Harpsichord Notes

Notes in The Diapason: a bit of history

Siegfried Gruenstein, the founding editor of The Diapason, served for forty-eight years. The front-page tribute to him in the December 1959 issue celebrating the magazine’s fiftieth anniversary began with these descriptive words:

. . . a rare combination of competent organist and professional newspaper man, (Gruenstein) founded The Diapason in 1909 against the advice of his elders among organists, builders, and well-wishers. That it grew and prospered steadily under his guidance was due wholly to his skill, his impartiality, his integrity and his taste. . . .  At first the principal purpose of the magazine was to represent the organ industry. However, it soon became evident that the organist and the organbuilder were so closely allied in their interests that the field should include both of them and that the paper would serve to bring the two more closely together.

In those early years the magazine expanded its focus in several directions, serving for a time as the official journal of the American Guild of Organists, for example. However, it was not until Frank Cunkle, Gruenstein’s successor, took over the supervision of the magazine that the organ’s sister instrument, the harpsichord, was welcomed into its pages. The first person to take charge of harpsichord matters was Philip Treggor (1920–2004) of Hartford, Connecticut, who published his first column in October 1967 (page 11). November’s column (page 13) featured the lute while a feature article by E. Power Biggs occupied the opposite page with his “Case for the Pedal Harpsichord.” Treggor’s three columns of interviews with Denise Restout, Wanda Landowska’s companion and legatee, presented valuable information about the pioneer harpsichordist’s biography and legacy (1968: March page 15, April page 23, May pages 14–15).

I had made my Diapason print debut five years earlier, in November 1962, when the magazine published the feature article “Hugo Distler—20 Years Later” based on research I was doing for my Doctor of Musical Arts thesis that I was busily writing while a student at the Eastman School of Music. My first guest contribution to Treggor’s column, published in June 1968, was “Isolde Ahlgrimm as the Widow Bach” (page 15), followed in October of the same year with my report on the second Bruges International Harpsichord Competition (pages 10–11). Meanwhile, in July 1968, Treggor’s column featured an interview with Boston-based composer Daniel Pinkham (page 8).

Treggor wrote an informative column about Arnold Dolmetsch’s collaborations with the Chickering Piano Company as they produced harpsichords and other early musical instruments (November 1968, page 12, with continuation in the December issue, pages 10–11), which proved to be his swansong, for he resigned from harpsichord column responsibilities at the beginning of January 1969.

During 1969 harpsichord news items were solicited from our readers, who were instructed to send them to the editorial staff of The Diapason. In May I submitted another feature article about Hugo Distler’s Harpsichord Concerto (pages 12–13), and in September 1969 an announcement and my picture appeared on page 25, with the information that, from henceforth, I would be “the man in charge of harpsichord items.” The following month my first column as harpsichord editor was published: “Praeludium, Allemande, and Courant: Some Notes on a European Summer” (page 12), and in December 1969 I relayed some corrections concerning the Huguenots and the city of Erlangen, as sent to me by Dr. Lowell G. Green of Boone, North Carolina, a reader who knew far more about such matters than I did. I was pleased to publish his corrections since that is how knowledge is disseminated.

So, depending on when one begins counting the years, I am either celebrating my fiftieth anniversary year as harpsichord editor or the fifty-seventh year since my first publication as a writer for this splendid magazine, which I have served by working with every editor except the founder, happy to have lasted even longer than Mr. Gruenstein, albeit with far fewer responsibilities. It will be my pleasure during 2019 to revisit some favorite pieces from this more-than-half-century collection of articles, as well as editing several guest essays, and, hopefully, sharing a few more original thoughts of my own.

2018 Harpsichord Notes: topics and page numbers

January, page 10: A posthumous gift from Gustav Leonhardt (Bach transcriptions published by Bärenreiter)

February, page 11: The Art of the Harpsichord (Two Texas Treasures: three-manual harpsichord by Keith Hill and Philip Tyre, miniature by Art Bell)

March, page 12: Handel with care (performance suggestions, recommended books, Handel House Museum, London)

April, page 10: Harpsichordist Jane Clark’s birthday

May, page 11: Seeking Haydn (new compact disc reviewed, some relevant research noted)

June, page 12: Dandrieu’s Harpsichord Music

July, pages 10–11: A glimpse into actual eighteenth-century performance practices (Beverly Jerold’s article, “Reichardt’s Review of Handel Concerts in London”)

August, page 10: Death and taxis in Vienna (Obituary of Gordon Murray), Review of Bach Violin/Harpsichord Sonatas CD (Pine and Vinikour), Communications from Readers

September, page 12: Armand-Louis Couperin Keyboard Works, edited by Martin Pearlman available for free download

October, page 14: A letter from Johann Sebastian Bach with two illustrations by Jane Johnson

November, page 16: Recent recordings of Bach’s Goldberg Variations by Diego Ares, Wolfgang Rübsam, and Helmut Walcha (from a boxed set)

December, page 11: Christmas gifts: a few suggestions (CDs, scores, books, and an anonymous Landowska caricature)

Gottlieb Muffat and his Componimenti Musicali

Since February is the shortest month (even though this leap year does add a twenty-ninth day), it seems right and proper to submit a shorter essay! After all, one must cram a month’s work into a shorter period, so there should be fewer words to read or write.

Way back in 2019, as I was searching for my autographed copy of Christopher Hogwood’s book on Handel, the tome next to it fell out of the bookcase. Since one of the joys of retirement is the gradual reading of many items that were not read previously, I opened the errant volume to see what it was all about. One hundred sixty-six pages in a format about the size of a choral anthem copy, the hardbound surprise was musicologist Friedrich Chrysander’s 1894 Handel Supplement V in English translation: its content, the listing of ample borrowings from the publication, Componimenti Musicali for Harpsichord (1739), that The Messiah’s composer found in this work by his fellow German Gottlieb Muffat (born in Passau in 1690, deceased in Vienna in 1770). Included in Chrysander’s interesting book was the whole content of Muffat’s delightful publication. Since I had never played even one single work by this composer, I read through the entire oeuvre of six enticing suites and a seventh stand-alone piece, Ciacona with 38 Variations. I will admit that I did not play every note in this final work, but the composition inspired me to go searching for my performance copy of Handel’s Chaconne in the same key of G major.

