Oral Exam Misc.

Ricercar

(It., "to seek") Implies "study" in imitative counterpoint or "examination". This term was originally used for a piece of preludial/improvisatory character for lute or keyboard. Developed in part from "intonation" use of organ for vocal pieces, but not from direct copying of vocal models. However, the best-known and most durable kind of ricercar was the instrumental equivalent of the vocal motet (but is not based on any pre-existing material) and includes features such as points of imitation, paired entrances, stretto, augmentation, diminution, inversion, etc. The principal differences between the motet and the ricercar are that the instrumental pieces use a wider range of melody; they do not have to give frequent rests to each 'voice'; and, since there are no demands imposed by setting words, they can use fewer themes, even in some cases being monothematic. It's popularity eventually faded and was replaced by the more tuneful canzona. (Motet = large number of short points of imitation, directly related to text; Ricercar = small number of long points of imitation, no text, but rather with imitation as a purely musical device.) "Intentional complications such as augmentation, diminution, inversion, and polythematic texture" introduced into ricercars, not motets. Monothematic ricercars develop; monothematic motet is an "obvious absurdity." ** A. Gabrieli. 17 ricercars. MAJOR CONTRIBUTOR TO THE GENRE. "No other composer was so intensely occupied with this species, and none contributed so decisively to its evolution as this Venetian master...The ricercar thus became a display piece for musical learnedness, and was still used in this manner by Bach." (A, p.178) He instilled ricercar with strict, "high" counterpoint dominated by imitation. In the South, ricercars are quite conservative, but 'subjects' are typically constructed of small thematic units which are frequently combined and given over to contrapuntal variation (augmentation, inversion, stretto, etc). All themes are introduced at the beginning and developed without division or subdivision of the work. In the North, several sections are devoted to different subjects, with each successive section being a modification of original thematic material. The high point of the organ ricercare was reached in the works of Frescobaldi, who combined the techniques of North and South. This resulted in development of one or more subjects simultaneously, combined with Northern Italian sectionalization with each successive section being a modification of original thematic material.

Toccata (Venetian vs. Roman, then S. German)

(It., "to touch") Early Venetian: Although similar to intonazione's, these are longer, more virtuosic, and less substantive because of their improvised nature. ** A. Gabrieli (first?): 4. Show lack of regard for consistent texture or voice leading. Most start with a chordal texture in 4 to 5 voices. One voice will start to move quicker. Counterpoint may be as simple as an upper neighbor, or contrary movement betwen voices, or gradual entry of voices before breaking into diminutions. Two adopt contrast between free and strict to give them form (sexto and nono toni), thus establishing a three-part form (free-ricercar-free) ** A. Padovano: 3. 2 are in three-part form. 1 is in two sections (free-strict), representing an early prelude-fugue design, and it has letters below the staff, apparently indicating pedals (1st indications in Italy). ** C. Merulo: 19+. PEAK OF 16th-CEN. TOCCATA. intertwines florid passage work and chordal structure into the polyphonic framework, rather than having these elements effectively separated as in those pieces by A. Gabrieli and others. Some are entirely toccata-style, but most have contrasting sections. Some toccatas are in 5 sections (Book II: #1,2,7,10). Strict imitative sections are livelier than ricercars, and demarcation of free and strict is not always kept intact, with the latter growing out of the former. Figuration is varied and expressive. "Only in his canzonas and toccatas did Merulo develop a technique of ornamentation that is individual and artistically significant" (A, p. 184). The Roman toccatas of Frescobaldi are his most characteristic creative activity, especially in Book II. They carry the stamp of his personality more than any of his other works. They are written in a flamboyant improvisatory style (and not simply scale-like, either) — a general whimsical "I'll do this for two measures, then this for two measures." Starts with expansive rhythms, passing a small motive (like might be seen in a madrigal or something like that), and then it takes off! Passages of strong dissonance and suspensions, but not to the extent of the elevation toccatas. Numerous modal shifts, which is about the only way to create variety of harmony with the pedal point (he wrote two of them). Moments of quick imitation (rising 4th motive), but no real imitative sections as in Merulo. The exploration is not just showing off virtuosity via running up and down the keyboard, but also variety of motives, figural ideas, imitation, changes of harmony and character, etc. More clearly sectionalized (demarcated by cadences) than earlier toccatas. Toccata IX from Secondo libro di toccata bears an inscription by the composer: "Non senza fatiga si giunge al fine", "Not without toil will you get to the end." Froberger's toccatas are much more Germanic (rules and greater articulation of sections) than those of Frescobaldi. It is highly controlled, with imitative sections remaining committed to a single idea (usually short, lively motives) and strict to the pulse (in contrast to the variety of ideas used throughout Frescobaldi's toccatas). Norm is 5 sections (FSFSF). Some have fewer or no fugal sections. Subjects of toccatas with several fugal sections may be variants of the first subject, as in a variation canzona. Harmonic style is a mixture of early-Baroque experimentation with later Baroque function; major/minor exploited. The toccatas usually combine the Italian improvisatory practice with distinct contrapuntal sections in a rational arrangement that leads the way to the later north German form of the toccata and fugue. His fugal works are not far removed from the ultimate concept of fugues in the late Baroque period in Germany. Kerll: most like Frescobaldi's, but all are very different. All start with some harmonic interest — a broad stroke harmonic gesture, followed by passagi, scales, trills, etc. No fugal sections (except one in #1), many brief sections as in Frescobaldi, Book II, and not as delineated as in Froberger. More rapid figurations in sequences, virtuosity, quicker bass, written-out trills, running up and down the keys. #6 is "per li pedali"; #4 "cromatica con durezze e ligature" Muffat: Synthesis of French, German, and Italian traits. French: agréments (ornaments--most of them), French overture style, notes inégales, fugue grave, fugue de mouvement, white note notation of Toccata XI. Italian: titles, multi-sectional form (similar to Frescobaldi), durezze e ligature, modal shifts, some ornamentation (ribatutta, main-note trills), Lombardic rhythms, Venetian toccata style (scalar accompanied by chords in a non-polyphonic texture), aria, Corelli violin and trio sonata styles, pastorella, some fugue subjects similar to Frescobaldi (canzona themes), notation on two staves, indicating left and right hand. German: Salti (arppeggiation--from Kerll), pedal point with scale passages (Pachelbel), fugue subjects (Froberger, Pachelbel), sequences.

Buxtehude Praeludia

*** No autograph keyboard works have survived. None was published: movable type was considered ill-suited for the most advanced and difficult compositions of the late 17th and early 18th centuries. Able composers and players, therefore, felt that the most reliable and easiest manner in which to transmit the music was by copying it out by hand. (See S, p.308) Copper engraving was successful, but very expensive. 30 organ works "are transmitted in manuscripts from Bach's circle, including more than two-thirds of his free pedaliter organ works and half the free manualiter works. Indeed, Bach must be considered one of the three central figures responsible for the preservation and dissemination of Buxtehude's music. Walther claimed to have owned pieces 'from Mr. Buxtehude's own hand in German tablature.'" Most copies are in staff notation. "Buxtehude's praeludia form the heart of his repertory for organ, indeed of his works altogether...The essence of Buxtehude's praeludia lies in the juxtaposition of sections in a free, improvisatory, and idiomatic keyboard style with sections in a structured, fugal style...[his] praeludia are unlike any of the written praeludia that preceded them, with respect both to the rich variety and exuberance of their free sections and to the profiled nature of their fugues and ciacconas...Onto this northern root [Scheidemann, Tunder], Buxtehude grafted southern virtuosity and contrapuntal art based on thematic variation, which he had found in the toccatas, fantasias and canzonas of Frescobaldi and Froberger. Buxtehude borrowed many motives and styles of figuration from Frescobaldi, as Hedar has shown, but as tonal works, his praeludia sound much more modern than do the toccatas of Frescobaldi." (S, p.239, 246-7).

