Riepp, where instruction were written in 1766

for the three-manual organ he built in the MUnster at

Salem. These registrations, emphasizing reeds and mutations as they do, were influenced by French practices, a common development in mid-eighteenth-century Germany.

For the full organ, Riepp suggested the following: 29

29. Ibid., p. 356. 49

Gro3es Manual: Principal 8', Oktave 4', Superoktave 2', Mixtur IV, Zimbel IV, Koppel 16', Koppel 8' Positiv: Principal 4', Oktave 2', Mixtur V, Koppel 8' Pedal: Bombarde 16, Trompete 8' (manuals coupled)

For the "tutti" or Grand Jeu, Riepp recommended:

Groges Manual: Oktave 4', Trompete 8, Clarion 4, Kornett V Positiv: Trompete 8', Krummhorn 8', Clarion 4' Pedal: Bombarde 16' (manuals coupled)

Reeds are also a significant part of Riepp's

fugue registration:

Groges Manual: Oktave 4', Trompete 8', Clarion 4' Positiv: Trompete 8', Clarion 4' (manuals coupled) or Groges Manual: Oktave 4', Trompete 8', Clarion 4', Kornett V Pedal: Bombarde 16', Trompete 8', Clarion 4' or Groges Manual: Oktave 4', Trompete 8', Clarion 4', Kornett V Positiv: Principal 4', Trompete 8', Clarion 4' Pedal: Bombarde 16', Trompete 8', Clarion 4' (manuals coupled)

The major differences between Samber's and Riepp's instructions seem to be Riepp's reliance on reeds as op- posed to Samber's emphasis on principal chorus and flutes, and Riepp's stronger emphasis on the pedal. Because the

WohlgeUbter Organist uses very little pedal, and because the average south German organ of this period was not likely to contain an extensive reed chorus if any, the 50 registration instructions of Johann Baptist Samber probably provide a more reliable guideline for registering the

Wohlgeubter Organist.

Because of their virtuosity, some of Kobrich's pieces, such as Preludes 5, 7, 10, and 23, Fugue 2, and

Toccatas 12 and 19 seem to call for one of Samber's full organ registrations. Others, the Preludes 12 and 24,

Fugues 5 and 13, and Toccatas 1, 9, 13, 17, 18, and 20, seem more subdued and therefore may be better served by some of the milder registrations. The final judgement, of course, must be left to the individual organist. BIBLIOGRAPHY

Books

Andersen, Paul-Gerhard. Organ Building and Design, trans. Joanne Curnutt. London: George Allen and Unwin, 1969.

Apel, Willi. The History of Keyboard Music to 1700, trans. and rev. Hans Tischler. Bloomington, Id.: Indiana University Press, 1972.

Arnold, Corliss Richard. Organ Literature: A Comprehensive Survey. Metuchen, N.J.: The Scarecrow Press, 1973.

Baedeker, Karl. Southern Bavaria. New York: The MacMillan Co., 1953.

Bradshaw, Murray C. The Oriin of the Toccata, American Institute of Musicology, n. place, 1972.

Bukofzer, Manfred F. Music in the Baroque Era. New York: W.W. Norton, 1947.

Cramer, C.F. Magazine der Musik, 2 vols. Hamburg, 1783, 1784-87, 1789.

Deutsche Zenthrale fur Fremdenverkehr. German Cathedrals and Churches. Hanover: H. Osterwald, n.d.

Fellerer, Karl Gustav, ed. Geschichte der Katholischen Kirchenmusik, 2 vols. Kassel: Barenreiter, 1976.

Forkel, J.N. Musikalischer Almanach fUr Deutschland. Schwickert: Leipzig, 1784.

Frotscher, Gotthold. Geschichte des Org eJsiels und der Orgelkopo.sition, 2 vols. Berlin: Max Hesses, 1935.

Gothel, Folker, ed. Ausstellungskatalog, as Vol. II of Musik In Bayern, 2 vols. Tutzing: Hans Schneider, 1972.

Greisbacher, P. Kirchenmusicalishes Stilistik und Formen- lehre, 3 vols. Regensberg: A. Coppenrath, 1913.

51 52

Kelletat, Herbert. Zur Geschichte der Deutschen Orgelmusik in der Frihklassik. Kassel: Barenreiter, 1933.

Kirby, F.E. A Short History of Keyboard Music. New York: The Free Press, 1966.

Klotz, Hans. Uber die Orgelkunst der Gotik, der Renaissance und des Barock. Kassel: Brenreiter, 1975.

Kratzenstein, Marilou. Survey of Organ Literature and Ed+ itions. Ames: The Iowa~State University Press,~1980.

Marpurg, F.W. Kritsche Briefe, 2 vols. Birnstiel: Berlin, 1760-63.

Moser, Hans Joachim. Die Musik der Deutschen Stamme. Vienna: Edward Wancura, 1957.

Minster, Robert, and Schmid, Hans. Bayerische Musikge- schichte, as Vol. 1 of Musik in Bayern, 2 vols. Tutzing: Hans Schneider, 1972.

Quoika, Rudolf. tOber die Orgel in Altbayern. Berlin: Merseburger, 1968.

Ritter, August Gottfried. Zur Geschichte des Orgelspiels, 2 vols. Hildesheim: Georg Olms, 1969.

Sumner, William L. The Organ, 2nd ed. London: MacDonald, 1955.

