Third Mixtures in the Time of JS Bach: Implications for Organ Performa

Home , Joachim Wagner, Mixture (organ stop), Voicing (pipe organ), Zacharias Hildebrandt

Major-‐Third Mixtures in the Time of J.S. Bach:

Implications for Organ Performance and Registration

Thomas T. Pousont Schulich School of Music McGill University, Montreal November, 2014

A paper submitted to McGill University in partial fulfillment of the requirements of

the degree of D.Mus. Performance Studies

Abstract (Résumé) 4

Acknowledgements 6

Chapter I: Introduction and Overview 8

A. Introduction and Description of the Research Problem 10

B. Terminology 13

C. Mixtures in the time of Bach 14

D. The Organs 18

Chapter II: E. The Temperament, Mixtures of Key, the Texture, Five Organs and Mode 27

A. Temperament 31

B. Key 34

C. Texture 36

Chapter D. III: Application Mode of the Research to Performance 46

A. The Recital Organ: 1961 von Beckerath 50

Chapter B. IV: The Conclusion Recital Program 64

Appendix A: Additional Recorded Examples 68

Appendix B: List of Recorded Pieces and Texts 70

Appendix C: Specifications of the von Beckerath, 1961 72

Appendix D: Specifications of the Historic Organs 73

Appendix E: List of Web Addresses for the Recorded Examples 78

Works Cited 80 3 List of Figures and Tables

Figure 1: Pitch Clarified 10 Figure 2: A 5-‐rank Mixture 11 Figure 3: The Harmonic Series 12 Figure 4: Map of Middle Germany 15 Table I: The Five Historic Organs 17 Table II: The Mixtures of the Historic Organs 19 Table III: Temperaments 30 Figure 5: Autograph Manuscript of BWV 601 33 Figure 6: Toccata in C, BWV 564/1, 1st page 35 Figure 7: The pitches added by a major-‐third rank 37 Figure 8: Nun komm der Heiden Heiland, BWV 661 38 Figure 9: BWV 661 Final Phrase 39 Figure 10: Du, O schönes Weltgebäude, BWV 56/5 40 Figure 11: Christus, der ist mein Leben, BWV 95/1a 41 Figure 12: Durch Adams Fall ist ganz verderbt, BWV 637 43 Figure 13: The von Beckerath and Trost Consoles 48 Figure 14: Autograph Manuscript of BWV 642 58 4 Abstract

Major-‐Third Mixtures in the Time of J.S. Bach: Implications for Organ Performance and Registration. Thesis in English by Thomas T. Pousont, © 2014. 80 pages, including scores, recordings and illustrations.

Key-‐words: Johann Sebastian Bach, Gottfried Silbermann, Tobias Heinrich Gottfried Trost, Joachim Wagner, Zacharias Hildebrandt, organ registration, interpretation, th major-‐third mixture, organ, 18 century, Thuringia, Saxony, Middle Germany, historically-‐informed performance practice, organology.

This paper presents the mixtures of organs known to Johann Sebastian Bach and the implications that these various mixtures have for organ performance and registration. Five rgans o built by four of the most important organ builders of early eighteenth-‐century Middle Germany (Tobias Heinrich Gottfried Trost, Gottfried Silbermann, Zacharias Hildebrandt, and Joachim Wagner) are discussed in the context of their mixtures, and whether or not they contain a major-‐third-‐sounding rank. The presence of a major-‐third-‐sounding rank in an organ creates a unique sound, and one that was familiar to J.S. Bach. As such, this unique sound is considered in the context of the organ works of Bach. This paper is divided into four chapters. The first includes an Introduction and Overview of the research problem and the mixtures of five historic organs that were the subjects of the research. Chapter II discusses important issues to consider in the context of the major-‐third mixture: temperament of the instrument; and the texture, key, and mode of the composition being performed. Chapter III applies the research to performance practice. A detailed discussion of a recent performance on a twentieth-‐century North American organ is presented in the context of the major-‐third mixture. The topics of the second chapter are applied in the third, and further reflections of the practical application of the research are given. Conclusions on how the major-‐third mixture impacts the performer and its relevance to performance practice are summarized in Chapter IV: Conclusion. 5 Résumé

Mixtures de tierces majeures au temps de J.S. Bach: les implications sur l’interprétation à l’orgue et la registration. Thèse en anglais rédigée par Thomas T. Pousont, © 2014. 80 pages, incluant partitions, enregistrements et illustrations.

Mots clés: Johann Sebastian Bach, Gottfried Silbermann, Tobias Heinrich Gottfried Trost, Joachim Wagner, Zacharias Hildebrandt, registration d’orgue, interprétation, e mixture de tierce majeure, orgue, 18 siècle, Thuringe, Saxe, Allemagne centrale, interprétation historiquement documentée, organologie.

Cet ouvrage traite des mixtures d’orgues connues de J.S. Bach et de leur impact sur l’interprétation et la registration. Cinq orgues construits par quatre des plus importants facteurs d’orgues de l’Allemagne centrale du début du dix-‐huitième siècle (Tobias Heinrich Gottfried Trost, Gottfried Silbermann, Zacharias Hildebrandt, et Joachim Wagner) sont discutés dans le contexte de leurs mixtures et de la présence ou non d’un rang de tierces majeures. La présence d’un tel rang dans un orgue produit un son unique, connu de J.S. Bach. Ainsi, ce son unique est analysé en relation avec les œuvres pour orgue de Bach. Cet ouvrage est divisé en quatre chapitres. Le premier chapitre inclut une introduction et un survol de la problématique et des mixtures des cinq orgues historiques constituant le cœur de la présente recherche. Le deuxième chapitre traite de questions fondamentales liées aux mixtures de tierces majeures : le tempérament de l’instrument, ainsi que la texture, la tonalité et le mode de l’œuvre interprétée. Le troisième chapitre discute de l’impact de cette recherche sur l’interprétation, appliquant les sujets discutés dans le deuxième chapitre et incluant une discussion détaillée d’une performance récente sur un orgue nord américain du vingtième siècle, suivi d’une réflexion sur l’aspect pratique de la présente recherche. Finalement, l’impact de ces mixtures de tierces majeures sur l’organiste et leur pertinence quant à l’interprétation historique de l’instrument est résumé dans le quatrième chapitre. 6 Acknowledgements

A project of this nature can only be realized with a great deal of support. I would like to begin by acknowledging the many great people at McGill University that have supported me through this process. In particular, I would like to thank:

-‐The staff, librarians, and fellow students who are too numerous to list

individually.

-‐Professor Emeritus John Grew and Professor William Porter for their support and

guidance in the early stages of my graduate studies at McGill.

-‐Professor Wieslaw Woszczyk for his generosity with his time and valuable

instruction for the recording aspect of my research.

-‐The members of my Doctoral Committee:

~Professors Hank Knox, William Porter and Nicole Biamonte for their

valuable feedback and encouragement.

~Dr. Eleanor Stubley, Chair of Graduate Studies, for her tireless commitment

to the Schulich School of Music and all of its graduate students, and

specifically for her guidance and inspiration throughout this project.

~My thesis advisor, Professor Hans-‐Ola Ericsson, for his generosity over

many hours of discussions and assistance in arranging my field research.

Perhaps most importantly for his tireless support and contributions to the

field of organ performance, which are an inspiration.

-‐The Deutsche Akademischer Austausch Dienst (DAAD) and the Schulich School

of Music for the financial support of this research project. 7

-‐Professor Emeritus Quentin Faulkner (University of Nebraska-‐Lincoln) for

generously sharing his translations, time and enthusiasm for the Middle th German organs of the 18 century.

-‐The two McGill graduate students who assisted me with the Lecture-‐Recital:

Mike Ardagh for sound system, technical matters and editing sound files;

Adrian Foster for his assistance as registrant for the recital.

-‐Dr. Nikolas Fehr, Dr. Deborah Katz, Dr. Grant Moss, and Professor Lena Weman

Ericsson for advice, proofing and support.

-‐ Dorian Pousont for his support, constant encouragement, istance. and ass

8 Chapter I: Introduction and Overview

A. Introduction

When it comes to the organ, one can make the claim that no other composer’s oeuvre is as significant to the instrument as is that of Johann Sebastian Bach. The idea of finding the ideal “Bach Organ” is an old one, and has led to many important organ projects and restorations in Germany and elsewhere. It is hard to find a stone that has been left unturned in this area. However, one important aspect of the organs that Bach knew has had little attention: many of these organs possessed mixtures that contained a rank that sounded the major third. This significant fact has not been adequately addressed in the published literature. This paucity of information was the genesis of this research project.

As the presence of a major third within a mixture is a unique sound, and as this is a sound that Bach knew and worked with, it needs to be studied and understood. This project focused on five historic organs from Bach’s homeland, built 1 by four of the most significant organ builders of Bach’s mature period: Tobias

Heinrich Gottfried Trost (c.1680-‐1759); Gottfried Silbermann (1683-‐1753);

Zacharias Hildebrandt (1688-‐1757); and Joachim Wagner (1690-‐1749). These four builders differed in this important aspect of mixture construction: Silbermann and

Hildebrandt built their mixtures without major-‐third-‐sounding ranks while Wagner 2 and Trost included a major-‐third-‐sounding rank in their mixtures.

1 The organs selected for the project were built between 1714 and 1746. 2 These five organs differ in many ways other than in the construction of their mixtures, but a full discussion of the individual nature of these instruments falls outside the scope of this paper. 9

In order to study these mixtures, visits were made to organs built by these organ builders and the same program was recorded on each instrument. The program consisted of a selection of Bach’s organ music in a variety of keys and textures. These recordings would allow for comparison of the two differing styles of mixture construction and would offer insight into what the impact and purpose of the major-‐third mixture was. Like any stop on an organ, the major-‐third mixture must have its strengths and its weaknesses and this project sought to reveal these.

Specifically, as the major-‐third mixture is rarely included in modern organs, this project aimed to both raise awareness about the major-‐third mixture and to present initial conclusions about its use and potential application in registration and performance.

The unique sound of these mixtures will be discussed first within the context of J.S. Bach’s organ music. Recorded examples of the historic organs are available to 3 the reader via the Internet, and offer the opportunity to hear what is being discussed. In Chapter III, the results of this research project on the major-‐third mixture will be discussed within the context of registering a recital on twentieth-‐ century North American instrument in order to demonstrate the application of research and its relevance to the modern-‐day performer.

3 Throughout the body of the paper, numerous Recorded Examples appear. These underscored entries function as links to the recordings made during this research project. All recordings were made with the same recording equipment and proportionally equivalent microphone placement (specific details regarding the recording process can be obtained by contacting the author). 10 B. Terminology Pitch: Figure 1

To clarify how pitch will be designated in this paper, see .

Bottom C of the organ will be written as capital C, tenor c as lowercase c, middle c’, etc. When relating to the organ, one also refers to pitch by the speaking length of the pipe. On the lowest note of the organ keyboard, an 8’ pipe speaks C, a 4’ speaks c, and a pipe half the length of another pipe will sound an octave higher.

= Capital C, the pitch of the lowest note of an 8’ principal.

= Lowercase c, the pitch of the lowest note of a 4’ principal.

Figure 1: Pitch Clarified. = c’, the pitch of the lowest note of a 2’ principal.

Mixture:

When an organist pulls on the mixture stop not one but several pipes will sound per key depressed by the player. The number of pipes ranges from 4 2-‐8 or even higher. While multiple pipes are speaking per key, often none of these pipes plays the actual pitch of the key Figure depressed. 2 Rather, the pipes sound pitches higher than the note played, typically octaves and fifths. is an example of a typical 5-‐rank mixture. A rank is a set of pipes, so a 5-‐rank mixture will have five complete sets of pipes, with five pipes speaking per key. When the key C (the bottom

4 As an extreme example, the organ in Santanyi, Mallorca, built in 1762 by Jordi Bosch, has a mixture of 28 ranks. 11 key of the organ keyboard) is played, these five pipes speak at these higher pitches: c’, g’, c’’, g’’ and c’’’.

Figure 2: Graphic representation of a typical 5-‐rank mixture. The figure above represents what is heard when white a mixture sounds. The note head in the bass staff, C, represents the key played. The black note heads on the treble staff represent the pitches that sound when the key C composition is played. (The of this mixture would be: 2’, 1 1/3’, 1’, 2/3’, and 1/2’).

Plenum:

As the mixture does not sound the actual note played, it is rarely if ever played alone. Instead it serves to complement stops that are already drawn which are sounding the fundamental pitch. This combination of stops, including stops at the plenum fundamental pitch, at the octaves above, and the mixture, form what is referred to as a . Plenum, essentially, means some form of the full organ (i.e., a combination of many or most of the loudest stops on the organ). A typical plenum would consist of these stops: Principal 8’, Octave 4’, Octave 2’, and Mixture.

Harmonic series:

A discussion of mixtures benefits from an understanding of the harmonic series. What the human ear perceives as a single tone is in fact made up of a fundamental (the pitch as perceived or written in musical notation) and then a number of sympathetic overtones or harmonics that sound higher pitches (these are also referred to as partials). Theoretically, these overtones are 12

5 pure, or Figure perfectly 3 in Figure tune 2 with the fundamental. The Figure first 3 sixteen partials are shown below in . Comparing (p.11) with reveals how the mixture sounds (and thereby reinforces) certain pitches of the harmonic series.