Resources: France 15/16/17 (4+3)

- 2011. Ponsford, David. French Organ Music in the Reign of Louis XIV. - 1969. Douglass, Fenner. The Language of the Classical French Organ, a musical tradition before 1800. - 1961. Howell, Almonte (ed.) INTRO: Five Baroque French Organ Masses. - Halford, Margery (ed.). INTRO: L'art de Toucher le Clavecin. Other important names: Kenneth Gilbert, Davitt Moroney, Guy Oldham

Organ Mass (French), Published (9)

- Anonymous, pub. Attaingnant (1530) (2 masses) - Guillaume-Gabriel Nivers (1, 1667) - Nicolas-Antoine LeBègue (1, 1678) - Nicolas Gigault (3, 1685) - André Raison (5, 1688) - Francois Couperin (2, 1690)*** - Nicolas de Grigny (1, 1699)*** - Gaspard Corrette (1, 1703) - Michel Corrette (4, 1756) ** Louis-Nicolas Clerambault and Jean-Adam-Guillaume Guilain call their sets of versets simply "suites." ** Titelouze collection in a completely different style Dandrieu, Jean-François Daquin, Louis-Claude Balbastre, Claude-Bénigne

Liturgical Use: North Germany

- Preludes were known to be long at this time (15-30 minutes), and were likely based on a chorale, such as a variation set. Preludes, Fantasies, and Fugues also were presumably played as Preludes and Postludes. - Accompanied hymns by the beginning of the 17th century. Short intonations before the singing of chorales likely improvised. All verses sung, but organ could be added between verses alternatim style, for reflection. - The choir was usually located in another part of the church, so the organist was not required to accompany them from the West end organ. Motet intabulations or improvisations were used on the 3 out of 4 Sundays per month that the 4 principle churches in Hamburg went without a choir. - Chorale Fantasies (a "sermon at the organ") or free works were likely played during Communion or after the sermon at Vespers. - Variations sets were perhaps played after the sermon. - Many free pieces for a variety of instruments had melodic material based upon chorale melodies (not coincidentally, but intended), and one may be able to link certain free organ pieces to chorales as well (fugues, canzonas, imitative sections in Praeludia, etc.) - Magnificat was sung, but the 12 verses were divided up into four groups of 3 verses (3+3+3+3), with the organ offering interludes (commentary/reflection) between and after each group. Thus one finds Magnificats with 2-4 verses at this time (e.g. Scheidemann). - Concerted music (instruments + organ with discant-zinck solos) was used during the service. Also quite common was the "in die Orgel" practice of playing contrapuntal music while someone sings or plays the (unornamented) cantus firmus. This may be related to the Italian tradition (known to Weckmann and certainly others in Hamburg and the North after Weckmann worked with Schütz) of Canzoni, Ricercari, and other non-hymn/chorale works taking on liturgical function by being played during the service. Is this the reason for the number of Canzonas and Canzonettas found in N. German repertoire?

Composers: Post-WW2: Jeanne Demessieux

- Student of Dupré for 10 years (age 15-25). She also assisted him at St. Sulpice (with Jacques Grunenwald, Dupré's eventual successor). Her success at this post was limited due to the sexist views of the clergy, who prevented her from becoming Dupré's replacement (on tours, etc). Dupré considered her to be more gifted and able than himself. Dupré's Opus 39-41 (Suite, Offrande à la Vierge, Trois Esquisses) are thought to be a part of 12 etudes composed for Demessieux. - 1946 they had a falling out. Apparently Dupré was quite controlling. He was extremely complimentary of her publicly, and its thought she felt she needed the freedom to do what she wanted to do. But we still really don't know what happened. - Had amazing technique! With the Te Deum, the chant is treated more like Dupré (cantus firmus technique) than Tournemire (supple, flowing, fragments). Rhythmic, angular piece. Staccato leaping chords, strong dissonances, etc. It's still triadic and tertian based, but very Dupré-like. Very little contrapuntal writing. Also no real functional tonality, other than the chant tends to hang around A and E, not as a tonic/dominant, but a vertical simultaneity. Planing of fourths and fifths, added note chords. Very sectional, with changes of texture and registration.

Output: Buxtehude

12 Canzonas or Fugas ("merry fugues") 3 ostinato works (2 Ciacconas, 1 Passacaglia), popular in Italy and South Germany, not in the North. 26 Praeludia: probably intended for connoisseurs, and most likely performed at the close of the service, not as a prelude (this was a norm for the 18th century, as described by Marpurg in 1760). 47 chorale-based works. We can assume that they are probably written-down versions of the introductions that he routinely improvised before congregational hymns. (It was Buxtehude who was responsible for ministers hanging boards with the hymn numbers.) Types: - 27 **BUXTEHUDE-TYPE** Chorale Preludes w/ decorated tune in soprano on Rp, 2 voices in LH, 1 in pedal, with some time in-between phrases, most with vor-imitation. These are all considered to be in a 'monodic' style, after vocal music. In most cases the ornaments are of a vocal nature, with few exceptions. - 5 preludes employ echo effects, figural patterns in all voices, etc. instead of vocal style presentation. They're like 1 verse out of a Sweelinck variation set. - 5 Chorale Fantasias, "..in this genre, more than in any other, the North German organist 'gave the reins to his fancy,' allowing himself at times to be carried away by the manifold registrational possibilities of his instrument and by his own improvisational skill to produce works of a length totally disproportionate to the chorale that formed their point of departure." Repetitions of fragments/motives in these pieces "depend for their execution on separate manuals, because of the crossing parts between the hands, and for their effect on contrasting tonal color between the divisions governed by those manuals. No other works by Buxtehude are as completely wedded to a particular type of instrument and acoustics as the chorale fantasias are to the North German multi-manual organ resounding in a large Gothic church." - 3 Chant Fantasias, 1 Chorale Ricercar - 6 Chorale Variation Sets. (1 is a set of dance movements). Most often a plain chorale in one voice with various figuration in the others (Sweelinck). Many are manualiter for 2 or 3 voices.

Treatises and Important Collections: South Germany (12)

1448. Ileborgh Tablature (Ileborgh, Adam). Earliest known purely instrumental organ tablulature, not bound to vocal compositions. Contains five praeambulum, the earliest known examples of the genre. There is no influence of Renaissance vocal polyphony or dance, nor are they based on pre-existing material. 1452. Fundamentum organisandi (Paumann, Conrad). Organ composition and improvisation method book, appended to the Lochamer Liederbuch. Provides examples for composing polyphonic organ music over both plainchant and free tenors. Includes 31 organ intabulations of sacred and secular models. 1470. Buxheimer Orgelbuch (anon.) Manuscript. 256 compositions, mostly intabulations. Also contains about fifty pieces of liturgical character and about thirty preludes, in which rhapsodic-figurative and purely chordal parts alternate. The pieces are mostly two- and three-part, but several are four-part. Most of the composers are anonymous, but some are also known composers of the time (e.g. John Dunstable, Guillaume Du Fay, Gilles Binchois, Walter Frye). Contains a version of Paumann's Fundamentum Organisandi. 1511. Spiegel der Orgelmacher und Organisten (Schlick, Arnolt). Not intended for organists and/or organ builders, as it may seem from the title, but for those church and monastery authorities who wanted to buy an organ, or had one entrusted to their care. 1512. Tabulaturen etlicher Lobgesang (Schlick, Arnolt). First printed German organ tablature. 9 C.F.-based pieces for organ in three to five parts. A 5-part (textless) Salve regina features sophisticated cantus firmus techniques (e.g., fragmentation of motives), multiple truly independent lines, double pedal, vorimitation and extensive use of imitation. Thus, it predates the advances of Baroque music by about a hundred years. 3 consecutive settings of Da pacem, though never referred to as a cycle, with the placement of the cantus firmus suggests that the three settings are part of a large plan. The antiphon is in the discantus in the first setting, in the tenor in the second, and in the bass in the third. This, again, looks to the future. 1520. Fundamentbuch (Buchner, Hans). A collection of organ music that also includes an introduction to the techniques of playing and improvising on plainchant. 3 parts: 1) ars ludendi (art of playing): Practical explanations of how to play the organ, read tablature, execute fingering, etc. 2) ars transferendi (art of transcription): instruction on how to arrange vocal pieces for organ (intabulations). 3) fundamentum (fundamentals): method of how to handle a Cantus Firmus in contrapuntal manner. 1624. Ricercar tabulatura (Steigleder, Johann Ulrich). - The first German music collection to be published using engraved copper plates (the title page indicates that the composer did the engraving himself). Together with Scheidt's Tabulatura nova, it was one of the first German printed collections to adopt five-line notation with notes instead of letter notation. Among the first to make the transition from modal indications such as primi toni, secundi toni, etc. to keys in keyboard music. 1681, 1698. Orgel-Probe (Werckmeister, Andreas). The treatise presents extensive citeria for the evaluation of chests, reed and flue pipes, bellows, windtrunks, and other components. Werckmeister discusses project planning and contracts, considers possible dispositions, describes a number of special tests, and makes note of tricks commonly employed to conceal defects (an aspect of the treatise that aroused considerable ire among builders). Though it is sometimes regarded as an original and prototypical work, the Orgel-Probe was by no means the first such manual, and Werckmeister in fact appears to have based his treatise on a manuscript copy of an earlier, unpublished handbook for organ inspection jointly authored by Michael Praetorius and Esajas Compenius. Though Werckmeister covers far more material and goes into much greater detail, numerous parallel passages establish that he used the Praetorius/Compenius "Kurtzer Bericht" as a fundamental starting point. 1686. Modulatio organica (Kerll, Johann Caspar). Contains 8 sets (one for each tone) of 7 versets for the Magnificat (56 in all). The first of each set based on a C.F: "Magnificat" is intoned (incipit), then the remainder of the 1st verse is played in 4-parts as a C.F. in the soprano. Verses 2-6 are mostly fugal; the seventh verset is a Versus ultimus loco Antiphonae, and is a brief toccata-style piece. Magnificat only has 12 versets, so the 7th here is a bonus. 1690. Apparatus musico-organisticus (Muffat, Georg). Preface includes table and direction for ornamentation, direction for playing the pedal, etc. Synthesis of French, German, and Italian traits. Preface states "Although I know that something like this was printed seventy years ago, at the time of Frescobaldi, it seems to me that the significant difference in my style justifies the publication of a new work:...a style that is the result of the experience I have acquired in my contacts with the outstanding organists in Germany, Italy, and France, and which is hitherto not known." 1708. Praecepta der musicalischen Composition (Walther, Johann Gotfried). Important as a method on composition, and for its discussion of the Figurenlehre, the "musical-rhetorical figures which had such a significant role in the compositional practices of German Baroque composers." 1732. Musicalisches Lexicon (Walther, Johann Gottfried). First major music dictionary in German and the first in any language to include both musical terms and biographies of musicians from the past and present.

