Xerox University Microfilms 3 0 0 North Zw B Flood Ann Arbor, Michigan 40106 77-2519 THOMAS, Joseph Edgar, 1934- the KEYBOARD WORKS of JOHANN KRIEGER
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Xerox University Microfilms 3 0 0 North Zw b flood Ann Arbor, Michigan 40106 77-2519 THOMAS, Joseph Edgar, 1934- THE KEYBOARD WORKS OF JOHANN KRIEGER. The Ohio State University, Ph.D., 1976 Music Xerox University Microfilms Ann, Arbor. Michigan 48106 © 1976 JOSEPH EDGAR THOMAS ALL RIGHTS RESERVED THE KEYBOARD WORKS 0? JOHANN KRIEGER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joseph E. Thomas, B.A., M.A. The Ohio State University 1976 Reading Committee: Approved By Dr. Burdette Green Dr. Keith Mixter Dr. Norman Phelps ’ / v / Adviser School of Music ACKNOWLEDGMENTS Appreciation is expressed to Ashland College for granting leave to write the following dissertation, A special note of thanks is directed to those of the Ashland College Department of Music who absorbed responsibilities in my absence, I am indebted to those providing service at several Libraries, especially at the Music Library of The Ohio State University, the Lowell Mason Library of Music at Yale, and the Bayerisehe Staatsbibliothek in Munich, The collection Kassel Archives of German Music has proven to be an invaluable source of scores. To a host of teachers spanning over thirty years of my life, I no doubt owe more than can be repaid. A few of these are Mrs. Maurice Horn with whom all ray study actual ly began, Mr. Winford Cummings who exchanged a lifetime of ideas with rae during three undergraduate years, and Mr. Donald White who furthered my early interest in advanced analytic techniques of counterpoint. For the approaches presented in an environment conducive to learning, I ap preciate the Graduate Faculty of the School of Music. I have been fortunate to be guided throughout the ii dissertation v.’ork by Dr. liorman Phelps, an artist adviser of Music Theory. Special thanks are due Dr, Burdette Green and Dr. Keith Mixter for their reading and correct ing of the draft. The most loving of acknowledgments goes to the head, heart, and hands of Judith Thomas who used to be an exper ienced practitioner of double duty and is now a virtuoso. An award for surviving without a full-time father goes to three sons, Jeffrey, Michael, and Jason, and a very honor able mention is beholden my parents for the moral support they offered from a vantage point in the South. iii VITA April 3, 1934- • . • • Born - Cleveland, Ohio 1936 •.•••••• B.A., Miami University, Oxford, Ohio 1963 •••*•••• M.A., The Eastman School of Music, Rochester, New York 1965 «•••••••Assistant Professor of Music, Ashland College, Ohio 1974 Associate Professor of Music and Chairman of the Department of Music, Ashland College, Ohio FIELDS OF STUDY Major Field: Music Theory Studies in Music Theory • • Professors Barnes, Phelps Studies in Musicology • • * Professors Hoppin, Mixter iv TABLE OF CONTENTS ACKNOWLEDGMENTS ......................................... il 7 IT A ....................................................... iv PREFACE Sources............................................. vii Meanings and Definitions . ix Purpose and Scope. ............ CHAPTER I THE STATE CF KEYBOARD MUSIC IN THE SECOND HALF OF THE SEVENTEENTH CENTURY...................... 1 CHAPTER II BIOGRAPHY...................................... 12 CHAPTER III THE CONTRAPUNTAL PRACTICE OF THE ANKUTHIGE CLAYIER-UBUKG AND RELATED WORKS ........... 15 CHAPTER IV FUGUES Fugue in C, Subject 1 ................................ 21 Fugue in 3, Subject 2 ................. ...••••23 Fugue in 3, Subject 5................................ 33 Fugue in 3, Subject 4. .........,*...39 Fugue in 3 on 4 S u b j e c t s ............................4-7 Fugue in ^ ..........................................56 Fugue in a .......................................... 