Partial:Figure 1 3: The 2 3 harmonic 4 series on C. The pitches 5 shown 6 7 8 9 10 11 12 above 13 14 15 the fundamental, 16 C, represent the purely-‐tuned overtones.

Timbre:

Timbre is the tone quality of a sound, or how the human ear distinguishes the sound of an instrument such as the clarinet from that of a trumpet playing the same pitch:

the character of a sound, as distinct from its pitch; hence, the quality of sound that distinguishes one instrument from another. It is largely, though not exclusively, a function of the relative strengths 6 of the harmonics (and sometimes nonharmonic frequencies) present in the sound.

The timbre of different stops on the organ varies based on the relative strengths of the harmonics or overtones created by that particular style (or shape) of pipe or 7 combination of pipes. 5 The qualities of the instrument producing the tone can produce overtones that are not purely in tune as well as inharmonic frequencies. 6 Don Michael Randel, ed., The Harvard Dictionary of Music, (Cambridge: The Belknap Press, 2003), 899. 7 There is a wide range of pipe styles, from cylindrical to conical, open at the top or capped. All of these features affect what overtones are produced by the pipe. 13 C. Mixtures in the time of Bach

Again, a mixture is commonly thought of as an assortment of pipes sounding high-‐pitched octaves and fifths. In Middle Germany during Bach’s lifetime, however, there was a more varied definition. Bach’s student Johann Friedrich Agricola defined the mixtures in this way:

The Mixtures, that consist of several pipes [per note], which sound the harmonic triad, either singly or doubled... 8 For example ... the lowest C [of the mixture] sounds the following pitches: c' g' c'' e'' g'' c’’’.

9 Agricola states clearly that the mixture contains a rank that sounds the major third

(in his example, e’’). The inclusion of third-‐sounding ranks within the mixture stop 10 was also mentioned by Friederich Erhardt Niedt, Johann Friedrich Walther and 11 Jacob Adlung, all writing between 1706-‐1758 in Middle Germany.

The question is: why add thirds to a mixture? As will be demonstrated later, the addition of thirds to the mixture makes a significant change to the sound of an organ’s plenum. This difference has been largely overlooked mainly because not all

Middle German organ builders chose to make mixtures with thirds. Specifically, the eighteenth-‐century, Middle German organ builder who has received the most 12 attention, Gottfried Silbermann, did not include thirds in his mixtures. The unique

J.F. Agricola, "A Collection of Some Reports about Famous Organs in Germany." Trans. Quentin 8 Fa ulkner. The American Organist 27, No. 6 (June 1993): 59. 9 By “harmonic triad” Agricola is referring to the major triad (the major third is the harmonic mean of the perfect fifth). The original German texts of Niedt and Walther, along with English translations, are in Quentin 10Faulkner, The Registration of Bach's Organ Works (North Carolina: Wayne Leupold Editions, 2008), 16, 39. Jacob Adlung, Musica Mechanica Organoedi (1768), trans. Quentin Faulkner, (Lincoln, Nebraska: Zea 11E-books, 2011), 133 12 This focus on the organs of the Silbermann family as ideal for Bach dates back at least as far as Albert Schweitzer. See Albert. Schweitzer, J.S. Bach, transl. Ernest Newman, (London: Breitkopf and Härtel, 1911). 14

st sound of the major-‐third mixture is something to which we in the 21 century are unaccustomed. This paper will detail some ways to consider the application of major-‐third mixture in registration, and offer some insight into the possible desirability of this unique sound. In the next section, relevant data from a selection of historic organs from Bach’s time and region will be presented along with a discussion of how issues such as temperament, key and texture affect or are affected by the presence of major-‐third-‐sounding ranks in a mixture. Recorded examples of the historic organs are included to demonstrate these points and to allow the reader to make his own comparisons and observations. Chapter III is a detailed discussion of the solo recital that was presented as part of this thesis, and will comment on the

registration decisions that were made to reflect the results of the research project.

D. The Organs

The organs studied in this research project were selected based on their relevance to J.S. Bach. These are representative instruments of four of the most significant Middle German organ builders of Bach’s time. Extensive visits were made to these five organs: the 1714 organ in the Freiberg Dom and the 1735 organ in

Freiberg Petrikirche by Gottfried Silbermann; the 1725 organ by Joachim Wagner in the Brandenburg Dom; the c. 1730 organ in the Stadtkirche in Waltershausen by

Tobias Heinrich Gottfried Trost; and the 1746 organ in the Wenzelskirche in

Figure Naumburg 4 by Zacharias Hildebrandt. These locations can be seen in red type

. 15

Germany(

Brandenburg'an'der'Havel' Berlin' 1725'Wagner' .( .(Potsdam' 1747'Wagner'

Köthen(.( .( Thüringen(( Leipzig( .(Mühlhausen( Sachsen( .(Naumburg' 1746'Hildebrandt' Dresden'.( .( .(Altenburg'' Weimar( 1731F1741'Silbermann' .( .( 1739'Trost' Waltershausen' Arnstadt( Freiberg'.( c.'1730'Trost' 1714'Silbermann'' 1735'Silbermann'

Figure 4: Johann Sebastian Bach’s homeland.13 The map above shows the cities relevant to the research topic: cities in black type are cities in which Bach 14 lived and worked; cities in red type show the location of the five historic organs that are the basis of research project; cities shown in blue type are home to organs by these same builders, on which Bach is known to have performed.

13 J.S. Bach spent most of his life in Middle Germany, in the regions of what today are the German states of Thuringia/Thüringen and Saxony/Sachsen, which can be seen on the map above. The cities where he lived his adult life appear in black type on the map. Bach’s first position was in Weimar, in Thüringen. His second was as the organist at the New Church (St. Blasius) in Arnstadt. From Arnstadt, he took the position of organist in Mühlhausen before returning to Weimar as court organist. After Weimar, he took the position of Kappellmeister in Köthen, before taking the position of Kantor at the Thomaskirche in Leipzig. Biographical information on Bach taken from Hans T. David and Arthur Mendel, eds., The New Bach 14 Reader: a life of Johann Sebastian Bach in letters and documents, revised and enlarged by Christoph Wolff, (New York: W.W. Norton & Co., 1998). 16 Figure 4 As can be clearly seen in , the organs of this research project are not found in the same cities where Bach lived. However, he did know and perform on instruments by these same builders: giving various recitals in Dresden on organs of

Gottfried Silbermann between 1731-‐1741; inaugurating the Trost in Altenburg

Castle in 1739; examining the Naumburg instrument of Hildebrandt with co-‐ examiner Gottfried Silbermann in 1746; and finally, giving at least one recital on an organ by Joachim Wagner when visiting his son, C.P.E. Bach, in Berlin and Potsdam in 1747 (these locations appear in blue on the map, except Naumburg which is in red).

Therefore, the five organs that form the basis of this research project are relevant to J.S. Bach as they are representative four organs of important builders whose instruments Bach performed on. They cover the period from 1714-‐1746, and therefore represent the organ sound world of the mature Bach. These five particular instruments were chosen based on their size (a large two-‐manual or three-‐manual instrument), Table I quality of the restoration, and availability for research in the autumn of 15 2013. is comprised of information about the five organs we are discussing: builder, location, date of restoration, pitch, current temperament, and wind pressure. The complete specifications of these organs are given in Appendix D on page 73.

15 Unfortunately, the Trost organ in Altenburg Castle was unavailable due to the restoration of the chapel in 2013. 17

BUILDER DATE RESTORER RESTORED PITCH TEMPERAMENT WINDPRESSURE Gottfried)Silbermann 1714 Jehmlich)Orgelbau 1983 a'=476)Hz Freiberg)1985 Manual)90mm Freiberg'Dom and)K.)Wegscheider Pedal)100mm (Sachsen)

Joachim)Wagner 1725 Schucke)Potsdam 1999 a'=~442)Hz after)Kellner's)(1979) 77.8)mm Brandenburg'Dom "Bach)Temperament" (Brandenburg) 1999

Heinrich)Gottfried)Trost c.1730 Waltershausen) 1998 a'=466.8)Hz) "Strongly)modified 69)mm Waltershausen'Stadtkirche Orgelbau 1/5)WellUTemperament" (Thüringen) 1998

Gottfried'Silbermann 1735 Jehmlich)Orgelbau 2007 a'=463)Hz Neidhardt)II 94)mm Freiberg'St.'Petri and)Orgelwerkstatt (kleine)Stadt,)1732) (Sachsen) Wegscheider

Zacharias)Hildebrandt 1746 Hermann)Euhle) 2000 a'=464)Hz) Neidhardt)I)1724 Manual)74)mm Naumburg'St.'Wenzel Orgelbau Pedal)78)mm (Sachsen@Anhalt)

TABLE I: The Five Historic Organs

E. The mixtures of the five organs

These five instruments present both mixture types: Silbermann and

Hildebrandt composed their mixtures without third-‐sounding ranks; Trost and

Wagner Table built II mixtures that contained a rank or ranks that sounded the major third.

(see pages 19-‐23 below) shows information about the mixtures of the five organs: name; number of ranks; approximate number of original pipes retained in the mixture; and the composition italics of the mixture. If a mixture contains a major-‐third-‐sounding rank, the mixture is written in .

One difference between the mixtures of these five organs is whether there one mixture stop or two contained Table within II the primary or main division (here 1 referred to as the Hauptwerk). As is illustrated in , the Hildebrandt (p.19) 2 and Trost (p.23) organs have a single mixture on the Hauptwerk of 8 ranks. The

Hauptwerks of both Silbermann organs Scharff (p.20, 21) have a 4-‐rank Mixtur and a 3-‐rank

Cimbel, while the Wagner organ (p.22) has a 5-‐rank and a 3-‐rank Cimbel.

ScharffWhat is important to notice here is that the Wagner organ has one mixture, the

, which contains not a major third and Mixtura a separate drawknob for the Cimbel mixture, which does contain a major third. The Trost’s of 8 ranks contains the major third, so the performer who wants to use the mixture must have the major third present; the Wagner organ gives some flexibility by providing the

Cimbel mixture without a major third.

1 Most organs are designed with multiple divisions. These divisions are often separated spatially in some way, and each is controlled by a particular one of the organ’s keyboards/manuals. There is typically a main division, often called the Hauptwerk in Germany, which contains the main plenum of principal flue pipes. 2 Although the Trost is only six ranks in the bass. 19

ORGAN 8' 5)1/3' 4' 2)2/3' 2' 1)1/3' 1' 2/3' 1/2' 1/3' 1/4' Naumburg)Hildebrandt

Hauptwerk)Mixtur)8fach C c' g' c''%(2%ranks) g''%(2%) c'''%(2) c g' c''%(2) g'' c'''%(2) g'''%(2) c' c'' g'' c'''%(2) g'''%(2) c''''%(2) c'' g'' c''' g''' c''''%(2) g''''%(2)

Oberwerk%Scharff%5fach C c'' g'' c''' g''' c'''' c c'' g'' c''' g''' c'''' c' g'' c''' g''' c'''' g'''' c'' c''' g''' c'''' g'''' c'''''

Rückpositiv%Mixtur%5fach C g' c'' g'' c''' g''' c c'' g'' c''' g''' c'''' c' g'' c''' g''' c'''' g'''' c'' c''' g''' c'''' g'''' c'''''

Pedal%Mixtur%Bass%7fach C c' g' c'' g''%(2) c'''%(2) c g' c'' g''%(2) c'''%(2) g'''

TABLE II: Mixtures of the historic organs. The mixtures of the Hildebrandt organ in Naumburg are almost entirely reconstructed, with only a few original pipes. 20

ORGAN 8' 5)1/3' 4' 2)2/3' 2' 1)1/3' 1' 2/3' 1/2' 1/3' 1/4' Silbermann)Freiberg)Dom

Hauptwerk*Mixtur*4fach C c' g' c'' g'' c g' c'' g'' c''' c' c'' g'' c''' g''' c'' g'' c''' g''' c''''

Hauptwerk*Cimbeln*3fach C g' c'' g'' c c'' g'' c''' c' g'' c''' g''' c'' c''' g''' c''''

Oberwerk*Mixtur*3*fach (as*Hw*Cimb) C g' c'' g'' c c'' g'' c''' c' g'' c''' g''' c'' c''' g''' c''''

Oberwerk*Cimbeln*2fach c'' g'' g'' c''' c''' g''' g''' c''''

TABLE II: Mixtures of the historic organs continued The mixtures in the Silbermann organ in the Freiberg Dom are mostly original, with very few reconstructed pipes. ( ). 21

ORGAN 8' 5)1/3' 4' 2)2/3' 2' 1)1/3' 1' 2/3' 1/2' 1/3' 1/4' Silbermann)Frei9Dom!cont. Brustwerk!Mixtur!3fach C c'' g'' c''' c c'' g'' c''' c' g'' c''' g''' c'' c''' g''' c''''

Pedalmixtur!6fach C g c' g' c'' g'' c'''

Silbermann)Freiberg)St9Petri

Hauptwerk!Mixtur!4fach C c' g' c'' g'' c g' c'' g'' c''' c' c'' g'' c''' g''' c'' g'' c''' g''' c''''

Hauptwerk!Cimbel!3fach C c'' g'' c''' c c'' g'' c''' c' g'' c''' g''' c'' c''' g''' c''''

Oberwerk!Mixtur!3fach C g' c'' g'' c c'' g'' c''' c' g'' c''' g''' c'' c''' g''' c''''

TABLE II: Mixtures of the historic organs continued The mixtures in the Silbermann organ in the Freiberg St-‐Petrikirche are mostly original, with very few reconstructed pipes. ( ).