Treatises and Important Collections: Italy 15/16/17 (8)

1470. Faenza Codex (anon.). Contains the earliest surviving liturgical music for organ: versets for mass ordinary and magnificat (suggests early use of alternatim!), and also vocal transcriptions. 1593, 1609. Il Transilvano (Diruta, Girolamo). First comprehensive treatise (i.e., method book) on organ technique in which it differentiates from other keyboard instruments, published in 2 parts. Calls organ the "king of instruments." Published on instigation of Merulo, thus the treatise may sum up Merulo's practice as organist and composer. Discusses: player position, fingering, intabulation, diminution, registration, ornamentation, application of rules of counterpoint, transposition, accompanying, intoning and responding to choir. Ties registration to CHURCH MODES (Antegnati is GENRE). 1605, 1611, 1622. L'Organo suonarino (Banchieri, Adriano). Comprehensive treatment of fingering, and figured bass accompaniment of liturgical vocal music. States that it is in addition to "the most capable Diruta". 1608. L'Arte organica (Antegnati, Costanzo). Treatise on organ building history and the art of registration, written as a father/son dialogue. 144 organs built under Costanzo's direction, all of which are listed therein. Indicates registrations which show the particular tone produced by a stop, the style of music it was made for, and the moment at which it played in the liturgy to be intimately connected. Ties registration to GENRE (Diruta is CHURCH MODES). 1615, 1616, 1637. Toccate e partite d'intavolatura, Book I (Frescobaldi, Girolamo). Preface very important, wherein he offers nine points of advice. Many of these points explain Frescobaldi's expectation with regard to temporal topics, such as: the need for freedom with the beat and where one should push and pull, appropriate tempi, and an explanation of inegal. "These are new toccatas, nothing that you've heard before." All of these sections can be played separately from the others; you can stop at various places, depending on your needs. The final note of the trill should be help back (the main note). Series of 16ths against 8ths should be played un-evenly in a Lombardic-like rhythm. 1624. Primo Libro di Capricci (Frescobaldi, Girolamo). Preface. "To those who study this work: Since for certain [players] the performance of these pieces might be very difficult ... one should first search for the affect (affetto) of the passage and for the composer's intention regarding both the ear's delectation and the manner of performance involved. ... The performer ... should be free to play whichever passages he wishes so long as he ends with those which conclude in the right key." Also offers tempo suggestions based on meter. 1627. Toccate e partite d'intavolatura, Book II (Frescobaldi, Girolamo). ESPECIALLY DIRECTED TO ORGANISTS, THAN HARPSICHORDISTS, as it contains service music (including Elevation toccatas) and suggests pedal. 1635. Fiori Musicali (Frescobaldi, Girolamo). Preface offers advice on tempi, as well as describes when certain pieces can be used in a service, and offers a brief direction on touch.

Treatises and Important Collections: France 15/16/17 (7)

1530. Magnificat sur les huit tons avec Te deum et deux préludes AND 2 Masses: "Kyrie Fons" (Mass II) and "Cunctipotens" (Mass IV) (Attaingnant, Pierre [printer]). Use of common figurations for the day: scale patterns, moving line in 8th notes, with ornaments in 16th notes. Relatively short versets. 1623. Hymnes de l'Eglise pour toucher sur l'orgue, avec les fugues et recherches sur leur plain-chant (Titelouze, Jean). Also, Le Magnificat ou cantique de la Vierge pour toucher sur l'orgue, suivant les huit tons de l'Eglise, 1626. 1636. Harmonie universelle (Mersenne, Marin). Book on Instruments: book 6 contains discourse on the organ. The greatest theoretical contribution touching upon the French organ, up to the time of Dom Bedos (1766). Documented the most up-to-date thinking about combining stops at a moment which is quite crucial in terms of the literature, and summed up as well the practice of earlier years. The registrations are, then, transitional. Valuable for registration in Titelouze, and as a guide to the changing registrational practices from the 16th to the more stabilized 17th century. Mersenne's writings not altogether authoritative concerning stoplists and registrations. The first description of what came to be called the French classical organ is found therein, which describes the instrument and its use in Paris. Through the influence of Louis XIV, and the desire of French aristocracy of the period to emulate the style of his court, the basic characteristics of instruments built throughout France evolved from the Parisian type described by Mersenne. 1662. Caeremoniale Parisiense (Cardinal de Retz). Instructions about use of organ in the Catholic Mass. Organ gives pitch and alternates with choir in short pieces (Kyrie, Gloria, Sanctus, Agnus Dei). Organ as solo instrument during Offertory, Elevation, Postlude. Vespers: more frequent playing: between psalms; in alternation with sung verses of Magnificat. 1689. Pièces de clavecin (d'Anglebert, Jean Henri). Collection of four harpsichord suites. The collection was beautifully engraved with utmost care, which set a new standard for music engraving. D'Anglebert's table of ornaments is the most sophisticated before Couperin's (which only appeared a quarter of a century later, in 1713). It formed the basis of J.S. Bach's own table of ornaments (Bach copied D'Anglebert's table ca. 1710). 1713. Premier Livre de Pieces de Clavecin (Couperin, Francois). Includes table of ornaments in preface. Explication des Agremens, et des Signes. It is also referred to in his L'Art de toucher le Clavecin. 25 years after d'Anglebert's. 1766. L'Art du facteur d'orgues (Dom Bedos de Celles). A monumental and detailed treatise on French organ construction. Awesome drawings of every crevasse of organ buildling. Includes detailed information on how to scale pipes with drawings and graphs to illustrate. Includes every detail: how to build a foundry, melt the metal, forge the pipes, etc.

