North Texas State University in Partial

THE CHORALE PARTITA IN THE BAROQUE PERIOD, A LECTURE RECITAL,

TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF

J. S. BACH, C. FRANCK, M. DURUFLE, D. BUXTEHUDE, J. ALAIN, J. G. WALTHER, ROGER-DUCASSE,

H. WILLAN, J. DANDRIEU, J. LANGLAIS, J. GUILLOU, J. P. SWEELINCK,

J. REUBKE, G. BOHM, AND OTHERS

DISSERTATION

Presented to the Graduate Council of the North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

David Zane Anderson, B. M, M, M. Denton, Texas December, 1974 '4 Anderson, David Zane, The Chorale Partita in the Baroque

Period, A Lecture Recital, Together With Three.Recitals of

Selected Works of J. S. Bach, C. Franck, v. Duruf16, D. Buxte-

hude, J. Alain, J. G. Walther, Roger-Ducasset, H. Willan, J. Dandrieu, J. Langlais, J. Guillou, J. P. Sweelinck, J. Reubke,

G. Bohm, and Others. Doctor of Musical Arts (Organ Perfor-

mance), December, 1974, 34 pp., bibliography, 39 titles. The lecture recital was given on August 9, 1974.

Chorale partitas by Sweelinck, Scheidt, B051hm, and Walther

were performed following a lecture on the chorale partita in

the Baroque period. The lecture included a discussion of

the instruments that the partitas were written for and the

functions for which they were written. The works of Sweelinck

and Scheidt and their influence on later composers were dis-

cussed. A number of lesser-known composers and their works

were mentioned. Also, there was a discussion of works by

well-known composers such as Bohm, Pachelbel, Buxtehude, Walther, and Bach.

In addition to the lecture recital, three other public

recitals were performed, all of which consisted of solo compositions for the organ.

The first solo recital, including works of Buxtehude,

Bach, Walther, Pepping, ?ranck, Alain, and Durufle, was

performed on July 18, 1971. On August 13, 1972 the second solo recital was performed.

Compositions by Greene, Stanley, Searle, Willan, Dandrieu,

Roger-Ducasse, and Langlais were included in the program.

The third solo recital, which included works by Sweelinck,

Bach, Guillou, and Reubke, was performed on June 5, 1974. The four programs were recorded on magnetic tape and are filed with the written version of the lecture material as a part of the dissertation. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library,

iv NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC

presents

DAVID Z. ANDERSON

in a Graduate Organ Recital

Sunday, July 18, 1971 3:00 p.m. Main Auditorium

PROGRAM

Passacaglia in D Minor ...... Dietrich Buxtehude

Prelude and Fugue.inO m c, .(S.4S .).)...... Johann Sebastian Bach

Alcuni Variationi (Sopr'un Basso Continuo del Sig. Corelli) ...... Johann Gottfried Walther

Partita: "Ach wie flichtig, ach wie nichtig"...... Ernst Pepping

I NTFR1 M ISSION

Choral in E Major ...... Cesar Franck

Two Profane Preludes ...... Jehan Alain I. "After this night, yet another. And after another, yet another. . . and after .. ." 11. "They toiled a long time, without respite and without hope. Their hands grew calloused and rough. Then, little by little, they became a part of the grand rhythm of life."

Toccata (Suite, op. 5)...... M aurice Durufle

Presented in partialfulfillment of the requirements for the degree Doctor of Musical A rts NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents

*0FK/7 /7\ P

in a

GRADUATE ORGAN RC:VAL

Sunday, August 13, 1972 3:00 p.m. Main Auditorium

Voluntary in C Minor ...... Maurice Greene Voluntary, Op. 7, No. 9 in G Major ...... Charles John Stanley

Toccata alla Passacaglia ...... Humphrey Searle

Introduction, Passacaglia and Fugue, in Eb Minor ...... Healey Willan

INTERMISSION

Suite in G Minor ...... Jean-Frangois Dandrieu Ofertoire Cromorne en Taille Duo sur la Trompete Trio R6cit de Nazard Dialogue

Pastorale ...... Jean-Jules Roger-Ducasse

Hymne d'Actions de graces "Te Deum...... Jean Langlais

Presented in partialfuiillment of the requirementsfor the degree Doctor of Musical A rts NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents

in a GRADUATE OGAN ,CITAL

Wednesday, June 5, 1974 5:00 p.m. Recital Hall

Fantasia "Ut, re, mi, fa, sol, la".....Jan Pieterzoon Sweelinck

Three Chorale Preludes from the Clavierubung, Part Ill...... J. S. Bach Dies sind die heil'gen zehn Gebot (S.678) Christ, unser Herr, zum Jordan kam (S. 684) Wir glauben all an einen Gott (S. 680) Toccata ...... Jean Guillou

INTERMISSION

The Ninety-fourth Psalm (Sonata in C Minor) .. Julius Reubke Grave Larghetto - Allegro con fuoco Adagio Allegro

Presented in partialfulfillment of the requirements for the degree Doctor of Musical Arts NORTH TEXAS STA TE UNIVERSITY

School of Music

presents GRADUATE LECTURE RECITAL

David Z. Anderson, organist

Friday, August 9, 1974 4 p.m. Recital Hall

THE CHORALE PARTITA IN THE BAROQUE PERIOD

"Nun freut euch, lieben Christen gemein". ... Jan P. Sweelinck (1562-1621)

