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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 By 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 com- positions 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 melo- dies 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 ser- vice,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 litera- ture. There was no room in the German church service for these lengthy variation works. The chorale par- tita, 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 li- turgical 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.
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