Treatises and Important Collections: North Germany (7)

1619. Syntagma Musicum. Part II: De Organographia (Praetorius, Michael). An ambitious three-volume treatise and the most complete treatment of musical matters attempted up to its time. - Volume I is primarily a history of religious music and various liturgical-musical forms, and is an important source of information on the liturgical practices of his day. - Volume II treats instruments, both ancient and contemporary. Sciagraphia at the end has important drawings of instruments to scale---only one of its kind until 20th century. -- Part 3 treats the development of the organ -- Part 4 examines characteristics of contemporary organs, including a "Universal Table" and an extensive description of individual stops. Includes the famous description of the Halberstadt Cathedral organ, built by Nikolaus Faber (1359-61; reb. G. Kleng, 1495; lost)) -- Part 5 is a collection of stoplists of important German organs. - Volume III encompasses practical matters of music-making: forms, learning procedures, and performance suggestions. - Volume IV never completed, on musical composition. 1620-1680. Pelplin Tabulature (Anonymous). Contains 797 transcriptions of vocal works by various composers, and 91 keyboard compositions by Polish, Italian (Merulo), German, Austrian, Netherlandish, Spanish and English (Morley, Philips) composers. Also includes 12 organ chorales by Scheidemann, Tunder, and others, added in the 2nd half of the 17th century. 2 works (one by Tunder, one Peter Hasse) have at least one indication for stop additions or subtractions within the work, to highlight the cantus firmus: - Add Scharff for embellished cantus firmus - Add Posaune and Cornet for cantus firmus vs. continuo role (pedal) - Alternation of ornamented cantus firmus between two divisions (Bw and Rp). This suggests the use of this practice for dialogues or "echoes". 1624. Tabulatura Nova (Scheidt, Samuel). Most important published keyboard collection of the 17th century in Germany. A kind of "collected works" published in 3 parts, with 58 compositions, 255 individual pieces, 764 pages of music. The "new tablature" was that of Italian moveable type (partitura), NOT German tablature, as it was cheaper to print. Score was impractical for performance, so the player would need to "transcribe." - Registration suggestions found in Preface "An die Organisten" ("To Organists"). His highest priority is that the melody should be clear. The RP normally had more color than the werk, because it was added later from the original blockwerk that it all started with. HW use Flutes 8 and 4 OR Principal 8; RP use Quintadena or Flute 8, with Flute or Principal 4, and with Mixture or Zimmel or Principal 2; Ped with CF, Unteratz [big Bourdon] 16, Posaune 8/16, Dulzian 8/16, Schalmei, Trompete, Cornett. c.1650. Lüneburger Orgeltabulatur KN 209 (Anonymous). Written in German organ tablature and is one of the most important sources for North German organ music, both in size and in textual quality. It is the primary source for the music of Weckmann and Tunder, and an important source of Scheidemann. Registration indications: - O (Organo or Oberwerck) and Rp (Rückpositiv): usually used to distinguish a solo line from the "accompanimental" voices. - Flexibility in registering/playing? O Lux Beata Trinitas, vs. 2: "à 4. Choral in Cantu, manualiter vel si placet pedaliter." - Manualiter may suggest that the non cantus parts are played on one sound, rather than all of the voices. This would allow for the cantus to be played in the pedal (any voice of the texture using 16-2' reed) or by someone else ("in die Orgel") 1650. Tractatus compositionis augmentatus (Bernhard, Christoph). Lists and classifies various musical figures and gestures, which were used as a means of text painting. 1653. Hintze manuscript (Anonymous). The manuscript, contains pieces by Froberger, La Barre, Chambonnières, Tresure, Artusi, Kerll and Erben. Except for the few pieces by Kerll and Erben, which show Italian influence, the manuscripts contain music in the French style. Confirmed autograph of Weckmann. 1739. Der vollkommene Capellmeister (Mattheson, Johann). Everything you need to know about running a church music program. Massive! Includes a number of specific and general things about music making. Term "stylus fantasticus" used. See Chapter 24 for descriptions of organ stops and how to combine them (esp. §69-91)

Output: Pachelbel

94 Magnificat fugues (freely composed--no apparent connection to C.F.). Pieces used to INTONE the Magnificat. # and order of fugues into Tones is erroneous. Wide variety of characters and styles (ricercar to lively "spiel" fugue). Some of these could be called capriccios, canzonas, or fantasias, direct descendants of Frescobaldi and Froberger; but Pachelbel's fugues usually have only one section with continuous treatment of the single subject from beginning to end. Pachelbel favored lively subjects, often with repeated sixteenth notes. The continuous treatment of such subjects brought about a uniform rhythmic motion throughout the fugue." (Crocker, p. 294) Some are 2-voice works resembling (and perhaps inspiring) Bach's Inventions. 72 Choral preludes (Choralbearbeitungen) made large impression on Thuringia. Scored for 2-4 voices. Primarily 3 types: - C.F. chorale (long notes, usually bass or soprano), frequently with vorimitation. Other material could be imitative, but could also be just figural. "Pachelbel-type" = pedal playing tune with two active voices on separate manuals. - Chorale fughetta. Central German type. Most use first line only. Used to introduce the melody for congregational singing? - "Combination-form", begins with fugue but follows as 3- or 4-pt. setting. 2 Prelude (Toc. or Fant.) & Fugue. Standard had not fully developed, but some works indicate direct linkage. 7? Chorale partita (variations). Very practical; manualiter, presumably for home devotion on a plucked instrument, rather than Sunday. Figural counterpoint is the name of the game. You can see how influential this must have been on Bach! Take one short idea, and stick with it. This stands in contrast to Sweelinck, where the contrast is in how many figures could be incorprated in a short span of time. No fixed number of variations. Examples: 1. Filling in, 2. RH active, 3. LH active, 4. Chromatic, 5. 32nds!!, 6. Figural dialogue, 7. Violinistic arpeggiation, 8. Gigue, 9. Duo (very common to have this be the last) 13 Variation sets (other than chorale--presumably harpsichord/clavichord) 19 Fugue (free of liturgical or cantus firmus relationships): diminution, aug., stretto DO NOT appear. Inversion used in only 2 works. Fantasie: "Imprecise use of the term fantasy for pieces that are obviously canzonas or toccatas, and appear as such in other sources. Fantasies nos. 21-23 [DTO--in C, d, and a?] are exceptional. Can they be regarded as predecessors of the modern fantasy, in which--as in Bach's Chromatic Fantasy--the free treatment, the improvisational continuation of an idea is of fundamental importance?" 14(?) Pedal Point Toccatas. Newer figurations in a uniform style (rather than the contrasting ideas used by Frescobaldi and his followers). 6 Chaconne 3 Ricercar

Organ Mass (French)

An organ mass supplies music for use in the mass. The French organ masses of the seventeenth century display a remarkable consistency of structure. Alternate versets are supplied for the complete Ordinary of the Mass with the exception of the Credo. (The Credo had appeared in the sixteenth century organ masses of Attaingnant, but a stiffening of resistance on the part of the church authorities against mutilation of the text of the creed had apparently resulted in its no longer being shared with the organ; at least, no seventeenth-century organ examples are known from France after the 1662 Ceremoniale.) In the majority of the surviving organ masses the Kyrie is supplied with five versets, the Gloria with nine, the Sanctus with two or three (depending upon whether or not the organ supplies the Benedictus), and the Agnus Dei with two. Optionally, a concluding Deo gratias verset may appear (as in Couperin and Grigny). Only one Gregorian chant for the Mass was commonly used in Paris churches in this period: the Cuntipotens Genitor Deus cycle listed in modern Roman editions as Mass IV for feasts of apostles. In addition to the versets alternating with the choir, most organ masses are supplemented by extra pieces designed to fill in with background music during certain portions of the service where a lengthy action takes place, or in which a particularly solemn moment seems to need highlighting by the organ. These may be longer than the regular versets and freer in form, since they are not tied so closely to the text of the ritual. Of such pieces, the Offertoire or Offerle is generally the longest and most virtuoso in character. In addition, briefer and more solemn pieces are sometimes furnished for the Gradual, the Elevation, and the Communion. Even in the cantus firmus masses, then, only a small number of the pieces are based directly on sacred music. The greater number of them are much more secular in style, as are almost all those in the non-cantus firmus masses. The influences upon them are quite apparent to the student of seventeenth-century French music in general. Pieces of the type seen in the dance suites for harpsichord and lute and the orchestral dances of ballet and opera exert a particularly notable influence. In the preface to his volume, Raison remarks on the resemblance but notes that the movement should be slower because of the sancity of the place of worship. A papal decree eventually came down to require the chant to be more prominent. The influence of operatic vocal music and secular song appears, especially in those movements labeled "recit." Many of the composers suggest that these should imitate the human voice as far as possible. Solo string music, particularly embellished solos for bass viol, leave their mark, as do also flourishes and fanfares for the trumpet. One can frequently detect, too, the pompous, full texture of the typical Lullian French overture. And strongest of all, of course, are the individual idioms of harpsichord and lute music-the numerous embellishments (agréments) and the use of Stile brisé, an idiom necessary to the lute but rather incongruous for a sustaining instrument like the organ.

Organ Mass (Italian), Published (7)

All but Faenza set IV, IX, and XI: - Faenza Codex (c.1430) (IV only) - Girolamo Cavazzoni (3, 1550?) - Andrea Gabrieli (3, 1563) **published 1959! - Claudio Merulo (3, 1568) - Giovanni Gabrieli - Adriano Banchieri (1, 1622) (XI only) - Frescobaldi (3, 1635) **Just the Kyrie for the Ordinary. - Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo.