Perhaps it was the guardian angel who was on duty that day or just good fortune that was trying to equal the scales of justice after the recent tornado that caused so much damage to the section of Dallas in which I live, but the second score that I rescued from a pile of harpsichord music in a very large drawer was nothing less than Gottlieb Muffat’s Componimenti Musicali in a much larger print format—the Ut Orpheus Edition published in 2009 as a splendid volume edited by the late lamented early music specialist Christopher Jarvis Haley Hogwood (1941–2014)—an edition that includes yet one more welcome bonus: the first publication of another solo harpsichord work by Muffat—his seven-movement Suite in D Minor, Hogwood’s discovery, found in the library of the Berlin Sing-Akademie. Equally special is the note that I had placed in the front cover of this beautifully legible score: a note from former editor of The Diapason Jerome Butera, who had passed it on to me for reviewing.

Hogwood’s extensive introductory notes include his helpful remarks on the proper performance of various ornament signs as well as his tracing of the Componimenti Musicali’s historical significance and publication history. Especially fine is the larger size of the many, many notes in this more recent edition, a particular boon for those of us who, like me, may be having problems with aging eyes!

Do not hesitate to procure and utilize this tome of delightful music, compared by several noted performers to be the equal of works by François Couperin or of those by Muffat’s Viennese mentor, Fux. The Ut Orpheus Edition, published in Bologna, bears the ISBN number 979-0-2153-1639-3. I recommend it whole-heartedly.

So, dear readers, I wish you much happiness in this month of Saint Valentine, and may you fall in love with these delightful harpsichord pieces of Gottlieb Muffat—surely a gift both from and to the gods of musical happiness—and join me in programming at least one of the suites to help in spreading this worthy newfound joy.

Marilyn Biery is keyboard acquisitions editor at Augsburg Fortress. She is Bridge Director of Music Ministry at Kirk in the Hills in Bloomfield Hills, Michigan. She holds bachelor and master of music degrees in organ performance from Northwestern University, Evanston, Illinois, and the Doctor of Musical Arts degree in organ performance from the University of Minnesota, Minneapolis.

One of my great delights as a church musician is getting to work with instrumentalists—amateurs, professionals, and students. Therefore, I am always on the lookout for music for them. When I have someone coming to play an obbligato for a work with the choir, I search for repertoire for them to play for preludes or postludes. I discovered that there is a wealth of material available for violin and flute, but not as much for the oboe, particularly for oboe and organ.

Six years ago, I made the acquaintance of Stephanie Shapiro of Ann Arbor, Michigan, who is currently on the faculty at Wayne State University in Detroit as well as the principal oboist for the Lansing Symphony. Since then, Stephanie and I have become devoted friends as well as musical collaborators—we have played numerous concerts and worship services together, and we have found a wealth of repertoire for oboe and organ as well as some pieces for English horn and organ.

During the pandemic, when we were isolated, it occurred to me that there might be music on the International Music Score Library Project (IMSLP) site (imslp.org) that we could transcribe for publication. A year later we had so much music compiled that we decided to split it into separate volumes. We are currently finishing our second volume, and the third has been sketched out. In 2021 GIA Publications published our first collection: Melodies for Two: Music for Oboe, Violin, or Flute, and Organ or Piano, Book One, Composers of Scandinavia, edited by Stephanie Shapiro and Marilyn Biery.

This article will list and briefly discuss the repertoire that we found that was already available and then list and discuss the repertoire in Melodies for Two. For purposes of brevity, I will limit the list to pieces we have either played or rehearsed enough to be able to speak about effectively.

Jacques Berthier (1923–1994): Pastorale, GIA Publications (1987). This lovely pastorale was written for Sherri Batastini, the daughter of Robert Batastini, retired vice president and senior editor at GIA Publications. Sherri was fifteen at the time and already proficient enough to play this piece. Jacques Berthier (1923–1994) was a French composer who wrote most of the liturgical music used at Taizé. Pastorale is in ABA form—two pages of score with a repeat for the A section. The language is modern but very listenable. Of moderate difficulty, it is not hard, but there are numerous accidentals, and the B (“animato”) section has sixteenth-note patterns and wide skips for the oboe. (Examples 1a and 1b.)

Marguerite Roesgen-Champion (1894–1976): Berceuse pour l’enfant Jésus pour Hautbois et Orgue (1956), befoco music; Deux Nocturnes pour hautbois et piano (or orgue), Alphonse Leduc (1950). Berceuse is a perfect lullaby for Christmas Eve or Day, another ABA form with repeat using gentle chromaticism. The first of the Deux Nocturnes is our absolute favorite of all the pieces we discovered, due to the composer’s rich sonorities—fabulous on the 8′ foundations, especially if you add 16′ ad lib pedal. Each piece is about four minutes long, and they make wonderful choices for concert or worship. Roesgen-Champion was a Swiss-born composer who spent much of her life in Paris. These works are of moderate difficulty.

Max Reger (1873–1916): Canzone für Oboe und Orgel, opus 65, number 9, befoco music. Compared to other Reger pieces, this one is not too difficult, but unfortunately our score is missing the last page. Efforts to obtain a score without the defect were not successful. We read it through, and I liked what I saw, but we decided not to pursue it. Canzone is a transcription of a solo organ work, with the oboe taking the top voice; sections with thicker (typical Reger) texture are played by the organ alone. The transcription was done for befoco by Markus Ewald and is of medium difficulty.

Josef Rheinberger (1839–1901): Andante Pastorale und Rhapsodie für Oboe und Orgel, edited by Klaus Hofmann for Carus. “Andante Pastorale” is from “Intermezzo” of the Sonata in A Minor for organ; “Rhapsodie” is from “Andante” of the Sonata in F Minor for organ. This is typical Rheinberger writing. “Andante Pastorale” is another of our favorites; “Rhapsodie” is more challenging. The two make a good set for concert programming and are medium to difficult.

Jan Koetsier (1911–2006): Partita pour Corno Inglese e Organo Manualiter, opus 41, number 1, was published in 1954 by Muziekgroep Nederland, Donemus, Amsterdam. This piece is in five short movements, and some of these could be used individually. The fourth movement is a two-page organ solo that is followed by the last movement, in which the oboe plays Wie schön leuchtet der Morgenstern. Koetsier was a Dutch composer and conductor. This music is of moderate to medium difficulty.