"Christ lag in Todesbanden"...... Samuel Scheidt (1587-1654)

"Ach wie nichtig, ach wie fldchtig"...... Georg B-hm (1661-1733)

"Jesu, meine Freude"...... Johann G. Walther (1684- 1 748)

Presented in partialfulfillm ent of the requirements for the degree Doctor of Musical A rts TABLE OF CONTENTS

Page

Perf ormance Programs

FIRST SOLO RECITAL. It 0909 0 0 ~v

SECOND SOLO RECITAL

...... vii THIRD SOLO RECITAL...... 0.. ..9. 9 9 LECTURE RECITAL . 9 9 . 9 9 9 Viii

aa S . . . . . LIST OF ILLUSTRATIONS. 9 ...... x THE CHORALE PARTITA IN THE BAROQUE PERIOD...... 9 . . . 0 . . 9 . . . .S .

BIBLIOGRAPHY ...... 0 .0 .0 .9 ...... 32 LIST OF ILLUSTRATIONS

Figure Page

1. Sweelinck, "Psalm 140"...... 6

2. Sweelinck, "Psalm 140"...... 9 7

3. Sweelinck, "Nun freut euch, lieben Christen gemein" ...... 9 0 . . 7 4. Sweelinck, "Nun freut euch, lieben Christen gemein"...... 8 5. Sweelinck, "Nun freut euch, lieben Christen gemein"...... * . . . 8

6. Scheidt, "Christ lag in Todesbanden"...... I1

7. Scheidt, "Christ lag in Todesbanden"...... 12

8. Pachelbel, "Christus der ist mein Leben". . . . . 15

9. Pachelbel, "Christus der ist mein Leben". . . , , 16

10. Pachelbel, "Ach, was soll ich Sunder , . . . . . * * .*.I machen?"...... 16

11. Pachelbel, "Alle Menschen mUissen sterben" * . . * 17

12. Buxtehude, "Auf meinen lieben Gott" ...... 18

13. Bohm, "Freu dich sehr, o meine Seele" . . . . * 19

14. BOhm, "Ach wie nichtig, ach wie fluchtig" . . . . 22

15a. Pachelbel, "Christus der ist mein Leben". * . . . 22

15b. Bdhm, "Ach wie nichtig, ach wie flichtig" . . . . 22

16. B'hm, "Ach wie nichtig, ach wie fluchtig" 9 . . * 22 17a. Walther, "Mach's mit mir, Gott, nach Deiner Gut" . * ...... * 24

17b. Buxtehude, "Auf meinen lieben Gott" ...... 24

18. Walther, "Jesu meine Freude"...... 9 , * . 25

x 19. Bach, "0 Gott, du frommer Gott"...... a 27

20a. Bach, "0 Gott, du frommer Gott". . . * . . . . . 28

20b. Bbhm, "Ach wie nichtig, ach wie fluchtig". . . . 28

21a. Bach, "Christ, der du bist der helle Tag". . . . 29

21b. Bdhm, "Ach wie nichtig, ach wie fluchtig". . . . 29

22a. Bach, "Ach, was soll ich Sunder machen?" . . . . 29

22b. Bbhm, "Ach wie nichtig, ach wie fltichtig". * . . 30

xi THE CHORALE PARTITA IN THE BAROQUE PERIOD

The chorale partita is a composition in which a chorale melody is presented in a number of variations. Sometimes the number of variations is the same as the number of stanzas of the chorale, and sometimes the textual meaning of the corres- ponding stanza is expressed in the character of the variation.

The origins and functions of the chorale partita are matters upon which many authorities disagree. Arnold Schering ascribes the origin of the variations on ecclesiastical melodies to the early Lutheran practice of performing successive stanzas of a hymn or chorale in alternation.1 Bukofzer agrees that the chorale partita was used in the church service,2 as does Albert Schweitzer, who describes the alternation practice.

It the organ gave out the liturgical songs and hymns in alternation with the choir. When the organ had completed its verse, the text... was either recited loudly by a chorister, or else sung.3 Among the writers who do not share this belief are

Hermann Keller and Caldwell Titcomb. As is seen in the following quotation, Titcomb is very emphatic in his opinion

1Cited in Robert U. Nelson, The Technique of Variation (Los Angeles, 1948), p. 55. 2Manfred F. Bukofzer, Music in the Baroque Era (New York, 1947), p. 107.

3Albert Schweitzer, J. S. Bach (London, 1911), p. 26. 2 that the chorale partita was not used in the church service. The chorale partita resulted from the substitution of a chorale tune for the secular dance or air that had usually served as the basis for sets of variations, . . .The whole 17th-century chorale-partita genre is a branch of harpsichord literature, not organ literature. There was no room in the German church service for these lengthy variation works. The chorale partita, unlike the chorale prelude, was purely a secular genre, designed for amateur use in the home; it was intended to augment the repertory of lied-variations. Hermann Keller adds that "the chorale partitas of the seventeenth and eighteenth centuries transferred to the chorale the technique and style of the song variations, and, accordingly, were intended more for music-making in the home than for the congregational church service Josef Hedar distinguishes between two 'fundamental types of chorale partitas: "a liturgical one, in which the Cantus firmus is carried out as a Cantus planus, without colouring of the contrapuntal voices, in imitation descant style--and a coloured monodic type derived from the secular sequences and figured middle voices."6

Hedar's belief that the chorale partita had both liturgical and secular functions is probably closer to the truth than the views of the above writers who thought the chorale partita had only a secular or liturgical function.