Organ Mass (Italian)

An organ mass supplies music for use in the mass. The content of published masses varies widely. A composer need not publish music for each needed verset, but may simply indicate "iterum repititur" to direct the performer to repeat as needed. Credo versets were not used in France, but were in Italy. They tended to be very short (as there's a lot to get through!). The French masses had issues with not enough reference to the source material. The Italian masses, though much earlier, did not have this issue; the chant quotations are more clear. Giovanni and Andrea Gabrieli, Claudio Merulo and Cavazzoni composed Masses containing all the sections of the Ordinary (i.e., Kyrie, Credo, Sanctus, Agnus Dei) for alternation with choir. Frescobaldi, however, limited himself only to the Kyrie in setting pieces for alternation. The other pieces of these Masses are free pieces, not for alternation, for certain movements in the mass: After the Epistle, after the Credo, during the Elevation and after Communion. Fiori Musicali represents the pinnacle of the Italian organ Mass.

Builders: Italy 15/16/17 (1)

Antegnati, Graziadio. A whole family, spanning multiple generations, active as builders, musicians, and composers from late 15th century to late 17th century. Combined output of about 250 organs. Main line of sons (though other lines were active, as well): Giovanni —> son Bartolomeo —> Giovanni Battista —> Graziadio (most outstanding builder of the family) —> Costanzo (organist, consultant, builder, known as theorist)

Liturgical Use: Italy 15/16/17

Before 1500, Italy was a variety of small states (which lasted until unification in 1860), who each maintained their own practices and approaches to worship. Council of Trent (1545-63) recognized organ as instrument most suitable for sacred worship. Dances prohibited. Chanson texts also prohibitied, but NOT instrumental transcriptions (e.g., canzone alla francese). Organ used in alternatim with choir for psalms, hymns, canticles (e.g., Magnificat and Te Deum) and the mass ordinary (credo was usually omitted). Alternatim or solo organ piece during "action" moments of the mass proper (e.g., Introit, Offertory, Elevation, Communion, Postlude). Could also play basso continuo for sacred choral works.

Resources: Bach (15)

Bighley, Mark S. The Lutheran chorales in the organ works of J.S. Bach. 1986 Clark, Robert. PREFACE: Orgelbüchlein, Concordia. 1984 David, Hans T. The Bach reader: a life of Johann Sebastian Bach in letters and documents. 1966 Faulkner, Quentin. J.S. Bach's Keyboard Technique: A Historical Introduction. 1984 Faulkner, Quentin. The registration of J.S. Bach's organ works. 2008 Faulkner, Quentin. PREFACE: Orgelbüchlein, Leupold Edition. 1997 Stauffer, George. The Organ Preludes of Johann Sebastian Bach. 1980 Stauffer, George, and May, Ernest. J.S. Bach as Organist: his instruments, music, and performance practices. 1986 Stinson, Russell. Bach, The Orgelbüchlein. 1996 Stinson, Russell. J.S. Bach's Great Eighteen Organ Chorales. 2001 Williams, Peter. Playing the organ works of Bach: some case studies. 1987 Williams, Peter. The Organ Music of J.S. Bach in 3 Volumes. 1980 Wolff, Christoph. Bach: Essays On His Life and Music. 1991 Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. 2000 Wolff, Christoph and Markus Zepf. The Organs of J.S. Bach: A Handbook. 2012

Composers: France 19/20 (7)

Boëly, Alexandre-Pierre François Lefébure-Wély, Louis-James-Alfred Franck, César - Leupold: Wayne Leupold. -- Smith, Rollin. Playing the organ works of César Franck, 1997. -- Smith, Rollin. Toward an authentic interpretation of the organ works of César Franck, 2nd ed, 2002. Lemmens, Jacques Nicolas Saint-Saëns, Camille - Smith, Rollin. Saint-Saens and the organ, 1991. Guilmant, Félix-Alexandre - Leupold: Wayne Leupold. Widor, Charles-Marie - A-R Editions: John Near, 1997. -- Near, John. The life and work of Charles-Marie Widor, 1985. -- Biggers, Jonathan. The Organ Works of Charles-Marie Widor. Vierne, Louis - Carus: David Sanger and Jon Laukvik, 2007. - Bärenreiter: Helga Schauerte, 2011. -- Smith, Rollin. Louis Vierne: organist of Notre-Dame Cathedral, 1999. Tournemire, Charles - Lord, Robert Sutherland. Liturgy and Gregorian Chant in L'Orgue Mystique of Charles Tournemire, 1989. Dupré, Marcel -- Murray, Michael. Marcel Dupre, the work of a master organist, foreword by Jacques Barzun, 1985. -- Steed, Graham. The Organ Works of Marcel Dupré, 1999.

Buxtehude Praeludia Structure

C (137). Free I (pedal solo, short imitations). Fugue (spiel fugue). Free II (short imitations). Ciacona. Free III. D (139). Arpeggios texture, passages of imitation, fugue, elevation-like, extended sequences, slow chords with ornaments, toccata-like. e (143). Opening pedal solo, imitation with new ideas (including a passage of 3/4 but no formal change of meter). Fugue I. New idea (in 7?) repeated 3 times. Fugue II (releated), ends with cascading counter subject. Closing = big pause, sudden 2 bars of G major, then immediately back in to E minor. Starts and stops. then pre-beat mordent figure turns into down-beat mordent.

General Resources (11)

Cambridge Companion to the Organ, The. 1998. (The instrument, the player (Kimberly Marshall), selected repertoires.) Johnson, Calvert. Historical Organ Techniques and Repertoire, multiple volumes (England, Spain, Italy, etc.) Laukvik, Jon. Historical Performance Practice in Organ Playing: An Introduction Based on Selected Organ Works of the 16th-18th Centuries. Neumann, Frederick. Ornamentation in Baroque and Post-Baroque Music. 1978. Owen, Barbara. Registration of Baroque Organ Music, The. 1997. (Goes through by region and time periods building and registrational practices.) Shannon, John. Organ Literature of the Seventeenth Century: A Study of it Styles. 1978. (Glossary of terms and Bibliography of Editions are EXCELLENT resources.) Silbiger, Alexander. Keyboard Music Before 1700. 2004. (Successor to Apel) Soderlund, Sandra. Organ Technique: An Historical Approach. 1986. (Great place to learn a little about a lot of different ways.) Williams, Peter. European Organ: 1450-1850, The. 1966. (Peter Williams discusses the nationalistic differences in organ design and construction as the pipe organ came to be what it is today. Many examples of stop lists, features, and specific builders are discussed.) Williams, Peter. New History of the Organ: From the Greeks to the Present Day, A. 1980. Williams, Peter and Barbara Owen. New Grove Organ, The. 1988. (This 437 page book "draws together in one volume the many articles throughout 'The New Grove Dictionary of Instruments' that relate to the 'King of Instruments'.")

Composers: Italy 15/16/17 (8)

Cavazzoni, Girolamo Merulo, Claudio. Venice: St. Mark's Gabrieli, Andrea. Venice: St. Mark's Gabriele, Giovanni. Venice: St. Mark's Trabaci, Giovanni Maria Frescobaldi, Girolamo. Rome: St. Peter's Capella Guilia Pasquini, Bernardo Zipoli, Domenico

Composers: Post-WW2: Helmut Walcha

Chorale prelude on Ein feste burg is like Distler. Congregation friendly.

