Helmuth Rilling awarded Bach Medal

Joel H. Kuznik, MMus, STM, studied with David Craighead at the Eastman School of Music and on sabbatical with Jean Langlais, Marie-Madeleine Duruflé, and Anton Heiller. He served as college organist at Concordia Sr. College, Ft. Wayne, until its close. In New York City he had an executive career in marketing and sales on Fifth Avenue and Wall Street. Now retired, he is active as a music critic and serves on the board of the Bach Foundation at Holy Trinity in its 37th year of presenting Bach Cantatas. He is also involved in Eastman's historic instrument project and in May traveled with the faculty to Göteborg and Vilnius for the International Casparini Conference. His website was inspired by the Leipzig Bach Festival.

Last year's Festival, "Bach in Leipzig --Between Tradition and a New Beginning," was a high water mark and featured such interpreters as Ton Koopman, Gustav Leonhardt, and Philippe Herreweghe and the use of historic instruments. The Bach Medal was awarded to Leonhardt.

This year's theme was "Bach and the Age of Romanticism" and featured modern instruments. The Bach Medal went to Helmuth Rilling, firmly rooted in the Romantic tradition and founder of the Gächinger Kantorei in 1954 and of the Bach-Collegium Stuttgart in 1965. Quite a shift! So it was significant that Rilling and his forces gave the pivotal performance midway through the festival.

Those who are fans of Rilling's approach with a modern orchestra and a big sound would have been impressed with virtuoso instrumental performances and the full, rich vocal sound. Those who prefer the historic approach would have been tested by thick textures that favored robustness over clarity and by soloists whose quality, except for the bass, seemed tremulous and raspy. Rilling conducted two Bach cantatas (BWV 105 and 147) and Mendelssohn's Kyrie in D Minor and cantata Wie der Hirsch schreit nach frischem Wasser (As the hart cries for fresh water, op. 42).

There were other choral programs of note. The St. Thomas Choir under the expert direction of Cantor Georg Christoph Biller appeared in two outstanding programs. The opening concert with the theme Singet dem Herrn ein neues Lied (Sing to the Lord a new song) featured both Bach's motet and Cantata BWV 190 and also Mendelssohn's Opus 91. In a later concert Biller conducted Mendelssohn's Symphony No. 2 in B Major, "Lobgesang," a tour de force presented with the St. Thomas Choir, the female Schola Cantorum Leipzig and the able Kammerphilharmonie Bremen.

In the newly restored St. Nicholas Church an impassioned Daniel Reuss conducted a riveting performance of Mendelssohn's oratorio, St. Paul, with the exceptional RIAS Kammerchor and the Akademie für Alte Musik Berlin. There were also opportunities to hear Haydn's Creation at the Hochschule für Musik and Mendelssohn's 1851 version of Bach's St. Matthew Passion at the Gewandhaus with its excellent acoustics and orchestra-in-the-round seating.

The closing concert is traditionally a performance of Bach's Mass in B Minor. Last year Herreweghe with his Collegium Vocale Gent delivered a seminal performance of unforgettable artistic beauty, heard once in a lifetime. This year the honors went to the legendary Eric Ericson in his 85th year and his Chamber Choir with the Drottningholm Barock-Ensemble. In addition to technical brilliance Ericson evoked a palpable spiritual depth that was inspired and poetic. Most moving was Marie Sanner's poignant, affecting Agnus Dei, sung last year so memorably by Andreas Scholl. Next year Herbert Blomstedt will conduct the Mass with the Gewandhaus Orchestra and Chamber Choir.

 The organ and organists fared very well this year. Organ excursions included the ever-popular Silbermann organs of Rötha and also the three-manual Silbermann at the Dresden Hofkirche restored in 2002. In Leipzig you could hear the New Bach Organ by Woehl and two romantic Sauer organs: at St. Michael's Church celebrating its 100th year (three manuals, 46 ranks) and at St. Thomas dating from 1885 (three manuals, over 100 ranks).

At St. Michael's a talented Daniel Beilschmidt played an Organ Matins with Schumann, Mendelssohn, Liszt's Funerailles transcribed by Lionel Rogg, and an impressive Duruflé-esque improvisation. In several services at St. Thomas one heard the full range of the grand Sauer in the hands of the very gifted assistant organist, Johannes Unger, in Schumann's Fugue No. 6 on BACH and Saint-Saëns' Fugue in E-flat Major, both skillfully rendered. St. Thomas organist Ulrich Böhme and his wife, Martina, used both the Sauer and New Bach Organ in works for four hands including movements from Bach's Art of the Fugue, Beethoven's F Major Adagio for Flute Clock, and Merkel's demanding Sonata in D Minor, op. 30, for four hands and four feet concluding with the fugue in a mesmerizing triumph!

Johannes Unger and the Sauer can be heard in a recent release from Priory Records Great European Organ Series, No. 62 (PRCD 788), available in this country through Albany Music Distributors, Inc. (518/436-8814) and the Organ Historical Society (www.ohscatalog.org). The Wilhelm Sauer is one of Germany's most important late Romantic organs, built in 1809 with 63 stops, but later expanded under Karl Straube's tenure to 88 stops. Ulrich Böhme can be heard on the New Bach Organ on Querstand VKJK 0120 available through OHS in an all-Bach program of Johann Sebastian, his uncle Johann Christoph, and his son Carl Philipp Emanuel. The St. Thomas Choir can be seen and heard in a DVD recording of the Mass in B Minor, broadcast and taped on the 250th anniversary of Bach's death in 2000, available from Gothic and OHS.

Each day began with worship in Leipzig churches. Probably the service of greatest interest is the annual St. Thomas Ascension Day Service "in der Liturgie der Bach-Zeit" (in the liturgy of Bach's time). The service was identical to last year's except for Cantata BWV 128, Auf Christi Himmelfahrt allein, and the Sanctus in D Major, BWV 238. A copy of the service with an English translation can be found at

<www.bachsite.info&gt;.

Websites for both St. Thomas and the Bach Archive, which sponsors the Festival, are also now in English. At <www.thomaskirche.org&gt; one can access the music performed in services and concerts and also the Thomasshop, where you can buy CDs, books, and souvenirs. Highly recommended are two books on St. Thomas, both full of interesting information and beautiful photography. The smaller English paperback "Church Guide," written by Pastor Christian Wolff, "Thomas Church in Leipzig," is only Euro 6.80. The more extensive German volume of 200 pages for Euro 28.00, written by Martin Petzoldt, "St. Thomas/zu Leipzig," provides a comprehensive history of the church and information on the music program (organs and organists, cantors, choir and its school). Both are wonderful mementos.

At <www.bach-leipzig.de&gt; there is information on this year's festival (with PDF files of the daily Bach News) and also next year's. The dates for 2005 are April 29-May 8 because of an earlier Easter and because the festival is scheduled around Ascension Day, which is also a German national holiday. Next year's theme is "Bach and the Future" with new commissions, Les Talens Lyriques, The Hilliard Ensemble, John Eliot Gardner with the Monteverdi Choir and English Baroque Soloists, Herbert Blomstedt with the Gewandhaus forces, and, of course, the St. Thomas Choir under Cantor Biller. The full program will appear online in October. Tickets go on sale November 15.

Going to Leipzig has immeasurable rewards--intimate contact with the spirit of Bach and 70 exceptional performances by an international gathering of world talent. Any church musician who loves Bach should make this pilgrimage at least once in a lifetime.

During his career Joel Kuznik has served as a college organist and professor, a church musician, a pastor, and as a business executive on Fifth Avenue, Wall Street, and at MetLife. After several years of retirement from business, he resumed writing for professional journals, something he had done since his college days. After attending the Bachfest 2003 in Leipzig, he again began writing articles and reviews. With over 60 pieces in print ranging from reviews of concerts and festivals, travelogues, books on church music, concert hall organs, CDs and DVDs, he was recognized and named to the Music Critics Association of North America (MCANA) in May 2005. He is also a member of the American Bach Society and serves on the board of the Bach Vespers at Holy Trinity in New York City, where he has lived for 32 years. His organ teachers were Austin C. Lovelace, Frederick Swann, Ronald Arnatt, David Craighead, Jean Langlais, Marie-Madeleine Duruflé-Chevalier, and Anton Heiller. As a member of the AGO, he has served as dean of the Ft. Wayne chapter, on the executive board of the New York City chapter, and on the national financial board. He holds a BA summa cum laude from Concordia Sr. College (formerly at Ft. Wayne), a Min.Div and STM from Concordia Seminary, St. Louis, and a MM from Eastman School of Music.

Latest Bach manuscript discovery:
Wo Gott der Herr nicht bei uns hält, BWV 1128
The discovery of a Bach manuscript always raises curiosity and excites expectant interest. This latest work, an organ chorale fantasia just discovered in March, is a reminder that new revelations can come at any time from any source.
Bach’s copy of the Calov Bible was found in an attic in Frankenmuth, Michigan in 1934, but forgotten until after WWII, in 1962. More recently in 1999, after a 20-year detective hunt worthy of a spy mystery and with a tip from an East German librarian, Christian Wolff tracked down C.P.E. Bach’s estate, with 5,100 musical manuscripts, to Kiev. Originally in the Berlin State Library, the Russian army absconded with this treasure trove of manuscripts after the war. Included were works by Johann Sebastian, among which were his last work, a motet he apparently prepared for his own funeral.
In 2004 an aria by Bach was found in Weimar in a box of birthday cards among holdings of the Anna Amalia Library, just months before it was destroyed by fire. Two years later in 2006 from the same Weimar library, researchers also found Bach’s oldest manuscripts in his own hand: organ works by Buxtehude and Reinken he copied at the age of fifteen. Most recently in March of 2008, a newly discovered organ work was found in an estate sale in Leipzig, in a sense, right under the nose of the musicians at St. Thomas!
This is a double review. The first discusses the organ score and reveals a fascinating history of teacher-student transmission, estate sales, alert and not-so-alert librarians, savvy editors, guesswork and unanswered questions. Much like studies in genealogy, one can trace documented history back only so far and, in this case, only to the mid-nineteenth century, 100 years after Bach. The second review on the CD, featuring both the organ fantasia and the cantata based on the same chorale, was released on June 13, 2008 at the opening concert of the Leipzig Bachfest and shares Ullrich Böhme’s experience of studying and preparing a first performance of a Bach work. How many have had that opportunity!
Obviously this is not the end of the story. No doubt surprises and discoveries still await detection by sharp-sighted scholars and through pure serendipity.

Bach, Johann Sebastian, Choralfantasie für Orgel [2 Manuale und Pedal] über “Wo Gott der Herr nicht bei uns hält,” BWV 1128, First Edition, edited by Stephan Blaut and Michael Pacholke with a foreword by Hans-Joachim Schulze. 2008, Ortus Musikverlag, Kassel, 24 pp., €13.50; <www.ortus-musikverlag.de/&gt;.

Contents
Prologue by Schulze, musicologist and former director of the Bach-Archiv Leipzig. Critical report on Source A (Halle, Martin Luther University, University-State Library of Sachsen-Anhalt, with signature) and Source B (Leipzig, Bach-Archiv, no signature) with score variants noted. Chorale melody from Wittenberg (1533, perhaps 1529) and eight-verse text by Justus Jonas (1493–1555) based on Psalm 124. Facsimiles of cover page and first page of musical score. Critical edition, based on Source A: 85 bars, pp. 1–9.