Henk Badings (1907–1987): Canzona per Oboe ed Organo was published in 1938 by Donemus, Amsterdam. The score is in manuscript form but is clear and readable—about five minutes long. We loved it, but the ending is a bit inconclusive, and we programmed it as the ending of the first half of our recent concert, which left the audience a bit puzzled as to whether it had ended (we were not visible). Badings was an Indo-Dutch composer, and his harmonic language evokes shades of Paul Hindemith. This is medium to difficult.

Piotr Grinholc (b. 1966): Toccata na obój I organy (2010) is available on IMSLP. This piece is great for ending a concert of oboe and organ works. It has brilliant toccata-like passages for the organ, with a lyrical middle section. My efforts to contact him were unsuccessful—we wanted to let him know how much we enjoyed this piece. Grinholc is a Polish organist and sound engineer from Warsaw, Poland. This work is difficult.

Philip Orem (b. 1959): After Reading Mary Oliver—A Suite for Oboe and Organ (2016) and Lullaby for a Bull Moose for English Horn and Organ (2016) are available from the composer: https://po4musik.wixsite.com/website. Lullaby is a delightful little ode to my favorite animal, the moose, a nod to fun and silliness (Example 2). Orem is a graduate of Northwestern University with degrees in piano performance. These works are easy to medium in difficulty.

Daniel Pinkham (1923–2006): The Seven Days, Divertimento for Oboe and Organ, 2002, is published by ECS Publishing: “Flowing,” “Serene,” “Quick,” “Pensive,” “Questions and Answers,” and “Playful Quickstep.” Playing time for this set is about twelve minutes—we have performed it several times, sometimes excerpting some of the movements for a shorter set. The movements are of medium difficulty.

David Evan Thomas: Psalm and Dance (2007) for flute and organ is found in The Minnesota Organ Book: New Music for Organ and Solo Instruments, published by Augsburg Fortress. This piece was commissioned by the American Guild of Organists for its national convention in Minneapolis in 2008 (Example 3). It is equally playable on the oboe with only a few minor adjustments. Thomas is a Minneapolis composer whose organ works are published by Augsburg Fortress. This work is medium to difficult.

James Hopkins: Partita on Cranham for Oboe and Organ (2002) is published by E. C. Schirmer. This piece is trickier than the Pinkham, but well worth learning. It was commissioned for the twenty-second annual Baroque Music Festival in Corona del Mar, Burton Karson, artistic director, by Jerry and Roberta Dauderman. If you know James Hopkins’s organ writing, you will see the same characteristics in this piece—innovative writing with colorful and unique organ registrations. This is medium to difficult.

Calvin Hampton (1938–1984): Variations on Amazing Grace for English Horn and Organ is published by Wayne Leupold Editions. Stephanie and I have looked at this piece several times, but we have not performed it. It is a concert piece with ten variations—we simply have not had the opportunity to program it. The variations flow into one another, so taking one or two out to play would not really be an option for worship. Still, this is worth looking at, especially for lovers of Hampton’s music. The music is difficult.

Melodies for Two: Music for Oboe, Violin, or Flute, and Organ or Piano, Book One, Composers of Scandinavia, edited by Stephanie Shapiro and Marilyn Biery. This book presents works of composers from the nineteenth and early twentieth centuries. Some are household names, such as Grieg and Sibelius, while others are not well known—Laura Netzel, Amanda Röntgen-Maier, and Elfrida Andrée. Some selections were composed for solo piano (Grieg, Sibelius), others were composed for oboe and piano (Carl Nielsen), one for vocalist and piano (Netzel, Ave Maria); the rest were written for violin and piano (Röntgen-Maier, Andrée, Frederik Matthison-Hansen, Netzel). We included parts for flute and violin, which are available as a free download with the purchase of each book.

My paternal grandmother emigrated from Sweden in the early part of the 1900s. My father always loved anything Scandinavian. When I was searching for music to transcribe, the piano pieces of Edvard Grieg (1843–1907) came to mind, and I found four pieces that work beautifully for oboe and organ: “Elegie,” opus 38, number 6; “Elegie,” opus 47, number 7; “Grandmother’s Menuet,” opus 68, number 2 (Example 4, page 15); and “In der Heimat,” opus 43, number 3. These are easy to moderate in difficulty.

Jean Sibelius (1865–1957): Another transcription from a piano piece is Impromptu Number 6 in E Major, opus 5, by Sibelius, a Finnish composer and violinist, widely regarded as his country’s greatest composer. His seven symphonies are regularly performed in his home country and internationally. Some of his works were inspired by nature, some by Nordic mythology. This example is moderately difficult (Example 5, page 15).

Frederik Matthison-Hansen (1868–1933) was a Danish organist and composer who came from a musical family, as his father, grandfather, and uncle were all organists and composers. His father and uncle were his first teachers. He worked as an organist and singing teacher—most of his music was written for the church. His Cantilena makes a perfect prelude for any level player—easy enough for a student and well worth playing for a professional. It is easy to medium.

Carl Nielsen (1865–1931): Fantasistykker, opus 2, consisting of “Romance” and “Humoresque,” was written for oboe and piano, and it makes for a wonderful transcription for organ. Nielsen was a Danish composer, conductor, and violinist, considered to be one of his country’s most prominent composers. He attended the Royal Danish Academy of Music, after which he became a second violinist in the Royal Danish Orchestra, a position he held for sixteen years. In 1916 he began teaching at the Royal Danish Academy, a post he held until his death. The movements are medium to difficult.

Three Swedish women are featured in this collection: Elfrida Andrée (1841–1929), Laura Netzel (1839–1927), and Amanda Röntgen-Maier (1853–1894). Andrée, an organist, conductor, and composer, was the first woman to graduate in organ studies (1860) from the Royal College of Music in Stockholm, where she also studied composition. She was the first woman appointed a cathedral organist in Sweden. Her position as organist at Gothenburg Cathedral began in 1867 and continued until her death. She was active in the Swedish women’s movement and worked to bring about the revision of a law to allow women to hold the position of organist in Sweden. We included her Två Romanser (“Larghetto” and “Allegro”) in the volume, works that are medium to difficult.

Netzel, a composer, pianist, conductor, and concert arranger, was born in Finland into the family of Georg Fredrik Pistolekors, a nobleman and high-ranking civil servant. Her mother died a few months after her birth, and the family moved to Stockholm shortly thereafter. It was not considered proper for high-born ladies to seek a career as a musician, so she studied piano and voice privately. She studied composition with Wilhelm Heintze in Stockholm and Charles-Marie Widor in Paris, where many of her works were published and performed. Like many other women of her time, she wrote under a pseudonym, “N. Lago.” She was active in social causes, supporting poor women, children, and workers.