Composers: Post-WW2: György Ligeti

Departs Hungary for Vienna. Contact with Stockhausen and other avant garde. His experimentations represent what's so interesting about post-WW2 music. Prepare the organ in a way that makes it sound not quite like an organ. Compose in a manner that negates any context of rhythm. Harmony isn't intended to sound like harmony. Wrote one of the first "elbow and arm" pieces. Style: earlier works begin to 'annihilate' "distinct rhythm and pitch as primary formal elements in favour of chromatic sound complexes of different volume, density and timbre.... He adopted strict formal procedures of counterpoint for much of his developed style (canon, fugue). His real importance as an influence on others has been in opening vistas other than post-Webernian serialism." (Ove, Nordwall, NG) Three periods: 1) juvenalia; 2) works composed while still in Hungary; 3) music written in the West. Earliest are either folk-influenced (Stalinist control) and/or quite tonal. Volumina (along with the orchestral piece Apparitions, 1958) represent his ground-breaking technique of chromatic complexes, where he nearly removes any trace of melody, rhythm, or harmony as distinct features of the music. Not really a volume; just a piece. Early organ work in graphic notation. Zwei Etuden (Harmonies, 1967; Coulée, 1969). Coulées: continues his exploration of "the superposition of different meters to produce sound of perpetual change in rhythm and color, related to a scheme of interval changes." This approach was adopted in the satiric Poème symphonique, which is a work for 100 metronomes that looks at relationship of composer-performer- audience in mechanical/electronic music (also an ironic twist on the Cage 'happenings'). These were studies for the composer and the genre more than the for the performer (although #2 is quite demanding) - Like other members of the Darmstadt School of 1960s avant-garde composers, he took interest in an aleatoric (chance) approach to composition. One of his approaches produced music which demonstrated an "[annihilation of] rhythm and pitch as primary formal elements in favor of chromatic sound complexes of different volume, density and timbre." Ligeti's second étude for organ, "Coulée," is an example of developing this idea, and resulted in "chromatic complexes, [nearly removed of] any trace of melody, rhythm, or harmony as distinct features of the music." - Melody: he demands an incredibly fast tempo, and with no other lines to be soloed out, it is quickly apparent that there is no trace of a distinct melody. - Meter: Without meter and rubato, the listener's attention is instead drawn to the repetitive nature of groupings. "Coulée" begins with both hands playing groupings of two notes. Various contrasting groupings are explored and exploited throughout the remainder of the piece, and their differing points of repetition produces a phasing effect. Ligeti's use of groupings creates a static motion when the groups are the same length (such as at the beginning), or, by adjusting the number of pitches in a group, produces an intensifying or relaxing motion. The phasing effect produced through the organic addition or subtraction of notes to the interweaving groupings undermines the traditional meaning of rhythm and meter, as there is no consistent (and therefore anticipatable) pattern. The superposition of different meters produce sound of perpetual change in rhythm and color." - Harmony: By adjusting individual pitches within these groups, often only one at a time, Ligeti exercises further control over dissonance and consonance. This music is neither tonal nor twelve-tone. Rather, Ligeti creates a mass of sound, where individual pitches are only important in that they create relationships and allow the interplay of gradual shifting sonorities. This vertical dissonance and consonance couples with the contrasting groupings to move the music forward. Rather than ending the piece by holding a chord, Ligeti instead brings about an end to the ceaseless motion by dramatic silence!

Diminution (16th cent.), 5 types:

Diruta, from Il Transilvano (1593) -minuta: elaboration of a long note -groppi: a cadential type of trill, usually with some variety of ending -tremoli: a general trilluse to begin some ricercars, canzonas -clamationi: filling in an upward leap of a third with a dotted note. e.g,. DeF -accenti: escape tones using dotted rhythms, with 16th note as upper auxiliary note. e.g., Ga-Fg-Ef-De-etc. Also: - passaggio - arpeggiation - scale fragments - melodic or rhythmic imitation

Fiori Musicali Contents and Performance

Frescobaldi limited himself only to the Kyrie in setting pieces for alternation. The other pieces of these Masses are free pieces, not for alternation, for certain movements in the mass: After the Epistle, after the Credo, during the Elevation and after Communion. For these he chose the following free forms: - Introit = toccata - For the transition between the Epistle and Gospel (Gradual), and for the end of the mass after Communion (Alleluia) = the most lively form of canzona alla francese of secular origin. - After the credo (offertory) = the severe polyphonic form of the ricercar - Elevation = toccata, but in mystic meditation * Capriccios: Bergamasca, and Girolmeta Play the opening toccata forte, i.e., organo pleno. In general, masses accompanied by organ were used at festive occasions. At other times no organ was used. So the festive sound is appropriate. Ripieno means organo pleno in organ terminology. In musical terminology, i.e., in the framework of the concerto grosso practice, it has other meanings, i.e., ripieno are the instruments of the tutti in opposition to the concertino (soloists). Stromenti ripieno = other instruments. For the ricercare and also for most linear-voiced pieces, choose registration of stops of the principal family. For the canzoni alla francese, use stops of the flute family or brilliant registration with gaps (mezzo ripieno). For the toccata d'elevatione you have to use the principal alone or the principal with the voce umana (a principal celeste) The principal alone on an old Italian organ was very soft, very delicate. Since the old Italian organ had one manual, a CF could not be played on a different manual. Hence, the Italian composers did not use the CF technique often. If they did, it was used in an upper or lower voice so as to be heard.

Builders: North Germany (3)

Fritzsche, Gottfried. Responsible for maintaining the great Hamburg tradition throughout the Thirty Years' War and up to Schnitger's time. He trained Friedrich Stellwagen and many others. Rebuilt and enlarged the four major organs of Hamburg, all students of Sweelinck: St. Petri (1634, Jacob Praetorius), St. Nikolai (1630, Johann Praetorius), St. Katharinen (1632, Heinrich Scheidemann), and St. Jacobi (1636, Ulrich Cernitz), bringing the last two instruments to four manuals each. Stellwagen, Friedrich. Built and enlarged a large number of significant organs, including the Marienkirche (both organs) and St. Jacobikirche organs in Lübeck, c. 1637 and Katharinenkirche in Hamburg, c. 1647. Schnitger, Arp. Records chronicle organs from Flensburg in the far north to Stettin and Moscow in the east, Portugal in the south, and England to the west, a truly amazing impact for a workshop of the Baroque era. Organs noted for their sharp, brilliant sound (especially the principal choruses). One of his trademarks was an inclination towards including 'aliquots', or mutations. These were typically narrow scale, although the variety of scalings employed may be more of an indication of his ability to suit each organ to the room than any inconsistency in approach. - Schnitger's predecessors gained wider popularity due to destruction and relocation of organs caused by the Reformation and the resulting Eighty Years' War (Dutch War of Independence) (Beeldenstorm in 1566), and the broader Thirty Years' War (1618-1648). - A propensity towards division of the instrument into clearly defined Werk, each with a distinct architectural placement. Every division had its own principal chorus (stopped flutes were used when principal ranks were too large for the space allotted), in order to have contrasting choruses. This is known as the Werkprinzip tradition. - Flute ranks offered a softer accompaniment. They loved the sheer variety of flute colors for 8, 4 and even 2'! it's not the 19th century idea of volume differences; they're simply timbrel differences. - The North German organ typically did not have string ranks. - Not un-common to have 25% of the stops be reeds. Reeds in each division allowed the organist flexibility in where to place the chorale melody, both in terms of on which keyboard to play the melody, and in which octave it will sound. - If O and R are marked, O stands for organo, R stands for Rookpositiv. Manualprinzip is a concept where each manual is a successive dynamic level, in comparison to the Werkprinzip, where each division of the organ can function as an independent chorus.

Composers: South Germany (4)

Froberger, Johann Jakob - 1897, 1899, 1903, ed. Guido Adler, Denkmäler der Tonkunst in Österreich (Monuments of Fine Austrian Music) series. - 1993, ed. Siegbert Rampe, Froberger Neue Ausgabe sämtlicher Werke (Froberger New Edition of the Complete Works, or NFA). Kerll, Johann Caspar - 1994, ed. John O'Donnell, Doblinger Muffat, Georg - 1982, Michael Radulescu, Doblinger Pachelbel, Johann - 1903, Max Seiffert, Breitkopf und Härtel - 1999-2011, Michael Belotti, Leupold

Genre: Fugue (France 15/16/17)

Fugue grave indicates a piece of a serious character (a la ricercar). Fugue gaie/gaye/du mouvement is its opposite (a la canzona). Rarely, four-voice fugal pieces bear the title Quatuor ("quartet"). Usually, three- or four-voice polyphonic pieces that adhere more or less strictly to the imitative style, with short-subject points of imitation. French Classical fugues were almost always for a single manual alone, and are often used as the second Kyrie verset. Given the shorter time expected for most verset movements, extensive development is non-existent. The typical plan is two expositions with a short bridge. Counter-subjects were not used; the other voices only provide harmonic support. These pieces are true fugues in the traditional sense of the term. They are quasi-polyphonic in texture and are based on a single motive stated at the beginning by one voice at a time and developed throughout. By comparison with the great German organ fugues, however, the examples of the late seventeenth-century French organ school are merely perfunctory gestures in the direction of the polyphonic traditions of the past. They are brief, their subjects are fleeting, their counterpoint is superficial. Reeds provided the most clarity on the French Classical organ and so were the basis for these highly contrapuntal pieces. The Classic registration for a fugue is to use the Trompette of the Grand Orgue perhaps with Bourdon and Prestant. An alternative would be to use the Cromorne (with Prestant or Flute 4). Nicolas de Grigny cultivated five-voice fugues! The right hand played two voices on the Cornet while the left hand played two voices on the Cromorne. The fifth voice was played by the pedal (with eighth notes!!!) on the Flute 8 or Grand Jeu de Tierce coupled from the Grand Orgue.