History
How is it that an organ work by Bach was just discovered and authenticated March 15, 2008 after it had passed through so many hands, including collectors, musicians, editors and auction houses?
According to Schulze’s foreword, this is what is known to date. The first public record of this chorale fantasia is 1845, almost 100 years after Bach’s death, listed among organ pieces by “Sebastian Bach” in the estate auction for Johann Nicolaus Julius Kötschau (1788–1845), once organist at St. Mary’s in Halle/Salle. According to public record, he acquired the pieces in an 1814 auction along with the “Clavier-Büchlein of Wilhelm Friedemann” (1720), Bach’s son and once an organist in Halle, who had passed the scores on to his distant relative and student Johann Christian (1743–1814), known as the “Clavier-Bach.” Kötschau, who apparently was reluctant to share his prize collection, eventually relented, first loaning it to Mendelssohn (1840) and then Leipzig publishers C. F. Peters (1843). However, there is no evidence that anyone recognized the significance of what they saw.
In the 1845 auction of Kötschau’s estate, the manuscript, along with other Bach works, was acquired by Friedrich August Gotthold (1778–1858), a former member of the Sing-Akademie Berlin and then director of the Collegium in Königsberg, East Prussia. In 1852, in order to preserve his collection, he donated it to the Königsberg Library, but it only drew attention 25 years later when Joseph Müller, in spite of opposition from superiors, prepared a catalogue, which on p. 93 lists “24 books of organ compositions by J. S. Bach,” of which fascicle No. 5 lists “Fantasia Sopra il Corale ‘Wo Gott der Herr nicht bey uns hält’ pro Organo à 2 Clav. e Pedale.”
This got the attention of Wilhelm Rust (1822–1892), who had it sent on a library loan to Berlin, where he copied it. This transcription of September 8, 1877 has become “Source A” of this edition, and it is unknown whether Rust, as editor of 26 volumes of the 46-volume Bach-Gesamtausgabe, intended to include it. He resigned over conflicts, particularly with Philipp Spitta, but got even in 1878, in a sense, by sharing the composition with Spitta’s rival Carl Hermann Bittner, whose Vol. IV of his second edition of
“J. S. Bach” (Dresden 1880 / Berlin 1881) includes “141. Wo Gott der Herr nicht bey uns hält. Fantasia sopra il Chorale G-moll. (Königsberger Bibliothek.)” For whatever reason the chorale fantasia was not included in the Gesamtausgabe, so Wolfgang Schmieder in his Bach-Werke-Verzeichnis (Leipzig 1950) put a fragment of it in an appendix (BWV Anh. II 71).
After Rust’s death in 1892, a large part of his collection went to his student, Erich Prieger (1849–1913), who wrote an extensive essay in 1885 on “Wilhelm Rust and His Bach Edition.” Prieger’s collection in turn was put up for auction after WW I in three sections, one of which went in 1924 to the Cologne book dealer M. Lempertz and refers to many copies of “Bachiana” from the 18th and 19th centuries, including in Lot No. 157 with Rust’s collection of manuscripts.
In summary, the transmission was from Wilhelm Friedemann to Johann Christian to Kötschau, and then from Gotthold to the Königsberg Library to Rust to Prieger, and ultimately from Cologne to . . . .

Discovery
When on March 15, 2008 the Leipzig auction firm of Johannes Wend offered Lot No. 153 with “manuscripts from the estate of Wilhelm Rust. Mostly compositions of his own or arrangements of works by Bach . . . ,” no one could have anticipated that this included parts of Prieger’s collection and the chorale fantasia BWV Anh. II 71. The Rust items were acquired by the University-State Museum of Halle/Salle, and finally due to the fastidious work of two editors, Stephan Blaut and Michael Pacholke of Halle University, the chorale fantasia was authenticated and has become BWV 1128!
This edition is based on two 19th-century manuscripts: “Source A” by Rust and “Source B,” a copy made by Ernst Naumann sometime after 1890 in the collection of the Bach-Archiv Leipzig. Researchers, according to Schulze, are still hopeful that Kötschau’s copy survived WW II and is still to be found, perhaps in a Russian library.
On June 13, 2008, Ullrich Böhme, organist, St. Thomas, played the first Leipzig performance of BWV 1128 at the opening concert of the Bachfest, which included Bach’s Cantata 178 on the same chorale, sung by the St. Thomas Choir. The same day a CD by Rondeau Production with both compositions and works by Rust was released. The score by Ortus was published on June 10, showing how rapidly new works can be distributed worldwide.
The chorale still exists in German hymnals, but apparently has not survived in American Lutheran usage. The work, a large-scale fantasia believed to date from 1705–1710, is of moderate difficulty in four contrapuntal voices scored for Rückpositiv, Oberwerk and Pedal. After an introductory section, the ornamented chorale appears in the R.H. beginning with bar 12, proceeding verse by verse with interludes, chromaticism and echo sections. It concludes with a coda in a flurry typical of stylus phantasticus, all of which should make this “new work” very exciting indeed for Bach fans.

Bach, Johann Sebastian, Wo Gott der Herr nicht bei uns hält. The Newly Discovered Organ Work: Choralefantasia BWV 1128. Organ and choral works by Ammerbach, J. S. Bach, Rust, and Schein. Ullrich Böhme, organist, on the Bach Organ at Leipzig’s St. Thomas Church. St. Thomas Choir with the Gewandhaus Orchestra; Georg Christoph Biller, cantor and conductor. 2008, Rondeau Production ROP6023, 50 minutes, €15.95; brochure 39 pp.; <http://www.rondeau.de/&gt;.
Imagine being the organist of St. Thomas Church in Leipzig, picking up the newspaper on March 16, 2008 and reading the headline, “Undiscovered Organ Work by Johann Sebastian Bach Found in Halle.” So Ullrich Böhme begins his very personal essay, “From Mühlhausen to St. Thomas in Leipzig” (brochure, pp. 6–7). He was further intrigued when he learned the work had been found among scores belonging to a predecessor at St. Thomas, Wilhelm Rust (organist, then cantor 1878–1892), and purchased for 2,500 euros by two scholars from nearby University of Halle. The paper claimed they “snatched away a true sensation from Leipzig,” when in fact the chorale had a close connection to Halle. The melody of the chorale had been written by Justus Jonas, a friend of Luther and the reformer of Halle serving as pastor of St. Mary’s.
The Bach-Archiv did not have a copy of the piece, but by April 28 Böhme received the score from the publisher, Ortus. He spent the next day at home studying and practicing, and then on evening of April 30 he played the work on the Bach Organ at St. Thomas, experimenting with tempos and registrations. It is probable that Bach played this piece himself, but he also may have given it to one of his sons or students to play on July 30, 1724 as a prelude to the Cantata BWV 178 on the same chorale for the eighth Sunday after Trinity. Böhme believes this is confirmed because in Bach’s time the choir and orchestra performed in the lower “Kammerton,” whereas the organs at St. Thomas were tuned a step higher in “Chorton,” so the pitches g- and a-minor match.
The work, a chorale fantasia, reflects influence of the North German composers Buxtehude, Reinken, and Bruhns. Three other examples of this genre by Bach are heard on the CD: the familiar Ein feste Burg (BWV 720), Christ lag in Todesbanden (BWV 718), and Wie schön leuchtet der Morgenstern (BWV 739).
There is only one organ that Bach played (including those in Lübeck and Hanover) for which BWV 1128 could have been written because of the requirements for a Rückpositiv, Oberwerk, Pedal and the extent of the manual ranges. That is the Wender organ at St. Blasius in Mühlhausen, where Bach served between 1707 and 1708. The original organ has not survived, but a copy with the same specification was built in the late 1950s.
Additional compositions on the chorale, all by former St. Thomas organists or cantors, are a Tabulatur by Ammerbach (organist, 1550–1597); duet by St. Thomas Choir Boys from Opella nova by Johann Schein (cantor, 1616–1630); and Cantata BWV 178 by J. S. Bach (cantor, 1723–1750). Also included are two pieces by Wilhelm Rust (organist, 1878–80 and cantor, 1880–1892): Motet for Two Four-Voiced Choirs, op. 40, on “Aus der Tiefe ruf ich, Herr, zu dir” and an organ fantasia, op. 40/3 on “Herr Jesu Christ, dich zu uns wend.”
The handsome brochure is replete with photos and information in addition to Böhme’s personal account: fascinating program notes by Martin Petzoldt (Head of the Neue Bachgesellschaft and Professor of Systematic Theology at the University of Leipzig); cantata text for BWV 178; biographies for Böhme, Biller, Susanne Krumbiegel (alto), Martin Petzold (tenor), and Mathias Weichert (bass); background on the St. Thomas Choir and Gewandhaus Orchestra; and finally the specification and history of the 2000 Bach Organ by Gerald Woehl.
What is eminently apparent in these compositions and performances is a devotional consciousness of the text and the earnest intent to reflect its meaning. The performers are all steeped in the Bach milieu and tradition, performing Bach week after week, year after year in worship and concert. Böhme’s playing is equally elegant and eloquent, ever confident, yet always sensitive to the chorale text, realizing the Lutheran approach, which is never performance for its own sake, but music as a servant of theology and worship. While this CD largely features organ music and Böhme’s extraordinary playing, the other performers—St. Thomas Choir and Gewandhaus Orchestra under Cantor Georg Christoph Biller—are, as expected, exceptional. This CD and its brochure should certainly pique the interest, as Bach would say, of both “Kenner und Liebhaber” (professionals and music lovers).

Thanks to Ullrich Böhme, Organist, St. Thomas Church, Leipzig, who provided invaluable information, including contacts for getting the score and the CD within ten days of its first performance in Leipzig on June 13 and providing the specification of the Wender organ in Mühlhausen.

Musical examples used with permission from the publisher ortus musikverlag.

Carl Parks, a freelance writer, is organist-choirmaster of Gloria Dei Lutheran Church in Holmes Beach, Florida, and a past dean of the Sarasota-Manatee Chapter of the American Guild of Organists. Photographs are by the author.

Saxony’s Organs and Bachfest Leipzig 2004: A study tour of Bach, Luther & Silbermann

Every organist dreams of playing the Saxony region’s baroque organs that were designed, performed on, and approved by Johann Sebastian Bach. That, combined with the annual Bachfest Leipzig 2004, proved irresistible.

The annual Bach Festival in Leipzig, Germany--with day trips to hear and play over a dozen historic organs, many known to J. S. Bach--provided 27 of us an unforgettable study tour May 12 to 26. The tour included 16 festival concerts, lectures by Bach scholar Dr. Christoph Wolff of Harvard University, guided tours of the cities visited, and the opportunity for masterclasses with Thomaskirche organist Ulrich Böhme. It was Historic Organ Tour 50 led by the University of Michigan’s University Organist Dr. Marilyn Mason.

After a bus tour and night in Berlin, we proceeded on May 14 to Wittenberg. Our walking tour took us through the Luther House, which is the world’s largest museum of Reformation history, and the Schloßkirche, where Martin Luther presented his 95 theses and is now buried. After lunch next door in the Schloßkeller we arrived in Leipzig on time for the festival’s opening concert at the Thomaskirche, where Bach was Kantor for 27 years. Three settings of Psalm 98, by Bach (BWV 225 and 190) and Felix Mendelssohn-Bartholdy (Opus 91) were given a world-class performance by the church’s boys’ choir, soloists, and the Gewandhaus orchestra conducted by Georg Christoph Biller. The Sinfonia in D from the Easter Oratorio (BWV 249) opened the concert.

Leipzig

Our walking tour of Leipzig the next morning showed a city coming to life again since the collapse of the German Democratic Republic (DDR) and the reunification of Germany. Construction is everywhere. Historic buildings are being cleaned and restored, while the big, vacant housing projects and other Stalinist architecture are about to be torn down. One grim building about to be razed sits on the site of the University Church, which the Communists dynamited. The church will be rebuilt with an organ designed but never built by Gottfried Silbermann, the great master of organ building during the baroque era. Unfortunately, unemployment in Leipzig is around 20 percent, while in other eastern cities of the former DDR it is as high as 28 percent.

Leipzig is a city of music. Excellent street musicians play the classics everywhere within the ancient confines of this once-walled burg. Walks to the Bach Museum, Mendelssohn House, Musical Instrument Museum or a concert are always a treat. We often paused to hear a flautist, a xylophonist, even a full brass choir playing Henry Purcell’s Trumpet Tune in D.

Thomaskirche

The first of Saturday’s three festival concerts opened with Ulrich Böhme playing Bach’s Passacaglia and Fugue on the Bach Organ in the north gallery of Thomaskirche. This 4-manual, 60-stop organ was built by Woehl in 2000 and replaces an earlier 3-manual instrument built in 1966 by Schuke. It duplicates the organ that Bach knew as a boy in Eisenach. While its location is certainly not what Bach would specify, the large-scale principals and overall tonal design provide the “gravitas” he found so necessary. And the organ sounds well throughout the church despite its location on the side. Jürgen Wolf playing all 30 Goldberg Variations on harpsichord at Nikolaikirche followed. The evening concert in the Gewandhaus featured fortepianos and orchestra in performances of Bach and Mendelssohn works.

Sunday’s services at Thomaskirche and Nikolaikirche are like those in Bach’s day and always include the performance of a Bach cantata at the liturgy of the word. The afternoon festival concert, again on the Thomaskirche Bach Organ, was a reconstruction of Mendelssohn’s organ recital of August 6, 1840, performed by Michael Schönheit. His improvisation on the Passion Chorale in the style of Mendelssohn was similar in structure to the Sixth Sonata and brought a standing ovation, a much less common occurrence in Europe than the United States.

Among the many excellent concerts, Matthias Eisenberg’s Ascension Day performance of  Max Reger’s Fantasie and Fugue on B-A-C-H stands out in particular. The entire sell-out crowd remained through a long, standing ovation until he improvised an equally stunning encore on Thomaskirche’s west gallery organ. That instrument was built by Wilhelm Sauer in 1899, who then extended it to 88 stops in 1907. A fund to restore this big tubular pneumatic has so far raised 100,000 of the 300,000 euros being sought.