We included four of Netzel’s pieces in this book. Three were originally for violin and piano: Andante Religioso, opus 48; Berceuse, opus 28; and Tarantelle, opus 33 (Example 6); the fourth, Ave, Maria, opus 41, was written for voice and piano. These pieces are medium to difficult.

Röntgen-Maier, a violinist and composer, was the first woman to graduate with a degree in music direction from the Royal College of Music (1872), where she also studied violin, organ, piano, cello, composition, and harmony. She continued her composition and violin studies in Leipzig, where she met and married the composer Julius Engelbert Röntgen, the son of her violin teacher in Leipzig. The marriage ended her performing career, but she continued to compose. She contracted tuberculosis in 1887 and died at the age of forty-one. We included two movements from her set Six Pieces for Violin and Piano, “Allegretto con moto,” and “Tranquillamente” (Example 7). These are of moderate difficulty.

§

Our second collection of Melodies for Two includes music of the Baroque and Classical periods. There are instrumental parts for oboe, flute, and cello/continuo. These pieces have the degree of difficulty that you would expect of pieces from the Baroque and Classical periods.

• “Siciliano,” from Flute Sonata in E-Flat Major, H. 545, by Carl Philipp Emanuel Bach (formerly attributed to J. S. Bach as BWV 1031);

• Air in E-flat Major, attributed to Johann Christian Bach;

• “Allegretto” and “Andante grazioso,” from Violin Sonata in G Major, opus 16, number 2, by Johann Christian Bach;

• Ich steh mit einem Fuß im Grabe, BWV 156, by Johann Sebastian Bach;

• Sinfonia/Arioso, from Orchestral Suite Number 3 in D Major, BWV 1068, by Johann Sebastian Bach;

• Fantasia in F Minor for Oboe and Organ, Krebs-WV 604, by Johann Ludwig Krebs (transposed from the 
original key);

• Violin Sonata in G Minor, HWV 364a, opus 1, number 6, by George Frideric Handel;

• “Andante,” from Oboe Concerto in C Major, attributed to Joseph Haydn/Ignaz Malzat;

• “Largo,” “Presto-Tempo giusto-Presto,” “Andante,” and “Allegro,” from Sonata for Oboe and Continuo, TWV 41g6, by Georg Philipp Telemann, from Tafelmusik, part 3.

There is a wealth of music available to transcribe. We will continue doing so—the third volume is in initial stages and includes nineteenth- and early twentieth-century music from Central Europe.

In 2019 there are several composers whose anniversaries can be commemorated, albeit some of the precise birth and death dates are not known for certain. Several names below need no introduction, but there are also quite a few lesser-known names listed here whose compositions are well worth exploring. No claim is made for completeness, and there is no guarantee that every edition is readily available and in print­—there may well also be editions by other publishers. Publishers’ websites have been given where known. Details of a few composers whose preserved output consists of only one or two pieces have been omitted.

An increasing number of pieces, ranging from complete, original publications or manuscripts (which present the usual problems of multiple clefs as well as original printer’s errors) to modern versions of complete or individual works, are to be found on various free download sites, most noticeably IMSLP/Petrucci Music Library (http://imslp.org); however, the accuracy of some modern typesetting is highly questionable, and all should be treated with caution before use.

Aurelio Bonelli (1569–ca.1620) was born in Bologna. He succeeded Adriano Banchieri as organist of Boscom and was listed as organist in Bologna in 1620. His collection Il primo Libro di Ricercari, et canzoni a quattro voci con die Toccate e doi dialoghi a otto was published in Venice in 1602. The ricercars have been edited by Candida Felice for Armelin, Padua, as Fiori Musicali (FM 002). This edition also includes the intabulated versions found in the Torino Fiori Musicalimanuscripts. The canzoni, toccate, and dialoghi have been edited by Federico del Sordo, also for Armelin (AMM 299). Eight canzonas, the final two of which are also set at a fifth and a fourth lower respectively, are for solo keyboard instrument. A toccata in eight parts is arranged for two keyboards, as is a Dialoghi. A further piece in eight parts is for two choirs.

Jakob Hassler (1569–1622), a brother of Hans Leo Hassler, was organist to the Fuggers in Augsburg, and later organist to the imperial court of Rudolf II in Prague. In addition to some madrigals and choral music, seven pieces for keyboard including three ricercars, a canzona, a fantasia, a fuga, and a toccata have survived in the Torino manuscripts. These have been edited by Hartmut Krones for Verlag Doblinger as DM570 in the Diletto Musicale series.

Anthoni van Noordt (ca. 1619–1675) lived in Amsterdam where he became organist of Nieuwezijdskapel in 1652 and of the Nieuwe Kerk in 1664. His Tablatuur-Boeck van Psalmen en Fantasyen of 1659 contains ten psalm settings with from one to eight verses and six fugal fantasias. The notation shows the pedal part in German organ tablature. The complete book has been edited by Jan van Biezen for Vereniging voor Nederlandse Muziekgeschiedenis, Amsterdam as MMN11.

André Raison (ca. 1648–1719) became organist of the abbey of Sainte-Genevieve, Paris, in 1665. His Livre d’Orgue of 1688 contains five Masses in the first, second, third, sixth, and eighth Tones with five versets for Kyrie, nine for Gloria, three for Sanctus, one Elevation, two Agnus Dei versets, and a Deo Gratias, along with an Offertoire in the 5th Tone. Edited by Alexandre Guilmant and André Pirro in Archives des Maîtres de l’Orgue des XVIe, XVIIe et XVIIIe siècles, volume II for B. Schotts Söhne and by Norbert Dufourq for Éditions Musicales de la Schola Cantorum et de la Procure Générale de musique (SCOL105). It has also been edited by Nicolas Gorenstein in three volumes for Editions Chanvrelin. A facsimile from Fuzeau is out of print but may be available from second hand sites.

The second Livre d’orgue sur les Acclamations de la Paix tant désirée (1714) commemorates the Treaty of Utrecht and contains preludes and fugues, an offertoire, ouverture, allemande grave, and some eighteen noëls. It has been edited by Jean Bonfils for Éditions Musicales de la Schola Cantorum et de la Procure Générale de musique (SCOLQ109). It has also been edited by Nicolas Gorenstein in one volume for Editions Chanvrelin. Further pieces are in the Livre d’Orgue de Limoges, which also contains pieces by G. Julien and G. Corrette; this has been edited by Jolando Scarpa for Musica Restituta, Music Reprints, and also by Nicolas Gorenstein in two volumes for Editions Chanvrelin. A facsimile is available from Fuzeau (Ref 2632).