Williams, Peter F. TheEuropean Organ 1450-1850. London: B.T. Batsford, 1966.

Articles

Apel, Willi, "Fugue," "Prelude," "Toccata." Harvard Dic- tionary of Music, 2nd ed. Cambridge, Mass.: Belknap Press, 1969.

Eitner, Robert. "Kobrich, Johann Anton," Quellen-Lexikon der Musiker und Musikgelehrten (Leipzig: Breitkopf und Ha-rtel, 1912-13-1914/16), repr. ed., 11 vols. New York: Musurgia, 1946-47, V, 398.

Fdtis , F.J. "Kobrich, Jean-Antoine," Biographie Universelle des Musiciens, 2nd ed., 8 vols. Paris: LibrariTde Firmin Didot Freres, 1870, V, 68. 53

Fischer, Hermann and Theodor Wohnhaas. "Notizen zum Orgel- bauder Augustinerchorherren in Bayern," Kirchenmusik- alisches Jahrbuch LVIII/LIX (1974/75), 59-71.

Gerber, Ernst Ludwig. "Kobrich, Johann Anton," Historisch- Biographisches Lexikon der Tonkl'nstler, (Leipzig, 1790), repr. ed., 2 vols. Graz: Akademische : Druck- und Verlagsanstalt, 1977, I, 740.

. "Kobrich, Joh. Anton," Neues Historische- Biographisches Lexikon der Tonk'nstler (Leipzig, 1812- 1814), repr. ed., 4 vols. Graz: Akademische Druck- und Verlagsanstalt, 1966, III, 80-81.

Klaus, P. Gregor. "Die Entwicklung der Orgelkunst in Sid- deutschland," Kirchenmusikalisches Jahrbuch XL (1956), 87-101

Quoika, Rudolf. "Bayern als Orgellandschaft," Acta Organo- logica I (1967), 137-43.

Riedel, Frederick Wilhelm. "Der Einfluss der italienischen Klaviermusik des 17. Jahrhunderts auf die Entwicklung der Musik fUr Tasteninstrumente in Deutschland Wahrend der ersten Halfte des 18. Jahrhunderts," Analecta Musicologica V (1968), 18-33.

Scharaagl, August. "Kobrich, Johann Anton," Die Musik in Geschischte und Gegenwart, 16 vols., ed. Friedrick Blume. Kassel: Barenreiter, 1958, VII, 1287-88.

Schlager, Karlheinz, ed. "Kobrich, Johann Anton," Rdpertoire International des Sources Musicales, Series Al. Kassel: Barenreiter, 1975, V, 66.

Sheldon, David A. "The Galant Style Revisited and Re- evaluated," Acta Musico a XLVII (July-December 1975), 240-270.

Printed Music

Eberlin, Johann Ernst. IX. Toccata e Fughe per 1'Organo (Augsburg, 1747), repr. edition, ed. Rudolf Walter. Alt3tting: Alfred Coppenrath, 1958.

Kobrich, Johann Anton. Wohlgeflbter Organist: Das ist Vier und Zwanzig gro~e Praeludia fUr die Orgel. N-rnberg: Johann Ulrich Haffner, 1762. 54

Kobrich, Johann Anton. Wohlge'bter Organist; Bestehend aus einer a Fugen f*r die Orgel . . . zweyter Theil. Nirnberg: Johann Ulrich Haffner, 1762.

Wohlgebter Organist; Bestehend aus einer Sammlung von XX. Toccaten fiAr die Or . . . Dritter Theil. Nurnberg: Johann Ulrich Haffner, 1762.

Kolb, Karlmann. Certamen Aonium (Augsburg, 1733), repr. edition, ed. Rudolf Walter. Alt5tting: Alfred Coppen- rath, 1959.

Kraus, Eberhard, ed. Die Orgel im Kirchenjahr, Advent/ Weihnachten, as Vol. 1 of Cantantibus Organis, 13 vols. Regensburg: Friedrich Pustet, 1958.

. Orgelmusik 'in Benediktinerklostern as Vol. 5 of Cantatibus Organis, 13 vols. Regensburg: Friedrich Pustet, 1959.

Muffat, Gottlieb. 12 Toccaten und 72 Versetl (Vienna, 1726), facsimile edition. New York: Broude Brothers, 1967. EDITION AND CRITICAL NOTES:

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Jo 1 E S I I g. CRITICAL NOTES

The notes below show the original readings for passages which have been altered in the edition. The abbreviated form employed gives the measure number, the voice (SATB or U{pper} M{iddle} L{ower}), the note or portion of the measure, and the original version. For example, 17 S 2: c' indicates that in the seventeenth measure of the piece, the second note of the soprano note was c'.

Preludes

7. 34 L 1: A

7. 34 L 2: a

11. 27 M 2: c'

11. 64 U 3: c"

19. 28 U: accent marks added

19. 37 M 1: e'-flat

21. 16 U 3: c"

21. 19 U 2: c"

Fugues

10. 23 T 6: f

10. 34 M 1: f'

150 151

10. 39 B 2: f

10. 45 U 5: a'

Toccatas

9. 36 B 1: G

12. 25 A 6: a'-flat

15. 11 S 2: c"

15. 14 S 3: c"

18. 13 B 2: B

18. 26 S 11: b"

18. 34 S 1: b'

20. 10 S 1: g'