University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln

Faculty Publications: School of Music Music, School of

June 1993

Information on Organ Registration From a Student of J.S. Bach

Quentin Faulkner University of Nebraska - Lincoln, [email protected]

Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub

Part of the Music Commons

Faulkner, Quentin, "Information on Organ Registration From a Student of J.S. Bach" (1993). Faculty Publications: School of Music. 19. https://digitalcommons.unl.edu/musicfacpub/19

This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. INFORMATION ON ORGAN REGISTRATION FROM A STUDENT OF J.S. BACH Quentin Faulkner

tivityas an organist. Nevertheless, the article translated below reveals that Agricola re­ mained highly knowledgeable in organ mat­ ters, as does his contribution ten years later to Jacob Adlung's Musica mechanica or­ gancedi (1768). Agricola served as the final editor2 of that publication, and the notes he added to it confirm not only his understand­ ll. ing of organ construction and playing tech­ nique but also his acquaintance with a wide variety of organs and organ music, both ~amm(ung tiniger 'lacbricbten throughout Germany and (as a result of his reading) in France. "on berU~mten Dr~el",trrtn -in Xeutfd>~ * * * *** * ** ~Jlu~t e~ Here follows the translated text ofAgricola's lanb, mit t1idtt aufgefe6t \)on article. Original terms and phrases ofspecial Eieb~aber ~tetJ(au, interest are italicized. The translator's foot­ nem btt rotu»r. notes are in superscript numbers; super­ ~trlegt6 ~arl script letters identify Agricola's own foot­ (!;ottfrieb roteger. notes, contained in parenthetical statements in smaller type immediately following the 1757. 14 [iogen in 4t. letters. Boldface numbers in curly brackets identify the original pagination ofMarpurg's publication. ~iq,at( prAtoriu8 ~at 1m i~flJtfn t:~fft {486} A Collection of Some Reports about ~" feinr~ Famous Organs in Germany [Sammlung mufit4lifc1)en e,ntagma8, auf­ einigerNachrichten von beriihmten Orgel­ re~ 0e~retbun9 werken in Teutschland], drawn up with finer genu,*, aUer in ben Ot'gthl great effort by a musical amateur. Breslau, jU published by Carl Gottfried Meyer,3 1757. 14 signatures in quarto. In the second part of his Syntagma Mu­ The beginning (p. 486) ofAgricola's article sicum Michael Praetorius has furnished, in addition to precise descriptions and designs Despite two centuries of research into the The article falls into four sections: of each of the stops {487} normally found in life and music ofJ.S. Bach, there is little that I. A brief appreciation of the new publica­ the organs of his day, the stoplists or specifi­ can be said with certainty about his organ tion (not really a review, since there is no cations of 27 famous organs4 in Germany. registration practices. Aside from two short detailed critical examination), on pages Mr. von Mattheson, Secretary of Legation passages (quoted below) that merely assert 486-87. [Legationsrath 5 ], has published a far more Bach's understanding ofand skill at registra­ ambitious collection of stoplists in the ap­ tion, there is only J.F. Agricola's report that II. A classification and description of stops pendix to his new and expanded edition of Bach liked reed stops.t Up until now, it has found in organs of the time, from page Niedt's Handleitung zur Variation des Gen­ not been possible to identify sources, either 487 to page 501. eralbasses.6 Despite these efforts there were from Bach himselfor from his immediate cir­ III. Information on how to combine the many additional instruments in Germany cle, that offer precise instructions on organ stops, from page 502 to page 505. This (where one encounters a greater number of registration. The source described and trans­ section is of immediate relevance to or­ beautiful, large organs than in any other lated here provides such information. gan registration, and it contains the only country) that also deserved to have their de­ The source is an article found in Friedrich material evaluated in the analytical por­ scriptions published. This has prompted the Wilhelm Marpurg's Historisch-Kritische tion of this article. author of the collection here announced to Beytriige zur Aufnahme der Musik (Histori­ compile and publish (doubtless with great IV. The stoplists, unpublished elsewhere, of cal and Critical Contributions to the Recep­ effort and expense) an additional 124 stop­ six organs, from page 506 to page 518. tion of Music), Volume 3, Part 6 (Berlin: lists, including many very notable ones, These stoplists describe organs located Gottlieb August Lange, 1758), pages 486 to none of which are to be found in Praetorius in the Freiberg Petrikirche, the Halber­ 518. Marpurg-an author, theorist, and crit­ or in Mattheson. And although this still falls ic closely associated with the circle ofBach's stadt Stiftskirche, the Halle Marktkirche, far short of describing all the good organs in the Konigsberg Domkirche, the Magde­ students in Berlin-published the Historisch Germany, yet there is no doubt that with it burg Johanniskirche, and the Meerane Kritische Beytriige as a periodical from 1754 Mr. Meyer has once again rendered an es­ Stadtkirche (Saxony). The present En­ to 1762 and again in 1778; it includes book timable service to all those who pursue reviews, biographies of musicians, discus­ glish translation omits these stoplists. greater knowledge of the organ. sions of problems in music theory, and re­ Neither the Table ofContents for Part 6 nor Perhaps some ofmy readers will not mind ports on musical inventions. The article un­ the heading of the article indicates its au­ my taking this opportunity to provide them der consideration falls into the first of these thor. Only the name"Agricola" at the end of with a rather more precise account of organ categories. Ostensibly it is a review ofa new the article identifies the author as Johann stops or registers, since they are so various collection of organ stoplists, the Sammlung Friedrich Agricola (1720-74), a student of and have so many different names. {488} I einiger Nachrichten, published in 1757. In J.S. Bach from 1738 to 1741. Thereafter, will endeavor to be of service to them here. fact, only a small portion ofthe article is de­ Agricola moved to Berlin, becoming part of Stops in organs are divided in general into voted to the new publication. That portion, the circle of Bach's students (including flues [Pfeifenwerkl and reeds [Rohr- oder however, begins the article, and this may be C.P.E. Bach and J.P. Kirnberger) active there. Schnarrwerkl. The distinction lies in the dif­ one reason why the significant information Frederick the Great, King ofPrussia, eventu­ ferent structure of the pipes, principally in on registration found later in the article has ally named him Royal Prussian Court Com­ their mouthpieces [Mundstiicks7l, which escaped previous notice. poser, a position that limited Agricola's ac- naturally results in a different sound. The