Nikolaikirche

A similar romantic organ is almost restored in the west gallery of Nikolaikirche, but was not ready for this year’s Bachfest. It was built by Friedrich Ladegast in 1862 and expanded to 84 stops by Sauer from 1902 to 1903. Near the apse, the church also has a 17-stop organ that was built by Eule in 2002 in the style of Italian organs of the baroque era. As Kantor of Thomaskirche, J. S. Bach was also was the city’s civic director of music, giving him duties at Nikolaikirche. Thus, it was here that many of his cantatas and other works were performed for the first time.

Rötha

A bus trip on May 17 took us to Rötha, a city with two Silbermann organs. Dedicated in 1721 by Johann Kuhnau, the Silbermann in St. George church was the model for the Marilyn Mason Organ built by Fisk for the University of Michigan. A smaller Silbermann at St. Mary’s church was dedicated in 1722. Some of our group joined a masterclass with Ulrich Böhme, while others went on to Weimar. The pedalboards on these old Silbermann organs take some getting used. Not only are they flat, but the spacing is different from modern pedalboards. They also lack a low C-sharp and other notes at the top end. As Marilyn Mason explained, heel and toe pedaling worked out for pieces learned on a modern pedalboard must be changed to a technique using mostly the toes.

European acoustics demand slower tempi and proper phrasing to a greater extent then the dry acoustics of most American churches. For speech reinforcement, Germans take an approach that differs from our boom-box public address systems. Stässer loudspeakers, measuring approximately 18 x 21/2 x 21/2 inches, are mounted on each of a church’s columns, with electronic reinforcement delayed to match the time sound takes to travel. This permits clarity of the spoken word without compromising the divine ambiance for which the music was composed.

Gottfried Silbermann

Gottfried Silbermann was born in 1683, the son of a craftsman-woodworker. From 1702 to 1707 he studied organ-building with his elder brother Andreas in Strasbourg and Thiery in Paris. A condition was that Gottfried would not work in his brother’s territory. So in 1710 Gottfried returned to his native Saxony and set up shop centrally in Freiberg. His first commission was for a small, one-manual and pedal, 15-stop organ for his hometown of Frauenstein. So well-received was this first instrument, completed in 1711, that in the same year Freiberg’s Dom St. Marien (Cathedral of St. Mary) invited the young builder, then only 28 years old, to construct a new organ of three manuals and pedal with 44 stops. This was completed in 1714. Thereafter Silbermann built some 45 instruments, 31 of which are still extant. All are located within or very close to the Saxon borders. 

Gottfried Silbermann was given the official title of Court Organbuilder by Frederick I, at that time King of Poland and Duke of Saxony. Similarly, J. S. Bach had the title of Court Composer. The two were great friends, and often discussed the techniques and acoustics of organ building. Silbermann was Carl Philipp Emmanuel Bach’s godfather and a regular visitor to the Bach home in Leipzig. The two even worked together on the escapement mechanism for the world’s first fortepianos.

Silbermann believed that an organ should look as beautiful as it sounds, and his organ cases are truly beautiful. Also, in a play on words of his name, this “silver man” was known for the silver sound of his pipes. His organs typically have a Hauptwerk that is scaled for gravitas, a Brustwerk scaled to be delicate, an Oberwerk to be penetrating, and a Pedal scaled for a grandness of sound that produces foundation without necessarily using a lot of pipes. Compared to Arp Schnitger, the organs of Silbermann are more spacious with the pipes less densely arranged. 

Eisleben and Halle

Another bus trip took us to Eisleben. Here we visited the houses where Martin Luther was born and died, and the church where he was baptized. Further on in Halle, we stopped to play two organs in the Marktkirche, where Georg Friedrich Händel was baptized and learned to play the organ. That organ is a one-manual instrument of six stops built in 1664 by Reichel. It has all of its original pipes as well as meantone tuning. At the other end is a much larger organ in a baroque case. It is a three-manual, 40-stop instrument built by Schuke in 1984. Both had recently been restored, following extensive damage to the church from a broken city steam pipe. We then visited the Handel House, which has several chamber organs, and we took turns playing the newly restored organ built by Johann Gottlieb Mauer in 1770.

Altenburg, Störmthal and Pomßen

On May 21 we visited Altenburg. It is here that Heinrich Trost built an organ in the Schloßkirche from 1736 to 1739, the same year Bach played it. Eule restored it in the mid-1970s. After walking up well-worn stone steps in one of the castle’s circular stairwells, we found ourselves in the balcony opposite this magnificent instrument. Demonstrating was Dr. Felix Friedrich, a scholar of Johann Ludwig Krebs. Marilyn Mason, who was familiar with the instrument, pulled stops for those of us who played and offered suggestions. Among the more interesting stops is a viola that speaks with an attack and harmonic development nearly identical to that of a bowed string instrument, making it ideal for trio sonatas. 

Further on in the village church of Störmthal is the only Hildebrandt organ still in its original condition. Zacharias Hildebrandt was a student of Gottfried Silbermann. He built the two-manual instrument that was inspected and approved by his friend J. S. Bach in 1723. Kantor Thomas Orlovski demonstrated the instrument and registered it for those of us who played. 

The afternoon took us to Pomßen’s 750-year-old Wehrkirche. Originally built as a fortress, this Romanesque church is home to the oldest organ in Saxony. The instrument has one manual and pedals that play 12 stops, plus a Cimbelstern and Vogelgesang. Built in 1570, the organ was purchased second-hand to save money, and it was installed in 1690. It has been well maintained since its restoration in 1934 and was a thrill to play. 

Naumburg

Several of us had expressed an interest in playing the newly restored organ in Wenzelkirche, Naumburg, which was not on our tour. It is the largest instrument built by Zacharias Hildebrandt from 1743 to 1746, comprising 53 stops on three manuals and pedals. His old teacher Gottfried Silbermann examined the instrument and approved it, finding it to be as beautiful as his own but much larger. J. S. Bach had assisted with its design; and, when he played it, he found all the qualities he liked: thundering basses, strong mixtures, and beautiful solo stops. We convinced enough in our group to charter a bus and rent the organ the morning of May 22. 

Words can describe neither the baroque splendor nor the divine ambience of the vast St. Wenzel interior. There, Kantor Irene Greulich demonstrated the organ. Frau Greulich is a fine organist who has performed and given masterclasses at the University of Michigan. She and Marilyn Mason have a friendship that began before Germany’s reunification, when the organ had been playable from an electro-pneumatic console of the 1930s in the balcony below. They registered the organ for those of us who played, thus ensuring that nobody touched the original pen and ink inscriptions in the drawknobs.

A walk to the Dom SS. Peter and Paul revealed a handsome new organ under construction in a fenced-in area in the nave. No information was available, but among the pipes to be installed were wooden resonators, presumably for a Posaune. The building is late Romanesque and Gothic from the 13th century.

That evening we attended a very fine concert of The Creation by Joseph Haydn at the Hochschüle for Music and Theater. It was sung by soloists and choir from the school and the Leipzig Baroque Orchestra, Roland Borger conducting. We heard it as Die Schöpfung, Haydn’s own translation from English for German audiences.

The last day of Bachfest included breathtaking performances of the St. Matthew Passion, the Mass in B Minor, and pieces written for organ, four hands, played by Ulrich Böhme and his wife Martina at Thomaskirche. The Matthäus-Passion performance was a reconstruction of that given by Mendelssohn on April 4, 1841. Thus, orchestration made use of instruments that had replaced those of Bach’s time. A continuo organ was played with the orchestra. The chorales, however, made use of the Gewandhaus’ 89-stop instrument built in 1981 by the Schuke-Orgelbau of Potsdam. The festival closing concert of the B-minor Mass was in Thomaskirche, with 85-year-old Eric Ericson conducting.

Freiberg and Frauenstein

After we checked out of our hotel, our bus took us southeast to Freiberg. There, in the Freiberg Dom we played two fine Silbermann organs. The larger was built from 1711 to 1714 and has a particularly remarkable case with ornamentation by Johann Adam Georgi. It has 44 stops across three manuals and pedal. The small organ of 1719 has 14 stops on one manual and pedal. 

We continued to the Silbermann Museum in Frauenstein, located in a medieval castle, and the only organ museum devoted to just one builder. There, Dr. Marilyn Mason played a short recital on the museum’s replica of a Silbermann organ. It is a copy by Wegscheider Organ Builders, Dresden, of an instrument Silbermann built in 1732 for Etzdorf, and is a working model demonstrating the basic principles of Baroque organ construction.

Part of the attraction of a Marilyn Mason tour is her ability to unlock the doors to organ lofts. She was the first woman to have played in Westminster Abbey, Egypt, and many other places around the world. She is also a very helpful coach in unlocking the secrets of performance for a broad array of organ literature. Dr. Mason offered our group many pointers on the performance of baroque music, and personally advised me on ways to practice the difficult passages and tricky rhythms of Jehan Alain’s Trois Danses, which she had worked out for her own brilliant performances.

Dresden

In Dresden, our excellent tour leader, Franz Mittermayr of Matterhorn Travel, treated us with a surprise visit to the Hofkirche (Roman Catholic cathedral). There we played the magnificent three-manual, 47-stop Silbermann of 1755 that had been hidden in the countryside during World War II. This cathedral was destroyed in the allied firebombing, but the organ was back among us in a newly restored building. For that we gave grateful thanks. Unfortunately, another fine Silbermann in the Frauenkirche was destroyed. A 3-million euro restoration of that church is nearing completion using original, numbered stones wherever possible. A new organ will replicate the destroyed Silbermann. 

It has been said that Germany has too many churches. This is because, like elsewhere, church attendance is down. In Germany approximately nine percent of the population is Protestant, while two percent is Roman Catholic. In the former DDR of Eastern Germany under the Communists, religion was discouraged, so attendance fell even further. Maintaining and restoring these ancient churches is beyond the reach of most congregations, so they survive through tourism and entrance fees. Many are considered museums and are given government funding. In Naumburg, for example, the city paid for the restoration of the Hildebrandt organ. On average, a group pays an entrance fee of 150 euros or about $185 U.S. for each church visited. In Leipzig, the group paid entrance fees on top of concert ticket prices. This was all included in the cost of our tour. An organist traveling alone to play benefit recitals will pay rental fees of similar amounts. 

For a first visit to the Saxony region, this tour provided the best way to play these instruments and learn about them. While our personal playing times were seldom more than five minutes each, the cost was spread over the entire group. An organ tour also makes all the preliminary arrangements to open doors that are otherwise locked. The University of Michigan is known for its excellent tours, and this one proved why. Matterhorn Travel provided us with a guide who had extensive knowledge of the area, numerous contacts, and the ability to run things so smoothly that we never encountered delays.

Alexander Fiseisky, born in Moscow, graduated with distinction from the Moscow Conservatoire as pianist and organist. He is an organ soloist of the Moscow State Philharmonic Society, head of the organ class at the Russian Gnessins’ Academy of Music in Moscow, and president of the Vladimir Odoyevsky Organ Center. He organized and served as artistic director for organ festivals in Moscow, St. Petersburg, Kiev, and Tallinn, among others. In 1997 he was honored by President Yeltsin with the title ‘Honored Artist of the Russian Federation’. Fiseisky has given concerts in more than 30 countries. In the Bach anniversary year of 2000 he played J. S. Bach’s entire organ works, twice in the context of EXPO 2000 in Hannover, and once in a single day in Düsseldorf as a Bach marathon. Sought after as a juror in international competitions, he has directed seminars and masterclasses in Europe and the USA. He is the dedicatee of numerous compositions, including works by Mikhail Kollontai, Vladimir Ryabov, Milena Aroutyunova, and Walther Erbacher. A musicologist, he has edited anthologies of organ music of Russia and of the Baltics (Bärenreiter-Verlag). He has many recordings to his credit, including the complete organ works of J. S. Bach.

It goes without saying that the primary
task of every performer who wishes to convey the meaning of any given musical work must first be to understand the original intention of the composer. And when the works in question are those of Johann Sebastian Bach, where the invisible thread that should link us to the era in which he lived seems to be irretrievably broken, the task takes on Herculean proportions. The aim of this analysis is to attempt a correct reading of the Clavierübung III—one of the most enigmatic works in the whole literature of the organ.
This work, which was composed at the high point of the composer’s creativity (1739), impresses us by its dimensions alone. It is part of a cycle of works, comprising the Six Partitas (Part 1, composed in 1731, BWV 825–830), the French Ouverture and the Italian Concerto (Part 2, composed in 1735, BWV 831, BWV 971), as well as the Goldberg Variations (Part 4, composed in 1742, BWV 988). And the Clavierübung III itself is also a cyclical work—it consists of 21 chorale preludes and four duets framed by a prelude and a fugue in E-flat major.
Bach certainly accorded the Clavierübung III particular importance. It is no coincidence that this was the first work for organ that he had published in Leipzig. What was Bach’s purpose in writing this work, and what means did he choose to fulfil it?

