DOCSLIB.ORG

Kittel's Organ Works in Der Angehende

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kittel's Organ Works in Der Angehende Kittel’s Organ Works in Der Angehende Praktische Organist: A Musical Shift to the Galant Style Han Mi Kang Schulich School of Music McGill University, Montreal August, 2012 A paper submitted to McGill University in partial fulfillment of the requirements of the degree of D.Mus. Performance Studies © Han Mi Kang, 2012 Table of Contents Abstract / Résumé ........................................................................................................................... 3 Acknowledgements ......................................................................................................................... 5 I. Introduction ................................................................................................................................. 6 II. Der Angehende Praktische Organist by Johann Christian Kittel .............................................. 8 III. Galant Aesthetics among Musicians in the Eighteenth Century ............................................. 13 IV. Galant Gestures in Der Angehende Praktische Organist ....................................................... 17 The Chorale Prelude and the Chorale Accompaniment .................................................... 19 The Chorale Variation....................................................................................................... 26 The Free Works in Der Angehende Praktische Organist and the 16 Grosse Präludien .. 33 V. Performance Practice in Der Angehende Praktische Organist ................................................ 38 Articulation and Ornamentation ....................................................................................... 38 Registration ....................................................................................................................... 40 Tempo in the Chorale Accompaniment ............................................................................ 43 Touch ................................................................................................................................ 45 Pedal Technique ................................................................................................................ 46 VI. Conclusion .............................................................................................................................. 47 Appendix CD Contents ...................................................................................................................... 50 Chorale Melodies and Texts ............................................................................................. 51 Stoplist of the Organ by Rudolf von Beckerath (1961) of l’Église de l’Immaculée-Conception in Montreal Conception .................................................... 53 Registration and Sound ..................................................................................................... 53 Bibliography ................................................................................................................................. 58 2 Abstract Johann Christian Kittel (1732-1809), the last student of J. S. Bach and the successor of Jacob Adlung at the Predigerkirche in Erfurt, published the three-volume treatise Der Angehende Praktische Organist (The Beginning Practical Organist, 1801, 1803, and 1808) for church organists as a pedagogical tool at the beginning of the nineteenth century when church music was moving away from strict contrapuntal writing in favor of the galant style. Kittel’s method book is considered an important source, teaching organists how to improvise both chorale-based works and free works. Although the pedagogical tools used in this treatise are based on his studies with J. S. Bach, Kittel also draws on contemporary musical culture in his examples. The aim of this study is to recognize Kittel’s adaptation of the musical characteristics of the galant style and to examine the evolution of the performance practice in Kittel’s time. It also identifies the importance of Kittel’s contribution to the organ school during the transition period between the late baroque and the early romantic. The essay consists of four parts: an overview of Der Angehende Praktische Organist and its author; a description of the galant aesthetic that was employed not only by Kittel but also his predecessors and contemporaries; a detailed observation of Kittel’s use of galant gestures in his complete pieces as a principal tool in expressing various emotions; and a discussion of performance practice such as articulation, tempo, and registration which sheds light on the informed performance of Kittel’s music. Musical examples have been selected to represent all genres: chorale prelude, chorale accompaniment, chorale variation, and free works. Further, this essay addresses several interesting issues for additional information, including an intriguing insight into Kittel’s original intention for his 16 Grosse Präludien (1809) based on a comparison between these free works and their counterparts in Der Angehende Praktische Organist; the association with the use of the organ and the Passion chorale in Lent; and Johann Christian Heinrich Rinck’s (1770-1846) Praktische Orgelschule (1819-1821) as a link between Kittel and Felix Mendelssohn (1809- 1847). 