58 THE AMERICAN ORGANIST mouthpiece ofa reed is a short tube, usually cut-up ofthe lip-larger or smaller, wider or make, instead of, e.g., one ten-rank manu­ made of tin, cut in half lengthwise. Over its narrower-also contributes [to the differ­ al mixture, two mixtures, one having 6 open side there lies a movable sheet [Blatt], ence in timbre]. and the other4 pipes per note. The former called the tongue (languette (in French]), {491} The material used to make organ is then called Mixtur, the latter Scharf or which the wind can force up and down. Both pipes is either pure tin, pipe metal (a mixture Cimbel. are anchored at the top in a little block (noix8 of lead and tin), or wood. Brass, as men­ (in French]), through the middle of which tioned above, is used for reed tongues. It is All of these principals are actually the there is an opening. The lower part of the as unsuited for pipe resonators, though, as stops that one draws for the full organ [zum shallot [MundstiicJc9] and its reed are set into sheet iron [Blech], since it causes a far too vollen Werk], when the organ is to sound at a separate tube, called the boot, which con­ rattling, crackling, rustling sound. Our an­ its fullest power. All these stops in one divi­ stitutes the lowest section of the pipe. The cestors made their Regals of it, but with a sion [aufeinem claviere] must be built to the block sits atop this boot. Through [the block] poor effect. Tin sounds more brilliant [schiir­ same scale [von gleicher Mensur], or as or­ there passes a piece ofsteel or brass that ex­ fer], while wood sounds softer and duller ganbuilders say, "on the same basis" [aus tends about halfway down the tongue, and than pipe metal. einerley Fundament]. If there are several keeps the wind from lifting the tongue any Flues are again divided into so-called keyboards, however, each keyboard should higher than the correct pitch requires. The principals and flutes. The principals are by right have stops of different scaling and pipe is tuned either lower or higher by draw­ completely open and cylindrical [von voicing. For example, in the Hauptwerk and ing this piece of steel up or down, and thus gleicher Weite]. To this category belong: Pedal they are of broad and full scale. In the it is called the tuning wire [Stimmkriicke]. second manual they are voiced more keenly The upper part of the pipe, the part organ­ 1. the Principal 32', 16',8', or 4'; and penetratingly; and in the third their 2. the Octave 8',4',2'; builders call the resonator [Corpus], is fas­ sound is gentle. 14 tened atop the opening in the block. When 3. the Superoctave or Sedecima 2' and 1'; the The so-called "flutes" are either complete­ the reed mentioned above is set in motion, it only distinction in all ofthese lies in their ly open, completely stopped, or stopped pitch [hOhe und tiefe]. For example, if the (489) strikes the shallot and rebounds again with some sort of opening in the cap. Open Principal is 16', the Octaves are 8' and 4', from it, and thus causes a kind of rattling flutes are either completely cylindrical or sound, somewhat similar to the reed on an and Superoctaves 2' and 1', etc. The "Prin­ {494} tapered. Those of the first type are ei­ oboe or a bassoon. To keep the reed from cipals" proper, though, stand in the facade, ther narrow and long, such as: so that they are visible on the exterior. The beating too violently against the shallot, 1. the 16' pedal Violon; 32' Principal belongs only in the pedal. a leather is glued to the latter; organbuilders ll 2. the Viola da Gamba (Some organbuilders call this "facing" [fiittern]. 4. the mixture stops [Mixturwerke ], which, since they produce either a fifth or make their Viola de Gambas somewhat ta­ A flue pipe has at its mouthpiece a sheet pered toward the top); fastened horizontally into the body of the a third, or both ofthese together, or an en­ tire chord on one note, cannot be used 3. the Querflote, whose resonators are com­ pipe, made of the same material as the pipe alone, but only for reinforcement and in monly twice as long as their pitch re­ itself. Above and below it there are narrow quires, but very narrow; horizontal openings. The one underneath, in combination with larger and smaller prin­ cipals and {492} octaves. They are: 4. the Schweizerpfeife in old organs; which the pitch is actually formed by the 5. the Vagarr or Vugara, which some build of stream [Anstrich] of wind, is very narrow. (1) the Quints 6', 3', and 1'h'; wood in a rectangular shape, and which The one on top is rather wider, encompass­ (2) the Terzes, mostly 1%'; produces a beautiful effect; ing either the entire width of the pipe or (3) the Sesquialters that consist of2 pipes 6. the FIOte a bec; somewhat less, according to the character of [per note], sounding the Quint and the 7. the Unda maris, which is a narrow-scale the stop. The part of a flue pipe below the Terz; 8' principal standing next to the usual mouth is called the foot. (4) the Mixtures, that consist of several principal at this pitch, but tuned a little A flue pipe whose body above the mouth pipes [per note], which sound the har­ bit sharper; when these two stops are is of proportional width and cylindrical monic triad,I2 either singly or doubled. drawn together, they produce an undulat­ [deren Korper iiber dem MU(ldstiicke, bey The lowest pipe is seldom lower than 2 ing sound; proportionirter Weite, durchaus gleich lang foot. Since the higher pipes that form the 8. the Salicinal or Salicet; ist] , and is 8 feet long, produces C in the bass triad would be much too small to extend octave of the keyboard, in so-called Chorton throughout the entire keyboard, these or they [Le., the cylindrical open flutes ofthe or trumpet pitch. A pipe whose body is 4 feet higher pipes are rearranged into another second type] are wide and short, such as: long produces an octave higher, tenor c; a composition one or more times in each oc­ 1. the Hohlflote 8', 4', and 2'b (Some [organ­ pipe of 2 feet is another octave higher, mid­ tave; this is called "repeating." For exam­ builders] make the Hohlflote wider in the dle c, etc. If a pipe is stopped on top, it ple, ifthe lowest C [ofthe mixture] sounds middle and narrower at the top and bot­ sounds twice as low as an open pipe; thus a the follOWing pitches: c' g' COO e" gOO c''', tom, which produces an excellent tone; stopped pipe four feet long produces an tenor c would sQund something like such an 8' [Hohlflote] can be heard in the eight-foot C. {490} This is the source of the these: g' COO e" gOO c'" e''', etc. The number of organ in the castle church at Altenburg.); nomenclature by which it is customary to ranks by which a Mixture is labeled indi­ 2. the Waldflote 4' and 2'; distinguish how high or low organ stops are. cates how many pipes speak at each note; 3. the Sifflote 2' and 1'; The wider a pipe is, the shorter it must be to for example, "six ranks" when it has 6 4. the Schwiegel in some old organs; produce a given pitch. The narrower it is, on pipes, "four ranks" when it has 4', etc. 5. the Hohlquints 3' and 1'1,', which are the other hand, the longer it must be. This There are several kinds of mixtures, that quints built at Hohlflote scale. proportion of length to width in a pipe at a are distinguished not by their scales, but given pitch is called the scale. Ifa pipe tapers rather by their loudness and harmonic {495} The following belong to the flutes toward the top, or is only half open, then it composition. These are: (a) the Mixture that are tapered: must be somewhat shorter than ifit were en­ proper, (b) the Scharf, (c) the Cimbel, (d) 1. the Gemshorn 8', 4', and 2', which is rather tirely open. the Rauschpfeife, which is, however, tapered toward the top. Some of our an­ The proportion of reeds is different, since commonly the same thing as the Sesquial­ cestors called this stop "Koppelflote." the height or depth ofthe sound does not de­ tera,l3 (e) the Cornett [sic]. The last­ 2. the Nasat 3', which is a quint built at pend so much on the upper portion of the named consists of larger pipes and does Gemshorn scale. pipe as on the shallot. Thus there are reeds not repeat, {493} but commonly extends 3. the Spitzfliite or Spillpfeife (incorrectly whose upper portions are quite short that only over half the keyboard; it is seldom called Spielflote) 8', 4', and 2', whose still produce an 8-foot pitch. The tone of a larger than 5 ranks. Sometimes there is mouth is somewhat wider and whose reed is all the more splendid and impressive, among the pipes of this Cornett a reed body is somewhat narrower at the top however, ifits resonator is rather long. Thus stop and a Gedackt [Bisweilen defindet than the Gemshorn. the resonator of a 16-foot Posaune at low C sich unter den Pfeifen dieses Cornetts ein 4. the Blockfliite 4' and 2', in old organs; this must be at least 12 feet 10ng.IO Rohrwerk und ein Gedackt]. It sounds is a Spitzfliite that is somewhat wider at The various timbres that organ stops pro­ very pleasant to perform a cantus firmus the top. duce are thus a result of the pipes' shape, on it, accompanied by an eight-foot Prin­ 5. the Flachflote 8', 4', and 2'; the Flachflote their different lengths and widths. A wide, cipal and a four-foot Octave. Our ances­ has a narrow but wide [enges aber breitesl short pipe sounds fuller and more pompous tors used to make their mixtures with mouth, and is not tapered as much toward than a long, narrow one. But the different more ranks; but today's preference is to the top as the Gemshorn.

