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Music for God's Glory

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Music for God's Glory Music for God’s Glory: The Improvisatory Organ Music of Matthias Weckmann (1616 – 1674) by Hanné Becker A thesis submitted in conformity with the requirements for the degree of Doctorate of Musical Arts in Organ Performance Faculty of Music University of Toronto © Copyright by Hanné Becker 2021 Music for God’s Glory: The Improvisatory Organ Music of Matthias Weckmann (1616 – 1674) Hanné Becker Doctorate of Musical Arts (Organ Performance) Faculty of Music University of Toronto 2021 Abstract The improvisatory music of German organist-composer Matthias Weckmann (1616 – 1674) has remained largely undervalued and underperformed for almost 400 years, arguably suffering a similar fate as did the works of Johann Sebastian Bach (until Felix Mendelssohn sparked a revived interest in Bach’s music during the early 19th-century). Despite Weckmann’s relative obscurity today, interest in his music is growing. Weckmann studied organ, singing and counterpoint with the famed Heinrich Schütz and Jacob Praetorius II, and was hailed as a “true virtuoso” by contemporary Johann Jakob Froberger after a legendary improvisation contest between the two musicians. This study documents the search for, and deeper understanding of, Weckmann’s improvisatory competencies through exploring the different facets of his life, relationships, and work — and ultimately how Weckmann contributed to the legacy of improvisation within the realm of North German baroque organ music. I document Weckmann’s life, his travels, the influences of his teachers and the breathtakingly beautiful instruments that shaped his artistic style and registrational practice. With a view towards 1) engendering a deeper and more comprehensive stylistic understanding of Weckmann’s music, 2) solving numerous problems of attribution, and 3) laying the groundwork for a new performer’s edition of Weckmann’s Organ Works, the dissertation provides an in-depth analysis of the Free and ii Chorale-based works. The study frames Weckmann’s genius in terms of his exceptional contrapuntal skill, improvisatory imagination, sensitivity to sacred texts, as well as the creative methods he implemented to maximize exploration of the expressive possibilities of the organ, thereby bringing his diverse set of powerful musical ideas to life. iii Acknowledgments I give deepest thanks to my supervisor and mentor, Dr. Kevin Komisaruk, who guided me in the truest way a teacher can: providing me with, and sharpening the skills and competencies I will use in the future. For his ability to understand where I wanted to go with this from the beginning, for helping to shape my academic voice, for his encouragement and willingness to guide the direction of the study; for his timely and trustworthy mentorship in terms of editing and style, amazing sensitivity to the nuances needed to distinguish between complex and subtle points of difference, and for his endless encouragement and wise discernment. To Prof. Mark Sallmen I give my sincerest thanks as well, for his patience, wonderful sense of humor; for asking many tough questions, for keeping me grounded, and for providing sharp focus and insights in the editing of my work. My thanks also to Dr. Patricia Wright for providing valuable feedback on the chapters, and asking many insightful questions. Thank you to Prof. Stephanie Martin, who further asked thought-provoking questions, and gave inspiration to my next steps. I am grateful to Prof. Gregory Johnston who helped me understand the musicological process more deeply with regards to particular aspects of archival research, and who provided me with valuable leads and contacts along the way. My thanks also to Prof. Alexander Silbiger for the same. I appreciate very much the many helpful articles and insightful information I received from Ibo Ortgies, Federico Andreoni, as well as the excellent staff at the University of Toronto Music Library. I thank very kindly Dr. Martina Rebmann and the staff at the Staatsbibliothek, Berlin for providing me with the scans of the manuscript needed for my study. To my colleague Martin Jongsma for the many fruitful and inspiring conversations. Finally, a word of thanks to both my parents. I thank my mother Corina for teaching me never to give up, as well as my father Frederik, who taught me to be curious, and apply sound scientific method since I was very young. “Ach Herr, hilfs und wende meinen Thun/Sinn zum guten Ende.” This prayerful statement adorns the title page of the Weckmann autograph Gelobet seist Du, Jesu Christ . I echo Weckmann’s sentiment, and with these acknowledgments I would finally give thanks to my Creator, without whom this dissertation, and this journey would not have been possible. All glory to Him! iv Table of Contents Acknowledgments.......................................................................................................................... iv Table of Contents .............................................................................................................................v List of Tables ............................................................................................................................... viii List of Figures ................................................................................................................................ ix Chapter 1 Matthias Weckmann (1616 – 1674): Brief Biography and Context ...............................1 Weckmann’s World ....................................................................................................................1 1.1 Birthplace and Family ..........................................................................................................1 1.2 Early Beginnings with Schütz in Dresden ...........................................................................2 1.3 Influence of Schütz ..............................................................................................................3 1.4 Influence of Jacob Praetorius in Hamburg...........................................................................6 1.5 Broader Significance of Syntagma Musicum as “Universal” ..............................................8 1.6 Return to Dresden ................................................................................................................9 1.7 Escape to Denmark ............................................................................................................11 1.8 Final Dresden Period..........................................................................................................11 1.9 Hamburg, City of Dreams ..................................................................................................14 1.10 Audition at St. Jacobi .........................................................................................................16 1.11 Church Music and Life at St. Jacobi ..................................................................................19 1.12 Social Status of the Organist in the Lutheran Church ........................................................22 1.13 Tentative Chronology and Final Period .............................................................................23 1.14 Weckmann’s Children .......................................................................................................24 Chapter 2 Weckmann’s Teachers ..................................................................................................27 Weckmann’s Teachers ..............................................................................................................27 2.1 Heinrich Schütz (1585 – 1672) ..........................................................................................27 2.2 Jacob Praetorius II (8 February 1586 – 21 October 1651).................................................33 Chapter 3 Details about the Organs and Registrations ..................................................................40 v Instruments and Registrations ...................................................................................................40 3.1 Weckmann’s Instruments...................................................................................................40 3.1.1 The Dresden Instruments by Gottfried Fritzsche (1578 – 1638) ...........................40 3.1.2 The Nykøbing on Falster Instrument, Denmark – Johan Lorentz (ca. 1580 – 1650)? ....................................................................................................................45 3.1.3 The Organs at Hamburg, St. Jacobi and St. Petri – Gottfried Fritzsche / Hans Christoph Fritzsche ................................................................................................45 3.1.4 Smaller Organs: Portable Organs, Positives and Regals .......................................52 3.1.5 Links to Richborn ..................................................................................................54 3.2 Registrational Practices: The Sound World of Weckmann ...............................................54 3.2.1 Full Organ Registrations ........................................................................................54 3.2.2 Colourful Solo Registrations..................................................................................55 Chapter 4 Analysis .........................................................................................................................59 Analysis .....................................................................................................................................60
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