ORGAN 8' 5)1/3' 4' 2)2/3' 2' 1)3/5' 1)1/3' 1' 4/5' 2/3' 1/2' Wagner)Brandenburg)Dom

Hauptwerk*Scharff'5fach C g' c'' e'' g'' c''' c c'' g'' c''' e''' g''' c' g'' c''' e''' g''' c'''' c'' c''' g''' c'''' e'''' g''''

Hauptwerk*Cymbel*3fach C c'' g'' c''' c g'' c''' g''' c' c''' g''' c'''' c'' g''' c'''' g''''

Oberwerk*Mixtur*IV C g' c'' g'' c''' c c'' g'' c''' g''' c' g'' c''' g''' c'''' c'' c''' g''' c'''' g''''

TABLE II: Mixtures of the historic organs continued The mixtures in the Wagner organ are mostly original, with few reconstructed pipes (the 23 pipes of the Scharff mixture’s 4/5’ rank are all original. The 25 pipes ( of ). the 1 3/5’ rank were discarded at some point in the organ’s history and had to be reconstructed using the 4/5’ as a model). N.B. - the Pedal Mixture is completely reconstructed, having been discarded in the 19th century, and therefore does not appear in this table.

ORGAN 8' 5)1/3' 4' 3)1/5' 2)2/3' 2' 1)3/5' 1)1/3' 1' 4/5' 2/3' 1/2' Trost)Waltershausen

Hauptwerk*Mixtura(VIII C c' g' c'' e'' g'' c''' c c'' g'' c''' e''' g''' c'''' c' c'' g'' c''' e''' g''' c'''' e'''' g'''' c'' c'' g'' c''' e''' g''' c'''' e'''' g''''

Brustwerk*Mixtura(IV C c' g' c'' e'' c c'' g'' c''' e''' c' c''' e''' g''' c'''' c'' c''' g''' c'''' e''''

TABLE II: Mixtures of the historic organs continued The mixtures of the Trost organ contain many original pipes. Unfortunately the major-‐third sounding ranks were discarded in earlier alterations. N.B. -‐the Pedal ( lacks ). an independent mixture, although the bottom two octaves of the Hauptwerk Mixtura are available in the pedal by transmission. 24

This difference in flexibility is found within secondary divisions of these two notorgans as well. The upper manual, or Oberwerk division, of the Wagner organ does 18 contain a major-‐third-‐sounding rank in its mixture. The lower keyboard of the

Trost, the Table Brustwerk II division, has a major-‐third-‐sounding rank included in its 19 mixture (see ). Therefore, it is impossible to play a full plenum (including a mixture) without the presence of at least one major-‐third-‐sounding rank on the

Trost. Scharff The Wagner has the major-‐third-‐sounding rank included in the main mixture

(the ) of the Hauptwerk, which indicates to some degree the importance of this sound to Wagner. However, there is a complete plenum on the Oberwerk that does not contain a major third. This gives the performer on the Wagner organ certain flexibility not available to a performer seated at the Trost: the option of a

plenum both with and without a major-‐third-‐sounding rank.

It would appear that this kind of flexibility was important to the three builders who worked outside of Thüringen (i.e. Hildebrandt, Silbermann and

Wagner). The option of plenums with or without a major-‐third-‐sounding rank present has already been discussed in the context of Joachim Wagner, but what of the other two? The Hildebrandt organ in Naumburg (from 1746) contains a stop on the Oberwerk called Tertia which sounds the major third. This stop is of principal 20 scale. This means that the Oberwerk can have a third-‐sounding rank present in its plenum. 18 Wagner does As provide the a way to Oberwerk include a major can -third-sounding be rank coupled in the Oberwerk to the main manual, it is plenum, possible however, to by create including a Tertia ran k. See the discussion of the Hildebrandt in Naumburg in the next paragraph. 19 Table II shows graphically what the ranks of each mixture are, and specifically which mixtures contain major-third-sounding ranks. Other aspects of mixture construction (such as scale, breaks, pitch, strength and voicing) lie outside the scope of this paper and will form the basis of a future article. 20 Pipe scale is the proportion of the dimensions of the pipe. In general terms, pipes of a certain length that have more width have a more flute-like sound, and those with less width a more string-like sound. 25

Recorded a full plenum Example 8.2 that includes a major-‐third-‐sounding rank. As is demonstrated with

(p.44), this allows the tone color of the major third to be achieved, but it differs in strength from the major-‐third-‐sounding rank of the Trost or Wagner organs.

This same third-‐sounding rank, the Tertia, is present in both Silbermann organs as well. However, the pipes are of a wider scale than the mixture and principal pipes of these instruments. They share the same flute-‐scale of the cornets.

Therefore, while including them in the plenum is still possible and will lend some of the same timbre of the major-‐third mixtures, the sound of these ranks is fatter and flutier; not the bright, piercing quality of the thinner, true principal mixture pipes.

To summarize, all five of the organs contain ranks of pipes that sound the major third. Trost includes major-‐third sounding ranks Scharff in all of his mixtures.

Wagner includes a major-‐third-‐sounding rank in the main mixture ( ) of the

Hauptwerk, but not in the Cimbel of the Hauptwerk nor in the Mixtur of

Oberwerk, allowing for plenum registrations with and without the presence of a major-‐third-‐sounding rank. Hildebrandt does not include major-‐third-‐sounding ranks in any of his mixtures, although he does include a Tertia of principal scale on the Oberwerk that can be blended with the plenum of this division for a similar

(though less powerful) effect. Silbermann does not include major-‐third-‐sounding ranks in his mixtures, and the Tertia stops he included on these instruments are not of principal scale and therefore were probably not intended to function as part of the plenum. 26

One can compare the sound of the mixtures from the Hauptwerks of the five 21 22 organs by double-‐clicking the links below:

Recorded Example 1.1: Silbermann Freiberger Dom Hauptwerk Mixtur IV.

Recorded Example 1.2: Wagner Hauptwerk Scharff and Cimbel.

Recorded Example 1.3: Trost Hauptwerk Mixtura VIII.

Recorded Example 1.4: Silberman Freiberg St-‐Petri Hauptwerk Mixtur IV.

Recorded Example 1.5: Hildebrandt Hauptwerk Mixtur VIII.

One can hear both the similarity in a general sense, but also the noticeable addition of the major third in the Trost and Wagner mixtures. Of course, one would not generally hear the mixture by itself, but this allows for a comparison of the mixtures without the confusion of the rest of the organ’s plenum.

21 The organs are not at the same pitch (refer to Table I) so the pitches played are as close as is possible to one another. 22 In the event of broken or non-functioning links, the URLs are given in Appendix E on p. 78. 27 Chapter II: Temperament, Key, Texture, and Mode

A. Temperament

The presence or lack of a major-‐third-‐sounding rank in the mixture is more complicated than simply considering the addition of a different tone color. It is complicated by the fact that all keyboard instruments are, by necessity, tempered or tuned in a way that deviates from the pure intervals of the natural harmonic 23 series. The organ’s aliquots or mutations (terms that designate ranks which sound intervals other than unisons or octaves) are always tuned pure to the pipe sounding the fundamental pitch. This means, then, that the pure 5ths and 3rds of the organ’s mixtures are at odds with the tempered 5ths and 3rds of the organ’s tuning system.

In the case of these specific organs of Middle Germany in the first half of the eighteenth century, the tuning systems were unequal. This means that some triads were closer to pure, and others further from pure than the equal temperament of th the standard 20 -‐century organ or piano. Most importantly, few if any of the major thirds were pure. Therefore, if one plays the notes C and e’’ on the keyboard with a combination which includes a major-‐third mixture, the e’’ of the mixture will be somewhat lower or flatter than the e’’ played. The relevance of this to study is that some keys will sound better than others with the major-‐third mixtures.

23 As an example, a pure major third is often represented as being 386 cents, a perfect octave represented as # b b 1200 cents. Three major thirds on a typical keyboard equal an octave: C-E; E-G /A ; A -C. However, three pure thirds do not equal a perfect octave: 386+386+386=1158. In order to have the octaves agree, some or all of the major thirds need to be widened, which then makes them out-of-tune. The major thirds on a modern piano in equal temperament are 400 cents. This is technically out-of-tune, but is accepted as a necessary compromise by many and therefore considered in-tune. 28 Table I

The current temperaments of the restored organs were listed in

(p.17). These temperaments represent choices made during the restoration of these instruments, as all of these organs were re-‐tuned at some point during the nearly three centuries of their existence. What were the original temperaments?

Due to the changes made to the instruments over time it is impossible to say with absolute certainty. The evidence that does exist from the time of their construction offers certain clues. In the case of Silbermann, it is known from sources 24 that he favored a system similar to 1/6-‐comma meantone. Hildebrandt tuned the organ in Naumburg to a temperament of Johann Georg Neidhardt, although

Neidhardt published many temperaments so it is not clear which of Neidhardt’s 25 methods he followed. Trost met with opposition to his temperament on his organ in Altenburg Castle, and eventually had to modify it to something close to equal temperament. The evidence from the restoration of the Waltershausen pipework 26 points to a temperament closer to 1/5-comma meantone. As for Wagner, it is known that his organ for the Heilig-‐Geist-‐Kirche in Magdeburg (1740) was not 27 tuned in meantone, but in a well-‐temperament that allowed for the use of all keys.

Evidence such as this allows for an approximation of what the original temperaments were. This evidence then has an influence on the decisions made

24 Georg Andreas Sorge, who knew and worked with Silbermann organs, described what he claimed was Silbermann’s temperament. See Johann Norrback, A Passable and Good Temperament: A New Methodology for Studying Tuning and Temperament in Organ Music, (Göteborg: Göteburg University, 2002), 78. 25 Norrback, A Passable and Good Temperament, 87. 26 Norrback, A Passable and Good Temperament, 83-85. It is clear from the documents surrounding the tuning of the Altenburg organ that Trost knew the temperaments of Neidhardt. 27 From a conversation with the Wagner organ’s restorer, Klaus-Michael Schreiber, who was quoting the acceptance report of the Heilig-Geist-Kirche Wagner organ. 29 during the restoration of the instrument, as well as on the ultimate choice of the restored temperament.

What is most relevant to this topic is the quality of the major thirds in these organs’ Table temperaments, III both originally (to the extent that it is known) and as restored. compares relevant historical temperaments with the current temperaments of the restored organs. This allows for an examination of how the temperaments differ from each other by showing the quality of the major thirds, 28 which is the interval most relevant to this discussion. This is of primary importance in considering the relationship between the major-‐third mixture and key.

28 Of the temperaments chosen by the four eighteenth-century organ builders, it is Silbermann’s that should (theoretically) work the best with the major-third mixture in common keys, yet the least well in more distant keys. Yet Silbermann avoided the major-third mixture. For the two builders who did include the major-third mixture, Trost and Wagner, the evidence quoted in the paragraph on p. 28 above points to more progressive well-temperaments (or near equal, in the case of Trost in Altenburg). It is interesting to speculate on the fact that major-third mixtures and well-temperaments appear around the same time in Middle Germany, at the turn of the eighteenth century. A comprehensive comparison of meantone and well-temperaments within the context of the major-third mixture was outside the scale of this project and will be conducted in the future. 30

TEMPERAMENT( Original( Restored( (Thirds) C1E G1B D1F# A1C# E1G# B1D# F#1A# C#1E# Ab1C Eb1G Bb1D F1A Temperament Temperament MEANTONE( (Praetorian) 386 386 386 386 386 386 428 428 428 386 386 386 WERCKMEISTER(III( 1681/91 390 396 396 402 402 402 408 408 408 402 396 390 SILBERMANN/( Silbermann?3 SORGE 392 392 392 392 392 416 416 416 416 392 392 392 Trost? NEIDHARDT((8)(((((( g1Stadt(1732 394 398 400 402 402 402 404 404 404 400 396 394 NEIDHARDT((2)((((( Silbermann:333 k1Stadt(1732 392 394 396 400 404 404 404 404 404 402 400 396 Hildebrandt?+ Freiberg3Petri NEIDHARDT((1)( Hildebrandt:3 Dorf(1732 390 392 394 400 404 404 406 404 406 404 400 396 Naumburg EQUAL( TEMPERAMENT 400 400 400 400 400 400 400 400 400 400 400 400 Wagner:3 KELLNER(1979 389 394 394 398 404 404 408 408 408 404 398 394 Brandenburg3Dom* Silbermann:333 FREIBERG(1985 394 394 394 394 396 406 410 410 410 400 396 396 Freiberg3Dom WALTERSHAUSEN( Trost:33 1998 389 392 395 397,5 403 406 408 410 408 402 397 392,5 Waltershausen UNKNOWN Wagner

TABLE III: Temperaments

– This table compares the major thirds of several temperaments relevant to the research project, including temperaments original or close to the original temperaments of the five organs and the temperaments of organs as restored. +Hildebrandt tuned the Naumburg organ to a Neidhardt temperament, but it is not known exactly which one. *The Wagner organ’s temperament is a modified Kellner. The specific details were unavailable, so the original Kellner is given here for reference. 31 B. Key

In order to examine the issues of temperament, key, texture and mode in relation to major-‐third mixtures, sound recordings were made at each of the five organs. These recordings included a selection of Bach’s organ music in the following keys: F, C, c, G, g, D, d, A and a. With the exception of the Toccata in C, BWV 564/1, all 29 the recorded works were chorale settings.