JUNE 1993 59 The following belong to the completely Viola da Gambas in organs. tates the call of the nightingale. For the pre­ stopped flutes: Reeds are either open or stopped. The res­ sent he has named it Don [French "gift"), since he wished to give it to the church in his 1. the Gedackt 8' and 4', of various scales onators ofopen ones are either ofample [vol­ liger) scale (insofar as reeds will permit), or native town as a present. [Weite), and with either weaker and gen­ The French do not put such great stock in tler or fuller and more pompous voicing; they have very short resonators. To the first type belong: a multiplicity ofstops in their organs, as can 2. the Bordun 16' and 8'; this is nothing oth­ be perceived in some measure from the stop­ er than a wide-scale Gedackt. The pedal 1. the Trompete 16', 8', and 4'; lists of Silbermann, who learned his art for 32' Untersatz and the 16' Subbass are the 2. the Hoboe 8'; the most part in France. They are reported, same thing; 3. the Waldhorn 8' or 4'; however, to construct their organs very neat­ 3. the Quintadene 16', 8', and 4' is a Gedackt 4. the Schalmey in old organs, whose res­ ly, and in particular with a very comfortable that speaks its octave quint together with onators are flared on top [oben mehr touch. Short keys, of the sort found in some [its fundamental], due to its low cut-up auswiirts gebogen). of our old organs, contribute somewhat to and to the sheets, called side-beards, that 5. the Fagott, mostly at 16'; this; such keys have, however, been ex­ are fastened to both sides at the mouth; 6. the Posaune 32' and 16' in the pedal; changed-very wrongly-for lon§er ones in 4. the Nachthorn is a Quintad"ne of some­ 7. the Trompete 8' and 4' in the pedal; some [our) more recent instruments'! As far as what wider scale. Other organbuilders call the latter CHiron; can be perceived from the organbooks of build the {496} Nachthorn to a scale simi­ 8. the Zinke in old organs. some French organists, these are their most lar to Hohlflote; common stops (matched here with their Ger­ 5. The Duiflote; this is a Gedackt with two In manual reeds of this type the resonators man names):20 mouths standing opposite each other. Per­ are mostly of tin; in the pedal 32s and 16s, haps the name derives from duo, and however, they are best made of wood. {50l} Montre Principal means the same thing as Duo FlOte. It is, The reeds with short resonators are: Prestant Octave however, not very common. In the organ 15 Doublette Superoctave at Walthershausen there is a stop of 1. the Regal 8' and 4'; some call the latter Quarte de Superoctave this name, which, however, is called Jungfern- or Geigenregal if it is voiced Nazard FlOte Douce in the Sammlung einiger rather gently [lieblich); Nazard Nasat Nachrichten von beriihmten Orgelwerken 2. the Trichterregal, whose resonators re­ Fourniture Mixtur (perhaps due to misunderstanding); semble a funnel; Cymbale Cimbel 6. the stopped Quinte 6' or 3'. 3. the Krumhorn, whose resonators assume Cornet Cornett various shapes; Bourdon Bordun or The stopped flues with some sort of open­ 4. the pedal Cornett 2', which should not be ing in the top consist of: Gedackt confused with the mixture of this name Fll1te a kind of FlOte mentioned above. Its resonators are nar­ Trompette Trompete 1. the Rohrflote 16', 8', 4', and 2'; there is a rower and longer than those ofa Regal; smaller open tube fastened into the cap of Clairon a smaller 5. the Vox humana; some organbuilders Trompete this pipe, thus giving the pipe an opening. make its resonator {499} in one form, some It sounds louder than a Gedackt and soft­ Cromhorne Krumhorn in another. Most of them have the misfor­ Larigot a little Sifflote or er than a principal. tune of sounding exactly the way a human 2. the Bauerflote or Feldpfeife 1'; this is to be Waldflote being must not sing ifhe wants to sing well. Cornets, each of found in the pedal of some older organs. The closest thing to them would be the Cornet separe } Flutes that are completely stopped except which has its voice of many an ill-trained .choirboy. The Cornet d'Echo own keyboard for an opening through a tube are built of type that has somewhat larger resonators pipe metal. IfGedackts are intended to be and a wide bulge [Bauch) in the middle, gentle, they are made of wood. Since we have now described the stops in and is only half open on top, seems to be organs insofar as is possible, perhaps some Concerning flutes in general, it is to be not- the most pleasant, since its rattling is there­ readers would not be averse to reading some­ ed that organbuilders vary greatly in voicing by moderated by a hollow timbre. There is thing about how to use these stops and com­ and in naming them, as well as in how they one of this type at Altenburg; bine them with each other. Since there are 6. the Chalumo, which is a pleasant reed in build the bodies and mouths. There is also 17 countless variations in registration, it is not no uniform spelling ofthe same names. Thus some Silbermann organs. possible to cite them all; furthermore, an or­ some call the Gedackt simply "Flote." {497} The stopped reeds are rather on the wane ganist with a good ear will have no difficul­ What one might call "FlOte a bee," others call in more recent organs. To these belong: ty trying out their effects for himself. Thus "Offene FlOte" or "Flauto amabile." Some some general remarks will suffice to provide call the Spitzflote, for what reason I do not 1. the Dulcian 16' and 8', which has several someone not already experienced in the know, "]ula."16 small holes in the side of its resonator, in practice of organ registration the impetus for It is easy to imagine from the nature ofthe the same manner that some put them into further experimentation. matter itself, that many stops deriving their Krumhorns; {502} When one wishes to play quite loud­ names from different instruments, e.g., the 2. the Knopf- or Apfelregal; its resonator is a ly, one draws the full organ [das volle Werk), Viola da Gamba, etc., bear only the slightest round knob bored through with holes. to which all ofthe principal stops described similarity to these instruments. The fact that Some call it Singregal; above belong. To these one may add the they do not sound exactly like a Viola da 3. the Sordun 16'; Trompetes 16', 8', and 4', if they are in good Gamba or some other instrument, though, 4. the Ranket 16' and 8'; tune. It is indeed also possible to couple to it does not prevent them from having their 5. the Baar- or Biirpfeife 8'. a second manual, on which the full organ is own very pleasant tone as organ stops. For These last 3 have smaller resonators con­ likewise drawn. On this [registration) one example, in the organ of the castle church at cealed within their rather large resonators. may not only play slowly, but may also play Altenburg there is a 16' Querflote. How sim­ rapid pieces [Sachen], if the organ speaks ilar could this stop be to an actual Querflote, These are the most common stops in Ger­ promptly and one's fingers allow it. Full tex­ since it sounds only a very few pitches in man organs. In general, German organ­ tures must predominate, however, in doing common with the instrument? It is a narrow­ builders seek a great deal of variety in their this. French organists do not draw the reeds scale, open flue of the same scale as the ex­ flute stops, the so-called Galanterie stops. It in the full organ, because they [Le., the reeds) ceedingly beautiful 8' Viola da Gamba that is is easy to imagine that not all inventive pos­ sound much too unpleasant [widrig) when to be found in this organ. And when it is sibilities are exhausted, and that {500} op­ one plays full chords in the bass. It is neces­ drawn together with the latter, the rapid runs portunities remain open for a skilled master sary in general to refrain from [playing) all and arpeggios (not slow chords, according to to practice his musings and his powers of in­ such chords on the organ, however, if 16' or the inclination [Vorurtheill of most organ­ vention. For example, Mr. C.E. Friderici18 8' stops are drawn. The flutes are not drawn ists) are played, [this combination] produces from Gera, a master who excels equally in with the full organ. There is an exception to a very beautiful effect, and the pleasant the construction of organs, harpsichords, this: ifthe Principal is only an 8', then a 16' keenness that is found in both these stops and clavichords (the best comfort we have in Gedackt, Bordun, Quintadena, or Rohrfltite comes as close to the attack of a bowstroke the loss of Silbermann), has installed a new can and must be drawn with it. A 16' Bordun on a [stringed) bass as is possible to achieve stop in an organ that he has just recently greatly augments the gravity of a 16' Princi­ with pipes. At the least, this {498} tone ex­ built [1753) at Meerane in Saxony (in associ­ pal. A similar [precept) should be observed ceeds in beauty that of many other so-called ation, as always, with his brother), that imi- if the Principal is only a 4'; in that case, it is