62 Fugue in G, MS 4982................................ 66 Fugue in (I, MS 4982. ...................... 71 Fugue in 5, MSS 4982, 5056 ......................... 76 Fugue' in 3, MS 5056................................ 81 Fugue in g, Anhang, DT3, x x x .........................85 Them a from the Suite in 5 Movements................ 90 Them a from the Toccata in C with Pe d a l ............. 9& CHAPTER V RICERCARS Ricercar i n e .......................................102 Ricercar in P .................... .122 Ricercar in a ...................... .128 Ricercar in S-flat ............... ...•••• .139 v CHAPTER V— Continued Ricercar in g ....................................... 149 Ricercar in a, Anhang, DTB, xxx, • •••»••• .155 CHAPTER VI P R E L U D E S ..................................... 159 CHAPTER VII TOCCATAS..................................... 172 CHAPTER VIII FANTASIAS................................... 185 CHAPTER IX WORKS BASED ON THE CHORALE .................. 194- CHAPTER X THE CHACONNE AND PASSACAGLIA.................. 205 CHAPTER XI 'CORKS WITH SPECIAL TITLES: THE DUREZZA AND 3ATTAGLIA............................................212 CHAPTER XII THE DANCE SUITES............................ 217 Allem a n d e s............... .213 Correntes. .••••••••...................... 222 Sarabandes . ..................................... 227 Doubles................... 231 Variations •••••»••« ........... •••• .2?4 Gigues ..................... .237 The Extra Dances .242 CHAPTER XIII SUMMARY..................................... 246 BIBLIOGRAPHY..............................................260 FREFACE Lists of keyboard works by Johann Krieger (1651-1755) are found in two main sources. These sources are the Rep ertoire international des sources rousicales^ and Die Kusik p in Geschichte und Gegenwart. Two publications of keyboard music by Krieger date from his time. Cne of these is Sechs Musicalische Partien (Nuremberg: Endter, 1697), a collection of six dances Suites and eight extra dance movements. The other is the Anmuthige Clavier-Ubung (Nuremberg: Endter, 1699), a col lection of seven Fugue's, five Ricercars, nine Preludes, two Toccatas, a Fantasia, and a Chaconne. A practical edition of these two collections edited by Max Seiffert^ is contained in the Denkmaler der Ton- kunst in Bayern, herein abbreviated DTB. Other keyboard works by Krieger included in this volume of the DTB are ^Repertoire international des sources musicales, ed. Karlheinz Schlager (KasVel: Sarenreiter, T975) , 5: i49. The applicable indexing of works by Krieger for this dis sertation is K 2451 and K 2452. p Die Musik in Geschichte und Gegenwart. s.v. ’’Krieger, Johann“PhiI"ipp und Famiiie," by Harold Samuel. x •'Max Seiffert, ed.. Denkmaler der Tonkunst in Bayern. Zweite Folge, 36 vols. (Leipzig: Breitkopf & HSr^el, 1900- 1931), 30 (1917):1-71. vii a four-movement Suite— Prelude, Fugue, Fugue, Passa- caglia— as well as a three-movement Suite--Durezza, Pre lude, Thema— nnd a Fugue, a Fantasia, a Battaglia (?), three works based on Chorales, and a Fantasia and Fugue. Two manuscripts interspersed with keyboard scores of Krieger are to be found in the Lowell Mason Library of Mu sic at Yale University. Of these two, manuscript LM 4982^ includes three Fugues by Krieger. Manuscript LM 5056^ is the source for three of his Toccatas, s Prelude, two Fugues, and a Fantasia. Another retrievable manuscript, 5426,^ on file in Germany at the Ba.yerische Staatsbiblio- thek contains one Fugue. Modern editions of keyboard works by Krieger are available in several compilations. For these, consult 7 August Hitter; an anthology entitled Eighteenth-Century Q Imitative Counterpoint. Music for Analysis; and Archibald h. Lev/ Haven, Conn., Yale University, The Lowell Mason Library of Music, LM 4982. ■^liev; Haven, Conn., Yale University, The Lowell Mason Library