Due to the nature of the temperaments of the time, one would expect the third mixture to be less problematic in the major keys close to C major: F, C, G, and

D, while the key of Table A major III would be more problematic (compare the major thirds of the tonic Orgelbüchlein chord of these keys in Lobt above). Gott ihr Recorded Christen examples allzugleich of the final chords Herr from Christ two der ein’ge chorales, Gottessohn in G major and in A major, played on the Trost organ’s

Hauptwerk plenum with the major-‐third mixture demonstrate this by comparing G major to A major:

Recorded Example 2.1: Trost Hauptwerk Plenum G major chord. Recorded Example 2.2: Trost Hauptwerk Plenum A major . chord

These recorded examples reveal that the tonic chords of these respective keys vary significantly. The next two recorded examples will allow a comparison of the same chords now played on the Wagner organ with its major-‐third mixture and modified

29 A list of the pieces recorded and chorale texts of those not already included in Chapter III (p. 46 below) are found in Appendix B. 32

Kellner temperament. Note that the Wagner organ is pitched about a half-‐step lower than the Trost: Recorded Example 2.3: Wagner Hauptwerk Plenum G major chord.

Recorded Example 2.4: Wagner Hauptwerk Plenum A major chord.

By comparing the G major chord on the Trost to the G major chord on the Wagner, one can hear that the G major chords in these two temperaments are fairly close in their tuning. When comparing the A major on the Trost to the A major on

Wagner, one hears that the A major chords are quite different: the Wagner organ’s temperament (a modified Kellner) produces an A-‐major that is less stable than that of the Trost organ’s temperament. In both organs, the A major chord is wilder than the G major.

From these brief sound samples, two things are clear: one, that the tonic chord of A major is less stable than that of G major in these unequal temperaments; and two, that the individual nature of an organ’s temperament affects the degree of stability. Both the key of the piece and the temperament of the organ are therefore important considerations when deciding to register with a major-‐third mixture.

There is evidence that Herr composers Christ der of ein’ge this Gottessohn period were aware of this: for example, this same A-‐major chorale, Orgelbüchlein , does not have

Figure a fermata 5 on the final chord, whereas many of the chorales do (see

). Perhaps this was in acknowledgement of the problematic tuning of the A-‐ major triad, indicating that this less stable chord should be released sooner. 33

Figure 5: Herr Christ der ein’ge Gottessohn/ Herr Gott, nun sei gepreiset, BWV 601. 30 This chorale from das Orgelbüchlein is in A major. Features relevant to this discussion are the moving 16th-‐note texture of lower the three voices and the absence of a fermata on the final chord.

30 This image of the autograph manuscript of J.S Bach’s das Orgelbüchlein is taken from IMSLP: http://imslp.org/wiki/Das_Orgel- B%C3%BCchlein,_BWV_599-644_(Bach,_Johann_Sebastian) 34 C. Texture

This same A-‐major chorale, BWV 601, brings us to a consideration of texture, th as one could claim that the figuration Figure of 5 the piece (constant skipping 16 notes) was chosen due to the instability of the tonic triad (see above). Recorded If the music

Example avoids resting 3 on this chord, the issue of tuning is much less apparent.

below presents Scharff the opening of the chorale played on the Wagner organ plenum with its major-‐third mixture:

Recorded Example 3: BWV 601. Wagner Hauptwerk plenum with Scharff

Again, the texture limits the perception of the tuning of the tonic chord, specifically # by having the third of the chord (C ) appear mainly within an arpeggiated outline of sixteenth-‐notes rather than having it appear Recorded as a longer note value. Example 4

How else do the third mixtures relate to texture?

Figure below 6 presents the Hauptwerk opening manual solo of the C major Toccata, BWV 564/1,

, first on the plenum of the 1714 Silbermann Hauptwerk organ in the

Freiberger Dom (without a major-‐third mixture) and then again on the plenum of the Wagner organ (with third a major-‐ mixture). This solo works well on either organ’s plenum, yet in my opinion the presence of the major third lifts 31 sound, and the full major triad on the final “C”s of the phrases sparkles.

31 Acoustically, the human ear perceives a resultant tone an octave lower when hearing a perfect fifth. Therefore, the presence of so many perfect fifths within a mixture tends to push the sense of the sound lower, or deeper. The presence of the major third within the mixture adds a timbral element that lifts the perception of the sound. 35

Figure 6: Toccata in C, BWV 564/1. 32

32 Johann Sebastian Bach, J.S. Bach Orgelwerke, vol. III, ed. Friedrich Conrad Griepenkerl and Ferdinand Roitzsch (Frankfurt: C.F. Peters, 1844), 72. 36 Recorded Example 4: Toccata in C, BWV 564/1, opening 8 bars.33 Freiberger Dom Silberm ann Hauptwerk plenum, then Wagner Hauptwerk plenum

The presence of the major third, particularly end noticeable at the of a phrase, presents a different character than the starker sound of the open fifths of

Affekt Silbermann mixture. The question to the performer, then, is what is the mood or

of this piece? If viewed as fantastical, whimsical and exuberant, does the presence of the major-‐third mixture support this interpretation, or detract from it?

D. Mode

We have considered the major-‐third mixture in the context of pieces composed in the major mode, where the major third of the tonic, dominant and subdominant chords will more or less agree (to a greater or lesser degree determined by the instrument’s temperament) with the major thirds of the mixture.

What are the possible applications and problems when considering minor-‐mode pieces? For example, the tonic chord in a minor mode piece registered with a major-‐ third mixture will have both the major and minor thirds sounding simultaneously

(most likely at different octaves and at different strengths: the major third of the

Figure mixture 7 being weaker than the minor third sounding with the whole plenum).

is a graphic illustration of this. How will the presence of augmented octaves affect the sound of the music and how will it impact the listener?

33 The pitch shift brought about by the differing pitches of these two organs is intentionally left audible, to keep the distinction between the two spliced recordings apparent. 37

Figure 7: Visual of the pitches added by a major-‐third-‐sounding rank. The above figure shows the pitches added by having the major-‐third mixture. The white note heads represent the chord played; the black note heads represent the four pitches added by the major-‐third-‐sounding rank of the Wagner organ’s Scharff mixture. The major-‐third-‐sounding rank above the lowest note played (C) sounds the pitch e’’ which creates an augmented octave with the soprano voice’s eb’. The c’ of the alto voice adds the pitch e’’’ which sounds an augmented 16th above the soprano eb’.

Nun komm der Heiden Heiland,

In Bach’s third setting the of Leipzig Chorales the Great BWV Eighteen 661, in the collection of chorales known as or , the skipping character of the fugue subject offers a texture that can serve to disguise the presence of a major-‐third mixture much in the same way as the A-‐major chorale,

BWV 601. However, this chorale setting is in the minor mode (g minor). Here the major-‐third mixture Recorded lends Example clarity 5.1 to the inner voices, particularly the left-‐hand tenor/bass voice. presents the exposition of Figure the piece on

8the Hauptwerk plenum (with major-‐third mixture) of the Wagner organ (see

Recorded Example 5.1: BWV 661 Exposition. Wagner Hauptwerk plenum 38

Figure 8: Nun komm der Heiden Heiland, BWV 661, exposition. 34

34 Johann Sebastian Bach, J.S. Bach Orgelwerke, vol. VII, ed. Friedrich Conrad Griepenkerl and Ferdinand Roitzsch (Frankfurt: C.F. Peters, 1844), 42. The major-‐third mixture Figure also 9 makes the final chord of the piece, tonic major, a more satisfying arrival (see ):

Recorded Example 5.2 BWV 661 Final phrase. Wagner Hauptwerk plenum.

Figure 9: Nun komm der Heiden Heiland, BWV 661, Final phrase.35

Is the wildness of the major-‐third mixture in this minor key desirable, even with the benefit of the disjunct fugue subject? Does the satisfaction of the final major chord justify the tension caused by the prevailing Affekt minor harmony? This may be a matter of personal taste. These questions will be revisited when the of this chorale is discussed in Chapter III.

Compare the previous example to Du, the O effect schönes of Weltgebäude the major-‐third mixture on the homophonic Figure setting 10 by Bach of the C minor chorale , BWV

56/5 (see ), where the tonic minor chord at the end of the 2nd phrase is 35 Johann Sebastian Bach, J.S. Bach Orgelwerke, vol. VII, ed. Friedrich Conrad Griepenkerl and Ferdinand Roitzsch (Frankfurt: C.F. Peters, 1844), 44. 40 Recorded Example 6 particularly pungent. below presents the first two phrases of this chorale Scharff setting, first on the 8’ plenum with Cimbel mixture of the Wagner organ

(without the major-‐third mixture), Scharff and then immediately again with the addition of the 16’ manual bourdon and the major-‐third mixture. This allows one to first hear the effect of the temperament without the complication of major-‐third mixture, and then to immediately compare this to the plenum with the major-‐third mixture included. The A-‐flat major chord that begins the second phrase seems particularly sour in this temperament, and the third of this chord is ~408 cents, which is very wide.

Figure 10: Du, O schönes Weltgebäude, BWV 56/5.

Recorded Example 6: The first two phrases of “Du, O schönes Weltgebäude.” On the Wagner organ’s Hauptwerk 8’ plenum with -‐ Cimbel (no major third-‐sounding rank) mixture then and again on the 16’ Hauptwerk with plenum Scharff -‐ major third mixture.

In Thüringen the congregational singing was often accompanied by the organ

(whereas it was not in Sachsen during this period); yet the major-‐third mixtures are often found in the Thüringen organs. Does this mean that organists avoided the mixture when accompanying minor-‐mode hymns, or did this clash of major with minor third not offend their ears? How would they have responded to the first and last chords of the second phrase of this chorale? While it is impossible to know the 41 answer to such questions, it is clear from these last two examples that the color of the Nun major-‐third komm der mixture Heiden is Heiland more palatable to the modern ear in Du, the O schönes moving, skipping

Weltgebäudefugue than in the homophonic

. Texture is clearly an even more important consideration in the minor mode than in distant major-‐mode pieces.

It follows, then, that the major-‐third mixture would be less problematic in a major-‐mode homophonic chorale. The rich power Christus, and brilliance der of the Wagner ist mein plenum Leben can be heard Figure in 11 this recording Recorded of Bach’s Example harmonization of 7

in F major (see ) presented in below:

Figure 11: J.S. Bach, Christus, der ist mein 36 Leben, BWV 95/1a.

Recorded Example Christus, 7: der ist mein Leben. Wagner Hauptwerk plenum with major-‐third mixture

Ideally, one should experience the sound of this organ live. However, it is possible to get a sense from the recording of how well this plenum with major-‐third mixture works on a major-‐mode homophonic chorale setting. The jangle and clang provided by the major-‐third mixture feels appropriate as a foundation for the full-‐throated 37 hymn singing that was common in this period.

J.S. Bach, 371 Harmonized Chorales, ed. Albert Riemenschneider (New York: G. Schirmer, 1941), 2. 36 An examination of the effect of the major-third mixture on hymn singing is planned as a future research project37 . Kristian Wegscheider, a highly-respected German organbuilder and restorer of many Silbermann

Before moving to the practical application in Chapter III, there are two more sound comparisons to consider. First, as mentioned above, the youngest organ of the five, Tertia the Hildebrandt in Naumburg from 1746, contains a stop on the Oberwerk called that is of principal scale and sounds the major third. This means that the Oberwerk can have a major-‐third-‐sounding rank present in its plenum. As the

Oberwerk can be coupled to the main manual, it is possible to create a full plenum that includes a major-‐third-‐sounding rank. Perhaps this is Hildebrandt acknowledging the importance of including the color offered by the major-‐third mixture while providing the most flexibility through a separate drawknob for the

Durch major-‐third Adams sounding Fall ist rank. ganz verderbt, The following Orgelbüchlein recorded examples Figure are of Bach’s setting

12 Recorded Example 8.1 BWV 637, from the (see

, p. 43). presents the Hildebrandt Recorded organ with the

Oberwerk, Example 8.2 Hauptwerk and Rückpositiv plenums coupled together.

Recorded Example presents 8.3 the same registration with the Oberwerk Tertia added.

Scharffpresents the Wagner organ with the Oberwerk coupled to the Hauptwerk with the (or major-‐third) mixture, the Cimbel and the full plenum of the Oberwerk. The Tertia’s effect Scharff is mild in the context of the Hildebrandt organ’s plenum, not as bright or present as the mixture of the Wagner 38 organ. organs (including the two Freiberg instruments being discussed in this project), believes that mixtures were voiced forte in the eighteenth -century due to the need to compensate for the sound absorption of having churches full of people. Full churches and full-voiced singing offer a compelling context for the development of a mixture with a strong major-third-sounding rank, such as the Wagner in the Brandenburger Dom. The major-third mixture may help to cut through and lead the boisterous singing.