60 THE AMERICAN ORGANIS' necessary to draw an eight-foot flute with it, gether. But if such stops are well construct­ the manual plenum should consist of all the as a foundation stop. ed and purely voiced, then one can refute flue stops, flutes as well as principals, at all A four-foot stop cannot be used without our ancestors any day merely by drawing pitches from 16' to the mixtures, including covering it with an eight-foot, unless one in­ such stops and using them together. I have all mutations; the pedal plenum should fol­ tends to play very rapid florid passages on it heard a Lieblich Gedackt, Vugara, Quin­ low the same principles as the manual, but [man miij3te denn sehr geschwinde Pas­ tadene, and Hohlflijte played together on a with the addition of pedal reeds at 16' (and sagien darauf spielen]. {503} The mixtures certain organ, all at 8' and without any other perhaps at 32' and 8'). Agricola is plainly not absolutely may not be used except in com­ stop, which produced a beautiful and in agreement with several practices that pany with the other principal stops. But if strange effect. Mattheson and Adlung suggest. First, he the latter are present, then [the mixtures] fill [The article concludes with six stoplists.] states that only the principal stops belong to them out excellently, and the discords that the plenum (p. 502), and reinforces this as­ would result from so many chords beating * *** * * ** * sertion later in the paragraph by specifically Although the entire article recommends it­ against each other (since the mixtures con­ excluding the flute stops (for Agricola this self to students of 18th-century German or­ sist entirely of small pipes) are covered by category also includes string stops). This gans and organ music, the information Agri­ [the principals] and, as it were, devoured. practice is in continuity with 17th-century The mixtures should never be used with the cola provides on organ registration is of sources, such as Praetorius26 and Werck­ flutes [Zum Flotenwerke gehoren die Mix­ particular interest. After categorizing and meister. 27 Agricola's instructions are partic­ turen gar nicht]. But an 8' Gedackt may be discussing the stops found in organs, Agri­ ularly noteworthy in that they postdate those drawn with a Sesquialtera and a l-foot Oc­ cola at the top of page 502 begins to discuss quoted above by 30-40 years. It is curious tave21 for rapid arpeggios. the method of combining them. He first that Agricola did not seize the opportunity A Quint or a Terz must always have a treats "das volle Werk," the plenum, and his as final editor of Adlung's Musica mechani­ higher Octave or Superoctave on top of it. 22 instructions for constituting it differ marked­ ca organredi to offer his plenum recipe as an For example, ifthe Quinte is 3-foot, then a 2­ ly from other well-known 18th-century Ger­ alternative; he does not hesitate to contradict foot stop must be drawn together with an 8' man plenum recipes. For the sake of com­ Adlung on other points, such as the value of and 4'. parison, here are analogous passages from reed stops and the worth of the Riickpositiv. It is inadvisable to omit an octave in the Johann Mattheson and Jacob Adlung that of­ One might infer from this that Agricola did middle. For example, an 8- and 2-foot stop fer the most familiar ofthose recipes: not consider the composition of the plenum without a 4-foot would sound far too hollow To the full organ (zum vollen Werke) belong sufficiently controversial to merit a contra­ [leer], especially when playing full chords. the principals, the Sorduns, the Salicionals or dictory comment. On the other hand, Agri­ But if one is playing a single melodic line on Salicets (Weiden-Pfeiffen), the Rausch-Pfeiff­ cola is quite definite in what he says about a manual, for example in a trio; then one may en, the Octaves, the Quints, the Mixtures, the the plenum, and offers no alternatives. indeed unite a 16' and 4'. Thus, for example, Scharfs (small mixtures with three ranks of Second, Agricola allows the use of manu­ pipes), the Quintadenas, the Zimbels, the a 16' Quintadene and 4' Hohl- or Waldflijte Nasat, the Terzians, the Sesquialteras, the Su­ al chorus reeds (Trompetes 16', 8', and 4') in produces, in this instance, a good effect. Even peroctaves, and the Posaunes in the pedal, not the plenum, provided they are in good tune a 16' Bordun with a l' Sifflet has a good effect, in the manual, for the Posaunes are reed pipes (p. 502). This last statement may suggest one if fast, single-line passages are played on which are excluded from the full organ in the reason why Mattheson and Adlung exclude them. In choosing stops, a great deal depends manual. This is done because the Posaune them (note, e.g., Adlung's dislike for reeds in general on whether one is playing {504} a would rattle too much at a high pitch. On the that are constantly out of tune, Musica me­ single line or a full texture on a manual. other hand, it sounds splendid in the pedal be­ chanica organredi, § 104 and 267), but A reed is seldom used alone. One always cause of the depth of its tone, if its shallot is change in taste must also have had some­ draws a flue stop of the same pitch with it to leathered (as it ought to be). thing to do with it. Clearly