Composers: Post-WW2: Hermann Schroeder

Important as a Catholic composer of church music, particularly in breaking the hold of Romantic music on the church. Combined styles of Middle Ages (fauxbourdon, Gregorian modes, etc) with 20th-century polyphony. Some music atonal. Virtually all is linear. (Like a Catholic Pepping.)

Composers: Germany 18/19 (10)

Krebs, Johann Ludwig - Breitkopf: Gerhard Weinberger, 1985 Bach, Carl Philipp Emmanuel - Packard Humanities Institute: Annette Richards and David Yearsley, 2008. - Garland: Darrell Berg, 1986. Haydn, Franz Joseph Mozart, Wolfgang Amadeus - Universal: Martin Haselböck, 1980. - Doblinger: Monika Henking, 1972. - Schirmer: Anthony Newman. Mendelssohn, Felix - Novello: William Little, 1990. -- Little, William. Mendelssohn and the organ. 2010. Schumann, Robert - Henle: Gerhard Weinberger, 1986. Liszt, Franz - Universal: Martin Haselböck, 1984. Brahms, Johannes - Henle: George Bozarth, 1988. -- Owen, Barbara. The organ music of Johannes Brahms. 2007. Reubke, Julius - McAfee: Wayne Leupold, 1978. Rheinberger, Joseph Gabriel - Carus: Martin Weyer, 1992.

Organ Mass (Italian), Gregorian Chants (3)

Missa Apostolorum (Mass IV - Cunctipotens genitor Deus, for feasts of apostles) Missa de Beata Virgine (Mass IX - Cum jubilo, for Marian feasts) Missa Dominicalis (Mass XI - Orbis factor, for typical Sundays of the year)

Registration: France 15/16/17

Montre (Fr., "to show"). So it's the rank found in the facade! Plein jeu = Principals, Bourdons, MIXTURES (NO REEDS, NO MUTATIONS) = Blockwerk, basically. Grand jeu = Principals, Bourdons, MUTATIONS, Cornet and louder REEDS (NO MIXTURES). Usually suggested to be used with tremulant! Jeu de Tierce = the flute choruses (with mutations) on each manual. - Petit Jeu de Tierce du Grand Orgue: [Montre 8,] Bourdon 8, Prestant, Nazard, Quarte, Tierce - Petit Jeu de Tierce (Jeu de tierce du Positif): Bourdon 8, Prestant, Nazard, [Quarte/Doublette,] Tierce - Grand Jeu de Tierce (Jeu de tierce du Grand Orgue): a Cornet on steroids! [Montre 32, Montre 16,] Bourdon 16, [Montre 8], Bourdon 8, Prestant, Nazard [x 2], Tierce [x 2], Quarte (Doublette if no Quarte) The most common duo registration suggestion calls for Jeu de Tierce in one hand, with a reed in the other, with the LH always on the GO: RH (POS): Cromorne (w/ a foundation if not strong enough), tremulant LH (GO): Petit Jeu de Tierce du Grand Orgue OR RH (POS): Petit Jeu de Tierce LH (GO): Trompette

Froberger Toccatas

None published in his lifetime, but 12 are found in autographs. The authenticity of the remaining 12/13 is questionable (Pachelbel, Kerll?). Moderate length (most 50-60 measures), similar to Frescobaldi's toccatas, but with imitative sections remaining committed to a single idea (based on short, lively motives) and strict to the pulse (in contrast to the variety of ideas used throughout Frescobaldi's toccatas). Subjects of toccatas with several fugal sections may be variants of the first subject, as in a variation canzona. More Germanic (rules and greater articulation of sections) than Frescobaldi. Highly controlled, with imitative sections. Norm is 5 sections: T-F-T-F-T. Some have fewer or no fugal sections. They're like a variation canzona with a long toccata introduction and extended moments of free material separating sections. Harmonic style is a mixture of early-Baroque experimentation with later Baroque function; major/minor exploited. Notated on two staffs: treble staff of 6 lines; bass staff of 7 (8?) lines. "The toccatas, for example, usually combine the Italian improvisatory practice with distinct contrapuntal sections in a rational arrangement that leads the way to the later north German form of the toccata and fugue. His fugal works are not far removed from the ultimate concept of fugues in the late Baroque period in Germany" (New Grove). #5, 6 titled "Da sonarsi all Levatione". Strict fugal/canzona-like sections are absent from these works. Frescobaldi Elevation toccatas (durreze, ethereal) are clearly the mode (though not in E). Unusual harmonic movement, lyric, flexible lines; frequent use of Italian ornamentation, use of Lombardic rhythms. Brief moments of imitation are common, but not in a strict manner. **#11, while not titled as such, could/should have been.

Composers: Post-WW2: USA (7)

Samuel Barber: Wondrous Love (1959). Baroque forms, 19th century melody, 20th century harmonies and counterpoint. William Bolcom: Gospel Preludes Vincent Persichetti: Drop, drop slow tears (1968) in some degree follows the arch form of Howells: crescendo through the whole piece, HUGE CLIMAX, then drop off again. He wrote a harmonized response before the piece. Imitation on the melody, canonic like, then more voices, wider and wider leaps. Style mixes classical forms, developmental procedures, and rhythmic/metric approach with polytonality. Influences include Stravinsky, Bartok, Hindemith, Copland. At times pandiatonic, others tonal, others bi-tonal. Dissonant, but still triadic. Describes himself as graceful and gritty. There's a clarity of things, a clear texture, sparse in his gestures, as opposed to grand, Romantic statements. Dissonant music was a big fad in the '60s and '70s, but we've replaced it with Vierne symphonies. Ned Rorem: Quaker Reader (1977). Neo-Romantic composer. Best known for his songs, absolutely exquisite. Sweeping melodic lines and grand statements; modern tonality, although a high level of dissonance can be found as well with passages of polytonality. William Albright: Organbook III (1978) Daniel Pinkham: Proverbs (1979) Dan Locklair: Rubrics

Composers: Post-WW2: Jean-Marie-Hyacinthe Langlais

Stalwart advocate for Gregorian chant in the service. He became disturbed by the quality of the new music used in French churches. With others, he signed a report directed to Monsignor Maurice Figaud, president of the French Episcopal Committee on Sacred Music, expressing concern about the disappearance of Gregorian chant from the service, and the reduced use of the organ and organ music. By 1971 Langlais refers to the usual Parisian Catholic music during Mass: 'the congregation is supposed to sing very stupid music.' Questioned about this in 1987 by the writer, he responded that conditions have improved, and now the quality of music is higher." Like his classmate and lifelong friend Olivier Messiaen, Jean Langlais was profoundly influenced by the work of Charles Tournemire, whom he was to succeed as organist at Sainte Clotilde in Paris and with whom he studied improvisation from 1930 onwards. It was the deeply spiritual quality in Tournemire's work, as well as the intensely personal use of plainsong, which attracted them. The formal freedom and reliance on the imagination which he encouraged came as a breath of fresh air after the highly structured and rigid teaching of Dupré. Langlais summed up his debt to Tournemire most eloquently when he said, 'From him I learnt the true poetry of the organ'. Franck, Tournemire, and Langlais, organists of Ste-Clotilde: - playing marked with freedom and flexibility of rhythm. Langlais is the tightest of the bunch in warmth, roundness, and a sense of applying rubato within control over subtle rhythmic things. - musical independence: each has a unique language in their generation. - element of improvisation: each is acclaimed in their day for their skills. - depth of religious expression. "Usable" music in a modern, contemporary French style, without the provocative musical language of Messiaen. It's clearly modern with his use of modes, chromatic scales, atonal/12-tone informed pieces. But he's also writing both warm/fuzzy modal music at the same time he's writing atonal music; so he can do both, and didn't go through periods of focus on one or the other. Astonishing quantity of music with A HUGE diversity in terms of output. So many things in so many different categories. Concert pieces. Liturgical pieces at a more amateur level (functional and ideal for Sunday morning). And everything in between. Suite Breve Cantilene. Hommage a Frescobaldi Epilogue. Fete.