38 This chorale, BWV 637, will be discussed in greater depth in Chapter III.

Figure 12: Durch Adams Fall ist ganz verderbt, BWV 637. 39

39 Johann Sebastian Bach, J.S. Bach Orgelwerke, vol. V, ed. Friedrich Conrad Griepenkerl and Ferdinand Roitzsch (Frankfurt: C.F. Peters, 1844), 15.

44 Recorded Example 8.1: BWV 637. Hildebrandt without Tertia

Recorded Example 8.2: BWV 637. Hildebrandt with Tertia added

Recorded Example 8.3: BWV 637. Wagner with major-‐third mixture

Scharff

The recordings reveal that, as the Wagner is the main mixture of that organ, the major third is quite present Tertia in the overall perception of that organ’s full plenum.

In the Hildebrandt organ, while the does change Scharff. the character of the thinner

Oberwerk plenum, it does not have the power of the Wagner Therefore, it gets swallowed by the full plenum and has a more subtle effect.

One other question to consider is whether or not the major-‐third mixture was intended as a substitute for a powerful Trumpet stop on the main manual. A powerful Trumpet stop is a common feature of Silbermann organs, and Silbermann did not include major-‐third mixtures in his organs. The fact that the Wagner and

Trost organs have powerful trumpets on their main manuals in addition to major-‐ third mixtures argues against the idea that the major-‐third mixture’s purpose is that 40 of trumpet substitute. The following Herr Christ recorded der ein’ge examples Gottessohn will reinforce this argument Figure by 5 presenting the chorale , BWV 601

(refer to , on p. 33 above, for the score). The chorale is played first on the

Silbermann organ in the Freiberger Dom Scharff with the trumpet included in the plenum,

and then on the Wagner organ plenum with major-‐third mixture.

40 The Trumpet on the Trost organ is not as powerful as the Silbermann or Wagner Trumpets, but it is a powerful stop relative to its own plenum. 45 Recorded Example 9.1: BWV 601. Silbermann plenum with Trompet 8’

Recorded Example 9.2: BWV 601. Wagner plenum major with -‐third mixture

Undeniably, the Silbermann plenum with the trumpet is a powerful and convincing sound, and the major-‐third mixture in the Wagner plenum has a timbre similar to 41 that of the reed, yet clearly distinct. The Wagner then, with its major-‐third mixture, has an additional color possibility that the Silbermann lacks.

The trumpet does offer a possible solution Nun to komm the der question of whether or not

Heiden the major Heiland third is desirable in minor-‐mode compositions (such as

, discussed on pp. 37-‐39). If this timbre is sought by the performer in a piece in the minor mode and there is a trumpet stop available on the manual, this may well be a better registration than using the major-‐third mixture. The trumpet

will not fight with the minor-‐mode tonality, where as the major-‐third mixture will.

41 Trumpet stops on an organ are reed stops, which means that the sound is produced by a vibrating tongue, typically made of brass. The bodies of the pipes tend to be conical. These pipes produce a timbre which has a strong major-third overtone. The major-third mixture, with its major-third-sounding rank, therefore has a similar timbre. 46 Chapter III: Application of the Research to Performance

The information and recorded examples provided above were presented in a lecture and audio/visual presentation given at the Church of the Immaculate

Conception in Montreal, Quebec on June 2, 2014. Following this presentation, a live solo performance was played by the author on the Church’s 1961 von Beckerath organ. The complete program and registrations are given below, and a specification of the von Beckerath and guide to the abbreviations is given in Appendix C.

This recital provided the opportunity for the application of the ideas and different aspects of the research topic. It was a chance to treat the topic in a hands-‐ on way, and it is this that reveals the most benefit to the performer. To that end, I will now discuss this process in the greater detail that this paper allows. The registrations, texts and translations of the pieces (where applicable) will be given, in the order that they were presented Affekt in the performance, in section B of this chapter.

These elements, as well as a general sense of the of the pieces, will be

discussed in the context of the major-‐third mixture.

A. The Recital Organ: 1961 von Beckerath

Perhaps the most critical variable involved in any organ performance is the instrument itself. It is safe to say that no other modern performer in the Western classical tradition is challenged with the same degree of variability as the organist.

No two organs are exactly the same, and most vary from each other greatly.

Everything from the weight of the key action, the physical dimensions of the console 47 and keyboards, the number of divisions (or keyboards), and the specification (i.e. the nature and number of the ranks included in the organ) are unique from instrument to instrument. Research into aspects of organ performance such as the current project must discuss the application of the research to other organs in order to be of practical use. Therefore, the instrument used for the above-‐described

Lecture-‐Recital will now be discussed briefly to present a basis for the subsequent description of the performance-‐based application of the research.

The 1961 von Beckerath in the Church of the Immaculate Conception in

Montreal is not a Middle German baroque organ. Von Beckerath’s work in restoring

North German organs had a large influence on his organ building, and this is reflected in his concept for the Montreal organ. It was created within the context of th the 20 century’s Organ Movement, a movement that sought to reclaim the organ from the perceived excesses of the late-‐Romantic/Symphonic period and claimed 42 the instruments of Northern Germany as ideal for Bach. To state it as briefly as possible, the builders of this period created instruments inspired by the North

German organs but conceived within the aesthetically stark modernist climate of their time. Aspects of the historic organs that evoked Romanticism were overlooked or avoided. This can easily be seen Figure by comparing 13 the appearance of von Beckerath’s 43 console with that of one of the historical instruments. below shows the consoles of the von Beckerath and of the Trost. 42 See Albert Schweitzer, J.S. Bach, trans. Ernest Newman, (London: Breitkopf and Härtel, 1911). 43 The visual aspect of the instrument also has an influence on the performer and, in this subtle way, on the performance itself. There are other elements that influence the performer: the acoustic; the visual quality of the console, façade, and room; the smell of the organ (of wood, damp, dust, etc.); and physical aspects such as dimensions and action. A larger, in-depth project detailing organs by these builders is planned that will assess and comment on these aspects and their influence. 48

Figure 13: Images of the consoles of the von Beckerath and the Trost.

What is obvious visually also applies to the sound. The Middle German organs that Bach knew were the direct precursors of the German Romantic organ, 44 and have a rich, full sound. The von Beckerath is an excellent example of the

44 Many major German organ builders of the nineteenth century have their roots in Middle Germany, and

49 organs of its time, but it does not sound like a Middle German organ of the early-‐ eighteenth century. Of particular relevance to our topic, the von Beckerath does not contain a major-‐third mixture such as those found in the Trost or Wagner organs. It does contain a Sesquialtera and Terzian (which are both two-‐rank stops that include a major-‐third-‐sounding rank). I used these stops in the recital to simulate the sound of a major-‐third mixture. The von Beckerath organ is tuned to equal temperament with all thirds theoretically equivalent in their deviation from pure, thereby eliminating the variety of triads presented by the historic organs that formed the 45 basis of my research.

Clearly, it is impossible to recreate exactly the sounds of the five historic organs on the von Beckerath. However, the experience with the historic instruments and with the various plenum possibilities they offer informed the choices of registration for the recital. Therefore, in certain cases unusual choices were made in order to either evoke the sound of the historic organs or to speculate on the function of the major third within the plenum. In the following section, the performance choices made for each piece will be discussed in the order that they were presented nd on June 2 , 2014. Please refer to Appendix C for the complete specification of the von Beckerath and a key to understanding the abbreviations of the stops.

the link between the eighteenth and nineteenth century is apparent when one spends time with the instruments of this region. See also Quentin Faulkner, The Registration of Bach's Organ Works (North Carolina: Wayne Leupold Editions, 2008). 45 However, the A-major triad was less stable than other tonic chords on the program, both with and without a major-third-sounding rank present. 50 B. The recital program

The recital program is discussed below in the order in which it was presented on June 2, 2014. The overarching logic behind the order related to various aspects of the research topic that were being addressed by each piece. In this way, the program served as the practical application of the elements

research topic, and this section elaborates on these elements. J.S. Bach: Vom Himmel hoch da komm ich her (BWV 606) The Beckerath Hauptwerk plenum.

HW: Q16, P8, O4, O2, Mix Ped: P16, Of8, Mf4, Pos16 46 Text and Translation

Vom Himmel hoch da komm ich her, From heaven on high I come to you, ich bring euch gute neue Mär, I bring you good, new tidings, der guten Mär bring ich so viel, I bring such abundant good news davon ich sing’n und sagen will. that I want to sing and speak of it.

This piece began the solo performance and followed recorded examples of 47 the same piece played on the historic organs. The registration, a straightforward plenum on the Hauptwerk, was chosen primarily to offer a reference for the audience: here is the main plenum of this organ; compare it to the main plenums of the historic organs just heard; adjust your ears to the sound of a 1961 von Beckerath versus that of an early eighteenth-‐century, Middle German organ. The final recording that preceded the recital and this piece was a recording of the same piece

46 All of the translations in this section are by Quentin Faulkner, and appear in the new edition of Bach’s organ works listed below: Johann Sebastian Bach, Pedagogical Works, ed. George Stauffer, (Colfax: Wayne Leupold Editions, 2012). 47 Links to these recordings may be found in Appendix A. 51

Scharff(BWV 606) on the von Beckerath’s Hauptwerk principal chorus blended with the

major-‐third mixture of the non Wagner organ. In this way the audience was able to directly compare the major-‐third mixture to the major-‐third mixture of the von Beckerath. (This blended recording is available in Appendix A).

Toccata in C (BWV 564/1) Presenting the three plenums in dialogue, and using the major-‐third Terzian of the Brustwerk.

m. 1 RP: G8, P4, Gh2, Sch beat 3 BW: Hg8, Rf4, P2, T2f, Sch m.2 Hw: P8, O4, O2, Mix beat 4 RP: same as m. 1 Ped: P16, Of8, Mf4, Mix, Pos 16 m. 9 HW: same as m.2 + RP/HW m.11 HW: same as m. 9 + BW/HW m.13 HW: -‐BW/HW; -‐RP/HW Ped: + T8, +HW/Ped m.32 HW, RP, and BW in dialogue Ped: P16, Of8, Mf4, Mix, T8; -‐HW/Ped

For the Toccata in C, I made use of the form or sectional nature of the piece to explore the variety of plenums of the three manual divisions of the von Beckerath.

This reflected or acknowledged the importance of multiple plenum possibilities to the eighteenth-‐century organ builders we have been discussing, as is clearly 52

emphasized by the sheer number of such possibilities present in their 48 instruments.

I chose to make use of the Brustwerk plenum of the von Beckerath with the

Terzian as an echo in the second half of the first measure; then combined with the

Hauptwerk at the close of the manual solo; and then as an expressive device for the

move to e minor during the concerto-‐like section (mm. 58-‐61). The presence of the

major third added poignance and contrast, acknowledging the sadness or anguish

often implied by e minor.

Lobt Gott, ihr Christen allzugleich (BWV 609) The major third of the Terzian to complement the exuberant nature of this G major chorale.

BW: Hg8, Rf4, P2, T2f, Sch Hw: Q16, P8, O4, O2, Mix, BW/HW Ped: P16, S16, Of8, Mf4, Pos16, T8

Lobt Gott, ihr Christen, allzugleich, Praise God, you Christians, all together, in seinem höchsten Thron, on his most high throne, der heut schleußt auf sein Himmelreich who today opens his heavenly kingdom und schenkt uns seinen Sohn. and gives us his son.

For this short chorale in G major, the celebratory nature of the text calls for a

full sound, and the addition of the major third of the Brustwerk’s Terzian added a

pleasing jangle to the sound, much like a set of bells or a cimbelstern (which the von

Beckerath does not have). For example, Hildebrandt in the Naumburg organ included a full plenum on each manual, each with a unique48 character, as well as offering the possibility of including a major-third sounding rank on the Oberwerk (Tertia) and Hauptwerk (Sesquialtera). Then both the Rückpositiv and Oberwerk can be coupled to the Hauptwerk, and a seemingly endless number of possibilities are available to the performer.

53 Herr Christ, der ein’ge Gottessohn/Herr Gott, nun sei gepreiset (BWV 601) In A major; the major-‐third is provided by the Sesquialtera; the tenor line is brought out by the presence of the major third; tuning conflicts are obscured by the moving 16th-‐note texture until the final chord which has no fermata (see pp. 32-‐34 above).

RP: G8, P4, Gh2, Sch, Sesq Ped: P16, Mf4, T8

Herr Christ der ein’ge Gottes Sohn, Lord Christ, the only son of God, Vaters in Ewigkeit, the Father in eternity, Aus seinen Herz’n entsprossen, sprung forth from his heart, gleichwie geschrieben steht, as indeed is written: Er ist der Morgensterne, he is the morning star, Sein’ Glanz streckt er so ferne, he casts his radiance so widely vor andern Sternen klar. outshining other stars.

Herr Gott, nun sei gepreiset, Lord God, now be praised, wir sag’n dir grossen Dank, we offer our glad thanks du hast uns wohl gespeiset, that you show us your grace, und geben gut Getränk, giving us food and drink dein Mildigkeit zu merken, to mark your leniency, und unsern Glauben zu stärken, to strengthen us in faith daß du seist unser Gott. that you are indeed our God.

