A Study of the Baroque Techniques and Lutheran Liturgical Contexts in Hugo Distler’s Chorale-Based Organ Works A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Shu-Hui Tsai B.A., Taiwan Theological College and Seminary, June 2002 M.M., University of Louisville, May 2007 Committee Chair: Michael Unger, DMA 0 ABSTRACT This study focuses on the musical genres, compositional devices, and Lutheran liturgical contexts used in the chorale-based organ works of Hugo Distler composed during his Lübeck years (1931–1937). He was among the first composers to write organ music combining traditional forms with modern harmonic elements intended to be performed on both modern and historic mechanical-action organs. As a Lutheran musician, Distler applied traditional Lutheran liturgical ideas into his organ works. For these two reasons, Distler’s organ works have gained a prominent place in twentieth-century organ literature. Moreover, Distler emerged as one of the central figures in the German church-music renewal movement. This document will discuss the Baroque techniques and liturgical contexts used in his chorale-based organ works from his Lübeck years: Partita on Nun komm, der Heiden Heiland, Op. 8, No.1; Partita on Wachet auf, ruft uns die Stimme, Op.8, No.2; and seven chorale preludes in Kleine Orgelchoral- Bearbeitungen, Op.8, No.3. i ii Acknowledgements Thanks to my parents, Wen-Cheng Tsai and Shiuan-Hua Lee, for their unconditional love and all the support. Thanks to my extended family for all the encouragement and love. Thanks to my husband, Henry Sharp, for the technological support and the research tour in Germany. Thanks to my teacher, Dr. Roberta Gary, for the guidance throughout my doctoral study at CCM and who introduced me to Distler’s wonderful organ music. Thanks to my document advisor, Dr. Michael Unger, who gave me lot of help and guidance for this document. Thanks to two of my readers, Dr. John Deaver and Professor Michael Chertock, for all their time and help. Thanks to all of my colleagues and friends who helped me with this document. Thanks to God for the wonderful musical gift and opportunities that He provides throughout my musical journey. I can do all things through Him who strengthens me. Philippians 4:13 Soli Deo gloria! iii Table of Contents Abstract…………………………………………………………………………………….….…...i Acknowlegements………………………………………………………………………………..iii List of Figures………………………………………………………………………………..…...vi List of Musical Examples……………………………………………………………………......vii Introduction……………………………………………………………………………...……..…xi Chapter 1: The German Church Music Renewal Movement and Orgelbewegung…………..…...1 Martin Luther’s Theology (or Ideology) on Music……………..…………………......1 Traditional Functions of the Organ Prelude in the Lutheran Liturgy………….……...3 Historical Background of Lutheran Church Music Renewal Movement………….….4 Historical Background of Orgelbewegung…………………………………….……...7 Chapter 2: The Lübeck Years (1931–1937)………………………………………………….……9 A brief biography of Hugo Distler…………………………………………….………9 Distler’s duty at St. Jakobi Church in Lübeck……………………………………….11 The Jakobi’s Stellwagen organ………………………………………………………12 Overview of Distler’s Organ Music………………………………………………….17 Chapter 3: The Lutheran Liturgical Contexts Used in Distler’s Chorale-based Organ Works….18 Partita on Nun komm, der Heiden Heiland, Op. 8, No.1…………………………….21 Partita on Wachet auf, ruft uns die Stimme, Op.8, No.2……………………………..26 The Kleine Orgelchoral-Bearbeitungen, Op.8, No.3………………………………..29 Wie schön leuchtet der Morgenstern……………………………………………...31 Das alte Jahr vergangen ist……………………………………………………….31 Partita on Jesus Christus, unser Heiland, der von uns den Gottes Zorn wandt…..32 iv Christe, du Lamm Gottes………………………………………………………….33 Mit Freuden zart………………………………………………………………….34 Ach wie flüchtig, ach wie nichtig…………………………………………………34 Partita on Christ, der du bist der helle Tag……………………………………….35 Chapter 4: The Musical Genres Used in Distler’s Chorale-based Organ Works………………..36 1. Partita…………………………………………………………………………….36 2. Toccata…………………………………………………………………………...38 3. Bicinium…………………………………………...……………………………..41 4. Tricinium…………………………………………………………………………43 5. Ricercar…………………………………………………………………………..44 6. Pastorale…………………………………………………………………………46 7. Chaconne…………………………………………………………………………47 8. Prelude…………………………………………………………………………...51 9. Fuge……………………………………………………………………………...52 Chapter 5: The Compositional Devices Used in Distler’s Chorale-based Organ Works………..56 1. Cantus Firmus Treatments within the Partitas and Chorale Preludes………...