Giovanni Maria Casini (1652–1719), organist of the cathedral in Florence and to Grand Duke Cosimo III in Tuscany, published a set of twelve Pensieri per l’organo in Partitura in two volumes in 1714. Most of these elaborately contrapuntal pieces are in two or three movements, these being variations in a different rhythm, frequently dance based, of the opening movement. The complete set has been edited in one volume by Milton Sutter for Ricordi (133218) and in two volumes by Jörg Jacobi for Edition Baroque, Bremen (eba 4013 and 4014).

Miguel López (1669–1723), a Benedictine friar who studied theology, was also maestro de capella and organist in Marid, Valladolid, and Montserrat. He composed sacred and secular vocal music, orchestral music, and organ music, of which three Llenos, an Exercici d’ecos i contraecos, a Partit de mà dreta (i.e., a piece for divided keyboard with the solo in right hand), three sets of Versos on the eight Tones, and a set of eight Versos on the first Tone have been edited by David Pujol in Mestres de L’Escolania de Monserrat, Vol. IV, which also contains sixteen Pasos for keyboard by Narciso Casanoves. A further six settings of Pange Lingua and two settings of Sacris Solemnis have been edited by Gregorio Estrada in pages 181–198 in volume VI of the same series, the great majority of the volume containing vocal settings of the Mass.

Louis Marchand (1669–1732) was organist of several churches in Paris and also to the French King. Twelve of his organ works were published posthumously, and some forty-two survive in manuscript, which have been edited by Alexandre Guilmant in Archives des Maîtres de l’Orgue des XVIe, XVIIe, et XVIIIe siècles, volumes III (the print) and V (manuscript pieces) for B. Schotts Söhne. Jean Bonfils has edited the organ works in three volumes for Alphonse Leduc (ALHE32989-91); volume 1 contains the twelve pieces, volumes 2 and 3 contain manuscript works. A facsimile of Pièces choisies pour l’orgue 1740 has been published by Fuzeau (Ref 2665). Also available in facsimile from Fuzeau is Pièces d’orgues manuscrites (Ref 3172), which includes autograph manuscripts with the composer’s corrections, now in the Municipal Library of Versailles.

Marianus Königsperger (1708–1769) was organist and choirmaster of Prüfening Abbey. He published a large amount of church music in Latin as well as chamber music and keyboard pieces. Modern editions of the latter include Praeambulum cum fuga primi toni facili methodi elaboratum (prelude and fugue on each of the eight Tones) originally published in three volumes between 1752 and 1756, edited by Laura Cerutti for Armelin (AMM151)—the fugue on the eighth Tone is missing—Der wohl-unterwiesene Clavier-schüler . . . VIII Praeambula, XXIV Versette, und VIII Arien (i.e., eight sets of preludes, 24 versets, and 8 arias on each of the eight Tones) of 1755 edited by Laura Cerutti for Armelin (AMM030). A Praeambulum in C minor and a Fuga in C major from Fingerstreit oder Klavierübung of 1760, together with three of the preludes and fugues and two arias, has been edited by Eberhard Kraus for Otto Heinrich Noetzel Verlag, Wilhemshaven, in Cantantibus Organis, volume 5 (ref 3465). This volume also contains three preludes and fugues by Placidus Metsch along with three fugues and two sets of Versetten by Georg Pasterwitz.

William Felton (1715–1769) was vicar choral at the cathedral of Hereford and an amateur composer. He left thirty-two concerti for organ or harpsichord based on Handel’s, in five sets of six, opp. 1, 2, 4, 5, and 7 (the latter set was reissued with eight concerti), and two sets of Eight Lessons for the harpsichord, opp. 3 and 6. The keyboard part for the six concerti in opus 1 has been edited by Greg Lewin and is self-published (OM131).

William Walond (1719–1768), assistant organist of Christ Church Cathedral, Oxford, left two sets of works. Organ Voluntaries, opus 1, is a set of six two-movement voluntaries (ca. 1752)—three are for Cornet, one is for Cornet and Flute, one is without registration indication, but clearly for Cornet or Flute, and the final one is a prelude and fugue—and has been edited by Greg Lewin and self-published (OM102; a facsimile is available as OM102A). Also there is Ten Voluntaries, opus 2, printed in 1758, with a much wider range of pieces comprising three single-movement fugues, a single-movement piece alternating between Sesquialtera in the left hand and the Swell, and six two-movement pieces including one prelude and fugue, one Voluntary for Cornet and Flute, one for Trumpet, its Echo and Flute, one Voluntary for the two Diapasons, Principal, and Fifteenth, one for the full swell and Vox Humana or Bassoon, and one for Flute, edited by Greg Lewin (OM110).

Friedrich Christian Mohrheim (1719–1780) attended the Thomasschule in Leipzig from 1733 to 1736 and acted as J. S. Bach’s copyist, later becoming Kapellmeister in Danzig. He left seven trios for organ, three of which are on chorale melodies, and six chorale preludes. The complete pieces have been edited by Maciej Babnis for Organon in three volumes (ORG0007–9), and the trios have been edited by Maurizio Machella for Armelin (AMM 223).

Joaquín de Ojinaga (1719–1789), born in Bilbao, became organist of the Chapel Royal, Madrid, and then of the cathedral of Toledo. Eleven pieces comprising five Fugas, a Paso, an Intento, two sonatas, and two minuetos have been edited José López-Calo for Eusko Ikaskuntza Sociedad de Estudios Vascos as Cuadernos de música 2. It can be downloaded free of charge from http://hedatuz.euskomedia.org/8679/1/obras_musicales.pdf.

Nicolas Séjan (1745–1819), an organist in Paris, left a set of six sonatas for harpsichord with violin accompaniment as his opus 1, and a Recueil de pièces (13) for the harpsichord as his opus 2, as well as a posthumously published print, Trois Fugues et plusieurs Noëls pour l’Orgue, which has been edited by Nicolas Gorenstein for Editions Chanvrelin.

Pierre Nicolas Verheyen (ca. 1750–1819) was an organist in Gent. Seven pieces in a manuscript (two andantes, four one-movement sonatas, and a Nouvelle Marche) have been edited by Armando Carideo for Ut Orpheus (ES14).