One aspect of the major-‐third mixtures of the Trost and Wagner organs was the ability to bring out voices in the tenor and alto range. Often, the tenor line of this choral setting gets obscured by the moving pedal line. Making use of the

Sesquialtera on the von Beckerath’s Rückpositiv, I was able to bring the tenor line out of obscurity and balance it with the other voices. This is of particular importance in this piece as the arpeggiated sixteenth-‐note figuration is the essential building

block of the composition.

Ligeti: Etude No.1, Harmonies Creating a “de-‐natured” sound while following the registration of O Lamm Gottes unschuldig (minus the reed stops) listed on p. 61 to achieve a quiet crescendo. Then removing the stops in the same order as they were added to create a decrescendo, ending with the Terzian of the Brustwerk.

Harmonies

I included the Etude by György Ligeti on the program to demonstrate one possible application of my research in the context of modern music. Any research into historic instruments and performance practice runs the risk of being viewed as too limited, or relevant only to a small part of the organ repertoire. As my project deals with registration, overtones, and organ sound, it does have application outside Harmonies of the organ works of Bach and his contemporaries.

To highlight this point I chose Ligeti’s (1967). In his introduction to this piece, which is from the same era as the 1961 von Beckerath organ I was performing 49 on, Ligeti challenges the performer to achieve what he calls a “de-‐natured” sound.

The piece consists of chord clusters of five notes per hand that shift one note at a time in an absolute legato. What, then, is the relevance of eighteenth-‐century instrument-‐based research to an organ composition from the last third of the twentieth century? 50 Mechanical action (or tracker) organs with a mechanical stop action excel at creating “de-‐natured” sound. By carefully controlling how far the draw knob is pulled, it is possible to control the amount of wind that enters the pipe. When an organ pipe is under-‐winded in this way, it will produce a variety of sounds: lower

49 György Ligeti, Zwei Etüden für Orgel, (Mainz/New York: B. Schott’s Söhne, 1969), preface. 50 An organ with a mechanical stop action has draw knobs that are directly linked mechanically to the mechanism that allows wind to reach the pipes of a particular stop of the organ. 55

(flatter) pitches, overtones, whistles, or the sound of rushing wind, to name but a few examples. Such effects, far from being unpleasant or unwanted, when carefully controlled and blended, are capable of creating a sound world of great beauty. nd The importance of the Ligeti to the performance on June 2 , 2014, was that it provided an immediate application O of Lamm the Gottes research unschuldig into plenum and mixture. As described in the section about the chorale on page 61, I designed the registration for that chorale to take the listener through the registrational implications of my research by building to a plenum. The Ligeti O would allow Lamm me Gottes to unschuldig apply this to a modern composition. I could use the registration for

as an outside element that I would overlay onto the Ligeti, providing a structure for the etude. In this way I explored O an abstract application of

Lamm registration Gottes by unschuldig using the same additive registration of the program’s final piece,

, first to achieve a subtle crescendo, and then removing the 51 stops in the same order to achieve a subtle decrescendo. The result was a blending of historically-‐inspired registration practice, modern repertoire, and improvisation as the piece, when performed, develops in a unique way through the coordination of 52 performer and registrant. The performer is constantly reacting to the developing sound, and applying rubato to linger on moments of particular beauty or interest or to move forward at moments of tension. This is painting with bigger brush strokes than the subtle agogic accents applied when performing the organ works of Bach. In

Bach, the unique sounds created by the presence of a major-‐third sounding rank 51 This ended the piece, rather appropriately, on the major-third Terzian of the von Beckerath’s Brustwerk. 52 A registrant is someone who assists the performer by pulling the draw knobs that control the stops on a mechanical-action organ. The choice of registrant for a performance like this is crucial, and I was fortunate to have Adrian Foster as my assistant for this performance. 56 may call to be lingered over or passed through quickly, but this must be done subtly to maintain the rhythmic integrity essential to much of the music of the Baroque. In the Ligeti, the same principle can be applied but with much more freedom as Ligeti specifically states that there should be no discernible sense of rhythm. As the control over the stop action is fluid and other elements of the tone are always 53 changing, the sound is constantly varying and requires an immediate response from the performer. This is a form of improvisation, as the piece is created anew at each performance and the key elements of time and sound are in flux. Bach: Wer nur den lieben Gott läßt walten (BWV 642) Taking a clue from the manuscript to speculate via an unusual registration: supplying the “missing” C# from the final chord with the pedal registration.

HW: P8, O4, N3, O2 RP: G8, P4, Gh2, Sesq Ped: P16, Of8, RP/Ped

Wer nur den lieben Gott läßt walten, Whoever but allows dear God to govern, und hoffet auf ihn allezeit, and puts hope in him always: Den will er wunderlich erhalten He will be miraculously upheld in aller Not und Traurigkeit. in all adversity and sadness; wer Gott, dem allerhöchsten, traut, Whoever trusts in God the most high, der hat auf keinen Sand gebaut. has indeed not built on sand.

Figure I 14 will now mention another Orgelbüchlein speculative registration Wer nur I presented den in the recital. lieben Gott is läßt a walten facsimile of the manuscript of the chorale

. An examination of the last measure reveals that the alto #' voice ends on e’. However, this is typically corrected in c modern scores to end on , thus 53 For example, making based on a the amount complete of wind being major used by chord. other ranks As a newly we half-drawn have stop will already sound discussed, the A-‐major differently than it would if drawn alone. In the same way, the addition of each newly drawn stop affects the wind in the chest, and alters the sound of the stops already pulled. 57 chord is not the most stable of chords, with or without a major-‐third mixture. Is that the reason for Bach ending this chorale on an open chord? But, played on a plenum with a major-‐third mixture, the missing major-‐third will be present. Most significantly, due to the pure tuning of aliquots, it will be a pure third and provide stable final chord to this piece.

The text, given above, discusses the importance of faith and trust in God. The believer is encouraged to accept that trust in God is a rock-‐solid base for his life’s foundation, not shifting sand. Inappropriate to this imagery would be a wildly-‐ beating and unstable final chord. To have the resting place of this piece, with its nd constant 32 note figuration, be an unstable chord is contrary to the chorale text.

This, then, is a plausible explanation of what is usually viewed as a mistake in the score: that Bach opted for an open chord (without third) as more appropriate to the text and in acknowledgement of the tuning issue.

A valid argument could be made in support of either case (i.e. whether or not the alto e’ was intended). Regardless, it is interesting to speculate on whether composers and organists of the eighteenth-‐century made use of the major-‐third mixtures in this way. In the case of the Hauptwerk plenum of the Trost organ in # Waltershausen, for example, three pipes would be sounding the pitch class C in that final chord. An A-‐major chord would be present, albeit subtly, and the major-‐thirds # would be pure. In the recital I registered the piece so that C was supplied by the pedal registration. 58

Figure 14: Autograph score of Wer nur den lieben Gott läßt walten, BWV 642.54

54This image of the autograph manuscript of J.S Bach’s das Orgelbüchlein is taken from IMSLP: http://conques t.imslp.info/files/imglnks/usimg/c/c6/IMSLP111315 -PMLP08213-BWV642.pdf 59 Durch Adams Fall ist ganz verderbt (BWV 637) Using the Hauptwerk reed stops (Fagott 16’ and Trompete 8’) and the Rückpositiv Sesquialtera to heighten the chromaticism and dissonance.

HW: P8, O4, O2, Mix, F16, T8, RP/HW RP: G8, P4, Gh2, Sch, Sesq Ped: P16, Of8, Mf4, Rausch, Pos16, T8, S4, RP/Ped

Durch Adams Fall ist ganz verderbt Through Adam’s fall all has been corrupted, menschlich Natur und Wesen, human nature and essence; Dasselb Gift ist auf uns geerbt, we have inherited the same poison, daß wir nicht konnten genesen from which we cannot recover ohn Gottes Trost, der uns erlöst without God’s consolation, which has hat von dem großen Schaden, redeemed us from great harm darein die Schlang Eva bezwang, into which the serpent forced Eve, Gotts Zorn auf sich zu laden. calling down God’s wrath upon her.

Perhaps no other chorale setting by Bach makes such clear use of figuration to describe the action of the text. The agony of Adam’s fall from grace is clearly painted with the falling 7ths of the pedal part. The tenor and alto voices move in a stepwise figuration that is often chromatic and weaves back and forth in an s-‐curve shape. I take this to represent the cunning deception of the serpent as he beguiles

Eve. It is this unpredictable weaving of the inner voices that is the glue holds this setting together. Therefore, as the major-‐third mixture brings out inner voices, it is appropriate to consider its application here. The expressive power of the myriad dissonances also calls for the heightening provided by the major-‐third mixture, and adds to the text painting.

The added clash of the major-‐third mixture in a minor-‐mode composition has a constant effect on the performer. This is most subtle apparent in the agogic th accents alluded to in the description of the Ligeti above. The flowing 16 -‐note 60 figures of the alto and tenor call for agogic shaping, and the unique nature of sound of an organ and the chosen registration exert a strong influence on the decisions made by the organist. Perfect examples Figure of 12 this are the F-‐major chord in measure 5, or the surprise D-‐major chord in measure 8 (see on p. 43).

The sudden contrast brought about by the agreement of these major chords with the major-‐third mixture demands acknowledgement from the performer, and offers th inspiration for the shaping of the perpetual 16 -‐note motion.

Nun komm der Heiden Heiland (BWV 661) Avoiding a major-‐third-‐sounding rank in favor of the Hauptwerk Trompete 8’.

Hw: Q16, P8, O4, O2, Mix, T8, RP/HW RP: G8, P4, Gh2, Sch Ped: P16, S16, Of8, Mf4, Rausch, Mix, Pos16, T8, HW/Ped

Nun komm der Heiden Heiland, Now come, Savior of the gentiles, der Jungfrauen Kind erkannt, made known as the Virgin’s son, des sich wundert alle Welt, before whom the whole world stands amazed Gott solch Geburt ihm bestellt. that God ordained for him such a birth.

My discussion of this chorale on pages 37-‐39 posed the question of whether or not the major-‐third mixture was the best choice for this minor-‐mode piece. I presented the recorded example of the Wagner organ with its major-‐third mixture to demonstrate the quality of the sound of the major-‐third mixture in the minor mode. As a contrast, for the recital I registered this chorale without any major-‐third sounding ranks present. Instead, I included the Trompete 8’ of the Hauptwerk in plenum as a possible means of achieving a similar overall timbre without the 61 complication of major thirds competing with the majority of minor thirds in the written score. This option yields a more unified sound throughout, as the character of the pedal cantus firmus with its reed-‐heavy registration blends more with the reed on Affekt the manual. I also made this decision based on the nature of the text and the general of the piece: that of excited expectation for the coming of Christ, which is the theme of this Advent chorale. Therefore a case for the added dissonance of the major-‐third mixture is less compelling in this context.

O Lamm Gottes unschuldig (BWV 656) Creating a crescendo effect by starting with the flute stops of the organ and building the plenums of the Hauptwerk and Rückpositiv.

m.1 RP: G8 m.20 HW: Sf8 m.39 RP: G8, Kf4 m.55 HW: Sf8, O4 m.70 RP: G8, P4, Gh2 m.85 HW: Sf8, O4, O2 m.104 RP: G8, O4, Gh2, Sch Ped: P16, Of8, Pos16 m.113 HW: P8, O4, O2, Mix Ped: P16, Of8, Mf4, Pos16, T8 m.122 HW: Q16, P8, O4, O2, Mix, T8 Ped: P16, Of8, Mf4, Mix, Pos16, T8 m.135 HW: +F16, RP/HW m.140 BW: Hg8, Rf4, P2, T2f, Sch HW: +BW/HW Ped: +S16, +Rausch, +S4, +RP/Ped 62

Verses 1 and 2 Verses 1 and 2

O Lamm Gottes unschuldig, O Lamb of God, innocent, am Stamm des Kreuzes geschlachtet, slaughtered on the tree of the cross, Allzeit gefunden geduldig, always patient, wiewohl du warest verachtet, though you were scorned, All Sünd hast du getragen, you have borne all our sins, sonst müssten wir verzagen, otherwise we would have to despair, Verse erbarm 3, dich as unser, above O Jesu except for last line: Verse have 3, mercy as on above us, O Jesus. except for last line:

Gib uns deinen Frieden, O Jesu. Give us your peace, O Jesus.

O Lamm Gottes unschuldig

For the final piece of the program, , I was inspired to synthesize these elements: the strengths of the von Beckerath; my newfound appreciation of the importance of variety in plenum registrations; the chorale text; and the form of this three-‐verse chorale setting.

One thing that becomes very clear when spending time with an organ such as the Hildebrandt in Naumburg is that the organ was designed with the concept of 55 crescendo and decrescendo in mind. Also, the three manual divisions of the

Hildebrandt have a subtle level of dynamic variation, yet each has a distinct tonal character. Clearly this indicates that alternating manuals for subtle shading and character contrast was important to Hildebrandt and organists of the time.