The history of the composition. The intentions and aims of the composer
The Clavierübung III was written to coincide with the 200th anniversary of Luther’s visit to Leipzig and the festal Whitsun service in St. Thomas Church on the 25th of May 1539, which effectively marked the official recognition of the Reformation in Leipzig. The Clavierübung III consists essentially of arrangements of chorales from the Protestant church service, and in its structure it is reminiscent of Luther’s Catechism, which consists of two parts: the Greater Catechism deals with the principles of faith, while the Lesser Catechism is directed more towards children and the less-educated part of the population. Correspondingly, each chorale melody—with the exception of Allein Gott in der Höh’ sei Ehr’ [Glory be to God alone on high]—is presented in two versions: a greater version which uses all the resources of the organ including the pedals, and a shorter manualiter version.
And indeed, because of its special structure, the Clavierübung III has often in the past been referred to as an “Organ Catechism,” and correspondingly it is usually referred to today as the “Organ Mass.” It is clear that neither of these two names do full justice to the structure of Bach’s composition. Nor do they explain the inclusion of the four duets.
The title of the work is as follows:

Dritter Theil / der / Clavier Übung / bestehend / in / verschiedenen Vorspielen / über die / Catechismus- und andere Gesaenge, / vor die Orgel: / Denen Liebhabern, und besonders denen Kennern / von dergleichen Arbeit, zur Gemüths Ergezung / verfertiget von / Johann Sebastian Bach, / Koenigl[ich] Pohlnischen, und Churfürstl[ich] Saechs[eschen] / Hoff-Compositeur, Capellmeister, und / Directore Chori Musici in Leipzig. / In Verlegung des Authoris.

[Third Part of the Clavierübung consisting of various preludes on the Catechism and other Hymns for the organ: for amateurs, and especially for connoisseurs of such work, for the refreshment of their souls, executed by Johann Sebastian Bach, Royal Polish and Electoral Saxon Court Composer, Capellmeister, and Directore Chori Musici in Leipzig. Published by the author.]

Bach here follows the example of his predecessor at St. Thomas Church, Johann Kuhnau (1660–1722), and modestly calls his work Clavierübung [Keyboard Exercise].2 He thereby encourages us, through diligent practice (Übung in German), to understanding his purpose in writing this work.
Let us accept this invitation.
The first question, even after a cursory look at Bach’s work, is probably “What does it represent in this compositional form? Are we to understand it as a unified dramatic whole or as a collection of diverse pieces for the keyboard?”
Characteristically, the usual concert practice suggests that the Clavierübung III is not seen as an integral work: virtually nobody plays the whole composition in its published form.3 But the question nevertheless remains: Is there really no suggestion of an overall dramatic structure within the work?
An analysis would help us to answer this question. But before we tackle it, we should—even very generally—look at some characteristics of the musical aesthetics and Bach’s particular compositional style during the period when he was working on the Clavierübung III.

The theological and philosophical basis of the work of J. S. Bach
Bach’s personal philosophy was heavily influenced by the philosophical ideas and the personality of Martin Luther (1483–1546). Books written by Luther accounted for a quarter of all the books in Bach’s private library. According to the personal inventory that was made after his death, Bach owned two complete editions of the works of Martin Luther in Latin and German, as well as works of his successors: Abraham Calov, Martin Chemnitz, Johannes Olearius, and others.4 The title page of an earlier version of the Clavier-Büchlein für Anna Magdalena Bach5 bears a note giving the title of the work as Anti-Calvinismus by August Pfeiffer, written in Bach’s own hand.
It is well known that Luther was a well-educated musician.6 In contrast to the majority of the reformers in the 16th century, Luther considered music to be a form of divine revelation. In the foreword to Georg Rhau’s anthology Symphoniae iucundae7 he wrote: “In summa: Die edle Musika ist nach Gottes Wort der höchste Schatz auf Erden.“8 [Summing up: Noble music is the greatest treasure on earth next to the Word of God.] He is quoted in the Encomion musices as giving a similar definition: “Musika ist eine schöne, liebliche Gabe Gottes, sie hat mich oft also erweckt und bewegt, daß ich Lust zu predigen gewonnen habe...”9 [One of the finest and noblest gifts of God is music. It has often aroused and moved me so that I have gained a desire to preach . . . ] And in a letter to Ludwig Senfl of 4 October 1530 we find the following lines in his handwriting:
Et plane judico, nec pudet asserere, post theologiam esse nullam artem, quae musicae possit aequari, cum ipsa sola post theologiam id praestet, quod alioqui sola theologia praestat, scilicet quietem et animum laetum…10
[I plainly judge, and do not hesitate to affirm, that except for theology there is no art that could be put on the same level with music, since except for theology, (music) alone produces what otherwise only theology can do, namely, a calm and joyful disposition.11]
Luther’s views were akin to those of Bach. Like the great reformer, Bach saw the world of music and the world of theology as very closely connected.12 A short handwritten treatise concerning figured bass, which Bach wrote while working on the Clavierübung III, is introduced with the following words:
Der Generalbaß ist das vollkommenste Fundament der Music welcher [auf einem Clavier] mit beyden Händen gespielt wird dergestalt das die lincke Hand die vorgeschriebenen Noten spielet die rechte aber Con- und Dissonantien darzu greift damit dieses eine wohlklingende Harmonie gebe zur Ehre Gottes und zulässiger Ergötzung des Gemüths und soll wie aller Music, also auch des General Basses Finis und End Uhrsache anders nicht, als nur zu Gottes Ehre und Recreation des Gemüths seyn. Wo dieses ists keine eigentliche Music sondern ein Teuflisches Geplerr und Geleyr.13
[The thorough-bass is the most perfect foundation of music. It is played with both hands on a keyboard instrument in such a way that the left hand plays the written notes, while the right hand strikes consonances and dissonances, so that this results in full-sounding Harmonie to the Honor of God and the permissible delight of the soul. The ultimate end or final goal of all music, including the thorough-bass, shall be nothing but for the Honor of God and the renewal of the soul. Where these factors are not taken in consideration, there is no true music, rather, devilish bawling and droning.14]

When Bach at the age of 23 left Mühl-hausen, he declared that the Endzweck [ultimate aim] of his creative work would be the regulirte kirchen music zu Gottes Ehren [regulated church music to the glory of God].15
One can further assess the musical and aesthetic views of the composer with the help of his annotations in the margins of a Bible that was published by Abraham Calov (1681–1682) in Wittenberg.16 These marginalia are quite valuable—they allow us to catch a glimpse of the personal views of their writer and open up his world for us.
Already in Exodus, Chapter 15, where the prophetess Miriam sings of the wonderful deeds of God, we can read in Bach’s own hand: “N.B. Erstes Vorspiel auf 2 Chören zur Ehre Gottes zu musiciren.” [N.B.: First prelude for two choirs to be sung to the glory of God.] As a comment on First Chronicles 29, v. 2117 we find the following statement by the composer:

Ein herrlicher Beweiß, daß neben andern Anstalten des Gottesdienstes, besonders auch die Musica von Gottes Geist durch David mit angeordnet worden.
[Splendid proof that, besides other arrangements for worship, music too was instituted through David by the Spirit of God.]18
First Chronicles 26 describes the choosing of musicians for the temple. Bach’s comment: “Dieses Capitel ist das wahre Fundament aller Gott gefälligen Kirchen Music.” [This chapter is the true foundation of all church music pleasing to God.]
And one final quote: Second Chronicles, chapter 5 contains the passage:

. . . it was the duty of the trumpeters and singers to make themselves heard in unison in praise and thanksgiving to the LORD, and when the song was raised, with trumpets and cymbals and other musical instruments, in praise to the LORD “For he is good; for his steadfast love endures for ever,” the house, the house of the LORD, was filled with a cloud, so that the priests could not stand to minister because of the cloud; for the glory of the LORD filled the house of God. (2 Chronicles 5:13–14)19

Bach annotates this text with a remarkable comment that has programmatic significance and shows not only his relationship to the composing, performing, and hearing of music, but also to the activities of a church musician in general: “Bey einer andächtigen Musique ist allezeit Gott mit seiner Gnaden Gegenwart.“ [Where there is devotional music, God with His grace is always present.]
These examples suffice to clarify where we must start if we wish to analyze the works of Johann Sebastian Bach. Albert Schweitzer wrote in his masterful fashion: “Music is an act of worship with Bach… For him, art was religion...”20 The orthodox Lutheran Bach, who was born and raised in Eisenach, Luther’s own town, where the façade of the main church of St. George was decorated with the Protestant motto “A mighty fortress is our God,” transcended in his music the boundaries of confession and creed. “In the last resort, however, Bach’s real religion was not orthodox Lutheranism, but mysticism. In his innermost essence he belongs to the history of German mysticism.”21
This mystical sensitivity to the presence of God and the desire to give witness to Him through music, coupled with his dazzling talent, enabled Bach in his later works to develop an astonishing artistic fusion, the likes of which had not been seen in the world’s cultural history.
In 1747 Bach was admitted to the Societät der musikalischen Wissenschaften [Society of the Musical Sciences], which his one-time pupil, the philosopher and music author Lorenz Christoph Mizler von Koloff (1711–1778), had founded.22 Mizler, a friend of Bach’s, was strongly influenced by Pythagorism and the rational philosophy of both G. W. Leibnitz (1646–1716) and Christian Wolff (1679–1754). He saw music as a mathematical science.23
The very fact that Bach accepted Mizler’s invitation to join the Societät der musikalischen Wissenschaften is in itself significant. The composer obviously sympathized with Pythagoras’s ideas concerning the universe and its perfect harmony: a harmony that, according to the teachings of the ancient philosopher and mathematician, was expressed in numbers,24 and shared the convictions of his progenies.
J. S. Bach became the fourteenth member of the Society after G. F. Telemann (6) and G. F. Handel (11), together with other well-known scholars and philosophers. Following the established tradition, upon joining the Society he contributed a mite of his own. In addition to the Canonic variations on “Vom Himmel hoch, da komm’ ich her” (BWV 769), the composer also donated a portrait of himself to the Society, which had been painted in 1746 by Elias Gottlob Hausmann. A microanalysis of the music manuscript that appears in this painting has been made by Friedrich Smend. The results have thrown light on significant aspects of Bach’s compositional methods, which until the middle of the twentieth century had not attracted much attention by scholars.25
Smend’s publication gave new impetus to investigating numerology in the works of the Cantor of St. Thomas Church in Leipzig.26 It is not without interest that the researchers first found support in the writings of Christian theologians, but later more and more in the works of the ancient philosophers.27