Carlo Gervasoni (1762–1819), born in Milan, became maestro di cappella at Borotaro in 1789. His three-part treatise La Scuola della Musica of 1800 contains much useful information about organs and performance practice as well as some Lezioni d’organo, which have been edited by Maurizio Machella for Armelin (OIO 109).

Giulio Maria Delfrate-Alvazzi (1772–1819), organist in Varzo and Cattagna, left a handful of pieces in manuscripts, of which three single-movement sonatas, an Elevazione Bellissima, a Presto, an Andante, and seven versetti have been edited by Luca Lovisolo as volume II of the Flores Organi Cisalpini series, Edizione Carrara (4158).

Equally at home with historical keyboards and the piano, Michael Delfín is a top prizewinner of the Jurow International Harpsichord Competition and is a member of The Diapason’s 20 Under 30 Class of 2021. Based in Cincinnati, Ohio, he is artistic director of Seven Hills Baroque. Michael Delfín’s website: michaeldelfin.com

A new edition of Mattheson’s Fingersprache

Die Wohlklingende Fingersprache (The Melodious Talking-Fingers), by Johann Mattheson, edited by Colin Booth and Matthew Brown. Soundboard, 2020, 70 pages, with preface in English and German, $37.00. Available from ravencd.com.

Two years ago, the British publishing house Soundboard unveiled a new edition of Johann Mattheson’s largely neglected Die Wohlklingende Fingersprache, best translated as “The Melodious Talking Fingers.” Edited by Colin Booth and Matthew Brown, this publication presents the performer with both a clean reprint of the original 1730s text as well as a historical preface, performance practice suggestions, and critical commentary. Considering the rarity of reliable editions of this work, Soundboard’s issue is a must-have for all historical keyboardists.

German composer Johann Mattheson published the Fingersprache in two halves, in 1735 and 1737, and dedicated it to his one-time rival and subsequently colleague George Frederick Handel. The work consists of twelve fugues as well as various dances and character pieces interspersed throughout the work. A second edition followed in 1749; though merely a reissue of the original with a French title, it specifies the harpsichord as the intended medium for enjoyment. Breitkopf & Härtel presented a new edition just over two centuries later, edited by Lothar Hoffman-Erbrecht, which presented musicians with considerable errors. Booth and Brown have corrected many of these errors, and with the addition of substantial commentary, their work fulfills a need in the historical performance field, particularly in drawing attention to Mattheson’s much-neglected output.

Mattheson’s music utilizes the same vocabulary as that of his German compatriots Handel, Johann Sebastian Bach, and Georg Philipp Telemann, but he developed his own dialect through his fugal writing and often singular dances, both of which reveal a taste for harmony and phrasing bordering on idiosyncratic. The Fingersprache’s creativity in fugal writing constantly entertains the reader, who will encounter various contrapuntal games such as multiple subjects and/or countersubjects within the same fugue, choral-sounding textures thrown in between highly idiomatic keyboard writing, and a rich figural vocabulary stemming from Mattheson’s German roots. In addition, Mattheson demonstrates a thorough knowledge of other styles such as the French clavecinists in Seriosità, an allemande-like character piece, and also a learned style combined with galant virtuosity in Fugue X for three subjects. He nonetheless closes with his Germanic roots in the final fugue, which takes as its subject the chorale tune Werde munter, mein Gemüte.

Booth and Brown provide details of Mattheson’s life that allow the performer some context into the Fingersprache’s origins and transmission. Their commentary situates the collection within the world of Bach and Handel, sometimes comparing the keyboard music of the three but more commonly highlighting the singularity of Mattheson’s unique writing.

As very little performance practice exists specifically for Mattheson’s music, Booth’s brief summary of practices will serve the performer well as a starting point for further exploration. Although sources themselves are left to the performer to explore, any keyboardist who knows of Mattheson will also know of
Carl Philipp Emanuel Bach and likely Johann Kirnberger and other Germans who penned guidance for keyboardists of their day. One might also benefit from consulting Booth’s liner notes from his recent recording of the Fingersprache for a more personal take on the music (see “Harpsichord Notes,” November 2021 issue, page 11). After all, performers are the ones actually getting their hands dirty!

Also included in this publication is a critical report by Brown, complete with a statement of editorial practice. A policy of “refraining from intervention” guided the editors, and their critical report reflects this practice. They state ambiguities in the original edition, rather than merely correcting them without comment, as many twentieth-century urtext editions tended to do. The curious performer may consult the original editions on the International Music School Library Project (IMSLP, imslp.org) to verify accuracy.

Booth and Brown’s publication deserves a place in the library of any serious historical keyboardist. As original sources become more and more easily obtainable, the need for updated, clean editions requires a critical approach to editing. Keyboardists will readily appreciate this painstaking publication that brings to light a neglected yet considerable work of the High Baroque.

Colin Booth’s website: colinbooth.co.uk

Michael Gailit graduated from the University of Music and Performing Arts in Vienna with both performance and pedagogy diplomas in organ as well as in piano. Teaching piano at this institute since 1980, he has also conducted the organ studio at the Musik und Kunst Universität in Vienna since 1995. As church organist he served at Saint Augustine’s Church, 1979–2008; in 2011 he was appointed organist at the Jesuit Church (Old University Church).

Both in his performance and teaching repertoire, Gailit includes all style areas on the basis of their individual performance practices. He has toured with solo recitals on both instruments in Europe as well as in North America and appeared with leading orchestras and renowned conductors. Recordings, masterclasses, invitations to juries, musicological publications, editing sheet music, compositions, arrangements, supporting the piano-organ duo repertoire, commissioned works, first performances, and finally occasional trips into the theatre and silent movie repertoire should be noted.

Particular attention was received in 1989 for the first performance of the complete piano and organ works of Julius Reubke (1834–1858), the performance of the complete organ works of Franz Schmidt (1874–1939) the same year, as well as in September 2005 a series of six recitals with the trio sonatas of Johann Sebastian Bach, the organ sonatas of Felix Mendelssohn-Bartholdy, and the organ symphonies of Louis Vierne. Currently Gailit is working on a book, The Enigma BWV 565, a study elucidating new answers and new questions.