3 Résumé Dernier étudiant de J. S. Bach et successeur de Jacob Adlung à la Predigerkirche de Erfurt, Johann Christian Kittel (1732-1809) a publié un traité en trois volumes intitulé Der Angehende Praktische Organist (Exercices pour l’organiste débutant, 1801, 1803 et 1808), outil pédagogique destiné aux organistes d’église du début du XIXe siècle alors que la musique d’église délaissait la stricte écriture contrapuntique au profit du style galant. La méthode de Kittel est considérée comme une source importante pour enseigner aux organistes comment improviser sur des œuvres en forme de choral et sur des œuvres aux formes libres. Quoique les outils pédagogiques utilisés dans ce traité soient basés sur ses études auprès de J. S. Bach, Kittel a aussi utilisé la culture musicale contemporaine dans ses exemples. L’objectif de cette étude est de reconnaître l’adaptation par Kittel des caractéristiques musicales du style galant et d’examiner l’évolution des pratique d’interprétation de son temps. Il reconnaît également l’importance de la contribution de Kittel à l’école organistique durant la transition entre la fin du baroque et le début du romantisme. L’essai est divisé en quatre parties : un survol de Der Angehende Praktische Organist et de son auteur; une description de l’esthétique du style galant utilisée non seulement par Kittel mais aussi par ses prédécesseurs et ses contemporains; une observation détaillée du geste galant dans ses œuvres complètes comme principal outil de l’expression des diverses émotions; et une discussion des pratiques d’interprétation telles l’articulation, le tempo et la registration qui jettent de la lumière sur l’interprétation éclairée de la musique de Kittel. Des exemples musicaux ont été choisis pour représenter tous les genres : prélude-choral, accompagnement de choral, variation chorale et œuvres libres. Plus encore, cet essai aborde plusieurs questions intéressantes pour de l’information additionnelle, y inclus un aperçu intrigant au sujet de l’intention originelle de Kittel pour la composition de ses 16 Grosse Präludien (1809) par la comparaison entre ces trois œuvres libres et leur contrepartie dans Des Angehende Praktische Organist; l’association avec l’utilisation de l’orgue et du Choral de la Passion durant le Carême; et le Praktische Orgelschule de Johann Christian Heinrich Rinck (1770-1846) comme lien entre Kittel et Felix Mendelssohn (1809-1847). 4 Acknowledgments I wish to express my heartfelt gratitude to all those who have supported me during my studies at McGill University. For her brilliant guidance and encouragement, I would like to thank Professor Eleanor Stubley, Director of Graduate Studies at the Schulich School of Music, who chaired my committee and graciously advised me on all aspects of my studies over the past years. Thanks also to my research supervisor Professor Peter Schubert, whose incredible direction and critical advice was invaluable in the preparation of this document. I am also grateful to Professor Emeritus John Grew, who inspired me with great confidence as a musician, and to the new head of the Organ Department Professor Hans-Ola Ericsson, whose generous support was a great encouragement to me in my last year of studies. Most especially, grateful recognition must be given to my mentor Professor William Porter of the Schulich School of Music and the Eastman School of Music, under the guidance of whom I have explored new worlds with both great joy and zeal, and whose sincere teaching expanded my musical abilities. Thanks also to Dr. Jonathan Oldengarm and Dr. Jean-Willy Kunz for their help in translating the abstract and the chorale texts into French. I am also indebted to my dear friend Mark McDonald, not only for his scrupulous editing of this essay but also for our sound friendship. I would like also to acknowledge the generous financial support provided by the Kingdom Dreamer Scholarship Foundation of Sa-Rang Community Church in California and God’s Will Soongeui Church Scholarship Foundation in Seoul. Finally, I wish to thank my family for their love and support, and especially to my husband Pastor Ki Sung Song, whose encouragement and love uplifted my soul. Words cannot express how much I am grateful to him. I thank God for putting these good people in my life
Load more

Recommended publications
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ ViolinScaleBooks fromLateNineteenth-Centurytothe Present -FocusingonSevcik,Flesch,Galamian,andSassmannshaus Adocumentsubmittedtothe DivisionofGraduateStudiesandResearchofthe UniversityofCincinnati Inpartialfulfillmentoftherequirementsforthedegreeof DOCTORAL OFMUSICALARTS inViolinPerformance 2006 by HeejungKim B.M.,Seoul NationalUniversity,1995 M.M.,TheUniversityof Cincinnati,1999 Advisor:DavidAdams Readers:KurtSassmannshaus Won-BinYim ABSTRACT Violinists usuallystart practicesessionswithscale books,andtheyknowthe importanceofthem asatechnical grounding.However,performersandstudents generallyhavelittleinformation onhowscale bookshave beendevelopedandwhat detailsaredifferentamongmanyscale books.Anunderstanding ofsuchdifferences, gainedthroughtheidentificationandcomparisonofscale books,canhelp eachviolinist andteacherapproacheachscale bookmoreintelligently.Thisdocumentoffershistorical andpracticalinformationforsome ofthemorewidelyused basicscalestudiesinviolin playing. Pedagogicalmaterialsforviolin,respondingtothetechnicaldemands andmusical trendsoftheinstrument , haveincreasedinnumber.Amongthem,Iwillexamineand comparethe contributionstothescale