Features of J. S. Bach’s compositional method
Albert Schweitzer defined Bach as a phenomenon in the history of music: “Bach is . . . a terminal point . . . everything merely leads up to him.”28 Indeed the works of the Cantor of St. Thomas make use not only of the fruits of earlier achievements in composition, but they are also the consummation of the most characteristic tendencies in the music of his own time. He makes use of a plethora of past and present expressive techniques and puts them at the disposal of one single goal: the creation of “devotional music.”
So what exactly were the artistic methods used by J. S. Bach as a composer?
Victor Hugo once described Gothic cathedrals as “symphonies in stone.” If we apply this quotation to the works of Bach, we could say that his larger compositions are “Gothic cathedrals” in music. And when one looks more closely at how Bach approached a new composition we can actually find quite close parallels to architecture. One could contrast, for example, Bach’s methods with the processes current in Viennese Classicism. Whereas in the latter period composition proceeded in a “linear” fashion, beginning from the melody in one of the voices, the methods of Bach’s time started from quite a different point. First of all, the composer laid down a concept of the entire work, or—to use the architectural analogy—he created a “ground-plan.” Then he proceeded to fill in the details. An example of this method is provided by the Orgelbüchlein [Little Organ Book] (BWV 599–644).
This working method gave free rein to the composer’s imagination. The proportions of the composition and its “saturation” with both obvious and more hidden details—factors that played an important role in determining the overall sense of the work—could easily be incorporated in the composition from its very beginning. Great importance was attached to Affektenlehre [Doctrine of the Affections], musical-rhetorical figures, and numerology.
Bach was without a doubt a brilliant “musical architect.” There is no room in his works for anything non-essential. He worked in a similar fashion to the architects of the Middle Ages: every detail has its origin in the concept governing the whole. And as with the medieval builders, much of this work remains, even today, shrouded in mystery. There are always new avenues opening up in these seemingly well-known works for new generations of interpreters to explore.
One can of course only penetrate more deeply into this musical architecture of most of Bach’s works if the connection to the words of the chorales used by the composer is taken into account. Johann Gotthilf Ziegler (1688–1747), a pupil of Bach, wrote in 1746: “Herr Capellmeister Bach, who is still living, instructed me when playing hymns, not to treat the melody as if it alone were important, but to play them taking into account the affect of the words.”29
Johann Mattheson (1681–1764) described music as sounding speech. Naturally this form of speech required its own lexicon in the shape of the definite progressions of musical notes bearing the semantic meaning—the motives, or musical-rhetorical figures, as they are called. These were quoted by Bach’s cousin, Johann Gottfried Walther (1684–1748), in his Musicalisches Lexicon [Music Encyclopaedia] (1732) and in the Praecepta der Musicalischen Composition [Principles of Musical Composition] (1708). Another important compositional aspect was the use of rhetorical laws in the construction of the musical structure, so that the composition began to resemble a religious sermon. As already mentioned, the Affektenlehre [Doctrine of the Affections], which depended upon the use of unequal temperament and the resulting different emotional character of the various keys, played an important role in composition,30 as did, surrounded as it was by an air of mystery, numerology with its different levels of meaning.
One of these levels is to be found in allegorical symbolism. Andreas Werckmeister (1645–1706) gave the following meanings to the first eight numbers in Musikalische Paradoxal-Discourse:31 1 – God, unity; 2 – The Word, God the Son; 3 – The Holy Spirit; 4 – The world of angels; 5 – Symbol of Mankind (“sensual Mankind” [Numerus sensualis]); 6 – Third Person of the Godhead (3×2);32 7 – Symbol of purity and peace; 8 – Symbol of wholeness and perfection.
Another level is that of semantic symbolism. For example, the number 7 symbolises the Seven Last Words on the Cross.
A third level is that of cabbalistic symbolism. Each letter of the alphabet stands for a particular number: a = 1, b = 2, c = 3 and so forth. The letters i and j share the number 9, while u and v are both attributed to the number 20. This means that particular combinations of letters each have a corresponding number. For example, the number 14 is the sum of the numerical values of the letters BACH. Thus the number 14 (or similar numbers, such as 140 or 1.4) would be associated with the composer Bach, whose name was assembled from these individual letters.
Numbers were also used as a constructive element, whereby the harmonic proportions of the ratios of simple numbers, which had been known since Pythagoras’s time, were incorporated into the composition. In addition, the proportio divina, the “Golden mean,” was also used. Naturally Bach was a consummate master of all these creative methods and he used them constantly in his compositions. The most obvious example is the Clavierübung III, which occupies a key position among all Bach’s works for the organ.
Let us examine the structure of this composition more closely.

The chorale preludes
The central part of the work under consideration, as Bach’s title-page suggests, is the collection of chorale preludes. This collection covers not only the essential elements of the Protestant liturgy but also of Luther’s Catechism.
Kyrie, Gott Vater in Ewigkeit – Christe, aller Welt Trost – Kyrie, Gott heiliger Geist [Kyrie, God the Father, eternal – Christ, consolation of all the world – Kyrie, God the Holy Spirit] (BWV 669–674)
The triad of the first chorales creates a sense of unity. The models for these autonomous works were certain verses of the Gregorian chorale Kyrie fons bonitatis (10th century),33 which display the characteristic of a refrain. (Example 1) Such a compositional method is seldom found among Bach’s organ works. In the context of Kyrie – Christe – Kyrie it allowed the composer to establish by means of music the essence of the “one and indivisible” Holy Trinity.34
The first motif of the cantus firmus is characterized by a stepwise progression. In the final statement of the cantus firmus (which is the same in all three compositions), note the upwards leap over a fifth. It is perhaps of interest to note that both the stepwise movement on the one hand and the prominent role of the fifth on the other (elements that determine the mood of the first chorales of the Clavierübung III) play an important part in the dramatic construction of the whole work.
The unity of the initial Kyrie – Christe – Kyrie is underlined by the fact that they are written in a single compositional style—the stile antico. Hermann Keller described them as “Orgelmotetten kunst-vollster Art” [The most highly artistic motets for organ].35 The music suggests greatness and quiet strength. The movement of the accompanying voices working out the motifs of the cantus firmus is linear. The cantus firmus, which is kept in longer note values, appears successively in the soprano (Kyrie, Gott Vater in Ewigkeit), in the tenor (Christe, aller Welt Trost), and in the bass (Kyrie, Gott heiliger Geist), and thus symbolizes in similar fashion the three Persons of the Trinity: God the Father, who is above all, who holds all in being; Jesus Christ, the mediator between God and humankind; and the life-giving Holy Spirit.
The epic element appears organically tied to the inner dynamics of the Kyrie – Christe – Kyrie. The contemplative character of the first chorale gives way to a feeling of emotional turbulence in the second chorale. The third chorale is energy-laden, an effect achieved by the introduction of a fifth voice, the acceleration of the musical structure, and the use of chromatics.
The end of the chorale Kyrie, Gott heiliger Geist is quite remarkable: against the backdrop of the final statement of the cantus firmus in the pedals, a tie overflowing with chromatic dissonances appears in the upper voices. These six-and-a-half bars differ quite markedly from all that has gone before. The sound as it were illustrates the text, which at this point contains a plea for mercy. The word eleison is accompanied by an ostinato, which climbs in seconds and by a chromatic figura parrhesia. The music suggests a certain personal involvement. It is significant that one finds the motif BACH in crab motion here (although it appears in other notes), and finally encounters the signature of the composer: CH-BA in the alto of the penultimate bar. (Example 2)
There are altogether 60 bars in the chorale prelude Kyrie, Gott heiliger Geist, which matches Werckmeister’s concept well.36 And there is of course the additional association with the creation of the world (the six days of God’s creative work).37 It is worth mentioning that in the first prelude of the Clavierübung III the numerical symbol for the name Bach already occurs more than once. The subsequent statement of the theme in the chorale Kyrie, Gott Vater in Ewigkeit is not only emphasized by the use of parallel thirds, but also by its extension to 14 notes (the numerical value of the letters BACH).38 And the cantus firmus in the chorale prelude Kyrie, Gott heiliger Geist has a total of 41 notes (JSBACH).
The three manualiter Kyries, each in the form of a small fughetta, all elaborate the opening motif of the appropriate verse of the chorale. Each following chorale begins in the soprano with the last note of the preceding chorale, which serves to underline the inner unity of the three manualiter pieces Kyrie – Christe – Kyrie.
An interesting aspect, which is seldom found within Bach’s organ works, is how the keys of the six pieces we have looked at are related. Each of them has at least two tonal centers. We should not let the key signature with three flats of the greater chorale preludes Kyrie – Christe – Kyrie confuse us: the rules of musical notation would certainly have allowed these preludes to have been written with only two flats. It would appear that the composer intentionally adopted three flats in order to strengthen the association with the Holy Trinity.

Allein Gott in der Höh’ sei Ehr’
[Glory be to God alone on high] (BWV 675–677)
A special feature of the following section of the Clavierübung III is the fact that it has three different preludes on the chorale Allein Gott in der Höh’ sei Ehr’—the Protestant version of the Gloria in excelsis from the Gregorian Mass for Easter Sunday. An explanation for this phenomenon must be sought in the text of the chorale itself,39 as it sings the praises of the Holy Trinity. Correspondingly, Bach includes three preludes here, each of which is a very individually elaborated piece in three-part texture.
In the first prelude, elegant and rhythmical canon-like outer voices surround the cantus firmus in the alto. The next prelude is executed as a trio sonata with pedal obligato. The cantus firmus appears from time to time in one or other of the voices of this exquisite trio and blends with the natural flow of the music.40 The last chorale prelude is a small fugato in the manner of an Italian versetto, based on the first notes of the cantus firmus.41 All in all, these three versions of the angel’s praise Allein Gott in der Höh’ sei Ehr’ create a feeling of incorporality and immateriality, convincing us by their clarity and purity, and creating an impression of harmony and perfection.
In this section of the Clavierübung III there is a small, at first glance insignificant, compositional detail that is, however, very interesting when seen from the perspective of the dramatic construction of the whole. The keys of the chorale preludes—F major, G major, and A major—form an ascending motif that is the basis for all three preludes on Allein Gott in der Höh’ sei Ehr’. The composer must assuredly have chosen this sequence of keys with the aim of thus uniting the whole cycle. Numerology reveals another interesting aspect—the numerical values of F, G, and A (6 +7 + 1) comes to 14, the same value as BACH.

Dies sind die heil’gen zehn Gebot’ [These are the holy Ten Commandments] (BWV 678–679)
Following the lead of Luther’s Catechism, Bach now begins an extensive section of the Clavierübung III with arrangements of the Gregorian chorale on an Old Testament theme, Dies sind die heil’gen zehn Gebot’.42 This is the last pair of chorales in a major key for the remainder of the cycle and the only time that Bach uses the same key for two consecutive compositions—Mixolydian G major, which is one of the purest keys in unequal temperament. It is significant that in both the Orgelbüchlein and in Cantata 77, the chorale melody Dies sind die heil’gen zehn Gebot’ is also written in this key.
The greater chorale prelude is developed as a composition for five voices, with the cantus firmus appearing a total of five times as a canon in the tenor. Thus it appears ten times in all, symbolizing an obedient response to the Law.43
The beginning of the prelude is wonderful: over a pedalpoint we hear, emerging out of the stillness, the motif of three descending notes, which we encountered earlier in the piece, worked out as a canon in the upper voices. The measured diatonic motion, the prepared suspensions, the surrounding motifs, and the ascending triads—these are just some of the musical means the composer has used to create a world of unspoiled purity, order, and harmony, in which the unsullied inhabitants of Paradise were at home before the Fall. (Example 3)
A change in character occurs in the fifth bar44 with the introduction of a figura suspirans45 and a motif of ‘falling seconds’, supplemented by a descending chromatic figura parrhesia motif in the alto. (Example 4)
Now the music is dominated by grief, sorrow, and misfortune.46 A change occurs once more in the sixth bar with the introduction of a figura kyklosis or figura circulatio in the alto47 (Example 5), which enriches the fabric with its new nuances. Thus with the help of symbolic motifs that are organically woven into the very fabric of the music, the composer brings us closer to the meaning of the chorale.
The First Commandment, which Luther in his Great Catechism deems to be the most important, is interpreted in the second verse of the chorale:

Ich bin allein dein Gott, der Herr,
kein Götter sollst du haben mehr,
du sollst mir ganz vertrauen dich,
von Herzens Grund lieben mich,
Kyrieleis.

[I alone am your God, your Lord,
No other Gods shall you have,
You shall put your whole trust in me,
Love me from the depth of your heart.
Kyrieleis.]

There is much evidence that precisely these lines were the starting point for Bach’s plan for the whole composition.
It is interesting to note that where the text speaks of “the love of God that comes out of the depths of the heart,” Bach interrupts the cantus firmus (bars 48–50) and increases the number of repetitions from ten to twelve. The motivation for this change can best be seen as an attempt to create a connection between the Old and New Testaments, whose interpreters in the new Christian congregations were the twelve Apostles. And Bach will follow the same intention to connect, through the symbolic comparison of the numbers ten and twelve, the Mosaic Law and the teachings of Jesus again in the Eucharist part, the conclusion of the chorale prelude section of the Clavierübung III.
It is well known that in the New Testament the Commandment of Love takes on decisive significance: “Jesus answered . . . you shall love the Lord your God with all your heart, and with all your soul, and with all your mind, and with all your strength” (Mark 12:30). The composer underlines the importance of this commandment with the help of special methods that are introduced at key points. When the word Herz [Heart] appears in the chorale text, Bach highlights it (in bars 46-47) with two groups of 16th notes, and when the words lieben mich [love me] appear in bars 51–52, he uses the heterolepsis, a musical rhetorical figure that creates the effect of two being united in one.48 Thus the composer uses musical means to portray the tangible content of the text. (Example 6)
Numerology plays an especially important role in the chorale prelude Dies sind die heil’gen zehn Gebot’.49 The chorale prelude has 60 bars (corresponding to the six days of creation). A pause first appears in the pedal after 37 notes, which can be seen as the Labarum, or Chi-Ro Christogram.50 The next pause comes after 60 further notes (another apparent reference to the creation of the cosmos). The subsequent melodic structure of the pedal line up to the pedalpoint in bar 29, which creates the illusion of a reprise, contains 47 notes. In the first bar, after the pause (bar 21), we encounter a leap of two octaves in the pedal, covering the entire range of the pedal, which is very unusual. (Example 7)
It is well known that Bach often referred to the Psalter, as did Luther in his Catechism. Psalm 47:2 states: “For the LORD, the Most High, is awesome, a great king over all the earth.” The text of the cantus firmus quoted at the point of the two octave leap is: Kein Götter sollst du haben mehr [No other Gods shall you have]. Michael Radulescu suggests that we should see the leap as an original “musical comment” by the composer, which, though hidden behind the abstract numerological symbolism, is to be understood as a distinct statement: “I am larger than life, I am your King.”51
The subsequent phrase in the pedal contains 147 notes. When Luther in his Catechism explains the meaning of the Ten Commandments, he quotes Psalm 147:11: “But the LORD takes pleasure in those who fear him, in those who hope in his steadfast love.” By introducing the number 147 into his chorale prelude Dies sind die heil’gen zehn Gebot’, Bach is underlining the actuality of the psalmist’s words quoted by Luther for the theme of the Decalogue.
The final notes of the cantus firmus in the second tenor are accompanied by a descending counterpoint in the first tenor, beginning with a chromatic figura parrhesia, which contains 12 notes (bars 57–60). The last phrase in the pedal consists of 14 notes (BACH), which is preceded by two short phrases of five notes each.
After all the above we can concur with those experts who suggest that the basic idea behind this work is love for the Creator.52 Additional confirmation for the correctness of this view is the number 315, which is the sum of all notes in the pedal. Albrecht Clement considers this number to be the numerical expression of the phrase Du sollt Gott, deinen Herren, lieben. [Literally: “You should love God, your Lord” as a direct rendering of the Luther Bible’s translation of Mark 12:30.]53
Characteristically, Bach introduces this summons in the title of Cantata 77, whose opening chorus is built upon the theme of the chorale prelude Dies sind die heil’gen zehn Gebot’, viz.