Editor’s note: Part 1 of this series appeared in the June 2021 issue of The Diapason, pages 18–19; part 2 appeared in the July 2021 issue, pages 12–14; part 3 appeared in the December 2021 issue, pages 16–18; part 4 appeared in the August 2022 issue, pages 15–17; part 5 appeared in the September 2022 issue, pages 19–21.

Before we introduce the most promising candidate for the vacant position of the composer of BWV 565, the author would like to mention two of his recent discoveries.¹ We have observed that the ending of the toccata section contains the second phrase of the opening in the pedal.² It was a surprise to find that the section also contains the first phrase! Pitch notation reveals that, from the second half of measure 27 onward, the nine notes of the top voice are the nucleus, just in a different order and with larger note values (Example 79).

The second discovery concerns the upper voice of measure 98. After a chain of eighth notes with ties, not only is the E-flat repeated, but also its accidental (Example 80). Until now, this has always been interpreted as a missing tie, and editors customarily replaced the two eighth notes by a quarter note. However, it does not seem conclusive that the copyist both forgot the tie and, against custom, repeated the accidental. Changing the first E-flat to E-natural results in a complete chromatic fourth moving parallel with the lower voice (Example 81). In addition, the natural of the preceding note F in the manuscript shows how easily a clumsy natural can be misread as a flat.

Leaving aside these two recent motivic discoveries and returning now to our quest for the “Unknown of BWV 565,” let us consider a statement by Rolf Dietrich Claus:

We owe the only reference to Johann Sebastian Bach as the author of BWV 565 to [the manuscript copy of] Johannes Ringk. The only other evidence for Bach’s authorship is the “authentication by tradition” and the argument: “who else could it have been?” Since the latter two do not contribute to a factual assessment of the question of authenticity, they remain undiscussed here.³

This statement of Rolf Dietrich Claus has been the author’s primary motivation to investigate the case of BWV 565. There are only two possibilities regarding the creator. Either we already know or we do not know the composer. The latter is hardly imaginable although there are composers who sadly died early and left only one major piece to posterity. Looking for a known composer, a candidate takes the stage, whose keyboard works show an inventive approach in general and convincing similarities to BWV 565 in particular.

The candidate

The Unknown now becomes a person. Our suspect surpassed his father in fame beyond his lifetime as a keyboard virtuoso, a renowned teacher, a prolific composer, an avid publisher of his own works, and an esteemed chamber musician to Frederick II. He had a tremendous influence on Joseph Haydn (1732–1809), who was to become the father of the Viennese Classical style. We are talking of course about Johann Sebastian Bach’s second oldest son, Carl Philipp Emanuel Bach (1714–1788). Hardly any information has survived about the relationship between C. P. E. Bach and Haydn other than this telling story:

In a happy hour, in which his cash register allowed him a small extra expenditure, he visited one of those booksellers whose treasures he had so often only been able to admire in the display windows. We will not deny ourselves the assumption that he remembered his former neighbor Binz and directed his steps to his vault at the Stephan Cemetery. At his request to present him with the best known piano works of the moment, the bookseller took out a booklet of sonatas by C. Ph. Emanuel Bach and praised them so forcefully that Haydn paid without further ado, packed up the booklet, and hurried towards his attic. “I could not get away from my piano until I had played through the sonatas.”⁴

At the internet website cpebach.org, the Packard Humanities Institute of Los Altos, California, recently published all of the compositions of Carl Philipp Emanuel Bach in an excellent urtext edition accompanied by a critical report. Since we know the year of completion or publication of all of the more than 150 keyboard sonatas, we are able to observe and follow the compositional development of the composer.

Placed among Johann Sebastian’s keyboard works, the visual impression of BWV 565 alone is jarringly different. The opposite is true with Carl Philipp’s late keyboard works. Among them, BWV 565 gives the impression of ready-made merchandise rather than provocative haute couture. The esteemed reader is invited to browse through the nearly 800 pages of keyboard solo sonatas. It is a truly unique experience. For this article, only the most relevant examples were selected. Apart from textures similar to those in BWV 565, the guideline for the search was to look for opening themes fulfilling these three conditions:

• beginning on the dominant note;

• descent of five scale steps to the tonic note;

• ending on the mordent motive with the leading tone as the lower neighbor note.

Selected examples

Carl Philipp’s first keyboard sonata provides an appropriate example to get started. Indebted to the Baroque style with its imitation work in general and to his father’s Invention in F Major, BWV 779, this piece contains quite a few motives also present in BWV 565. The descending tetrachord and its circolo mezzo⁵ variant is reworked with genuine keyboard figurations. In measures 10 and 11, the sequences twice cite all nine notes of the nucleus of BWV 565, which also provides the substance for the opening of the second movement (Example 82).

On the other hand, in Johann Sebastian’s keyboard music, organ or harpsichord, a theme of five descending scale steps plus a closing mordent motive simply does not exist at all, with the single exception of a theme in the Pastorale in F Major, BWV 590 (Example 83).

The step-wise descending fifth can be encountered in Carl Philipp’s keyboard music numerous times and in many variations, just as we also encounter many unison passages, figurations with arpeggio chords, and sections with alternately played hands. From the very first one, all sonata movements bear tempo designations, and some movements several. The Sonata in B Minor, Wq 49/6,⁶ third movement, reworks a theme very similar to the BWV 565 theme. An ornamented version of its first movement resembles the beginning of BWV 565 as well, as does the first movement of the Sonata in C Minor, Wq 50/6, of 1759. The Fantasia in D Minor, Wq 114/7, shares four beats with the identical figuration in BWV 565 (Example 84).

The Sonata in A Minor, Wq 57/2, first movement, places the main idea in three different octave positions. The third movement, “Allegro di molto,” varies the motive in three descending phrases (Example 85).

Carl Philipp’s Rondo in C Major, Wq 56/1, fills sections with triad figurations in unison, strongly resembling those in measures 8 through 10 of BWV 565. The given dynamics in the Rondo passage inspires one to vary registrations and manual changes in the toccata (Example 86).

The closing of the Fantasy in F Major, Wq 59/5, resembles the beginning of BWV 565 in more than one section. The main motive appears in three different octave positions,⁷ followed by ascending broken chords, a unison passage, and a chord phrase in figured-bass style. The dominant-seventh chord on E-flat jumps out of the composer’s surprise box. Serving as a subdominant and pivot, it sits in the exact midpoint of the chord phrase (Example 87).

The arpeggios from the Rondo in A Minor, Wq 56/5, show the practice of repeating each harmony twice (Example 88).

