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Kittel's Organ Works in Der Angehende

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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
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