Du sollt Gott deinen Herren lieben
24 + 73 + 59 + 49 + 65 + 45 = 315

The manual fughetta on the chorale Dies sind die heil’gen zehn Gebot’, written in the form of a gigue, is also dominated by the number 10, although it also contains other interesting numerical allusions.
First of all, it is a four-voice fughetta and the theme is presented ten times (4×10 = 40). The same relationship can be seen in the exposition of the fughetta: ten bars of four dotted eighth notes (10×4 = 40). The theme runs for ten beats. Thus we see the same relationship in the exposition: 10×4 = 40. The theme in the second exposition is presented in inversion and in a shortened form (six beats). The relationship is correspondingly 6×4 = 24. And finally, the last two stretti quotations of the theme (bars 32–35) give us the relationship 8×2 = 16, as the theme here is eight beats long. It is not difficult to see that the addition of 24 and 16 results in the key number 40, which is apparently a reference to the Jewish people’s forty years of wandering in the wilderness before being given the stone tablets with the Decalogue.
The theme has a most interesting structure. It consists of two parts: the main melody of the chorale emerging from a repeated ostinato note and its leaps (six beats), and stepwise motifs over a fifth (four beats). (Example 8) Christoph Albrecht described the theme figuratively as a musical picture of a “raised warning forefinger.”54 But numerology allows us to find deeper connotation in it. The second part of the theme contains 14 notes (BACH). One could consider this as a mere coincidence, were it not that we meet the melody with this numerical symbol again at other central formative points in this little piece.
This second part of the melody occurs as a theme in its own right in the 41st beat of the fughetta (JSBACH), where it fills out the eleventh bar at the junction between the two expositions. Again, this melody is consistently developed in the 14 bars that separate the two concluding quotations of the theme from the second exposition. And we would finally add that the number 14 is underlined by the sum total of all the beats in this chorale prelude: they all add up to 140.
Without a doubt it would be the very height of negligence for a performer who is looking for an authentic interpretation to ignore the manifold recurrence in the composition of the name of its creator. The composer of the manual version of Dies sind die heil’gen zehn Gebot’ obviously had definite reasons for weaving his name again and again into the musical fabric of the work.
Let us boldly assume that in this work Bach wishes to embody the idea of the divine Commandments as the cornerstone of his own life. The tenfold repeated theme of the chorale Dies sind die heil’gen zehn Gebot’ and the numerical symbol 40 harbor the idea of the Commandments. Their importance for Bach personally is attested to by the composer’s repeated use of the symbol 14.

This article will be continued.

La Wanda Blakeney is Professor of Music at Louisiana State University in Shreveport. She holds a Ph.D. in Musicology from The University of Texas at Austin, where her major professor was Dr. Hanns-Bertold Dietz. A former student of Gilbert Pirovano and William C. Teague, Dr. Blakeney also serves as assistant organist at First United Methodist Church in Shreveport.

Introduction

While the nineteenth-century masters of the Romantic avant garde and even many composers of what Robert Schumann called the juste milieu have been dealt with significantly in musicological treatises, the more conservative composers still remain widely ignored. An example of the latter is August Gott-fried Ritter (1811-1885), an artist who was well known and highly revered in his lifetime not only as a performer and teacher but also as a composer and author of many reviews, musicological articles, and books. Today, however, Ritter is scarcely mentioned. Die Musik in Geschichte und Gegenwart (1963) provides only a brief sketch of his life and a partial listing of his works, and the composer does not appear at all in The New Grove Dictionary of Music and Musicians (2001).

The reason for Ritter's almost total obscurity is not that he lacked recognized accomplishments but rather that the focus of his activities, namely Protestant church music, appears to offer little attraction to present-day scholars. In their disinterest in Protestant church music of the nineteenth century, modern scholars actually reflect an aesthetic attitude inherited from the Enlightenment. The late eighteenth century was marked by a declining interest in the church itself, and music within the worship service was relegated to a less important role. Many church choirs were disbanded, and the concert hall gradually replaced the church as the leading musico-cultural force in the community. How much the organist and cantor suffered in artistic and social prestige is indicated by the Prussian Code of 1794, which lists both professions as "lower church employees . . . on a level with custodians."1 It is therefore not surprising that during the nineteenth century most of the talented musicians sought careers outside the conservative environment of the church and none of the major composers made church music the center of their compositional interest, even those who played and wrote for the organ.2

Generally speaking, by the time of Ritter's birth in 1811, church music had reached a nadir in comparison with achievements of earlier days. This does not mean, though, that traditions were totally abandoned and that no efforts were made by some dedicated few to stem the tide and to uphold excellence in church music. As Georg Feder points out, "the practice of sacred music in Saxony and Thuringia never really deteriorated."3 For example, in Erfurt, Ritter's birthplace, the church remained a major outlet for artistic expression even during the early nineteenth century. Nevertheless, one must add that it certainly no longer held center stage.

Ritter was quite aware of the changing compositional trends, and he wrote works in the current secular musical genres, such as orchestral overtures, symphonies, piano sonatas, and character pieces. However, Ritter soon began to direct his attention toward music for the organ. An early indication of this interest was his decision in 1834 to attend the Royal Institute for Church Music in Berlin. Nine years later, Ritter again showed a preference for church music, when he accepted the Domorganist position in Merseburg instead of a much more lucrative choral directorship in Berlin.4 At a time when interest in church music was waning and many professional musicians had already abandoned the church for employment in secular areas, Ritter thus elected to stay within the church and to do his utmost to improve the level of organ performance and organ composition.

Since Ritter's life is not well known, the following is a biographical account, including information about the composer's family, friends, teachers, and the different stages of his official career as church organist and music director.

Early Years in Erfurt

According to the Augustinerkirche baptismal register in Erfurt, August Gottfried Ritter was born on August25, 1811, at five o'clock in the morning and baptized at the church eight days later. He was the son of Johann Heinrich Ritter and Maria née Kegel (or Kögel).5

The infant Ritter and his parents resided on Gotthard Street near the monastery that Martin Luther (1483-1546) had entered in 1501, and not far from the neighborhood where Christoph Martin Wieland (1733-1813), the eminent poet and novelist, had once lived.6 Late nineteenth-century biographers have disagreed on the family's financial status. Robert Frenzel, in his article "Ein bekannter und doch wenig gekannter Orgelmeister" (1894), states that Ritter's father was well-to-do,7 while the Encyklopädie der evängelischen Kirchenmusik (1894), edited by Salomon Kümmerle, describes the family's living conditions as modest.8 Ritter's father, a commoner, was a flour merchant, a profession that must have run in the family, since church records and address catalogs back to the beginning of the eighteenth century indicate that there were a number of Erfurt residents by the name of Ritter, all of them millers or members of similar middle-class positions.9

The years surrounding Ritter's birth were marked by political instability, with most of Europe embroiled in the Napoleonic Wars. The town of Erfurt, which had become part of Prussia in 1802, came under French domination in 1806, and two years later was the site of Napoleon's meeting with Tsar Alexander I of Russia and the Kings of Bavaria, Saxony, Westphalia, and Württemberg. In 1813 the town was reconquered by the Prussians, who, with the help of their allies, defeated Napoleon Bonaparte during the famous "Battle of the Nations" at Leipzig on October 16-19 of the same year.10 It was not quite a month later that Ritter's father died of "nerves and foul fever," as the Augustinerkirche records indicate, on November 13, 1813, at the age of twenty-seven.11

After his father's death, August Gott-fried was reared by an uncle. This fact, first mentioned in the Encyclopädie der gesammten musikalischen Wissenschaften (1842), which contains the earliest article on Ritter,12 was reiterated and embellished upon in later biographical dictionaries, among them the Neues Universal-Lexikon der Tonkunst (1851), which states that Ritter was "brought up by an uncle with love and care."13

The only personal reference to his parents and childhood is a letter, dated June 20, 1836, in which Ritter states that shortly after the death of his father, his mother married Johannes Christian Samuel Ritter, another flour merchant. However, the composer fails to mention whether or not his stepfather was also his father's brother.14  Nothing is known about when his mother died.

Ritter received his earliest and most profound musical inspiration and education through the institution of the church. Such an experience was not unusual, since the dominant cultural force in the community had traditionally been the church. For example, Martin Luther had obtained part of his well-rounded musical education at the Augustinian monastery in Erfurt, where in 1524 two Enchiridia, among the first Protestant hymnals, had been published.15

Young August Gottfried attended the Augustiner-Parochial-Schule, and his family worshipped at the Augustinerkirche. When Andreas Ketschau (1798-1869), the organist at that church, learned of the young boy's interest in music, he began to instruct him in piano, organ, and harmony. The exact dates for these lessons are not known, but Ritter must have begun at an early age and progressed very rapidly, for he publicly performed a Mozart piano concerto at the age of eleven.16

Andreas Ketschau was a significant figure in the musical life of Erfurt, and the importance that accompanied his position as organist and teacher was not at all unusual. Throughout the seventeenth and eighteenth centuries, church musicians, especially organist-composers, had determined the direction of Erfurt's musical development. Members of J. S. Bach's family had taught at church schools and occupied almost all church organist positions of the town.17 Hieronymus Praetorius (1560-1629), Michael Altenburg (1584-1640), the prestigious Predigerkirche organist Johann Pachelbel (1653-1706), Johann Gottfried Walther (1684-1748), and Jakob Adlung (1699-1762) had also numbered among Erfurt's most notable church musicians.18 During the late eighteenth century it was Johann Christian Kittel (1732-1809), author of the influential Der angehende praktische Organist (in three parts, 1801, 1803, 1808;3d ed. in 1831), who upheld the tradition of excellence in Erfurt's church music. Deeply revered as the last pupil of J. S. Bach, Kittel was an organ virtuoso whose concerts attracted such prominent individuals as Johann Gottfried Herder and Johann Wolfgang von Goethe from nearby Weimar.19 Although cultural entertainment in Erfurt expanded in the late eighteenth century to include operettas, theatrical productions, and a choral society, the tradition of church music, particularly organ music, remained strong.20 It can thus be readily assumed that Ketschau instilled in the young August Gottfried Ritter a deep sense of reverence for early music.

Erfurt's general cultural life declined from 1806 through 1813, the years of French occupation. The local choral society was disbanded, and there were no concerts by touring German artists. Entertainment instead featured Parisian ballets and visiting actors of the French theatre, but these events were under French auspices and not intended for the average Erfurt citizen.21 Even the participants in the grand music festival in 1811, held in honor of Napoleon's birthday, were mostly musicians from other towns in Germany and not Erfurt residents.22 In fact, the scarcity of concerts prompted one critic to complain in the winter of 1812 that Erfurt public concerts were at a "standstill."23 Only church music continued to be cultivated much as it had been in the past.