4 Caldwell Titcomb, "Pachelbel: The Seven Chorale- Partitas," The Musical Quarterly, 46 (1960), 407. 5Hermann Keller, The Organ Works of B~ah, translated by Helen Hewitt (New York', 1967), p. 17.

6 Dietrich Buxtehude, Smtliche Or elwerke, Vol. III, edited by Josef Hedar (K benhavn, N.D.), p. viii. 3

Composers during this period often did not specify which keyboard instrument should be used; therefore, it is often difficult to decide whether the organ or harpsichord would be more appropriate. It is likely that those varif ations suitable for the liturgical service would be played on the organ, while those of a secular nature would be played on the harpsichord. In the early seventeenth century there was a tendency to treat the chorale melody plainly and not submit it to extensive alteration and variations, while in the secular variations, alterations in the melody are freely employed.7 Often during the Baroque period composers would distinguish between secular and sacred variations by using the terms "variatio" and "versus" respectively. Hermann Keller points out that regardless of whether a harpsichord or an organ is used in the performance of the partitas, a small positiv organ would be much more appropriate than a large church organ.8

The first composer of real importance in the development of the chorale partita was the Dutch composer Jan P. Sweelinck, who lived from 1562 to 1621. Sweelinck was influenced to some extent by the Italians and to a great extent by the English.

One principal source for the dissemination of English music into Holland was the association of such music with

7F, E. KirbyA Short History of Keyboard Music (New York, 1966), p.K88. 8 Keller, 2p. cit., p. 176. '4 popular English plays that were performed by various trav- eling companies. Many of the actors in these companies were also musicians, they performed much English music in the various countries they visited.

Some writers have said that Sweelinck and Bull were close friends. This has been questioned by Alan Curtis, who says there is no evidence that Bull and Sweelinck met, although it is probable that they did.9 There are similar- ities in their styles that seem to indicate that they were at least acquainted with each other's work.

During a large part of his life, Sweelinck was organist at the Oude Kerk in Amsterdam. It is probable that a large amount of his music was performed on the organ as well as the harpsichord, although he seldom, if ever, indicated a specific instrument. As with most organists of his time,

Sweelinck was required to play concerts of organ music at specified times he himself performed every morning for the benefit of the promenaders in the church.1 0

Sweelinck wrote at least thirteen sets of chorale variations that may be considered authentic.11 The tunes that he used as the basis of these variations include a

9Alan Curtis, Sweelinck's Keyboard Musk (London, 1969), p. 27.

1 0 Robert L. Tusler, The Organ Music of Jan Pieterazoon Sweelinck (Bilthoven, 19587, p. 72.

11 Jan P. Sweelinck, pera Omnia, Vol. I, edited by Alfons Annegarn (Amsterdam, 1968),7p. xi. 5 popular Christmas song, two melodies from the Gregorian repertoire, two psalm tunes, and eight Lutheran chorales.1 2

The use of the Lutheran chorales is rather surprising in view of the fact that Holland had turned to Calvinism, which permitted only the singing of psalms in the church service. Robert Tusler points out that there has been too much stress laid upon the Calvinists' restriction of music to the Huguenot psalter, for it appears that the Dutch did not entirely accept this restriction.13 It is entirely possible that the chorale variations of Sweelinck were at least used for private ceremonies and for the daily concerts, if not for the Sunday services.

Most of Sweelinck's chorale works have four variations, but there are exceptions. "Erbarm dich mein, 0 Herre Gott" has six variations, "Ach Gott vom Himmel sieh darein" has three, while "Dies sind die heilgen zehn Gebot" has only two. In some of the variations there is an indication at the beginning of each variation telling the number of voice parts in the variation and in which part the chorale is. More often than not, the melody is in the soprano; however, it is also frequently found in the tenor or bass, but only very seldom in the alto. Sometimes the melody is treated in an ornamented fashion, sometimes it is partially ornamented

1 2Willi Apel, The History of Keyboard Music to 1700 (Bloomington, Indiana, 1972), p. 333. 1 3 Tusler, p.. cit., p. 72. 6 but usually it is presented in a straight-forward manner. In the two-part variations the chorale melody is often set against a lively countersubject. Although Sweelinck employs three-part texture most often, it is only in the four-part chorale settings that he found the medium in which he could disclose his real powers and prove his mastery.14 Sweelinck was influenced to a great extent by the figuration technique of the English composers. He frequently adds rapid passing notes and scales to his melodies. An- other figure which Sweelinck frequently uses is similar to the Alberti bass. Figure 1 from Psalm 140 shows this device.

Fig. l--Sweelinck, "Psalm 140," p. 65

Passages like the following one in which chords are broken into tremolo-like figures are very frequent in Sweelinck's music (Figure 2). Another English technique that Sweelinck uses with great regularity is rapid scale passages in thirds and sixths.

14 Apel, 2P. 2il.# p. 334. 7

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Fig. 2--Sweelinck, "Psalm 140," p. 65

"Nun freut euch, lieben Christen gemein" contains a number of devices that Sweelinck is fond of using. The example shown in Figure 3 illustrates the use of stretto between the two parts. (The notes of the theme are marked with an X.)

Fig. 3--Sweelinck, "Nun freut euch, lieben Christen gemein," p. 41.