    [Show full text]
  • ORGAN ESSENTIALS Manual Technique Sheri Peterson [email protected]
    ORGAN ESSENTIALS Manual Technique Sheri Peterson [email protected] Piano vs. Organ Tone “…..the vibrating string of the piano is loudest immediately after the attack. The tone quickly decays, or softens, until the key is released or until the vibrations are so small that no tone is audible.” For the organ, “the volume of the tone is constant as long as the key is held down; just prior to the release it is no softer than at the beginning.” Thus, the result is that “due to the continuous strength of the organ tone, the timing of the release is just as important as the attack.” (Don Cook: Organ Tutor, 2008, Intro 9 Suppl.) Basic Manual Technique • Hand Posture - Curve the fingers. Keep the hand and wrist relaxed. There is no need to apply excessive pressure to the keys. • Attack and Release - Precise rhythmic attack and release are crucial. The release is just as important as the attack. • Legato – Essential to effective hymn playing. • Independence – Finger and line. Important Listening Skills • Perfect Legato – One finger should keep a key depressed until the moment a new tone begins. Listen for a perfectly smooth connection. • Precise Releases – Listen for the timing of the release. Practice on a “silent” (no stops pulled) manual, listening for the clicks of the attacks and releases. • Independence of Line – When playing lines (voices) together, listen for a single line to sound the same as it does when played alone. (Don Cook: Organ Tutor, 2008, Intro 10 Suppl.) Fingering Technique The goal of fingering is to provide for the most efficient motion as possible.
    [Show full text]
  • The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study*
    Performance Practice Review Volume 5 Article 2 Number 2 Fall The mplicI ations of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study Desmond Hunter Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Hunter, Desmond (1992) "The mpI lications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study," Performance Practice Review: Vol. 5: No. 2, Article 2. DOI: 10.5642/perfpr.199205.02.02 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Renaissance Keyboard Fingering The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study* Desmond Hunter The fingering of virginalist music has been discussed at length by various scholars.1 The topic has not been exhausted however; indeed, the views expressed and the conclusions drawn have all too frequently been based on limited evidence. I would like to offer some observations based on both a knowledge of the sources and the experience gained from applying the source fingerings in performances of the music. I propose to focus on two related aspects: the fingering of linear figuration and the fingering of graced notes. Our knowledge of English keyboard fingering is drawn from the information contained in virginalist sources. Fingerings scattered Revised version of a paper presented at the 25th Annual Conference of the Royal Musical Association in Cambridge University, April 1990.
    [Show full text]
  • Interaktiv June 2006 Page 1 Interaktiv Noch Zusätzlich Einen 90-Minütigen Vortrag Über Das Deutsche Gesundheits- Wesen an Einem Der Anderen Konferenztage, Bei Dem U.A
    Liebe GLD-Mitglieder! von Frieda Ruppaner-Lind, GLD Administrator ie Sie bereits durch mehrere Ankündigungen unserer Verbandsleitung Werfahren haben, wird mit Beginn des Jahres 2006 keine zusätzliche Gebühr für die Mitgliedschaft in den ATA-Divisions mehr erhoben. Jedes ATA-Mitglied kann außerdem einer beliebigen Anzahl von Divisions beitreten. Dies führt zu einer Vereinfachung für die Division Administrators, die sich jetzt nicht mehr mit separaten Budgets abgeben müssen und automa- tisch für jede ATA-Konferenz zwei Sprecher direkt einladen können. Dies hängt auch nicht mehr von der Größe der einzelnen Divisions ab und gibt somit den kleineren Divisions die Möglichkeit, ein besseres Programm zu bieten. Ein anderer positiver Effekt ist die Erhöhung der Mitgliederzahlen in allen Divisions. Im Vergleich zum Vorjahr verfügt die GLD jetzt über ca. 950 Mitglieder, was einer Steigerung von 350 Mitgliedern entspricht. Für die Mitgliedschaft in der GLD-Liste in Yahoo Groups ist nach wie vor die Mitgliedschaft in der Division Voraussetzung. Auch hier ist ein Anstieg der Mitgliederzahl auf 231 Mitglieder zu verzeichnen, was gegenüber dem Vorjahr allerdings geringfügig ist. Trotzdem ist die Liste wie immer sehr aktiv und ich freue mich über die vielen interessanten Beiträge. Bevor der Sommer mit den hierzulande recht heißen Temperaturen heran- naht, waren die GLD-Administratoren wie im letzten Jahr wieder an der Gestaltung des deutschen Programmteils der ATA-Konferenz in New Orleans beteiligt. Wir haben uns auch die Vorschläge notiert, die während der GLD- Jahresversammlung in Seattle von Mitgliedern gemacht wurden; einer der Vorschläge lautete, etwas zum Thema Medizin zu präsentieren. Diesen Wunsch werden wir erfüllen können: Im Rahmen eines dreistündigen interaktiv Seminars am Mittwoch wird Prof.