Ritter's childhood was marked by a revival of general musical activities in Erfurt. In February of 1815, two years after the ouster of the French troops, a touring violin virtuoso named Ochernal presented two concerts.24 Vocal lessons were given at the newly-founded Erfurt Teachers Seminary,25 and in 1816, Prussian soldiers stationed in a garrison near the town are reported to have received instruction in part-singing.26 In 1819 the local choral society was re-established, this time as the Soller'sche Verein, and on August3, 1821, the Society, assisted by amateurs and musicians from neighboring villages, successfully performed in public for the first time. This concert, held in honor of the birthday of Frederick William III, King of Prussia, marked the beginning of an Erfurt tradition that became known as the King's Birthday Festival, an event that later expanded into an annual series of concerts for which Erfurt became famous, and in which Ritter became an active participant.27 In 1826 a second choral group, the Erfurt Musikverein, was founded, with Ketschau, Ritter's music teacher, as its artistic director. This choral group consisted of206 dilettantes and musicians (eighty-four singers, fifty-two instrumentalists, the remainder non-performers), all of whom paid monthly dues to support a full orchestra, a string quartet, a Liedertafel, and a singing school by 1835.28

The repertoire of both choral societies, and particularly the pronounced purpose of the Erfurt Music Society, are worth mentioning, for they reveal attitudes typical for the musical climate of Erfurt at that time. At the first King's Birthday Festival, the Soller'sche Society performed Johann Christian Friedrich Schneider's (1786-1837) oratorio Weltgericht in the Predigerkirche,29 and for the second Festival, members of the Teachers Seminary combined forces with the Soller'sche Society to perform Haydn's oratorio The Seasons.30 Although these were not the kinds of pieces that would appeal to a public infatuated with the more modern, fashionable genres, the constituent members of the Erfurt Music Society, like those of the Soller'sche Society, had resolved to perform music that is "not subject to fashionable taste of the time, and for that reason, variable."31 In 1835 an anonymous reviewer could state that the Erfurt Music Society's "praiseworthy" goal had been achieved.32 Continuing its tradition, this Music Society four years later successfully performed Mendelssohn's St. Paul, and once again an anonymous reviewer enthusiastically approved the Society's choice of repertoire.

. . . ist es doch sehr erfreulich zu wissen, dass ungeachtet des durch eine burleske und frivole Muse nur zu sehr verflachten Zeitgeschmacks die ernste heilige Musik auch hier der Verehrer nicht wenige zählt. Des sollen Dankes dieser kann sich der Musik-Verein unter allen Umständen versichert halten.33

[. . . it is, however, very gratifying to know that in spite of contemporary taste, which has become very shallow through a burlesque and frivolous muse, devoted admirers of serious religious music number not a few here. In any case, the Music Society should be assured of thanks.]

Education in Erfurt and Weimar

As an impressionable young child, Ritter was deeply affected by the conservative cultural climate that prevailed in Erfurt--respect for tradition, disregard for the taste of the masses, and a preference for serious religious music, even when not in vogue. All of these attitudes became Ritter's own and determined the ultimate direction of his life. Ritter attended the Gymnasium, where he continued his music lessons, and shortly before Easter of 1828, he passed the entrance examination to the Erfurt Teachers Seminary. Among his instructors there were the theologian Friedrich Ritschl, a philologist named Pabst,34 and Johann Immanuel Müller (1774-1839).35 Müller probably taught singing and conducting, since he had been credited in 1821 with the "blossoming of an excellent school for vocal song" and had served as music director of the first two King's Birthday Festivals.36

It was as a student at the Teachers Seminary that Ritter "dedicated himself with earnestness in the direction of organ playing."37 His organ teacher there was Michael Gotthard Fischer (1773-1829), a former pupil of Kittel and, at that time, the most prestigious organist in Erfurt. Fischer became seriously ill during Ritter's year of study with him and died in January of 1829; nevertheless, he must have exerted a decisive influence upon the young artist. When Ritter left the Seminary, he was given a superior rating,38 and many years later, in a letter to someone named Heindl, Ritter mentioned Fischer as one of his most influential teachers.39

One might assume that Ritter completed his education at the Teachers Seminary in 1829, since the composer himself said that he became the Andreaskirche organist in the fall of that particular year.40 His statement, however, is contradicted by the fact that this Erfurt church was closed for repairs from 1827 until 1830. Church records also indicate that Ritter was named teacher at the Andreasschule on October 1, 1830, but did not officially become church organist until January 1, 1831.41

Another imprecise statement made by Ritter concerns his studies with Johann Nepomuk Hummel (1778-1837). While discussing his education after leaving the Seminary, Ritter mentions that he received piano lessons from Hummel in Weimar and attended the Royal Institute for Church Music in Berlin "during a lengthy absence" from Erfurt.

während lingerer Abwesenheit von Erfurt dazwischen Schüler von Hummel in Weimar, Ludwig Berger in Berlin, von C. v. Winterfeld protegiert . . .42

[During a lengthy absence from Erfurt, in the meantime a student of Hummel in Weimar, Ludwig Berger in Berlin, protégé of C. v. Winterfeld . . . .]

Ritter's reference to the "lengthy absence" must obviously apply only to his stay in Berlin. Since Weimar is not more than thirteen miles from Erfurt, it stands to reason that Ritter, while employed at the Andreaskirche, traveled each week from Erfurt to Weimar for lessons with Hummel, as two of Ritter's biographers indicate.43

Ritter's studies with Hummel proved invaluable. Hummel, a former child prodigy and student of Mozart, was considered one of Europe's foremost pianists, both as a performer and as a teacher.44 By 1830 Hummel had already instructed a number of well-known pianists, including the young Mendelssohn, Ferdinand Hiller (1811-1885), probably Sigismund Thalberg (1812-1871), who later competed intensely with Franz Liszt,45 and Adolf Henselt (1814-1889). Under Hummel's guidance, Ritter developed "a proper, clean handling of the piano" and learned "how to charm through clever and tasteful interpretation." More importantly, Hummel also imparted to his young student the art of improvisation, a skill in which Hummel excelled and one that would later bring renown to Ritter.46

While studying in Weimar, Ritter became exposed to the town's rich and culturally varied milieu. Diverse types of music--opera, chamber music, concerto, symphony--were already well-established there before the arrival of Hummel as grand-ducal Kapellmeister in 1818.47 As one of Hummel's students, Ritter could very well have met important friends of his teacher, such as Carl Eberwein (1786-1868), the Weimar opera director, and the eminent organist and city cantor Johann Gottlob Töpfer (1791-1870). Ritter later published several of Töpfer's organ pieces in his keyboard editions.48

If the lessons in Weimar took place before 1832, Hummel may have also introduced Ritter to the venerable Goethe, who lived in Weimar,49 and to Goethe's close friend, Carl Friedrich Zelter (1758-1832), a frequent visitor from Berlin and founder of the Royal Institute for Church Music.50 It would not have taken long for Zelter to discover Ritter's penchant for old music, and it could have been Zelter who first advised Ritter to come to Berlin for further studies. As director of the Institute, Zelter may have also arranged for Ritter to meet Johann Albrecht Friedrich von Eichhorn, the Prussian Minister of Schools who provided Ritter with a government grant to attend the Institute in 1834.51

After Ritter received word of his governmental assistance, he informed the council of the Andreaskirche that he wished to "improve myself in music" and had made plans to attend the Royal Institute for Church Music in Berlin.52 He was given a leave of absence, and Eduard Bochmann was appointed Ritter's substitute at the Andreaskirche. Bochmann, himself an excellent organist, stated that he was "full of honor" to serve in Ritter's place.53

Berlin

When Ritter arrived in Berlin during September of 1834, he entered a musical environment in which the music of J. S. Bach was revered and cultivated by a small group of intellectuals. Even during the middle of the eighteenth century, when changing musical styles had dictated a reaction against the older contrapuntal style, Johann Philipp Kirnberger (1721-1783), Friedrich Wilhelm Marpurg (1718-1795), Johann Friedrich Agricola (1720-1774), and Princess Amalia, sister of Frederick the Great, had collected and preserved Bach manuscripts.54

During the 1770s Kirnberger had summarized the essence of Bach's theoretical teachings in Die Kunst des reinen Satzes in der Musik, and in 1782 he wrote a short pamphlet, Gedenken über die verschiedenen Lehrarten in der Komposition, unconditionally praising Bach's approach.55 Nine years later Carl Friedrich Christian Fasch (1736-1800) formed the Berlin Singakademie, whose purpose was to revive sacred vocal music of the past. As one of the earliest institutions to organize historical concerts, the Singakademie performed Komm, Jesu, komm, BWV299 and other motets during a period in which Bach's music was not widely known.56 In 1801 Das wohltemperierte Klavier was made available to the public almost simultaneously by three different publishing firms,57 and in the following year Johann Nikolaus Forkel's (1749-1818) significant biography, Über Johann Sebastian Bachs Leben, Kunst, und Kunstwerke, appeared.58 Later on, admiration for Bach was further expressed by the Sing-akademie's now-famous 1829 performance of the St. Matthew Passion, conducted by Felix Mendelssohn. This concert was therefore not an isolated phenomenon but simply a step in a series of events which reflected the increasing enthusiasm for Bach's music, eventually culminating in the establishment of the Bach Gesellschaft in 1850 and a complete critical edition of all of Bach's compositions.59

In Berlin the appreciation of music from the seventeenth and early eighteenth centuries was not limited solely to Bach. Carl Heinrich Graun's (1703-1759) Der Tod Jesu was regularly performed during Passion Week, and Handel oratorios, including Messiah, which premiered in Berlin in 1786, were also frequently performed.60 Johann Friedrich Reichardt's (1752-1814) Berlin Concert Spirituel often featured works by Handel and his contemporaries.61 As founder-editor of the Musikalisches Kunstmagazin, Reichardt also wrote articles about other early masters and included numerous examples of their music.62 Interest in "ancient" music continued to proliferate during the early nineteenth century, and music scholars began to produce practical performance editions of older music.

Two years before Ritter arrived in Berlin, Zelter had died, but his legacy was still felt and perpetuated by his students and assistants who instructed Ritter at the Royal Institute for Church Music. Ritter's organ teacher at the Institute was August Wilhelm Bach (1796-1859), to whom Ritter remained deeply "indebted for his art of registration and accompaniment."63 A. W. Bach, too, was a former teacher of Mendelssohn, and after Zelter's death, he was named the new director of the Royal Institute for Church Music.64 Ritter and A. W. Bach developed a warm admiration for each other and remained close friends long after Ritter's departure from Berlin. It was on Bach's request that Ritter presented an organ concert at the Marienkirche in Berlin on April 18, 1843,65 and eighteen years later Bach attended Ritter's dedicatory recital on the new Domorgel in Magdeburg.66

Ritter's composition teacher at the Institute was Karl Friedrich Rungenhagen (1778-1851), a primarily self-taught musician who had firmly established himself as a composer and conductor in Berlin's musical life. The high esteem in which he was held is evident from the fact that Zelter offered Rungenhagen the position of assistant director of the Singakademie in 1815. Upon Zelter's death in 1832, Rungenhagen was elected his successor to the Singakademie, although Eduard Grell (1800-1886) and Mendelssohn, both former students of Zelter and prominent Berlin musicians, had also been candidates for the position. Rungenhagen continued his predecessors' devotion to tradition, and under his leadership the Singakademie performed Bach's St. John Passion, as well as an abbreviated version of the Mass in B Minor in 1835.67

During his sojourn in Berlin, Ritter also studied piano with Ludwig Berger (1777-1839),68 a concert virtuoso who had taught the young Mendelssohn.69 However, it was not Ritter's teachers in Berlin but two scholars that he met there, Georg Pölchau (1773-1836), and Carl Georg Vivigens von Winterfeld (1784-1852), who significantly altered the direction of Ritter's life. Both men owned large music libraries--Pölchau had purchased many items from the estate of Carl Philipp Emanuel Bach (1714-1788),70 and Winterfeld had collected and copied numerous music manuscripts during his travels throughout Italy in 1812 and 1813--and it is evident that they shared their library holdings with Ritter and encouraged him to pursue his interests in music history.71 Without a doubt, Pölchau and Winterfeld can be credited with showing Ritter "new ways in the history of music, particularly organ music."72 In Winterfeld, Ritter discovered an especially kindred spirit who shared his enthusiasm for music history and for church music. Years later, Ritter fondly remembered his Berlin mentor by dedicating the sixth volume of Der Orgelfreund to him,73 and in his autobiographical letter of 1857, Ritter specifically mentions Winterfeld as having been of significant influence on him while in Berlin.74

Later Years in Erfurt

In April of 1835 Ritter left Berlin to return to his former post as organist at the Andreaskirche in Erfurt, but he did not resume his previous teaching posts at the Andreasschule (since 1830) and at the Augustinerschule (since 1831).75 Ritter instead accepted a new teaching position at the Barfüsser-und-Thomas-Mädchen Mittelschule, and three years later he became headmaster of a Knabenoberschule.76

J. I. Müller, Ritter's former music teacher at the Erfurt Teachers Seminary and organist at the Kaufmännerkirche, died in April of 1839, and Ritter was appointed his successor on July 1 of that year.77 The organist position at the Kaufmännerkirche was traditionally reserved for prominent virtuosos. Centuries earlier such renowned organists as Heinrich Buttstett (1666-1727), who had received the title Ratsorganist in 1693, and Johann Bernhard Bach (1676-1749), a distant cousin of J. S. Bach and organ teacher of Walther, had served as organist at the Kaufmännerkirche.78 Before Ritter, the post had been filled by Kittel, G. H. Kluge (1789-1835), and, of course, his teacher Müller. Both the minister and congregation enthusiastically supported church music, and Müller had regularly presented concerts that were reviewed in the Erfurt newspaper.79 Records indicate that Ritter had performed in concert only two times before this appointment--in Weimar in 1834, probably jointly with the Leipzig organist-composer Carl Ferdinand Becker (1804-1877),80 and in August of 1838 during the fourth Songfest in Jena.81 However, Ritter must have concertized on other occasions as well. It was thus indeed quite an honor for Ritter, who was not yet twenty-eight years of age, to be selected to this prestigious post.