Another favorite device of Sweelinck is the sudden change from duplet to triplet notation (Figure 4). In variation two of "Nun freut euch" every one of its lines begins with Vorimitation, a contrapuntal device often used in settings of chorale melodies, in which the chorale melody is anticipated by one or more voices sounding the

same melody, usually in diminution (Figure 5). This very 8

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Fig. 4--Sweelinck, "Nun freut euch, lieben Christen gemein," p. 42. important device was employed to a great extent by later composers.

I I I

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Fig. 5--Sweelinck, "Nun freut euch, lieben Christen gemein," p. 41.

There has been some discussion as to the value of Sweelinck's chorale partitas. Robert Nelson considers Sweelinck's chorale partitas mechanical and dull,1 5 while Gustav Leonhardt and Alfons Annegarn say that there can be little doubt that a more true and a more complete picture of Sweelinck's greatness will be formed by such masterpieces as the chorale partitas. 1 6

15Nelson, .Rp., c.t, p. 58. 16 Sweelinck, p. cit., p. xi. 9

In addition to his compositions, Sweelinck exerted a strong influence through his teaching. His influence spread to Germany through his many pupils, especially

Samuel Scheidt. Scheidt's Tabulaturl Nova, published in 1624, contains the most important pieces in variation form written during this period in Germany. It contains pieces based on secular songs and dances, as well as those based on chorale melodies.

Scheidt distinguished between secular and sacred variations by calling the individual variations 'variatio" or "versus" respectively. It is probable that the different verses were used in alternation practice in the church service.17 Scheidt's twenty-five partitas contain from two to twelve variations and the total number of variations is more than one hundred fifty. Generally, Scheidt's methods of composition are similar to those of Sweelinck. Usually, the melody is in the soprano, either in its simple form or in an ornamented form. However, the melody is also frequently found in a lower part, and is usually presented there in a simple unornamented manner.

A look at the five variations from "Christ lag in Todes- banden" will show Scheidt's style. As in the works of Sweelinck, Scheidt begins with the first variation rather

than with a simple statement of the chorale. The first two verses are in four-part writing, which is by far the most

17 Bukofzer, P2. .it. ,p. 107. 10 frequent type used in Scheidt's works.18 The melody in both of the first two verses is unornamented and in long notes.

Each phrase is treated separately with a short interlude between phrases, similar to the points of imitation in the motet.

The third verse is extremely long and is entitled "Bicinium complexus mutui." The term "bicinium" indicates that the piece is written in two parts, "Complexus mutui," which means mutual envelopment, probably refers to the fact that each line of the chorale is presented twice in succession, first in the upper part, then in the lower one.19 The use of Vorimitation is also found in this variation. Scheidt placed a strong emphasis on rhythmic variety,

and he often used different rhythmic patterns for different

phrases of the chorale. The following example from the above- mentioned bicinium shows several of the different rhythmic

devices that Scheidt used.(Figure 6).

In variation four, which is written in three-part

texture, the chorale melody is in the tenor part. After

each phrase of the chorale, there is a short interlude which usually contains Vorimitation. An interesting feature in

this variation is the use of "imitatio violistica," which was a type of violin phrasing which Scheidt transfered to the organ. An example of this is shown in Figure 7.

1 8Apel, O2. cit., p. 362.

19Ibid.,9p. 361. 11

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Fig. 6--Scheidt, "Christ lag in Todesbanden," pp. 110, 111.

In the final verse the chorale melody is in the bass; the three upper parts contain many parallel thirds and sixths and there is some imitation between the upper voices. 12

Fig. 7--Scheidt, "Christ lag in Todesbanden," p. 113

In his chorale variations, Scheidt "sharpened the contrast between the chorale melody and the abstract patterns of the other voices in order to emphasize the structural function of the cantus firmus, and to make it as prominent as possible."2 0 Unlike many early organ composers, Scheidt was very careful about giving detailed instructions concerning registration and the performance of his pieces. These instructions are found in part three of his Tabulatura ,

Scheidt indicated that his pieces could be played on any two-manual organ with pedals and that the melody should be played on a strong combination so that it could be heard clearly. He also gave instructions as to where the melody should be played when it appears in the different voices. Several composers who were contemporaries of Scheidt or else lived shortly thereafter include Michael Praetorius,

Heinrich Scheidemann, Matthias Weckmann, Johann Ahle, and Franz Tunder. Although these composers were not as important as Sweelinck and Scheidt in the development of the chorale partita, they nevertheless made some contributions to the repertoire.

20Bukofzer, 2p. 9110, p. 107. 13

Michael Praetorius, the earliest of these composers, wrote only one chorale partita. Its two variations are based on the chorale "Nun lob mein Seel den Herrn."

Heinrich Scheidemann, like Scheidt, was a pupil of

Sweelinck. He wrote a large number of chorale partitas which contain from two to four variations. His variations are written in the style of Sweelinck and are typical of the North German composers of his time. "The chorale melody is in sharp contrast with the other voices, usually by rhythmic differentiation, with the result that the chorale melody stands out, particularly when the music is played on the proper type of organ, with independent 4 and 2' pedal stops, and with manual tones of brilliant, nasal clarity." 2 1

Matthias Weckmann studied with Scheidemann, and his works are similar in style to those of Sweelinck and Scheidt. Like the two earlier composers, Weckmann uses echo effects and employs the cantus firmus in a variety of settings: long-note cantus firmus, melody chorale, and chorale motet.2 2 His nine chorale partitas, which have from four to seven variations, contain many rapid scale passages, trills, and much chromaticism.