One of the strengths of the von Beckerath organ is the quality of flute stops. In a program which, by necessity, focused on plenum registrations, there was no opportunity to employ the beauty of these 8 and 4-‐foot flutes. The desire to

55 This is most apparent in the sheer number of flue stops at 8’ pitch, which through the use of the manual couplers and alternating manuals give the performer myriad options for combining stops that create a subtle crescendo or decrescendo effect. 63 synthesize my observations O Lamm about Gottes the unschuldig Hildebrandt with the strengths of the von

Beckerath led me to choose as the final piece on the program. The piece is a setting of the German chorale of the same name, which is the

Lutheran version of the Latin Agnus Dei. The initial image of the innocent Lamb calls for a gentle registration, but the structure of the music at the end of each section of the AAB form allows for easy manual alteration. This provides a perfect opportunity to make use of the crescendo possibilities discussed above. It also allows for an artistically satisfying solution to the changing character of the musical figuration from verse to verse, and paves the way for a strong pedal entrance of the cantus firmus for the third verse. The manual figuration changes one last time, in measure

140, for the final phrase of the cantus firmus, the Donna Nobis Pacem. This scalar figuration works particularly well with the presence of a major-‐third sounding rank

(here the Terzian of the Brustwerk) as it is constantly moving and distracting the ear from any impurities present in the disagreement of the thirds. At the same time, the answering scalar figures in the tenor and alto voices are brought forward, keeping the sense of crescendo and aiding the perception of the listener.

64 Chapter IV: Conclusion

As this paper draws to its conclusion, it is important to reiterate these facts: that

Bach performed on several organs with major-‐third sounding ranks in the main mixture; that the sound of the plenums of these organs are distinct from that of the organs of Silbermann; that the unique color of the major-‐third mixture has an impact on the sound of the music and therefore deserves to be considered in the on-‐ going debate of how a “Bach organ” in should organo sound; 56 pleno that the major-‐third mixture should factor into how one interprets the direction when performing Bach’s works at the organ; that innovative and forward-‐looking builders such as Hildebrandt and Wagner offered the possibility of plenums both with and without major-‐third sounding ranks; and that as a unique color with distinct characteristics, the major-‐third mixture has a direct influence on the performer.

To Trost and Wagner, the major-‐third mixture was an important color that should be included in an organ. Clearly there was a context in which the major-‐third mixture Affekt was desirable. By looking at the issues of temperament, key, mode, texture and , one can see ways of approaching the choice of whether or not to register a piece with a major-‐third mixture. This initial examination of these issues has led to the observations that have been commented on above, and are presented here in list form as a summary:

56 “In 17th- and 18th-century music of northern Europe, the complete flue chorus of the organ, with or without reed stops,” Don Michael Randel, ed., The Harvard Dictionary of Music, (Cambridge: The Belknap Press, 2003), 614. 65

1. The sound of the major-‐third mixture is unique, and it is something we are

generally unaccustomed to. Like anything unfamiliar, it takes getting used to.

2. The major-‐third mixture works very well in solo passages, such as the

opening manual solo of Bach’s Toccata in C (BWV 564/1).

3. The sound of the major-‐third mixture in the context of a major-‐mode hymn

can be very powerful and inspiring. The major-‐third mixture may have an

application in supporting congregational singing.

4. Polyphonic textures are affected by the major-‐third mixture in that the

mixture makes the inner voices more present, particularly the tenor voice.

5. Disjunct textures and skipping or fast-‐moving figurations work well with the

major-‐third mixture. This is of particular importance in the minor mode or

more distant major keys.

6. Use of the major-‐third mixture in the minor mode requires careful

consideration. Durch Homophonic Adams Fall textures ist or ganz verderbt slower tempi can be excruciating. In

the Affekt example of , an expression of the text

and clearly benefits from the added sharpness and clang of this unique

stop. When a piece calls for a depiction of real agony, consider using the

major-‐third mixture.

7. The difference in the quality of the thirds of the temperament directly

impacts the performer in subtle ways. The presence of the purely-‐tuned

major-‐third mixture amplifies this effect as the major-‐third-‐sounding rank

beats against the tempered major third. A passing dissonance asks to be

passed over more urgently with the added clash of the major-‐third mixture. A 66 Affekt dissonant area that is intrinsic to the figuration or wedded to the of the

music, the chorale text, etc., demands to be acknowledged in some way,

perhaps through agogic accents or articulation.

8. In festive major mode pieces, the major-‐third mixture adds a bell-‐like clang

to the sound.

9. The timbre of the major-‐third mixture resembles that of a reed (due to the

presence of a strong major-‐third overtone in reed pipe tone). Yet the quality

of the major-‐third mixture is distinct from that of a reed.

Again, the above is a list of initial observations, and of the ways that experience of the major-‐third mixtures and the five historic organs can be applied.

The increased awareness of overtones and mixtures that was gained through this project continues to result in new observations about how the sound of the music is impacted and how these sounds influence the interpretations of the performer. As was demonstrated with the Ligeti etude, the application of this awareness does not stop with Bach or music of the German Baroque, but adds to the vocabulary of the performer and can be applied in myriad ways through experimentation and exploration of registration. Visionary organ builders such as Hildebrandt and

Wagner clearly had variety and flexibility in mind when designing their organs.

Major-‐third-‐sounding ranks in mixtures or as separate Tertia stops provided more possibilities for registration, more opportunities for experimentation with organ sound. Jacob Adlung’s comments on registration are as relevant now as they were in the middle of the eighteenth-‐century: 67

If this combining [registration] is extended to more stops, e.g., to 40, 50, etc., on more than one keyboard, so many variations result that an organist could not get through them all in some 100 years if he wanted to use them all. Thus I do not see why 57 some organists keep on using the same few. Variety is and remains the soul of music.

The major-‐third mixture was part of Bach’s sound world. We only stand to gain by including it in ours.

57 Jacob Adlung, Musica Mechanica Organoedi (1768), trans. Quentin Faulkner, (Lincoln, Nebraska: Zea E -books, 2011) , 358. 68 APPENDIX A: Additional Recorded Examples

The following recordings were included in the lecture presentation on June nd 2 , 2014, and are included here as well. They will be listed below with the name of

Recorded the organ Example and the 10: Toccata registrations. in C (BWV 564/1): Opening manual solo

m.1 Silbermann Organ: Hw: S16, P8, O4, O2, Mix, Cimb (Freiberger Dom) Ow: P8, O4, O2, Mix, Cimb, Ow/Hw Ped: P16, O8, O4, Mix, Pos16, T8 m.1.5 Wagner Organ: Hw: B16, P8, O4, Q3, O2, Sch, Cimb Ow: P8, O4, O2, Mix, Cimb. Ow/Hw Ped: P16, G8, Q6, O4, Pos16, T8 m.2 Silbermann Organ: same as m.1 m.9 Hildebrandt Organ: Hw: P16, O8, P4, O2, Mix Ow: P8, P4, O2, T, Q 1 ½, Sch, Ow/Hw Rp: P8, P4, O2, Mix, Rp/Hw Ped: P16, O8, O4, O2, Mix, Pos32, Pos16, T8 m.11 Wagner Organ: same as m.1 Recorded Example 11: Nun komm der Heiden Heiland (BWV 661): 2nd half

m.48 Silbermann Organ: Hw: S16, P8, O4, O2, Mix, Cimb (Freiberger Dom) Ow: P8, O4, O2, Mix, Cimb, Ow/Hw Ped: P16, O8, O4, Mix, Pos16, m.67 Wagner Organ: Hw: B16, P8, O4, Q3, O2, Sch, Cimb Ow: P8, O4, O2, Mix, Cimb. Ow/Hw Ped: P16, G8, Q6, O4, Pos16, T8 Recorded Example 12.1: Christus der ist mein Leben, (BWV 95/1a)

Hildebrandt Organ: Hw: P16, O8, P4, Q3, O2, Mix Ow: P8, P4, O2, Sch, Ow/Hw Rp: P8, P4, O2, Mix, Rp/Hw Ped: P16, O8, O4, O2, Mix, Pos16

69 Recorded Example 12.2: Christus der ist mein Leben, (BWV 95/1a)

Wagner Organ: Hw: B16, P8, O4, Q3, O2, Sch, Cimb Ow: P8, O4, O2, Mix, Cimb. Ow/Hw Ped: P16, G8, Q6, O4, Pos16, T8 Recorded Example 13.1: Vom Himmel hoch ich komm da her, (BWV 606)

Silbermann Organ: Hw: S16, P8, O4, O2, Mix, Cimb (Freiberger Dom) Ow: P8, O4, O2, Mix, Cimb, Ow/Hw Recorded Example 13.2: Vom Ped: Himmel U32, P16, hoch O8, ich O4, Mix, Pos16 komm da her, (BWV 606)

Hildebrandt Organ: Hw: P16, O8, P4, Q3, O2, Mix Recorded Example 13.3: Vom Himmel Ped: hoch P16, O8, O4, O2, Mix ich komm da her, (BWV 606)

Trost Organ: Hw: B16, P8, O4, Q3, O2, Mix, BW/HW BW: G8, N8, P4, O2, Mix Recorded Example 13.4: Vom Himmel Ped: hoch P16, ich O8, Q6, O4, Mix, Pos 16 komm da her, (BWV 606)

Silbermann Organ: Hw: P16, O8, O4, Q3, O2, Mix, Cimb, OW/HW (Frieberg St-‐Petri) OW: Q16, P8, O4, O2, Q 1 1/3, Mix Recorded Example 13.5: Vom Himmel Ped: hoch U32, ich P16, O8, Pos 16, HW/Ped komm da her, (BWV 606)

Wagner Organ: Hw: B16, P8, O4, Q3, O2, Sch Recorded Example 13.6: Vom Himmel Ped: hoch P16, G8, Q6, O4 ich komm da her, (BWV 606)

Beckerath Organ: Hw: Q16, P8, Sf8, O4, O2 Ped: P16, Of8, Mf4 w Wagner mixtures: Hw: Sch, Cimb Ped: Mix

70 APPENDIX B: The Bach Organ Works Recorded for the Research Project

1. Toccata in C (BWV 564/1)

2. Du, o schönes Weltgebäude 58 (BWV 56/5)

C minor

Du, o schönes Weltgebäude, You, O beautiful building of the world, magst gefallen, wem du willst; May please whom you will; ist doch deine eitle Freude But your vain joy stets mit lauter Angst umhüllt. Is always involved with sheer anxiety. Denen, die den Himmel hassen, To those who hate heaven will ich ihre Weltlust lassen; I gladly leave their worldly pleasure; mich verlangt nach dir allein, My longing is for you alone, lieber Herr und Heiland mein! My dear Lord and Saviour.

3. Christus, der ist mein Leben (BWV 95/1a)59

F major

Christus, der ist mein Leben, Lord Christ, he is my being, Sterben ist mein Gewinn; My death is my reward; Dem tu ich mich ergeben, To it I will surrender, Mit Freud fahr ich dahin. With joy will I depart.

4. Lobt Gott, ihr Christen allzugleich (BWV 609)

G major Text on p. 52

5. Nun komm ( der ) Heiden Heiland (BWV 661)

g minor Text on p. 60

6. Vom Himmel ( hoch ) da komm ich her (BWV 606)

D major Text on p. 50)

7. Durch ( Adams Fall ist ganz verderbt (BWV 637)

d minor (Text on p. 59)

58 Translation from Bach-Cantatas.com: http://www.bach-cantatas.com/Texts/Chorale140-Eng3.htm 59 Translation from Bach-Cantatas.com: http://www.uvm.edu/~classics/faculty/bach/BWV95.html 71 8. Herr Christ, der ein’ge Gottessohn/ Herr Gott nun sei gepreiset (BWV 601)

A major (Texts on p. 53)

9. Wer nur den lieben Gott läßt walten (BWV 642)

a minor (Text on p. 56)

72 APPENDIX C: Specification of the 1961 von Beckerath Organ

73 APPENDIX D: Specifications of the five historic organs 1. Gottfried Silbermann, Freiberger Dom, 1714

Brustwerk, Manual I Oberwerk, Manual III

C, D – c’’’ WP=90mm C, D – c’’’ WP=90mm

Gedackt 8’ Quintadehn 16’ Principal 4’ Principal 8’ Rohrflöte 4’ Gedackt 8’ Nassat 3’ Quintadehn 8’ Octava 2’ Octava 4’ 3/5’ Tertia 1 Spitzflöte 4’ Quinta 1 ½’ Superoctav 2’ Sufflöt 1’ Flaschflöt 1’ Mixtur 3fach Mixtur 3fach Hauptwerk, Manual II Cimbeln 2fach Echo c’ 5fach C, D – c’’’ WP=90mm Krumbhorn 8’ Vox humana 8’ Pedal Bordun 16’ Principal 8’ Rohrflöte 8’ C, D – c’ WP=100mm Viol di Gamba 8’ Octava 4’ Untersatz 32’ Quinta 3’ Principalbaß 16’ Superoctav 2’ Subbaß 16’ Tertia 1 3/5’ Octavbaß 8’ Mixtur 4fach Octavbaß 4’ Cimbeln 3fach Pedalmixtur 6fach Cornet c’ 5fach Posaunenbaß 16’ Trompet 8’ Trompetenbaß 8’ Clarin 4’ Clarinbaß 4’

OW/HW Coupler Three Manuals and Pedal BW/HW Coupler 44 stops, 67 ranks Tremulant a’=476Hz Schwebung Temperament: Freiberg 1985 74 2. Joachim Wagner, Brandenburger Dom, 1725

Hauptwerk, Manual I Oberwerk, Manual II

C, D – c’’’ WP=77.8mm C, D – c’’’ WP=77.8mm

Bordun 16’ Quintadehn 16’ Principal 8’ Principal 8’ Viol di Gamba 8’ Salicional 8’ Rohrflöte 8’ Gedackt 8’ Quintadena 8’ Octav 4’ Octav 4’ Rohrflöte 4’ Spitzflöte 4’ Nassat 3’ Quinta 3’ Octav 2’ Octav 2’ Tertia 1 3/5’ Scharff 5fach Sifflöte 1’ Cimbel 3fach Mixtur 4fach Cornett 5fach Vox humana 8’ Trompete 8’ Pedal

OW/HW Coupler C, D – c’ WP=77.8mm Tremulant Cymbelsterne Principal 16’ Violon 16’ Two Manuals and Pedal Gemshorn 8’ 33 stops, 51 ranks Quinta 6’ a’= ~442Hz Octav 4’ Temperament: after Kellner Mixtur 6fach* Posaune 16’ Trompete 8’

*The pedal mixture is completely reconstructed.