Agricola's taste (Johann Mattheson, Der volkommene for reed stops did not weaken,28 as did that muffle the reed's rattle. Thus, for example, Capellmeister (1739), p. 467, § 76) an 8' Principal belongs with an 8' Trompete. of some of his German contemporaries. On If it is to resemble the human voice in any Anyone who would like to know what to page 504, Agricola recognizes that the way, a Vox humana must always have with draw for a manual plenum (zum vollen Werke) French practice of playing fugues on the it, if not a principal (as Mr. Silbermann re­ need know only this: the required stops are reeds may help clarify the polyphonic tex­ 23 those that intensify. The Principal, together quires ), at least an 8' Gedackt or Rohrflijte. with all the Oktaves, as well as the Quints and ture, but he does not go so far as to advocate The most suitable stop to combine with it is, Terzes, all serve for this purpose, but the com· the practice for German organists. however, an 8' Hohlflijte, if it is available. pound stops intensify the most, such as the On the other hand, Agricola agrees with But it is possible to use an 8' reed with a 4' Terzian, Sesquialter, Mixtures, Scharp, Cim­ his earlier contemporary Adlung in requir­ flue stop, and vice versa. A reed stop is also bel, etc....Ifone wants an even louder plenum, ing an ample 16' presence in the manual suitable to serve as a foundation for several then one should draw the appropriate stops on plenum. Together with his rejection of play­ higher stops. the second manual and couple the manuals to­ ing on a 4' stop without an 8' foundation, this Ifone voice ofa piece to be performed is to gether. Yet it is also necessary to have stops that points to the ever-increasing appreciation produce gravity. The stopped flutes serve to do predominate, then louder stops must be this, such as the Quintaton 16', or better yet, the for gravity in organ tone, an ideal sought drawn on the manual on which it is played Gedackt 16', Rohrflote 16' or Bordun of the since before the time of Praetorius and fully than on the other manual. same size; also the Gedackt 8', Quintaton 8', achieved only with 18th-century develop­ The pedal must conform itselfto the loud­ Rohrflote 8', Gemshorn 8', etc. (according to ments in winding, chest design, and voicing. ness ofthe manual. what is available) ... Agricola seems to be the unique source for The French play their fugues on an 8' reed, suggestions for single-line registrations, 24 ... What has been said about manual stops together with a lower Bordun [mit einem also holds true for the pedal; its plenum must such as one might employ in performing an tiefern Bordunl and a higher Octave. They also be loud in order to balance the manual. organ trio. He rejects gapped registrations believe that one can perceive the entry of One pays more attention to its gravity, though (such as 8' and 2') for playing fuller textures, {505} the voices more clearly if there are no at times also to its brilliance. The Contrabass but seems to allow them for playing a single mixtures; and in this perhaps they are not far 32', Subbass 16', Gedackt 8', Principal 32' and melody on a given manual. His sugges­ wrong. They call the two principal stops 16', Violon 16', and Oktave 8' all promote grav­ tions-16' + 4', or 16' + 1'-may seem strange drawn with the reed Ie fond de la Trompette, ity. All ofthese may be drawn together ifthe or­ to modern ears; they need to be understood gan has sufficient wind.... Sometimes brighter again in light of the enthusiastic apprecia­ au du Cromhorne (the foundation for the stops are included in the pedal, e.g., Oktave 4' Trompette, or for the Cromhorne). and 2', or even Mixtures. These may also be tion for solid 16' foundation tone prevalent The so-called Tierce en Taille often found used.... The Posaune 32' and 16' together with during (and long after) his day. The distinc­ in French organbooks consists ofthe follow­ the Trompete [8') may also be included, as well tion he draws between playing a full texture ing stops drawn together: Bordun 8', Octave as the other reeds. Often the Posaune 16' is suf­ and playing a single melody ("In choosing 4', Nasat 3', Tertie 1'h',25 and Octave 2', to ficient. In particular, the 16' stops are more stops, a great deal depends in general on which one may also add a 16' Gedackt. On suitable for use in playing rapid passages than whether one is playing a single line or a full the second manual, where the accompany­ the 32'. texture on a manual"-pp. 503-504) is like­ ing voices are performed, one draws a single (Adlung, Musica mechanica organredi (1768), wise unique, and particularly helpful in its 8' Principal or a few flutes, and in the pedal § 231 and 234) application to the music of J.S. Bach. a 16' Principal Subbass and an 8' Octave. Both Mattheson (1739) and Adlung (pub­ Agricola's defense of drawing multiple 8' Our ancestors believed that two stops of lished posthumously in 1768, but written stops on the same manual (p. 505) is in line different scale at the same pitch level would 30-40 years earlier) are in essential agree­ with other mid-18th-century advice and ofnecessity sound bad ifthey were drawn to- mentas to the composition of the plenum: opinion (cf. Adlung, § 232 and 233), and in

