Nineteenth-century Studies Franz Liszt and Johann Gottlob Töpfer A Fruitful Relationship in Weimar By Jens Korndörfer Introduction he liked.10 Milton Sutter believes that During the travels of his virtuoso two of Töpfer’s early works for organ (the Altenburg, artist unknown, after C. Hoff- Alexander Winterberger, by Sergey years, Franz Liszt liked to try out and Fantasia in C and the Sonata in D, of mann, original 1859 (copyright Klassik Stif- Lvovich Levitsky even perform on various organs through- which the latter had been performed in tung Weimar) out Europe.1 However, it was only after a recital with Liszt’s and Töpfer’s works!) his move to Weimar in 1848 that he was “influenced Liszt to a certain extent in 1848), premiered both “Ad nos” and 8′ Spitzflöte in regular contact with other organists2 that the first version of the Prelude and “B-A-C-H”.18 Thus, he was Liszt’s most 8′ Gamba and began to compose for the “pope of Fugue on B-A-C-H (1855) contains some important performer and was instrumen- 4′ Octave 3 4′ Spitzflöte instruments” —in fact, as Alan Walker material that seems to be an expansion tal in disseminating Liszt’s organ works 4′ Gamba points out, it is “unthinkable that Liszt of some of Töpfer’s ideas as expressed in with his recitals in Germany and Hol- 2′ Octave would have written his two organ master- the Fantasia and the Sonata.”11 land.19 Winterberger’s beginnings as an Cornet IV Mixtur IV pieces Ad nos, ad salutarem undam and Whereas Töpfer’s influence on Liszt’s organist are not entirely clear: Hintzen- Cymbal III Prelude and Fugue on B-A-C-H in any organ compositions cannot be ascertained, stern claims that he studied with Töpfer other environment than . Weimar.”4 there is more evidence for an influence in in Weimar (but does not give proof for Oberwerk As the Catholic Church in Weimar was the other direction. Töpfer’s three Choral his claim), whereas Holloway suggests 16′ Bordun 8′ Principal small and the organ—as well as ‘modern’ Fantasies (1859) can be considered the that he probably studied with Carl Ferdi- 8′ Schweitzerflöte music (e.g., chromaticism)—unwelcome precursors of Reger’s compositions in nand Becker (1804–1877) in Leipzig and 8′ Hohlflöte in the liturgy, Liszt became acquainted the same genre: the increased chromati- maybe also with Töpfer in Weimar.20 8′ Flauto traverso with a circle of Protestant organists, cism in these three pieces (compared to Christoph Bernhard Sulze (1829– 4′ Octave known as the Weimarer Organisten- earlier works by Töpfer), the quotation 1899) studied with Töpfer and became 4′ Gemshorn 5 2′ Octave kreis. The leading figure among the of the chorale in pianissimo just before his successor in the Stadtkirche in Wei- Mixtur V organists in Weimar was Johann Gottlob the hymnic final in major in Jesu, meine mar.21 He arranged some of Liszt’s works Scharff III Töpfer (1791–1870), organist at the Freude (in exactly the same position as in and developed—together with Liszt—a 8′ Vox humana Stadtkirche, professor at the Lehrerse- Liszt’s “B-A-C-H”), and the connection new system of pedal notation (notes for Unterwerk minar in Weimar and—perhaps most of the different variations with thematic the right foot beamed up, for the left foot 8′ Principal importantly—a leading authority in interludes in all three fantasies (similar to beamed down).22 8′ Gedackt organ building in Germany. Mendelssohn’s Sonata No. 6 and Liszt’s 8′ Salicional In this article, I will explore the pro- “Ad nos”) point towards an influence of The organs in Weimar (Stadt- 8′ Flauto dolce 12 8′ Harmonikaflöte fessional relationship between Liszt and Liszt’s oeuvre on Töpfer’s late works. As kirche) and Denstedt 4′ Octave Töpfer. The mutual influence between Bähr points out, Töpfer did maintain his “Töpfer’s credentials as a teacher were 4′ Flauto dolce the two relates to four different areas: conservative style throughout his lifetime, impeccable, [but] his real claim to fame 2′ Octave Cornett III 1) Their direct relationship, including but he also was open to new influences was as an organ builder, a field over which Mixtur IV knowledge and performance of and from eminent colleagues like Liszt.13 he exerted great influence.”23 Two of the influence on each other’s compositions; instruments that were built according to Pedal 2) Mutual students; 3) Organs that were Töpfer’s students and Liszt Töpfer’s ideas24 were very important to 32′ Untersatz 16′ Principal built according to Töpfer’s ideas and well During his 53-year-long tenure as Liszt as he used them for performances 16′ Violon known to Liszt; 4) Indirect influence on city organist and professor for organ at and teaching: the Trampeli/Schulze 16′ Subbas each other’s registrational practice. the seminary, Töpfer taught numerous organ (1812/1824) in the Stadtkirche in 8′ Principalbass German organists: three of them also Weimar and the Peternell organ in Den- 8′ Octave 25 8′ Violon Professional relationship became students of or collaborated with stedt (1859/60). 