    [Show full text]
  • Arxiv:1904.10237V2 [Cs.LG] 1 Jan 2020 Mance, Which Is One of the Most Skilled Movements of Humans [9, 26]
    Statistical Learning and Estimation of Piano Fingering∗ Eita Nakamura1;2;y, Yasuyuki Saito3, and Kazuyoshi Yoshii1 1Graduate School of Informatics, Kyoto University, Kyoto 606-8501, Japan 2The Hakubi Center for Advanced Research, Kyoto University, Kyoto 606-8501, Japan 3Department of Information and Computer Engineering, National Institute of Technology, Kisarazu College, Chiba 292-0041, Japan Abstract Automatic estimation of piano fingering is important for understanding the com- putational process of music performance and applicable to performance assistance and education systems. While a natural way to formulate the quality of fingerings is to construct models of the constraints/costs of performance, it is generally difficult to find appropriate parameter values for these models. Here we study an alternative data-driven approach based on statistical modeling in which the appropriateness of a given fingering is described by probabilities. Specifically, we construct two types of hidden Markov models (HMMs) and their higher-order extensions. We also study deep neural network (DNN)-based methods for comparison. Using a newly released dataset of fingering annotations, we conduct systematic evaluations of these models as well as a representative constraint-based method. We find that the methods based on high-order HMMs outperform the other methods in terms of estimation accuracies. We also quantitatively study individual difference of fingering and propose evaluation measures that can be used with multiple ground truth data. We conclude that the HMM-based methods are currently state of the art and generate acceptable finger- ings in most parts and that they have certain limitations such as ignorance of phrase boundaries and interdependence of the two hands.
    [Show full text]
  • Character Studies After Elias Canetti
    Joseph Klein Character Studies after Elias Canetti for various solo instruments ( 1997-2018 ) About this Collection This collection of short works for solo instruments is based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters ), written in 1974 by the Bulgaria-born British-Austrian writer Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. Begun in 1997, the present collection was inspired by Canetti’s vividly surreal depictions of these characters; seventeen works have been completed in this series to date : • Der Hinterbringer (The Tattletale) for solo piccolo (2013) • Der Ohrenzeuge (The Earwitness) for solo bass flute (2001) • Der Wasserhehler (The Water-harborer) for solo ocarina (2000) • Der Tückenfänger (The Wile-catcher) for solo basset horn (2014) • Der Leidverweser (The Woe-administrator) for solo contrabassoon (1998) • Die Müde (The Tired Woman) for solo alto saxophone (2004) • Der Schönheitsmolch (The Beauty-newt) for solo bass saxophone (2008) • Die Königskünderin (The King Proclaimer) for solo trumpet (2006) • Die Sternklare (The Starry Woman) for solo percussion (2006) • Der Fehlredner (The Misspeaker) for solo cimbalom (2018) • Die Silbenreine (The Syllable-pure Woman) for solo glass harmonica (2000) • Der Saus und Braus (The Fun-runner) for solo piano (2017) • Der Gottprotz (The God-swanker) for solo organ (2014) • Der Demutsahne (The Humility-forebear) for solo guitar (2008) • Die Tischtuchtolle (The Tablecloth-lunatic) for solo violin (1997) • Die Schadhafte (The Defective) for solo violoncello (2015) • Der Leichenschleicher (The Corpse-Skulker) for solo contrabass (1997) These works may be programmed individually or in sets of two or more.