JUNE 1993 61 sharp contrast to earlier authors such as them is the organ in the castle church at Al­ sound-creating components of any pipe. Niedt/Mattheson29 and Werckmeister.3o tenburg,35 finished in 1739 by the organ­ 8. Noyau in modern French. This predilection for 8' sound should also be builder Gottfried Heinrich Trost. Agricola 9. Here Agricola seems to revert to the more spe­ understood in terms of the evolving taste for evidently admired this organ, and saw to it cific meaning ofthe term "Mundstiick." more foundation tone in organs, in tandem that its stoplist was printed in a special sup­ 10. Cf. the article on the Posaune in Adlung's Mu­ sica mechanica organredi, Vol. I, pp. 121ff., in par­ with new developments in organbuilding. It plement following the multitude of organ ticular the note on the bottom of p. 122, added by is worthy ofnote, however, that Agricola de­ specifications in Adlung's Musica mechani­ Johann Lorenz Albrecht. fends this practice only for what he calls ca organcedi (Vol. I, pp. 286-87). Consulting 11. Agricola intends this term to encompass mu­ "Galanterie" registrations (softer sounds in­ that stoplist, we find the following 8' stops tation stops as well as mixtures proper. volving combinations of flutes and strings) listed for the Oberwerk division:36 12. It is clear from this statement and the passage and not for the plenum. following it that Agricola takes for granted that Geigenprincipal 8' To what degree do Agricola's suggestions mixtures will include not only octaves and fifths, Lieblichgedackt 8' reflect J.S. Bach's registrational practices? but thirds as well; long before his day this practice Vugara [Le., Fugara] 8' was widespread in Germany (Adlung, writing in That question must be approached with cau­ Quintaton 8' the first half of the 18th century, also takes it for tion. If Bach had used the plenum in works Hohlfliite 8' granted; d. Adlung, Vol. I. § 233, p. 170, and § 244, such as the D-major Fugue (BWV 532) or the p.176). Gigue Fugue (BWV 577), would he invari­ The "certain organ" Agricola is speaking of 13. Yet another indication of the widespread in­ ably have drawn a 16' flue as the foundation is almost surely the instrument in the castle corporation of thirds into mixtures. ofthe plenum? Would he have insisted that church at Altenburg. Records in Altenburg 14. This practice seems to have been introduced any mutation stop be capped by the addition attest that Bach played upon the instrument into Germany by Eugen Casparini in his organ at St. of the next higher octave-speaking stop? On in early September of 1739, shortly after it Peter and Paul in Gorlitz (1697-1703); cf. Adlung, § 272. Apparently as a result of Casparini's influ­ the other hand, Agricola's explicit inclusion was finished, and that he found it highly sat­ ence, instruments by Gottfried Silbermann and his of reeds in the plenum echoes his teacher's isfactory.37 This was during the time when disciples also follow this practice. fondness for these stops. Agricola does not Agricola was studying with Bach. Was the 15. Built by Gottfried Heinrich Trost, 1726-30. base any ofhis assertions in the article on J.S. performer Agricola had in mind perhaps 16. For example, in the organ at the cathedral in Bach's authority. Yet ifwe take into account Bach himself, and was Agricola thinking of Konigsberg, printed below on pp. 513-15 of Agri­ Agricola's contributions to Adlung's Musica that occasion (among others) when he cola's article; also in Praetorius, pp. 200 (Rid­ mechanica organcedi (a publication that helped write Bach's Obituary? Indeed, is dagshausen) and 233 (St. Lambrecht, Liineburg). postdates the article by a decade), it is evi­ Forkel's mention of Bach's "peculiar man­ Elsewhere Agricola censures the practice ofgiving fancy names to ordinary stops; see his note to Ad­ dent that Agricola maintained a strong alle­ ner" ofregistration perhaps a distant echo of lung,p.107. giance to-perhaps one might say "rever­ an experience that Agricola had at Altenburg 17. Gottfried Silbermann (1683-1753). ence for"-J.S. Bach's organ registration in the fall of 1739? 18. 1709-80; a disciple both of Gottfried Silber­ preferences. Agricola mentions his teacher's Ifthe above deductions are accurate, then mann and of Gottfried Heinrich Trost. name six times in his notes to Adlung's Mu­ it appears that J.S. Bach was among the pio­ 19. Agricola amplifies this statement in a note to sica mechanica organcedi; ofthose six, three neers in promoting a registration consisting Adlung's Musica mechanica organredi, Vol. II, cite Bach as an authority in modifying or re­ of multiple 8' stops. Unfortunately Agricola p.23: futing an opinion expressed by Adlung on does not reveal what sort of music he heard ... The French make even their harpsichord 31 keys shorter than the Germans-and rightly organ design and registration. on this registration (perhaps it was an im­ so-and nevertheless no one has yet com­ In Bach's Obituary,32 authored by C.P.E. provisation), Such a registration might be plained about it. Above all, the semitones must Bach and Agricola and published in 1754, suited for pieces such as the settings of"Jesu, be somewhat narrower on top than at the there is passing mention ofBach's skill at or­ meine Freude" and "Vater unser·im Him­ bottom. The late Kapellmeister U.S.] Bach re­ gan registration: melreich" from the Orgelbiichlein. In any quired this, and for the same reasons men­ event, what was considered so strikingly in­ tioned above, he also preferred short keys on He not only understood the art of playing the the organ ... organ, of combining the stops of that instru­ novative in 1758 eventually became the norm; by the 19th century, both organs and 20. Some of these are obviously incorrect. Since ment in the most skillful manner, and of dis­ Agricola does not name his sources, however, it playing each stop according to its character in registration practices took for granted that is not possible to identify the reasons for the the greatest perfection, but he also knew the many 8' stops should Qe drawn and played misunderstandings. construction of organs from one end to the together. 