Composers: Post-WW2: Anton Heiller

Studied at Vienna Academy of Music.1945: Professor of organ in Church Music Dept. at Vienna Academy of Music. Important figure in development towards Performance Practice. Gave numerous lectures and recitals which espouse ideals of periodicity. Close friend of Hindemith (he recorded Hindemith's 3 Sonatas at Harvard). Also known for his Bach recordings. Style: 20th-century language. Use of mixed meters; mixed harmonic palette, including quartal/quintal, tonality, modes/scales, planing, dissonance, use of serial techniques (though not serial); chant and chorale-based works as well as sonatas, concertos, etc. Textures are varied, but rely on polyphony, as well as homophony and tune + accompaniment. Music conceived as organ music, therefore appropriate to instrument. Neo-Baroque organ certainly a consideration for performance. Music often improvisatory in nature. Tanz Toccata (1971). Clearly informed by Stravinsky, the last page similar to the Rite of Spring. No 12 tone, no Bach. Stark introduction followed by three distinct melodic sections all employing similar short motives. The introduction then recurs, moving to a different "key," and the three melodic sections return roughly the same way (intro-A-B-C-intro-A'-B'-C'), although the first melody is substantially altered the second time. In the introduction, an opening ascending three-note figure which leads into an E-major triad portends a study in stepwise motion with some tonal reference, although this is followed by a repetitive pulse pattern suggesting a very deliberately contrasting idea. Heiller develops these two contrasting materials throughout the work, arranged metrically in time signatures and groupings of two, three, five, and seven beats. Heiller also borrows Messiaen's rhythmic technique of valeur ajoutée (additive value or added rhythm) derived from a Hindu rhythmic practice of inserting an extra shortened beat into an otherwise regular pulse. Registrations for the pipe organ are also carefully written into the score. Most notably, the use of vox humana for some of the melodies reminds us that these melodies are conceived to be sung.

Composers: Post-WW2: Ernst Pepping

Style: Neo-Baroque composer. Strict polyphonic art in architecturally severe forms. Strong influence of 16th and 17th-century techniques (cantus firmus, forms, linear writing, church modes, etc). Most organ works are based on Lutheran chorales or Baroque forms.Large collection of choral and song works. Free or strict neo-Baroque style pervades.

Composers: North Germany (12)

Sweelinck, Jan Pieterszoon - 2004. Harald Vogel and Pieter Dirksen. Breitkopf & Härtel -- 1996. Dirksen, Pieter. The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence. Schütz, Heinrich (HS) *** Generally regarded as the most important German composer before Johann Sebastian Bach. Studied with Giovanni Gabrieli. He is credited with bringing the Italian style to Germany and continuing its evolution from the Renaissance into the Early Baroque. Praetorius, Jacob (JPS). Hamburg: St. Peter's. - 2000. Michael Belotti. Carus. Scheidt, Samuel (JPS). Halle. *** Imitative bicinia are new to Scheidt: fragments of each phrase of the chorale used motivially and imitatively, rather than figural counterpoint added to a sustained C.F. *** Variation style with chorale in any voice. Scheidemann, Heinrich (JPS). Hamburg: St. Katherine's. *** Helped to develop (these strongly influenced later generations) 1) Monodic Organ Chorale: ornamented C.F. on Rp, accomp. on other manual + pedal. (and not just as a variation, but even a standalone piece) 2) Virtuosic Chorale Fantasia: 2 manuals + pedal. Some very long. 3) Preambulum: from shorter improvisatory intonations/introits. Fugal middle sections are quite large--pieces approach a 2 movement form (+ closing) that are forerunner of P + F. - 1993. Cleveland Johnson. Heinrichshofen. -- 2007. Dirksen, Pieter. Heinrich Scheidemann's keyboard music: transmission, style and chronology Tunder, Franz (Buxtehude's father-in-law). Lübeck: St. Mary's ** Abendmusiken - 2012. Michael Belotti. Breitkopf & Härtel - 1974. Klaus Beckmann. Breitkopf & Härtel Weckmann, Matthias (HSchu, JP, HS) Hamburg: St. Jacob's ** Collegium Musicum - 2000. Klaus Beckmann. Schott. -- 1991. Davidsson, Hans. Matthias Weckmann: The Interpretation of His Organ Music, Vol. I. Buxtehude, Dieterich (HS, MW?). Lübeck: St. Mary's - 2017. Michael Belotti. Broude Brothers. (with Kerala J. Snyder, Christoph Wolff, Klaus Beckmann) - 1973, rev. 1995. Klaus Beckmann. Breitkopf & Härtel Reincken, Johann (Jan) Adam (HS). Hamburg: St. Katherine's. - 2001. Ulf Grapenthin. Heinrichshofen. Lübeck, Vincent. Hamburg: St. Nicolas' - 1973. Klaus Beckmann. Breitkopf & Härtel - 2002. Wolfram Syré. Butz. Böhm, Georg (DB) - 1980. Klaus Beckmann. Breitkopf & Härtel Bruhns, Nicolaus (JR, DB) - 2008. Harald Vogel. Breitkopf & Härtel - 2004. Klaus Beckmann. Schott - 1993. Michael Radulescu. Doblinger - 1972. Klaus Beckmann. Breitkopf & Härtel

Stile antico / prima pratica vs. Stile moderno / seconda pratica

Term given to early music of the Baroque period which looks more to the style of Palestrina, or the style codified by Gioseffo Zarlino, using controlled dissonance and modal effects, and avoiding overtly instrumental textures and lavish ornamentation, to imitate the compositional style of the late Renaissance. Term given to early music of the Baroque period which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the prima pratica. Giovanni Artusi wrote about the new style of dissonances adopted by Monteverdi, referring specifically to the practice of not properly preparing dissonances, and rising after a flattened note or descending after a sharpened note. Monteverdi responded, advancing the view that the old music subordinated text to music, whereas in the new music the text dominated the music. Old rules of counterpoint could be broken in service of the text.

Builders: France 15/16/17

Thierry, Alexandre Clicquot, Robert. Became leading organ builder in Paris following death of A. Thierry in 1699. Built "definitive organ" in the chapel of Versailles (with Julian Tribuot) in 1710; case only is still intact. NONE of his organs survived, but reputed to be best builder between 1700-20. Clicquot, Francois-Henri. Grandson of Robert. His work represents the climax of French Classic organ building, and he was the only builder remembered into the 19th century. Paris was NOT the center of organ building. Flemish/Flanders (i.e., Southern Dutch) organ builders had greatest influence on French organs, especially in northern France. (Registration that applies to the southern Netherlands would equally apply to northern France.) Grand Orgue and Cornet terms were known in the Netherlands before France! However, Northern Dutch and North German organ practices (e.g., divisions of clearly defined Werk, each with a distinct architectural placement, and the conception and function of the pedal organ) exerted little or no influence. Stop valves immediately employed on Grand orgue, and enlargement of this division with flutes and reeds followed quickly. This disproportionate development of the Grand Orgue contrasts with the Dutch method of adding another division (Bovenwerk) for these ranks. This contributed to the lack of subdivision of the main case, an "idiosyncratic feature of the French classical tradition." Main case NOT subdivided as in the Netherlands, N. Germany. Visual appearance reflected the dominance of the G.O., not the northern ideal of balanced divisions. Addition of other manuals or divisions did not alter the appearance of the organ: Echos, Bombardes, Récits were added below, behind, or above existing pipe work, with no alteration in the case. Reeds on most divisions, but NO "Regal" types. By mid-18th century each manual had at least one trompette for "les grandes batteries". Eventually, third-sounding and lower mutations replace the earlier high mutations (e.g., 1 1/3). Essentially there's no such thing as an organ with more than 2 manuals. All that's needed is a "big" (Grand) one and a "small" (Petit) one. The large instrument has low principals, trumpets and clarions. The small instruments has higher principals and a cromorne. The Récit and Echo divisions/manuals are better thought of as speciality devices. Every sound is already present elsewhere on the organ, so it doesn't provide further variety of color, but rather flexibility of registration. Small pedal divisions usually relegated the pedal to provide simple harmonic foundation, or a chant melody in long notes. Cornet: EACH manual had a (wide-scaled) "decomposé" (separate ranks Bourdon 8, Flute 4, Nazard 2 2/3, Quarte de Nazard 2, Tierce 1 3/5) or Cornet V: 25 notes from middle C on its own windchest, mounted high and forward--usually on G.O. [Grand Cornet], Echo [Cornet d'Echo], or Récit [Cornet séparé], but NOT on Positif until 18th century, and rarely even then. The Grand Cornet was intended to compensate for the weakness of the trebles of the Trompette and Clairon, and as such it was scaled wider in the treble and narrower at the bottom of its range.