    [Show full text]
  • Basic Music Course: Keyboard Course
    B A S I C M U S I C C O U R S E KEYBOARD course B A S I C M U S I C C O U R S E KEYBOARD COURSE Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah © 1993 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America Updated 2004 English approval: 4/03 CONTENTS Introduction to the Basic Music Course .....1 “In Humility, Our Savior”........................28 Hymns to Learn ......................................56 The Keyboard Course..................................2 “Jesus, the Very Thought of Thee”.........29 “How Gentle God’s Commands”............56 Purposes...................................................2 “Jesus, Once of Humble Birth”..............30 “Jesus, the Very Thought of Thee”.........57 Components .............................................2 “Abide with Me!”....................................31 “Jesus, Once of Humble Birth”..............58 Advice to Students ......................................3 Finding and Practicing the White Keys ......32 “God Loved Us, So He Sent His Son”....60 A Note of Encouragement...........................4 Finding Middle C.....................................32 Accidentals ................................................62 Finding and Practicing C and F...............34 Sharps ....................................................63 SECTION 1 ..................................................5 Finding and Practicing A and B...............35 Flats........................................................63 Getting Ready to Play the Piano
    [Show full text]
  • NACH BACH (1750-1850) GERMAN GRADED ORGAN REPERTOIRE by Dr
    NACH BACH (1750-1850) GERMAN GRADED ORGAN REPERTOIRE By Dr. Shelly Moorman-Stahlman [email protected]; copyright Feb. 2007 LEVEL ONE Bach, Carl Phillip Emmanuel Leichte Spielstücke für Klavier This collection is one of most accessible collections for young keyboardists at late elementary or early intermediate level Bach, Wilhelm Friedermann Leichte Spielstücke für Klavier Mozart, Leopold Notenbuch für Nannerl Includes instructional pieces by anonymous composers of the period as well as early pieces by Wolfgang Amadeus Merkel, Gustav Examples and Verses for finger substitution and repeated notes WL Schneider, Johann Christian Friderich Examples including finger substitution included in: WL Türk, Daniel Gottlob (1750-1813) Sixty Pieces for Aspiring Players, Book II Based on Türk’s instructional manual, 120 Handstücke für angehende Klavierspieler, Books I and II, published in 1792 and 1795 Three voice manual pieces (listed in order of difficulty) Bach, C.P.E. Prelude in E Minor TCO, I Kittel, Johann Christian TCO, I Prelude in A Major Vierling, Johann Gottfried OMM V Short Prelude in C Minor Litzau, Johannes Barend Short Prelude in E Minor OMM V Four Short Preludes OMM III 1 Töpfer, Johann Gottlob OB I Komm Gott, Schöpfer, Heiliger Geist (stepwise motion) Kittel, Johann Christian Prelude in A Major OMM IV Fischer, Michael Gotthardt LO III Piu Allegro (dotted rhythms and held voices) Four voice manual pieces Albrechtsberger, Johann Georg Prelude in G Minor OMM, I Gebhardi, Ludwig Ernst Prelude in D Minor OMM, I Korner, Gotthilf Wilhelm LO I
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • Das Goldene Thüringer Orgelzeitalter
    Das goldene Thüringer Orgelzeitalter An historischen Orgeln der Zeit mit Werken von Bach, Kellner, Kitt el und Rinck: Peter Harder und Theophil Heinke Das goldene Thüringer Orgelzeitalter PROGRAMM Johann Sebastian Bach - Johann Peter Kellner - Johann Christoph Kellner Johann Christian Kittel - Christian Heinrich Rinck Theophil Heinke an der Trostorgel in der Stadtkirche „Zur Gotteshilfe“ Waltershausen 1 Johann Sebastian Bach (1685 – 1750) Toccata d-Moll BWV 538a (siehe 15) 4:51 CD zum 250. Geburtstag von Christian Heinrich Rinck 2 Christian Heinrich Rinck Postludium G-Dur (orig. As) aus op. 55 2:45 Anlässlich des Jubiläums eines der bedeutendsten aus Thüringen stammenden Theophil Heinke an der Hesse-Orgel in Wahlwinkel bei Waltershausen Orgelkomponisten soll mit dieser Einspielung eine der musikgeschichtlich interessantesten 3 Christian Heinrich Rinck (1770 – 1846) Präludium D-Dur, op. 29, Nr. 10 2:18 Entwicklungen der Orgelmusik näher beleuchtet und musikalisch an dafür repräsentativen 4 Christian Heinrich Rinck Trio h-Moll, moderato op. 20, Nr. 12 2:40 und authentischen Instrumenten dieser Epochen dargestellt werden. 5 Christian Heinrich Rinck Fughetta D-Dur, op. 84 II, 4 1:50 Die Zeit in Thüringen von Johann Sebastian Bach bis hin zu seinen Schülern und Theophil Heinke an der Knauf-Orgel Schloss Friedenstein, Gotha Enkelschülern ging einher mit einer phänomenalen Orgelbauentwicklung in dieser 6 Christian Heinrich Rinck „GOD save the King“ aus op. 55 17:34 Region. Theophil Heinke an der Trostorgel in der Stadtkirche „Zur Gotteshilfe“ Waltershausen Wurde über J. S. Bach schon ausreichend und ergiebig publiziert, so stehen hier neben 7 Johann Christian Kittel (1732 – 1809) Präludium E-Dur 2:12 seinen Werken auch die einiger seiner musikalisch wichtigsten thüringischen Nachfahren.