2 1 Farley Hutchins, Dietrich Buxtehude (Patterson, N. J., 1955), p. 15. 22Carl Luther Waldschmidt, Gorg Boehm: Hig Life and Works (Ann Arbor, 1962), p. 154. Among the seven chorale-based works of Franz Tunder are two chorale partitas: "Jesus Christus unser Heiland" and

"Auf meinem lieben Gott." Each of the two works has three variations. In "Jesus Christus unser Heiland" the variations are unconnected, while in "Auf meinem lieben Gott" there are no breaks between variations. G. B. Sharp points out that "Jesus Christus unser Heiland" was probably the only example written for the alternation practice, the other being composed either for the AbeNmusiken or for when "the congregation was to be sent home with organ music."23 The first variation of "Jesus Christus unser Heiland" is interesting because of the use of the double pedal part, the upper notes of which are the chorale melody. Also, there is a change in meter from 4/4 to 6/4 after the second phrase of the chorale. The change in meter occurs again in the third variation, but this time after the third phrase of the chorale. The chorale tune, which is in the tenor part in the second variation and in the bass part in variation three, is presented in all three variations in a simple unornamented manner. The most important organ composers in the period immediately before Bach were Pachelbel, Buxtehude, and Bdihm.

23 G. B. Sharp, "Franz Tunder: 1614-1667," The Musical Times, 108 (1967), p. 997. 15

Johann Pachelbel was a pupil of Heinrich Schwemmer

and Georg Wecker in Niirnberg, and of J. K. Kerll in Vienna.24 He wrote at least seven chorale partitas, four of which were published under the title &Lslkajische Stor- bensgedanken. An examination of the three other partitas reveals a certain amount of technical immaturity and un-

evenness of quality, leading to the conclusion that they are a product of earlier years.25 Pachelbel begins each of the partitas with a simple four-part setting of the chorale. In most of the variations

the melody is in the soprano part in a recognizable form

although it sometimes is found in other voices. Occasionally the chorale is hidden in passages of sixteenth notes as in variation six of "Christus der ist mein Leben" (Figure 8).

Fig. 8--Pachelbel, "Christus der ist mein Leben," p. 8.

Sometimes the chorale is completely disguised in con- tinuous figuration, as in variation four of the same partita (Figure 9).

2 4 David W. Hinshaw, "Cantus Firmus Treatment in the Chorale Prelude Before Bach," A Qerican Organist, 46 (1963), p. 23. 2 5 Warren Frederick Schmidt, fThe Oran Chorales of Johann Gottfried Walther (Ann Arbor, 191) ,0p.76. 16

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Fig. 9--Pachelbel, "Christus der ist mein Leben," p. 6.

Some features of Pa chelbel's partitas are similar to those of earlier composers: the employment of the bicinium style, the shifting of a theme into a lower voice, and the changing of the motif of figuration within a variation.26 An example of the changing of a motif within a variation can be seen in variation five of "Ach, was soll ich Siinder machen?" (Figure 10).

OF.

Fig. 10--Pachelbel, "Ach, was soll ich Sunder machen?" p. 42.

Chromaticism is used rather sparingly in most of the partitas so that when it is used, as in variation seven of "Alle Menschen missen sterben," it is all the more interesting (Figure 11).

26 Apel, p. cit, p. 658. 17

Fig. ll-Pachelbel, "Alle Menschen missen sterben," p. 19.

Dietrich Buxtehude was influenced by the music of Tunder, and as all North German organists, he was also strongly influenced by Sweelinck.27 In his six chorale partitas he primarily used traditional forms such as bignium and triinium settings which contain the chorale melody ac- companied by one or two ornamental voices. Buxtehude's bicinia, in particular, differ from those of Sweelinck,

Scheidt, and Weckmann, not only because the strict cantus plans is replaced by a naturally flowing chorale rhythm, articulated by rests, but also in the vitality of the figural counterpoints, which are free of schematism and formalism.28

The chorale partita based on "Auf meinen lieben Gott" is very unusual in that the dance rhythms of the suite have been applied to the variations. The variations, the beginnings of which are shown in Figure 12, consist of an

Allemande with Double, a Sarabande, a Courante, and a Gigue,

2 7Hutchings, p.gjci., p. 29.

2 8Apel, 92 .it. ,9p. 617. 18

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Fig. 12--Buxtehude, "Auf meinen lieben Gott," pp. 37-39 19

Farley Hutchins concludes that the separation of the world into sacred and secular spheres was not yet decisive and that it was not unusual to hear dance rhythms played on the organ during church services.2 9 According to Willi

Apel, however, "surely we may assume that Buxtehude's chorale suite was not heard on the church organ but on the harpsichord or clavichord for domestic edification.30

After Buxtehude, one of the most important composers of chorale partitas was Georg Bbhm, who wrote nine works in this form. Bohm was a North German composer who was very much influenced by the French style. His use of many of the French ornaments is, in fact, one of the main contributions that he made to keyboard literature. Figure 13 shows a number of the ornaments B*5hm used. Among those which he frequently used are the mordent, trill, appogia- tura, turn, arpeggiated chord, and ort de voix.