75 3. Tobias Heinrich Gottfried Trost, Waltershausen Stadtkirche, c.1730

Brustwerk, Manual I Oberwerk, Manual III

C – c’’’ WP=69mm C-‐ c’’’ WP=69mm

Gedackt 8’ Flöta Dupla 8’ Nachthorn 8’ Vagarr 8’ Principal 4’ Hohl-‐Flöte 8’ Flöte douce 4’ Flöte travers 8’ (4’) Nachthorn 4’ Lieblich Principal 4’ Gemshorn 4’ Geigen Principal 4’ Spitz-‐Quinta 3’ Spitzflöte 4’ Nassad-‐Quinta 3’ Gedackt Quinta 3’ Octava 2’ Wald-‐Flöte 2’ Mixtura 4fach PedalVox humana 8’ Sesquialtera 2fach HautbousHauptwerk, Manual 8’ II C – d’ WP=69mm

C – c’’’ WP=69mm Groß Principal 16’ Sub-‐Bass 16’ Portun-‐Untersatz 16’ Violon-‐Bass 16’ Groß Quintadena 16’ Quintadehnen-‐Bass 16’ (T) Principal 8’ Viol d’ Gamben-‐Bass 8’ (T) Gemshorn 8’ Portun-‐Bass 8’ (T) Viol d’ Gambe 8’ Octaven-‐Bass 8’ Portun 8’ Celinder-‐Quinta 6’ Quintadena 8’ Super-‐Octava 4’ (T) Unda maris 8’ Röhr-‐Flöten-‐Bass 4’ (T) Octava 4’ Mixtur-‐Bass 6fach (T) Salcional 4’ Posaunen-‐Bass 32’ Röhr-‐Flöta 4’ Posaunen-‐Bass 16’ Celinder-‐Quinta 3’ Trompetten-‐Bass 8’ Super-‐Octava 2’ Mixtura 8fach 6-‐ HW/Pedal Coupler Sesquialtera 2fach BW/Pedal Coupler Fagott 16’ Trompetta 8’ Three Manuals and Pedal 55 stops (6 transmission), 61 ranks OW/HW Coupler a’=466.8 Hz BW/HW Coupler Temperament: Waltershausen 1998 2 Cimbelsterne (Modified 1/5-‐comma Meantone) Tremulant for all manuals (T) = Transmission from Hauptwerk

76 4. Gottfried Silbermann, Freiberg St-‐Petri, 1735

Hauptwerk, Manual I Oberwerk, Manual II

C, D – c’’’ WP=94mm C, D – c’’’ WP=94mm

Principal 16’ Quinta dena 16’ Octav Principal 8’ Principal 8’

Viol di Gamba 8’ Gedackts 8’ Rohr-‐Flöte 8’ Quinta dena 8’ Octava 4’ Octava 4’ Spitz-‐Flöte 4’ Rohr-‐Flöte 4’ Quinta 3’ Nassat 3’ Octava 2’ Octava 2’ Tertia 1 3/5’ Quinta 1 1/3’

Mixtur 4fach Sufflöt 1’ Cymbel 3fach Mixtur 3fach Cornet 4fach Sechst quint altera 4/5’; 1 3/5’ Fachott 16’ Vox humana 8’ Trompete 8’ Pedal OW/HW Coupler HW/Pedal Coupler

C, D – c’ WP=94mm Tremulant

Schwebung Groß Untersatz 32’ Principal Bass 16’ Two Manuals and Pedal Octaven Bass 8’ 32 stops, 42 ranks Possaune 16’ a’=463Hz Trompete 8’ Temperament: Neidhardt II

77 5. Zacharias Hildebrandt, Naumburg St-‐Wenzelskirche, 1746

Rückpositiv, Manual I Oberwerk, Manual III

C, D – c’’’ WP=74mm C, D – c’’’ WP=74mm

Principal 8’ Bordun 16’ Viol di Gambe 8’ Principal 8’ Quintadehn 8’ Hohl-‐Floete 8’ Rohr-‐Floete 8’ Principal Unda Maris 8’ Praestanta 4’ Praestanta 4’ Vagara 4’ Gemshorn 4’ Rohr-‐Floete 4’ Quinta 3’ Nassat 3’ Octava 2’ Octava 2’ Wald-‐Floete 2’ Mixtur 5fach Tertia 1 3/5’ Rausch-‐Pfeife 2fach Quinta 1 ½’ Hauptwerk, Fagott Manual 16’ II Sif-‐Floete 1’ Scharff 5fach PedalVox humana 8’ C, D – c’’’ WP=74mm

Principal 16’ C, D -‐ d’ WP=78mm Quintadehn 16’ Octava 8’ Principal Bass 16’ Spitz-‐Floete 8’ Violon Bass 16’ Gedackt 8’ Subbass 16’ Praestanta 4’ Octaven Bass 8’ Spitz-‐Floete 4’ Violon Bass 8’ Quinta 3’ Octaven Bass 4’ Octava 2’ Octava 2’ Weit-‐Pfeife 2’ Mixtur Bass 7fach Mixtur 8fach Posaune 32’ Cornet 4fach Posaune 16’ Sesquialter 2fach Trompeten Bass 8’ Bombart 16’ Clarin Bass 4’ Trompete 8’ HW/Pedal Coupler OW/HW Coupler RP/HW Coupler Three Manuals and Pedal Tremulant (HW and RP) 53 stops, 79 ranks Schwebung (OW) a’=464Hz Cymbelstern Temperament: Neidhardt I (1724)

78 APPENDIX E: List of Web Addresses for the Recorded Examples

Recorded Example 1.1:

Recorded https://soundcloud.com/user797800165/recorded Example 1.2: -‐example-‐11-‐silbermann-‐mix-‐4/s-‐wXzDe

Recorded https://soundcloud.com/user797800165/ex12 Example 1.3: -‐lecture-‐recital-‐wagner-‐scharff-‐cimbel/s-‐fgY3F

Recorded https://soundcloud.com/user797800165/recorded Example 1.4: -‐example-‐13-‐trost-‐mixtura-‐viii/s-‐oxlBt

Recorded https://soundcloud.com/user797800165/recorded Example 1.5: -‐example-‐14-‐freipetri-‐mix-‐iv/s-‐CunoH

Recorded https://soundcloud.com/user797800165/recorded Example 2.1: -‐example-‐15-‐hildebrandt-‐mix-‐viii/s-‐MwLEZ

Recorded https://soundcloud.com/user797800165/recorded Example 2.2: -‐ex-‐21-‐trost-‐lobt-‐gott-‐g-‐major-‐chord/s-‐lQXd7

Recorded https://soundcloud.com/user797800165/recorded Example 2.3: -‐ex-‐22-‐trost-‐herr-‐christ-‐a-‐major-‐chord/s-‐fBjOS

Recorded https://soundcloud.com/user797800165/recorded Example 2.4: -‐ex-‐23-‐wagner-‐g-‐major-‐chord/s-‐zVs9M

Recorded https://soundcloud.com/user797800165/recorded Example 3: -‐ex-‐24-‐wagner-‐a-‐major-‐chord/s-‐Gc1Jc

Recorded https://soundcloud. Example com/user797800165/recorded 4: -‐ex-‐30-‐wagner-‐herr-‐christ-‐opening/s-‐cz3dq

Recorded https://soundcloud.com/user797800165/recorded Example 5.1: -‐ex-‐4-‐silbermann-‐then-‐wagner/s-‐euT5H

Recorded https://soundcloud.com/user797800165/recorded Example 5.2: -‐ex-‐51-‐wagner-‐nun-‐komm-‐exposition/s-‐2iijk

Recorded https://soundcloud.com/user797800165/recorded Example 6: -‐ex-‐52-‐wagner-‐nun-‐komm-‐final-‐phrase/s-‐e8wF1

https://soundcloud.com/user797800165/recorded-‐ex-‐6-‐wagner-‐du-‐o-‐schone-‐8-‐w-‐cimbel-‐then-‐16-‐ Recorded w-‐scharff/s-‐mp2wi Example 7:

Recorded https://soundcloud.com/user797800165/recorded Example 8.1: -‐ex-‐7-‐wagner-‐christus/s-‐5ifCG

https://soundcloud.com/user797800165/recorded-‐ex-‐81-‐durch-‐nmbg-‐hw-‐ow-‐rp/s-‐xgUuo

79 Recorded Example 8.2:

Recorded https://soundcloud.com Example /user797800165/recorded 8.3: -‐ex-‐82-‐durch-‐nmbg-‐hw-‐ow-‐rp-‐tertia/s-‐o8l2J

Recorded https://soundcloud.com/user797800165/ex Example 9.1: -‐83-‐durch-‐wagner/s-‐4ASQi

Recorded https://soundcloud.com/user797800165/recorded Example 9.2: -‐ex-‐91-‐silbermann-‐w-‐trumpet-‐bwv-‐601/s-‐F36di

Recorded https://soundcloud.com/user797800165/recorded Example 10: -‐ex-‐92-‐wagner-‐bwv-‐601/s-‐jEm9j

Recorded https://soundcloud.com/ Example user797800165/recorded 11: -‐ex-‐10-‐tocc-‐564/s-‐kiVk0

Recorded https://soundcloud.com/user797800165/recorded Example 12.1: -‐ex-‐11-‐silbermann-‐to-‐wagner-‐bwv-‐661/s-‐0xvxb

Recorded https://soundcloud.com/user797800165/recorded Example 12.2: -‐ex-‐121-‐hildebrandt-‐christus/s-‐jVIW5

Recorded https://soundcloud.com/user797800165/recorded Example 13.1: -‐ex-‐122-‐wagner-‐christus/s-‐3lhqP

Recorded https://soundcloud.com/user797800165/recorded Example 13.2: -‐ex-‐131-‐silbermann-‐w-‐tr-‐32-‐vhh/s-‐aYf9j

Recorded https://soundcloud.com/user797800165/recorded Example 13.3: -‐ex-‐132-‐hildebrandt-‐hw-‐ow-‐vhh/s-‐sOOMk

Recorded https://soundcloud.com/user797800165/recorded Example 13.4: -‐ex-‐133-‐trost-‐hw-‐bw/s-‐GNW8k

Recorded https://soundcloud.com/user797800165/recorded Example 13.5: -‐ex-‐134-‐frei-‐petri-‐vhh/s-‐8mr3R

Recorded https://soundcloud.com/user797800165/recorded Example 13.6: -‐ex-‐133-‐wagner/s-‐noAon

https://soundcloud.com/user797800165/recorded-‐ex-‐134-‐beckerath-‐and-‐wagner/s-‐yaVtF 80 Works Cited Musica Mechanica Organoedi (1768).

Adlung, Jacob. Ed. Johann Lorenz Albrecht, with commentary by Johann Friedrich Agricola. (Trans. Quentin Faulkner). Lincoln, Nebraska: Zea E-‐books, 2011. Das Orgelbüchlein

Bach, http://imslp.org/wiki/Das_Orgel Johann Sebastian. -‐B%C3%BCchlein,_BWV_599(Autograph -‐644_(Bach,_Johann_Sebastian Manuscript). ) J.S. Bach Orgelwerke.

_____. Ed. Friedrich Conrad Griepenkerl and Ferdinand Roitzsch. 371 Frankfurt: Harmonized C.F. Peters, Chorales. 1844.

_____. Ed. Albert Riemenschneider. New York: G. Schirmer, Pedagogical 1941. Works, Vol. 1B.

_____. Ed. George Stauffer. Colfax: Wayne Leupold Editions, 2012. The New Bach Reader: a life of Johann Sebastian Bach in letters and documents. David, Hans T. and Arthur Mendel. Revised and enlarged by Christoph Wolff. New York: W.W. Norton & Co., 1998.

The American Organist 27, No. 6 Faulkner, Quentin, “Information on Organ Registration from a Student of J.S. Bach.” The Registration of J.S. (June, Bach’s 1993): Organ Works 58-‐63.

_____. . North Carolina: Wayne Leupold Editions, 2008. Zwei Etüden für Orgel.

Ligeti, György. Mainz/New York: B. Schott’s Söhne, 1969. A Passable and Good Temperament: A New Methodology for Studying Tuning and Temperament in Organ Music. Norrback, Johann. Göteborg: Göteburg University, 2002. The Harvard Dictionary of Music, 4th edition.

Randel, Don Michael, ed. Cambridge, Massachusetts: J.S. Bach The Belknap Press, 2003.

Schweitzer, Albert. . Translated by Ernest Newman. London: Breitkopf and Härtel, 1911.