21. The following paragraph explains why a l' 33 other. stop is inc!uded in this combination. Johann Nicolaus Forkel's biography of J.S. Quentin Faulkner is professor oforgan and church 22. Agricola is not entirely consistent in this in­ Bach (Bach's first biography, published in music at the University of Nebraska, Lincoln. He teresting piece of advice. Earlier, on p. 492, he of­ fers a composition of a six-rank mixture in which a 1802, but written on the basis ofinformation has published numerous articles on various as­ pects of church music, and has performed organ third is the highest sounding pitch at tenor c. Fur­ gathered earlier from those within the Bach thermore, on p. 505 below, he .lists the stops that circle) elaborates on the statement found in recitals throughout the U.S. and Europe. His book, rS. Bach's Keyboard Technique: An Historical In­ the French include in the Cornet for a Tierce en the Obituary, commenting on troduction, was published in 1984. taille; the highest stop in his list is a 1%'. 23. This article seems to be the only source that ... the peculiar manner in which he combined This article in its original form appeared in the records this requirement. the different stops of the organ with each oth­ January 1993 issue of Early Keyboard Studies 24. The inclusion of a 16' Bourdon does not con­ er, or his mode of registration. It was so un­ Newsletter, a quarterly publication ofthe Westfield form to fugue registration as described in any common that many organbuilders and organ­ Center for Early Keyboard Studies Inc., One Cot­ known source concerning French organ registra­ ists were frightened when they saw him draw tage St., Easthampton, MA 01027. tion. IfAgricola is referring to an 8' Bourdon, how­ the stops. They believed that such a combina­ ever, many French organbooks call for it together tion of stops could never sound well, but were NOTES with the 8' or 8' and 4' Trompette. much surprised when they afterwards per­ 1. Jacob Adlung, Musica mechanica organredi. 25. Le., 1%'. ceived that the organ sounded best just so, and (Berlin: Birnstiel, 1768), Vol. I, pp. 66 and 187. 26. Syntagma musicum, Vol. II (Wolfenbiittel: had now something peculiar and uncommon, 2. Adlung died in 1762, leaving the book in Elias Holwain, 1619), pp. 101 and 113. which never could be produced by their mode manuscript form. His family turned the project 27. Andreas Werckmeister, Erweiterte und 34 of registration. over to Johann Lorenz Albrecht, who served as the verbesserte Orgel-Probe (Quedlinburg: Calvisius, With regard to these statements, Agricola's book's first editor. After Albrecht submitted it to 1698), p. 72; Musicae mathematicae hodegus cu­ words at the close of the article (p. 505) are the publisher, F.W. Birnstiel in Berlin, Birnstiel riosus .(Frankfurt u. Leipzig: Calvisius, 1686), p. asked Agricola to re-edit it. See Quentin Faulkner's 52f. In these sources Werckmeister discourages the particularly suggestive: "I have heard a "Jacob Adlung's Musica mechanica organredi and use of more than one stop at the same pitch. Lieblich Gedackt, Vugara, Quintadene, and the 'Bach Organ.... Early Keyboard Studies 28. See footnote 1 above. Hohlflote played together on a certain organ, Newsletter, V/2 (May 1990): 1-10. 29. Friedrich Erhard Niedt, Musicalischer Hand­ all at 8' and without any other stop, which 3. On p. 487 below, Agricola seems to suggest that leitung anderer Teil/Von der Variation Des Gener­ produced a beautiful and strange effect." Meyer is not only the publisher, but also the author aI-Basses . .. Zweite Auflage ... mit . .. einem An­ Even given the growing preference for 8' ofthe collection. hang von mehr als 60. Orgel-Wercken, versehen foundation tone inThuringian organs during 4. pp. 161-90 and 197-200. durch r Mattheson (Hamburg: B. Schillers Witwe the first half of the 18th century, there were 5. A title conferred on Mattheson in 1744 by the u. J.C. KiBner, 1721), p. 116. Duke of Holstein. 30. Andreas Werckmeister, op. cit. only a handful of organs at that time that 6. pp. 157-204. 31. Vol. I, pp. 66 and 187; Vol. II, p. 23-24. could have offered the player such a rich 7. The term "Mundstiick" properly refers to the 32. The original German text may be found in: palette of 8' stops. Agricola mentions only a shallot ofa reed. In this context, however, it is clear Hans-Joachim Schulze, Dokumente zum Nach­ few organs in the course ofhis article; one of that Agricola intends it to refer more broadly to the wirken Johann Sebastian Bachs, 1750-1800 (Bach-

62 THE AMERICAN ORGANIST Dokumente. Vol. III. Kassel: Biirenreiter. 1972). pp. 80f. For an English translation. see: Hans T. David and Arthur Mendel, The Bach Reader (New York: W.W. Norton [1966]). pp. 215-24. 33. Schulze. p. 88; David and Mendel. p. 223. 34. David and Mendel. p. 314. 35. Altenburg is on the eastern edge of Thuringia. south of Leipzig. The organ has survived up to the present in its original location; it was restored by the East German firm Eule of Bautzen in 1974-76. 36. Remarkably. the Hauptwerk also boasts five 8' flue stops: Principal, Spitzfliite. Rohrfliite. Viol­ dagamba. and Bordun. 37. Staatsarchiv Weimar. Friedens!. Archiv Gotha K 3 XXVI. 148a BI.121; a report ofthe Rentkammer to the Duke of Altenburg. 1739.

JUNE 1993 63