Fig. 13--B~hm, "Freu dich sehr, o meine Seele, " p. 106

The individual variations in Bohm's partitas are called either "partita, " "versus, " or "variatio. " Willi Apel

3 0Apel, 2.. p. 617. 20 divides B'Ohm's chorale variations into two categories. The pieces whose variations are called "partita" or "variatio" are in one category while those whose variations are called "versus" are in a second category. Apel's explanation for the division into two categories is given below.

Bahm adds a new type, the chorale partita, to the traditional species of chorale variations. The two types derive from the same idea, but they differ in their methods. In chorale variations the melody is treated in many different ways: as a motet, bicinium, cantus planus, free fantasy, etc; in the chorale partita, on the other hand, it is handled like a secular song, usually employing only various kinds of figuration. The former are dominated by contrapuntal texture; the latter employs counterpoint only to enliven the homophony. In the former the harmonic and structural features of the theme, such as the length of the individual phrases, have no importance, in the latter they are retained strictly. In chorale variations the melody is often freely treated, put in a lower voice, diminished, ornamented or fragmented: in a partita it is always heard in its original form and almost always in the soprano. The former are meant for the church organ: the latter is just as easily executed on a house instrument. 31

Although Apel has tried to put the pieces into two different categories, this is often very difficult since there is bound to be some overlapping. For example, there are exceptions to the statement that "in a partita the melody is always heard in its original form and almost always in the soprano." In variation seven of "'Ach wie nichtig, ach wie flUchtig" the melody shifts among the three voices.

In the first phrase the melody is in the lowest part, in the second phrase the melody is in the alto, while in the rest of the variation the melody is in the soprano.

31Apel, op. cit., p. 632. 21

Carl Waldschmidt classifies the variations by the instrument for which he says they were intended. He calls the pieces that Apel says are chorale partitas "harpsichord variations"; the pieces that Apel calls chorale variations,

Waldschmidt calls "organ variations."3 2 Concerning the harpsichord variations, Waldschmidt says that "the thick chordal texture in the left hand, the large skips, and the general style are so inappropriate to the organ that one can assign them with confidence to the harpsichord."3 Whether or not the pieces are for the organ or harpsichord, or whether or not they are called "partitas,"

"chorale variations," or "harpsichord variations," they nevertheless contain many interesting features,

Sometimes B*hm begins a piece with a simple harmonized setting of the chorale while at other times he begins with the first variation. The texture of Bdhm's chorale har- monizations, as well as much of his other music, varies considerably. In the following two-measure example (Figure 14), the texture varies from three to seven parts. As in Pachelbel's partitas, B8hm's chorale melody is often found in flowing sixteenth-note patterns; the similar way in which both composers use this rhythmic pattern can be seen in Figures 15a and 15b.

32 Waldschmidt, op. cit., p. 157. 33 Ibid., p. 158. 22

AfF

4pp,

Fig, 14-Bhm, "Ach wie nichtig, ach wie fluichtig," p. 74.

Fig. 15a--Pachelbel, "Christus der ist mein Leben," p. 8.

Fig. 15b--$6hm, "Ach wie nichtig, ach wie fliichtig, " p. 74.

The transfer of motives from one register to another, as seen in Figure 16, is frequently found in Bdhm's music.

ZAP fp, N C loz 1 1 %4

At do dv AAPIF

Fig. 16--B6hm, "Ach wie nichtig, ach wie fliuchtig," p. 76.

Bohm also uses arpeggiated style and echo effects. 23

The music of Pachelbel, Buxtehude, and Bdhm greatly influenced other composers, both their contemporaries and later composers, such as Walther and Bach, This influence was spread through direct contact with these composers, and indirectly, through their pupils. Pachelbel, for example, was the teacher of Buttstedt and J. C. Bach, who in turn were the teachers of Walther and J. S. Bach.

During this period a number of lesser-known composers also wrote chorale partitas. These include Nicolaus Hasse, Johann Krieger, Johann Buttstedt, Johann Kortkamp, Adam

Reinken, J. C. Bach, J. M. Bach, and Vincent Liuibeck.

The last composer before Bach whose chorale partitas will be discussed in some detail is Johann Gottfried Walther, Walther, who was almost an exact contemporary of Bach, was a pupil of Buttstedt. His study with Buttstedt, however, was not successful, and, as a result, he decided to study music without the help of teachers.

Walther's thirteen chorale partitas can be divided into

two groups. One group consists of partitas whose variations dalther planned to be played in a series. "Jesu meine Freude" and "Meinen Jesum lass ich nicht" are among the five

partitas in this category. The other group consists of par-

titas, each of which is, more or less, a collection of chorale

preludes on the same tune. "A careful study of the components of these sets shows that each is a chorale by itself, re-

flecting the general spirit of the entire text, rather than 24 an individual stanza2"3I The influence of a number of earlier composers can be seen in Walther's partitas. Walther employs a number of devices used also by Pachelbel, such as meter changes from 4/4 to 3/4, and the presentation of the phrases without pauses. Both composers also usually introduce the melody in a simple, straight-forward manner. The use of dance rhythms in Walther's partitas is reminiscent of Buxtehude. Figure 17 shows a comparison between the last movement of Buxtehude's "Auf meinen lieben Gott" and variation five of "Mach's mit mir, Gott, nach

Deiner Gut" by Walther.