In his late sonata movements Carl Philipp Emanuel also developed a certain predilection for chord tremolos, such as in the left hand of the passage from Sonata in B-flat Major, Wq 59/3, a playing style similar to the trill cadenza in BWV 565 on the diminished-seventh chord in measures 22 through 27 (Example 89).

We have no proof as to how Carl Philipp Emanuel Bach was connected with Toccata and Fugue ex d, BWV 565. The examples show, however, that there must have been some connection. At any rate, BWV 565 is still a Bach’s toccata, but the question “Who else could it have been?” strongly suggests the answer is Carl Philipp Emanuel Bach. Certainly, without further evidence, the field remains open for speculation. Do the similarities between BWV 565 and Carl Philipp’s keyboard pieces prove him as the innovative composer of the post-Baroque revolutionary organ piece? Or do they prove him as an avid plagiarizer? Carl Philipp burned his own works, which he did not want distributed, on a large scale in 1786.⁸ Did one of his students secretly copy the piece before?

BWV 565 requires a bottom C-sharp in measure 2, rarely found in organs of Johann Sebastian Bach’s time. This fact has caused some speculation about instruments possibly connected to BWV 565. Related to this question, two organs remain unnoticed thus far. They were commissioned in 1755 and 1776 by the youngest sister of Frederick II, princess Anna Amalia of Prussia (1723–1787). Both were built with full compasses on all manuals and pedal. The first one still exists and is now located in the Kirche Zur frohen Botschaft (Church of the Good News) in Berlin-Karlshorst. Kristian Wegscheider and his team completed a careful restoration of this sonorous instrument in 2010. It is hard to describe how thrilling BWV 565 sounds on this organ. The missing bottom C-sharp, however, did not stop organists from playing the piece in concert. According to reviews in the Allgemeine musikalische Zeitung, BWV 565 was played on the organ at Saint Mary’s Church in Berlin in 18179 and 1829,10 the very first evidence of public performances—and on an instrument without a bottom C-sharp.

The new status

The quest needs to continue. The efforts of libraries and other institutions are most helpful to make sources digitally available worldwide.

• Motivic-thematic work. Far more significant than both questions of authorship and date of composition is the undeniable fact that BWV 565 is a motivic-thematic work. Until now, the development of this technique had been attributed to Joseph Haydn (1732–1809). BWV 565 is lifted now to the unique status of being the very first significant composition in music history using this technique.

• Post-Baroque revolution. The author introduced this term to compensate for a lacking general designation of the time period between the Baroque and the Viennese Classical periods. BWV 565 shows a significant number of essential features of this style.

• Cantata BWV 202. Due to divergent handwriting in comparable sources, the date of 1730, shown on the title page of the cantata, cannot be used conclusively.

• Johannes Ringk. From eighteen manuscript sources marked with the name of Ringk as the scribe, a total of eight manuscripts show conformity with the signature font and other features. This body truly represents the scribe Johannes Ringk. The remaining ten manuscripts, including that of BWV 565, have a number of congruences among themselves as well, but none of them in use by Ringk. It can be said securely that the scribe of the earliest source of BWV 565 was definitely not Johannes Ringk.

• Johann Sebastian Bach. Internal evidence suggests that the question “Who else?” turns naturally to Carl Philipp Emanuel Bach. Adolf Berhard Marx (1795–1866), the leading music theorist of his time, published BWV 565 under Johann Sebastian Bach’s name with Breitkopf & Härtel in 1833. He mentioned his doubts about authenticity, however, in the Berlin music journal Allgemeine musikalische Zeitung several times. Subsequently, Friedrich Griepenkerl (1782–1849) opened a wordy battle in this journal. His edition of Bach’s organ works with Edition Peters in 1845 claimed to be based on authentic sources. Regardless of this vivid dispute, both Marx and Griepenkerl had the same goal—to save a great piece for posterity that would have otherwise been lost forever. It was Griepenkerl who said:

In addition, I do not a have a bad conscience about including an inauthentic piece. One stroke through it, and the matter is settled. The buyer loses nothing, but gains another good piece.¹¹

Marx had obviously discovered the true nature of BWV 565:

My doubt is not based on documents or their lack, but on the content of the work, which from the first to the last note does not seem to me to be written in the spirit, according to Bach’s artistic principle or system, but rather to bear the marks of the attenuated post-Bach’s period. I would not be at a loss to defend this view at length if the patience of the readers and the space of a newspaper did not impose considerations. Whoever is familiar with the many discussions of Bach in my works . . . will in any case not need any further proof. Or, if it is desired, I will give it occasionally.¹²

Marx was never asked for proof. Nothing stopped BWV 565 from starting its world career under the name of Johann Sebastian Bach. Unraveling the true nature of the composition indeed required an undue amount of time and space. The author is grateful to The Diapason and its editors for patience and enthusiasm in publishing this survey.

Notes

1. Pianist-musicologist Dr. John Strauss of Luther College, Decorah, Iowa, was of invaluable help in providing dedicated advice and assistance to the author in the completion of this text.

2. Michael Gailit, “Exploring the unknown of BWV 565, Part 2” The Diapason, July 2021, pages 12–14, Example 26.

3. Rolf Dietrich Claus, Zur Echtheit von Toccata und Fuge d-Moll BWV 565, second edition (Köln-Rheinkassel: Dohr, 1998), 11.

4. Carl Ferdinand Pohl, Joseph Haydn (Berlin, A. Sacco Nachfolger 1875), 131.

5. Half circle in Italian; term for a four-note figuration following the form of a half circle in stepwise motion.

6. The code Wq refers to the catalogue of works of C. P. E. Bach by the Belgian music bibliographer Afred Wotquenne (1867–1939), which was largely based on the work of the organist Johann Jacob Heinrich Westphal (1756–1825), a friend and contemporary of Carl Philipp.

7. Notated as seven 32nd notes on a quarter beat, the correct notation would be septuplets of 16th notes.

8. Siegbert Rampe, Carl Philipp Emanuel Bach und seine Zeit (Laaber: Laaber 2014), 465.

9. Allgemeine musikalische Zeitung, vol. 19, September 17, 1817 (Leipzig: Breitkopf & Härtel), 655.

10. Berliner allgemeine musikalische Zeitung, vol. 6, May 23, 1829, 456.

11. Quoted from Claus, p. 11.

12. Allgemeine musikalische Zeitung, vol. 50, March 8, 1848, 159–160.