…57 2. Imitation………………………………………………………………………….62 3. Rhythm…………………………………………………………………………...63 4. Syncopation………………………………………………………………………64 5. Repetition………………………………………………………………………...65 6. Chromaticism…………………………………………………………………….66 7. Modality………………………………………………………………………….68 8. Ornamentation……………………………………………………………………69 9. Articulation Markings……………………………………………………………70 Conclusion……………………………………………………………………………………….73 Bibliography……………………………………………………………………………………..75 v List of Figures Figure 2-1: The Disposition of the Large Organ in St. Jakobi Church in 1935………………….13 Figure 2-2: The Disposition of the Small Organ in St. Jakobi Church before 1500……………..15 Figure 2-3: The Disposition of the Small Organ in St. Jakobi Church in 1636/1637……………15 Figure 2-4: The Disposition of the Small Organ in St. Jakobi Church in 1935………………….16 Figure 2-5: Distler’s Organ Works and the Year of Publication………………………………...17 Figure 3-1: Chorale used in Disler’s Organ Works……………………………………………...19 Figure 3-2: Catalog Number of Chorales that Distler used found in 1954 and 1957 Hymnals….20 Figure 3-3: The Verses of Chorale Nun komm, der Heiden Heiland…………………………….22 Figure 3-4: The Verses of Wachet auf, ruft uns die Stimme……………………………………..26 Figure 3-5: Chorale Settings in the Kleine Orgelchoral-Bearbeitungen, Op.8, No.3…………...30 Figure 4-1: The Movement Settings of Distler’s Partitas………………………………………..38 Figure 4-2: The section plan for the Ricercar movement of Partita on Jesus Christus, unser Heiland……………………………………………………………………………...45 Figure 4-3: The First Verse of Chorale Christ, der du bist der helle Tag……………………….47 Figure 4-4: Chaconne movement plan…………………………………………………………...49 Figure 4-5: The Fourth Vesper at St. Jacobi, May 10, 1931…………………………………….51 Figure 4-6: The Fugue movement plan. Partita on Wachet auf, ruft uns die Stimme…...……….54 Figure 5-1: Distler’s Favorite Rhythmic Motive…………………………………………...……65 vi List of Musical Examples Example 3-1: Chorale Nun komm, der Heiden Heiland…………………………………………21 Example 3-2: Each phrase of the Chorale is presented twice in the different register, Partita on Nun komm, der Heiden Heiland, Mvt 2, Variation 1…………………………….23 Example 3-3: The accent markings, Partita on Nun komm, der Heiden Heiland, Mvt 2, Variation 3………………………………………………………………………..24 Example 3-4: The broken chord in triple setting, Partita on Nun komm, der Heiden Heiland, Mvt 2, Variation 4………………………………………………………………...24 Example 3-5: The assending passge for all part in the end. Partita on Nun komm, der Heiden Heiland, Mvt 2, Variation 5……………………………………………………...25 Example 3-6: The florid cantus firmus against slow moving accompaniment parts. Partita on Nun komm, der Heiden Heiland, Mvt 2, Variation 7…………………………………25 Example 3-7: Chorale Wachet auf, ruft uns die Stimme…………………………………………26 Example 3-8: The trumpet-like figure against the florid upper part, Partita on Wachet auf, ruft uns die Stimme, mm. 3-5…………………………………………………………28 Example 3-9: Chorale Wie schöne leuchtet der Morgenstern…………………………………...31 Example 3-10: Chorale Das alte Jahr vergangen ist…………………………………………….32 Example 3-11: Chorale Jesus Christus, unser Heiland, der von uns den Gottes Zorn wandt…...33 Example 3-12: Chorale Christe, du Lamm Gottes……………………………………………….33 Example 3-13: Chorale Mit Freuden zart………………………………………………………..34 Example 3-14: Chorale Ach wie flüchtig, ach wie nichtig……………………………………….34 Example 3-15: Chorale Christ, der du bist der helle Tag………………………………………..35 Example 4-1: The work begins with a pedal solo and followed by a florid passage on the manual over a pedal point, Partita on Nun komm, der Heiden Heiland, Mvt 1…………...39 Example 4-2: The work begins with a pedal solo and followed by a florid passage on the manual over a pedal point, Praeludium in E minor, BuxWV143, mm.1-4………………..39 Example 4-3: The section began with a figuration developed from the upbeat rhythmic motive. Partita on Wachet auf, ruft uns die Stimme, Mvt.1, mm.1-2…………………...…40 vii Example 4-4: The work began with a figuration developed from the upbeat rhythmic motive. Toccata in C major, mm. 1-2……………………………………………………...40 Example 4-5: Bicinium from the second verse of the hymn De Nativitate Christi in Tabulatura Nova, Part 3, mm. 1-6………………………………………………………….....41 Example 4-6: The C.F. presented twice, Partita on Nun komm, der Heiden Heiland, Mvt. 2, Variation 1, m.1………………………………………………………………….42 Example 4-7: Bicinium from the fourth verse of chorale Vater unser im Himmelreich in Tabulatura Nova, mm.1-13……………………………………………………….42 Example 4-8: The C.F. against the active melismatic accompaniment, Partita on Jesus Christus, unser Heiland, Biciniun, mm.4-6………………………………………………....43 Example 4-9: The figuration of the upper two voice is derived from the Chorale, Partita on Nun komm, der Heiden Heiland, Tricinium, m.1……………………………………..44 Example 4-10: The Subjects of the ricercar, Partita on