Fig. 17a--Walther, "Mach's mit mir, Gott, nach Deiner Gut," p. 91.

de I

41______

Fig. 17b--Buxtehude, "Auf meinen lieben Gott," p. 39

34Yarren Frederick Schmidt, The Organ Chorales of Johann Gottfried Walther (Ann Arbor, 19617 p. 1 . 25

The ornamemtation of the melody in the style of B'hm can be seen in variation two of "Jesu meine Freude" (Figure 18).

I)I

Fig, 18--Walther, "Jesu meine Freude," p. 143

Walther's chorale partitas are primarily of the melodico-harmonic type which is described below by Robert Nelson. The melodico-harmonic chorale variation is more transparent and graceful than the complex cantus firmus type. The theme melody is confined mainly to the soprano voice, where it generally appears in figured form; the basic theme harmony undergoes little change; and the texture, although often in- volved, is less contrapuntal than that of the cantus-firmus variation.35

In the individual variations of his partitas, Walther uses various chorale settings such as cantus-firmus type, ornamented type, melody chorale, and chorale canon. An

inspection of Walther's works reveals that he did not create any new forms or introduce any new musical techniques but was satisfied to model his style upon that of the composers who came before him.

3 5 Nelson, _2. cit., p. 62. 26

The chorale partitas of J. S. Bach, especially the one based on "Sei gegruiisset, Jesu gutig," represent the culmination of the development of the form. According to

Hermann Keller, "Sei gegrusset, Jesu gutig" is the most important partita in the entire literature for organ.36 In addition to "Sei gegrusset, Jesu gitig," Bach wrote partitas on "Christ, der du bist der helle Tag" and "0 Gott, du frommer Gott." There are two additional partitas which may have been written by Bach. They are "Ach, was soll ich SUnder machen" and "Allein Gott in der Hh sei Ehr." Albert

Schweitzer says it may be left undecided as to whether these partitas are by Bach.3 7 Hermann Keller believes that the partita on "Ach, was soll ich SUnder machen" may pass for a work of Bach as well as the other partitas.3 8

One interesting question regarding the partitas is whether or not Bach was influenced by the text. In "Christ, der du bist der helle Tag," Bach wrote seven variations to correspond to the seven stanzas of the hymn. "0 Gott, du frommer Gott" contains nine variations, while the hymn has

eight stanzas. If the text is not applied to the first setting, which is just the plain harmonized chorale, the

eight stanzas of the text may be placed under the remaining variations. Then it appears that some of the individual

36Keller, p2. cit., p. 182. 37Schweitzer, 2. cit., p. 282.

38 Keller, op. cit., p. 181. 27 variations may be interpretations of individual stanzas of the text. "It seems certain that the eighth partita (variation seven) in its yearning chromaticism is an interpretation of stanza seven (Figure 19), the text of which partially iS: 'Let nothing that may chance, Me from my Savior sever."39

v In bf Afga Af 6 i F, AP L w,& v or Ah .0 V-w 1 A -A 11 v IF V '0120 1 \1 J kz or i-

I w WF Appr

Fig. 19--Bach, "0 Gott, du frommer Gott," p. 89

Although Bach was influenced either directly or indirectly by most European composers, his chorale partitas

seem to have been influenced more by Bdhm's works than by those of any other single composer. Schweitzer goes so far

as to say that when he wrote these works he had not yet of 40 # found himself but was still a pupil of Bohm. Bohm's in-

fluence on Bach is not to be denied, but whether or not

Bach actually studied with Bdhm is a question which may

never be answered. It seems reasonable to believe, however,

that during the three years Bach spent in Luneburg, he had

39 bid., p. 180. 40Schweitzer, p*. cit., p. 282. 28 close contact with Bohm.l A number of examples can be given which show the influence Bohm has on Bach. In the harmonized setting of the chorale "0 Gott, du frommer Gott" the texture varies considerably and is very similar to the texture of Bhm's "Ach wie nichtig, ach wie flichtig." Both examples are shown in Figure 20.

-g-

Fig. 20a--Bach, "0 Gott, du frommer Gott," p. 84

Fig. 20b--Bbhm, "Ach wie nichtig, ach wie fluchtig," p. 74.

Bach's fourth variation of "Christ, der du bist der

helle Tag" is very similar to the third variation of B6hm's "Ach wie nichtig, ach wie fluchtig" (Figure 21).

Another example is the second variation of "Ach, was

soll ich Sunder machen" in which Bach was probably influenced

4 1 Waldschmidt, op. cit., p. 18. 29

_ IIIV

Fig. 21a--Bach, "Christ, der du bist der helle Tag," p. 80.

Fig. 21b--B6hm, "Ach wie nichtig, ach wie Tluchtig, " p. 7Lj. by the second variation of B6hm's "Ach wie nichtig, ach wie f2Lichtig" (Figure 22).

Fig. 22a--Bach, "Ach, was soil ich Sunder machen, " F4. p.

Bach's longest and most mature partita, "Sei gegrsset, Jesu giitig," seems to have been written at a later date than the others. Unlike the other partitas, "Sei gegriisset,

, 44- 11 30

Aft ty. i

ddlL 'PAP r 1- .AO

Fig. 22b--B~hm, "Ach wie nichtig, ach wie fluchtig," p. 74.