8′ Bordun 1 between Liszt and Töpfer Liszt. We can assume that through their 5 ⁄3′ Quint When Liszt first arrived in Weimar, playing and in their discussions, they Peternell organ in Denstedt (II/19) 4′ Octave the older Töpfer was “first skeptical and further familiarized the pianist Liszt with Cornett V Hauptwerk C–f′′′ 32′ Posaune hostile towards the progress instigated Töpfer’s ideas. 16′ Quintatön 16′ Posaune by Liszt. Later he was honest enough The most important organist in Liszt’s 8′ Principal 8′ Trompete to admit that much nice and great music life, his editor and link to other organists 8′ Hohlflöte 4′ Clarine 6 has been created by the new direction.” as well as his close friend, was Alexander 8′ Viola da Gamba 14 4′ Octave That there was indeed a significant Wilhelm Gottschalg (1827–1908). A 4′ Hohlflöte The Weimar organ is considered to improvement in their mutual esteem student of Töpfer, Gottschalg became 3′ Quintflöte be the “earliest example of [a] Ger- can also be witnessed by Liszt dedicat- the great pianist’s disciple when Liszt 2′ Octave man romantic instrument,”26 and is ing two of his arrangements for organ to accidentally overheard Gottschalg prac- Mixtur IV characterized by its full, warm sound Töpfer (Aus tiefer Not, BWV 38, in 1856 ticing one of Liszt’s organ arrangements Oberwerk C–f′′′ (dominance of foundation stops), the and Ich hatte viel Bekümmernis, BWV in Tiefurt and had technical difficulties. 16′ Lieblichgedackt (from Co) ‘thunderous’ pedal, its quick response, 21, in 1860), Töpfer’s first performance His low technical level also prevented 8′ Geigenprincipal and its expressive and poetic voices, of two compositions by Liszt (Psalm 23 Gottschalg from playing Liszt’s large- 8′ Lieblichgedackt which were praised for their Lieblich- for soprano, harp, and organ, and Psalm scale organ works, but Liszt would teach 8′ Harmonika keit; however, it had neither a swell box 4′ Geigenprincipal 27 137 for soprano, violin, harp, and organ him nonetheless (Orgelconferencen in 4′ Flauto dolce nor playing aids. in October 1859, on the same program Denstedt and Tiefurt in 1860) and rework The organ in Denstedt was designed were two pieces by Töpfer: his Sonata many of Gottschalg’s arrangements (for Pedal C–d′ for service playing and not for concert. in D Minor and the Nachspiel in C, example, the Pilgerchor from Wagner’s 16′ Subbas However, the essential—and poetic— 7 15 16′ Violon performed by Gottschalg and Buckel), Tannhäuser). Gottschalg’s Repertorium 8′ Principalbass foundation stops are there, and some of Liszt’s contribution of two pieces for (1869–75),16 a compendium of mostly 8′ Gedacktbass Liszt’s works can be performed on such a Töpfer’s ‘Jubelalbum’ in 1867 (Consola- nineteenth-century organ music (origi- smaller instrument.28 tion No. 4 in D-flat and Hosanna: Choral nal compositions and numerous arrange- Couplers 8 II/I for Organ and Trombone), and other ments), contains twelve works by Liszt I/Ped Liszt’s registrational practice premieres of Liszt in Töpfer’s church that exhibit the ‘new spirit’: pianistic These two instruments (as well as the (Seligkeiten in 1859 and Psalm 18 in virtuosity, orchestral registration, and Calcantenwecker (wind signal) Ladegast organ in Merseburg), together 1861). In 1870, Liszt even led Töpfer’s constant connection to Bach are essen- with the organists Gottschalg and Win- 9 17 funeral procession. tial for Liszt’s view of the ideal organist Weimar, Stadtkirche (III/49) terberger, were of vital importance to Liszt owned several of Töpfer’s com- and his music. Liszt, as he would explore his (new) positions, including the Choralstudien The virtuosity that Gottschalg lacked Hauptwerk ideas for registration with them. As we (edited and published by Gottschalg in was Alexander Winterberger’s 16′ Principal shall see, this had repercussions for Töp- 16′ Quintatön 1871), a collection of Intonations, Pre- (1834–1914) strength: Winterberger, 8′ Octave fer, as he was either present at recitals ludes, Trios, and ‘Konzertsätze’, which one of the first students of Liszt (since 8′ Gedackt that Liszt had prepared or—in the case 24 n THE DIAPASON n AUGUST 2013 WWW.THEDIAPASON.COM Liszt, BACH Liszt and his students of Gottschalg—would hear his former student play in a different way. Numerous contemporary sources, like Gottschalg and von Bülow, tell us that Liszt had “little knowledge of local organ practice [and] was willing to experiment with registration,” that he was praised for his “brilliant registration, [and] his rich range of nuances in creating only soft tone colors,”29 and his amazing skill in the combination of stops and choice of registration, as well as in the alterna- Gottschalg’s signature (copyright Feijoo) tion of the four manuals in Merseburg.30 In short, “Liszt enjoyed using the full Notes resources of the instrument and .