    [Show full text]
  • 1. Die Musikerfamilie Bach Kat. 1: "Ursprung Der Musicalisch-Bachischen Familie", Sog. Genealogie, Wahrscheinlich
    Jens Ph. Wilhelm, "Dieß wunderbarste Räthsel aller Zeiten" (R. Wagner): Johann Sebastian Bach 1 Johann Sebastian Bachs Herkunft, Leben, Werk und Nachwirken (Katalogteil) - Auszug aus dem Katalog zu der Mannheimer Ausstellung des Bachhauses Eisenach (25.2.-26.3.2000) - 1. Die Musikerfamilie Bach Kat. 1: "Ursprung der musicalisch-Bachischen Familie", sog. Genealogie, wahrscheinlich von Johann Sebastian Bach Ende 1735 verfaßt, hier in der Abschrift Anna Carolina Philippina Bachs mit Zusätzen Carl Philipp Emanuel Bachs (sog. Quelle A) [Faksimile (Staatsbibliothek zu Berlin. Preußischer Kulturbesitz. Musikabteilung mit Mendelssohn- Archiv, Mus. ms. theor. 1215) - Bachhaus Eisenach; Bachdok. I/184] S.u. Dok. 1 mit einem Auszug hieraus. - Die von Bach verfaßte Genealogie ist in drei Abschriften überliefert. Sie umfaßt über einen Zeitraum von mehr als 150 Jahren biographische Angaben zu 53 Mitgliedern der Familie Bach, fast ausnahmslos Musiker. Zusammen mit dem von Bach verwahrten "Alt-Bachischen Archiv" mit Kompositionen seiner Vorfahren und Verwandten (Kat. 5) ist sie Ausdruck seines ausgeprägten Familiensinns. (Die fragmentarische Quelle C der Genealogie befindet sich übrigens im Bachhaus Eisenach [Inv. 3.1.3.5 = R 11 aF].) Kat. 2: Stammbaum der Familie Bach, nach einer Vorlage - wohl aus dem Besitz Carl Philipp Emanuel Bachs - im 18. Jahrhundert angefertigt [Faksimile (Bibliothèque Royale Bruxelles, Sammlung Johann Jacob Heinrich Westphal) - Bachhaus Eisenach] Die Genealogie (Kat. 1) und der nach ihr angefertigte Stammbaum dienten neben dem sog. Nekrolog (Kat. 63) dem ersten Bachbiographen Johann Nikolaus Forkel als Quellen für seine Schrift "Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke" (Kat. 89). Kat. 2a: Stammbaum der Familie Bach, hrsg. vom Böhnerverein zu Gotha [Faksimile Eisenach 1999 (Bachhaus Eisenach) - Privatbesitz] Kat.
    [Show full text]
  • Electronic Music 1 Unleveled, 901 2.5 Credits
    Electronic Music 1 Unleveled, 901 2.5 credits This course is an introduction to music and music technology. Students will how to read music, develop keyboard skills, and learn the basics of music theory and composition. Students will use the latest music technology including using Finale, Mixcraft , and Auralia software, as well as web-based skill development. No previous musical experience is required to take the class. Course Objectives: Concept List Students will be able to…… 1. Use correct posture and hand position at the keyboard. 2. Identify the fingers by number. 3. Notate music on the staff using bass and treble clefs, grand staff and rhythmic notation 4. Name, find, and play all black and white keys on the keyboard through written work and performance at the keyboard. 5. Tap two-part rhythm patterns. 6. Aurally distinguish simple rhythm patterns. 7. Identify 4/4 and 3/4 time signatures and apply them through written work and performance at the keyboard. 8. Play melodies in middle C position, C position, G position and other white key positions. 9. Perform solo repertoire from Grand Staff notation. 10. Apply additional musical concepts (crescendo, diminuendo, common time, slurs, legato phrase) to performance at the keyboard. 11. Identify steps and skips on the staff and perform them on the keyboard. 12. Identify melodic and harmonic intervals within the octave on the staff and perform them on the keyboard. 13. Identify and notate enharmonic equivalents. 14. Identify Italian tempo marks (allegro, moderato, andante) and apply them to performance on the keyboard 15. Apply additional musical concepts (incomplete measure, tied notes) through written work and performance at the keyboard.
    [Show full text]