Jesu gtig" begins with a four-part chorale setting the style of which Bach did not use before 1713.42 Hermann Keller believes that Bach made a number of revisions in all of the partitas and that "Sei gegrUsset, Jesu gutig" was probably 43 revised for the last time at Weimar. Like BOchm, and also Walther and Pachelbel, Bach employed the melodico-harmonic technique in his partitas, although he also used the cantus-firmus type, examples of which are found in variations seven, nine, and ten of "Sei gegrisset, Jesu gutig." The chorale partitas of Bach stand at the end of the history of the chorale partita in the Baroque period. Its development, from Sweelinck to Bach, was unusual in that it resulted from the combination of the secular song variation and chorale prelude, and thus it was a hybrid type. "In

4 2Keller, . cit., p. 182.

I3biodp . 182. 31

spite of its undeniable inherent interest, the chorale partita had little immediate influence upon the course of variation technique as a whole." Although chorale partitas were written by many Baroque composers, and were performed on both secular and sacred occasions, the form was cultivated very little after the Baroque period, until the twentieth century.

44 Nelson, gp. cit., p. 65. BIBLIOGRAPHY

Books

Apel, Willi, Harvard Dictionary of Music, Cambridge, Harvard University Press, 195.

, The History of Keboard Music to 100, translated~by Hans Tischler, Bloomington, Indiana University Press, 1972.

Arnold, Richard Corliss, Organ Literature: A Comprehensive Survey, Metuchen, N. J., 1973. Bedbrook, Gerald Stares, Keyboard Music from the Middle Aggs to the Beginnings of the Baroque, New York, Da Capo Press, 1973.

Bukofzer, Manfred F., Music in the Baroque Era, New York, W. W. Norton & Co., Inc., 1927.

Curtis, Alan, Sweelinck's Keyboard c, London, Oxford University Press, 1969.

Dart, Thurston, The Interpretation of Music, New York and Evanston, Harper and Row, 1963.

Geer, E. Harold, Organ Registration in Theory and Practice, Glen Rock, J. Fischer and Bro., 1957.

Gillespie, John, Five Centuries of Keyboard Music, Belmont, Wadsworth Publishing Co., Inc., 1965.

Hutchins, Farley, Dietrich Buxtehude, Patterson, N. J., Music Textbook Company, 1955,

Keller, Hermann, The Organ Works o Bach, translated by Helen Hewitt, New York, C. F. Peters Corp., 1967.

Kirby, F. E., A Short History of Keyboard Music, New York, The Free Press, 1966,

Liemohn, Edwin, The Chorale, Philadelphia, Muhlenberg Press, 1953.

Nelson, Robert U., The Technique of Variation, Berkley and Los Angeles, University of California Press, 1948.

32 33

Schweitzer, Albert, J. S. Bach, translated by Ernest Newmann, London, A. & C. Black, Limited, 1911. translated by Clara Spitta, Philipp, Johann Sebastian Bach, Bell and J. A, Fuller Maitland, London, Novello and Co., Limited, 1899. Bach, Taylor, Stainton De B., The Chorale Preludes of J. S. London, New York, Toronto, Oxford University Press, 1942.

Tusler, Robert L., The Organ Music of Jan Pieterzoon Sweelinck, Bilthoven, A. B. Creyghton, 1958.

Bach's Chorale _, The Style of J. S. Preludes, Berkeley and Los Angeles, 1956.

Williams, Peter F., The Eurooean Organ 1450-4850, London, B. T. Batsford, 196 .

Dissertations

Beck, Theodore Albert, "The Organ Chorales of Johann Gottfried Walther: An Analysis of Style," unpublished Ph.D. dissertation, Department of Music, Northwestern Univer- sity, Evanston, Illinois, 1961.

Schmidt, warren frederick, "The Organ Chorales of Johann Gottfried Walther," unpublished Ph.D. dissertation, Department of Music, State University of Iowa, Ames, Iowa, 1961.

Waldschmidt, Carl Luther, "Georg Boehm: His Life and Works," unpublished Ph.D. dissertation, Department of Music, Northwestern University, Evanston, Illinois, 1962.

Winzenburger, Walter Paul, "The Music of Franz Tunder," unpublished Ph.D. dissertation, Eastman School of Music, University of Rochester, Rochester, New York, 1965.

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Dalton, James, "Samuel Scheidt," Musical Opinion, 78 (October, 1954), 43-44.

Dunham, Edward K., "Samuel Scheidt," Organ Institute Quarter- 1y, 6 (Summer, 1956), 9-14.

Hinshaw, David W., "Cantus Firmus Treatment in the Chorale Prelude before Bach," The American Organist, 46 (January, 1963), 10-15, (July, 1967)-, 22-24. Sharp, G. B., "Franz Tunder: 1614-1667," The Musical Times, 108 (November, 1967), 997-999.

Staplin, Carl B., "Stylistic Changes in the Chorale Preludes of J. S. Bach," The American Organist, 50 (September, 1967), 16-18.

Titcomb, Caldwell, "Pachelbel: The Seven Chorale-Partitas," The Musical quarterly, 46 (1960), 405-407.

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Scheidt, Samuel, Ausgewahlte Werke f r Orgel, edited by Hermann Keller, Frankfurt, London, New York, n.d.

, Tabulatura Nova, Hamburg, Ugrino Verlag, 1954. Straube, Karl, editor, Choralvoriele alter Meister, New York, London, Frankfurt, C. F. Peters Corp., 1907.

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Walther, Johann Gottfried, Or elchorale, Paris, London, New York, Barenreiter-Ausgabe, 1968.