The Kaufmännerkirche organist position was coupled with teaching duties at the Stadtschule. According to a personnel evaluation form for the academic year 1840-1841, Ritter demonstrated "skill in teaching, which with increasing experience will still undoubtedly grow."82 The anonymous critic also noted that Ritter was eager to quit his teaching duties, since "for him . . . music [is] closer to the heart."83 In fact, Ritter later complained to the pastor that he did not enjoy the double position as organist/teacher, for it "demands too much of my health."84 In 1839 the music reviewer Gustav Keferstein, who appreciated Ritter's talents and understood his dilemma, had already expressed his hope that Ritter would receive another government grant, since he was "too busy teaching and earning a living . . . to be able to develop and improve his musical talent completely."85

There is no mention of the subjects Ritter was responsible for at any of his Erfurt academic positions. However, he must have given music lessons, either officially or privately, since his pedagogical techniques in piano and composition were discussed briefly in two separate reviews. Keferstein, in an 1839 article on musical activities in Erfurt, observed that Ritter followed the Logier method of group instruction and harmony lessons for keyboard students.86 Ritter must have learned of this approach while in Berlin, where Johann Bernhard Logier (1777-1846) had lived from 1821 until 1826.87 A second comment about Ritter's teaching appeared in another review by Keferstein in the Allgemeine musikalische Zeitung. In 1842 he noted that Ritter's students composed commendable fugues and that Ritter himself followed the principles of Adolf Bernhard Marx (1795-1866), the author of two instructional manuals for the musically untrained.88

Ritter married sometime during his stay in Erfurt, probably during his years of service at the Kaufmännerkirche. His wife, a native of Erfurt and daughter of a blacksmith, had lived on Gotthard Street, where Ritter had his home as a young boy.89 Robert Eitner, in his biographical article on Ritter, reports, without specifying a date, that Ritter's wife received a "considerable inheritance" from her father.90 The money from the inheritance must have been welcome, since the salary from Ritter's prestigious teacher/organist position was small, and they always needed some additional income.91

During his Erfurt years Ritter conducted and performed at the King's Birthday Festival, and he organized a series of local concerts in which he participated both as a piano soloist and as a member of an ensemble. He also taught piano, composed music, contributed articles to the Allgemeine musikalische Zeitung, and began to edit keyboard works for Gotthilf Wilhelm Körner (1809-1865), who had established a music publishing firm in the town in 1838. During the 1840s Ritter and Körner, with whom he formed an enduring friendship, co-edited a number of keyboard collections, some of which contained works of the older masters that Ritter himself had copied earlier from manuscripts.92

Merseburg

The year 1843 was a crucial turning point in Ritter's life. Von Eichhorn, the Prussian Minister of Schools who had earlier secured a grant for Ritter's studies in Berlin, offered Ritter a position as second director of the Berlin Domchor.93 This invitation is particularly significant, since Von Eichhorn was not always helpful to young musicians. Just a few years later he thwarted several attempts by Mendelssohn to establish a conservatory for the arts in Berlin. Such a move led Mendelssohn's older sister Fanny to indignantly remark that "this person, Eichhorn, really seems to have sworn death to any free intellectual activity . . . ."94 However, as "a political representative of the Protestant Church"95 and one who was interested in church music, Von Eichhorn must have sensed a special camaraderie in Ritter. Around the same time as Von Eichhorn's offer, Wilhelm Schneider (1783-1843), cathedral organist in Merseburg, had died, and Ritter was asked whether he would take over the vacant position. Not surprisingly, Ritter followed "his inner call" and accepted the organist position in Merseburg, even though the salary of the Berlin directorship was four times greater.96 Church music was declining in importance, but Ritter's sense of values, undoubtedly originating from his firm religious convictions and from a devotion to the improvement of the level of organ performance, remained steadfast.

Ritter's departure for Merseburg presumably occurred in late 1843 or early 1844. Wilhelm Schneider had died on October9, 1843, and François-Joseph Fétis, in his biographical article on Ritter, named 1843 as the year when Ritter left Erfurt.97 On the other hand, Ritter himself lists 1844 as the year of his departure,98 and a brief announcement concerning his acceptance of the Merseburg position appeared in August of 1844.99

Like the Erfurt organist posts, the position as cathedral organist and music director in Merseburg was accompanied by teaching duties. Ritter served as instructor of singing and of geography at the local Gymnasium.100 He also continued to be involved in various musical activities. He founded a Liedertafel,101 a male singing society, and it is quite likely that his song, Immer 'rein in den Bund! for men's chorus dates from this era. In general, Ritter's activities as a performer, conductor, and composer slowed down considerably during his stay in Merseburg from 1843 to 1847. He no longer concertized on the piano at all, and he gave only two public organ recitals--one jointly with Becker, on October 16, 1844, in Halle,102 and another on November 10, 1845, in Merseburg.103 Ritter also conducted only once. During the Lenten season of 1846, he directed a performance of Pergolesi's (1710-1736) Stabat Mater in the Merseburg Cathedral.104 Ritter instead channeled his energies more and more toward the publication of his own works and his editions of other composers' music. During the Merseburg years, Ritter's first organ sonata, his three-volume Die Kunst des Orgelspiels, and several volumes of Der Orgelfreund appeared in print. In 1844 Ritter and his friend Körner also founded a new journal for organists, the Urania, and Ritter began to turn his attention toward historical research about the organ and organ music.

Magdeburg

Sometime during 1844, Ritter was asked to assume a position in Halle, but he declined. However, three years later, when Johann Friedrich Möller, General Superintendent of Saxony and Cathedral Minister of Magdeburg, offered Ritter the position of organist at the Cathedral, he accepted.105

As the new Magdeburg Domorganist and successor of Heinrich Leberecht August Mühling (1788-1847), Ritter finally occupied not only a highly prestigious position but also a well-paying one. Unlike his previous appointments, the Magdeburg position was not accompanied by teaching duties, and Ritter had the leisure to absorb himself completely in rewarding musical activities. One of his first accomplishments was to establish a series of public concerts. When Ritter had arrived in Magdeburg in 1847, the only public musical performances were garden concerts in the summer and the Magdeburg Cathedral choir programs, which were presented twice a month during the "regular" season. There were two music societies, but their performances were open only to members and their guests and relatives.106 Ritter quickly founded a chamber group, consisting of Mühling (probably Julius, the son of August Mühling) on the violin, someone named Meyer as cellist, and Ritter himself as pianist. By the end of 1848, Ritter was inviting "all those who like good music" to attend the trio's concerts, which were held at his residence. According to an anonymous reviewer, who described these programs as "opportunities to hear good Hausmusik," Ritter was attempting to educate an audience "that belongs to all walks of life." The reviewer also predicted that "the indirect effect of all this will certainly be felt and produce results."107 The musical situation in Magdeburg did indeed improve, for which Ritter should receive some credit.108

Ritter continued to compose during the late 1840s and throughout the 1850s, and it is quite likely that his Das Hausorchester, op.39, for piano and strings, was written for the Magdeburg chamber ensemble. Ritter concertized twice after moving to Magdeburg. In 1855 he could experience his "greatest triumph" when he was judged the best performer during a concert at the Marienkirche in Lübeck.109 His last performance was the dedicatory concert for the new Domorgel in Magdeburg in 1861.110 By the early 1860s, though, Ritter had cultivated interests in other aspects of music, and he virtually ceased composing and concertizing.

During the 1850s Ritter assisted with the renovation of organs in Magdeburg, and under his leadership all the large organs in town were newly built or restored.111 Ritter held a particularly high opinion of the organ builder Christian Adolf Reubke (1805-1875), who, although primarily self-trained, had quickly established a reputation as one of the best in Germany. Reubke moved to Magdeburg and, with Ritter's support, was awarded the contract to build new organs for the Cathedral (1858) and St. Jacobi in Magdeburg.112

Ritter's admiration for Reubke must have been mutual, for Ritter became the first music teacher of Reubke's youngest son, Carl Ludwig Gebhardt Otto (1842-1913), who later studied with Hans von Bülow (1830-1894) at the Berlin Conservatory and spent most of his professional career at the University of Halle.113 Among Ritter's other students were G. August Brandt, composer-organist, the composers Karl Martin Reinthaler (1822-1896)114 and Hermann Schroeder (1843-1909),115 and Rudolph Palme (1834-1909), who later became the Royal Music Director and organist at the Heilige Geistkirche in Magdeburg.

Ritter's life in Magdeburg was especially propitious for research, since this was the first time he had both the financial freedom and the leisure to purchase and examine numerous manuscripts. When Robert Eitner founded the Gesellschaft für Musikforschung in 1869, Ritter became one of its first members, and within a few years he contributed three scholarly essays to the society's journal, Monatshefte für Musik-Geschichte.116 Ritter also authored four monographs on early organ composers, all of which were published in the Allgemeine musikalische Zeitung and later incorporated into his treatise Zur Geschichte des Orgelspiels.117

Ritter's last years were filled with sorrow and misfortune. During the 1873 economic crisis in Prussia, brought on in part by Bismarck's policies of protectionism and tax increases,118 Ritter lost all of his private financial holdings.119 About the same time Ritter's "musically highly talented" son passed away, an event that "robbed him [Ritter] to a large degree of life's happiness."120 The son must have shared his father's love for organ music and developed a certain proficiency on the instrument, possibly with the prospects of a brilliant career ahead of him. Following a concert at the Magdeburg Domkirche in 1869, an anonymous reviewer reported that the "son of the composer," who performed Ritter's second organ sonata, played with "welcome clarity, even in the most intricate and difficult passages."121 The son's untimely death was compounded not much later by the death of Ritter's "faithful, beloved" wife.122

During these years of personal suffering, it must have required all of Ritter's faith and strength to continue working on his Zur Geschichte. Although he maintained his position as organist at the Domkirche, Ritter withdrew from the "noisy, external world," which seemed to him increasingly remote.123

Ritter "never aimed for medals or decorations; yet he had no lack of them."124 In 1845 he was awarded the title, Royal Music Director,125 and on August24 of the following year Ritter, along with Grell and Friedrich Karl Kühmstedt (1809-1858), was named corresponding member of the Niederländischen Gesellschaft zur Beförderung der Tonkunst.126 In 1872 Ritter received the Red Eagle Award Fourth Class.127 Seven years later he was designated "Professor,"128 and in 1880 Ritter was decorated with the "Crown Order Third Class."129 In 1881, fifty-one organist-composers, including such contemporaries as Gustav Merkel (1827-1885) and Joseph Rheinberger (1839-1901), contributed compositions in honor of Ritter's fifty years of service as church organist. More than200 individuals and institutions from throughout Europe and even the United States subscribed to this collection of pieces, which was edited by Palme and entitled the Ritter Album für die Orgel.130

A. G. Ritter died on Wednesday, August 26, 1885, at the age of seventy-four. The preceding Sunday he had, as always, played for the morning worship service, during which he is said to have improvised a "touching" prelude to the chorale Gib dich zufrieden und sei stille. On Sunday afternoon, while preparing for the evening service, he suffered a severe heart attack and, without regaining consciousness, passed away three days later.131 Although in his last years Ritter had led such a secluded existence that hardly anyone in Magdeburg knew him any longer, a large gathering of friends attended his funeral on Saturday, August29, 1885.132  n

Marijim Thoene received a D.M.A. in organ performance/church music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song, are available from Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.
Lisa Byers received master’s degrees in music education and organ performance from the University of Michigan, and a J.D. from the University of Toledo, Ohio. She is retired from teaching music in the Jefferson Public Schools in Monroe, Michigan, as well as from her position as organist/choir director at St. Peter’s Episcopal Church in Tecumseh, Michigan. She subs as organist in the Monroe area.
Photo credit: Bela Fehe

The University of Michigan 49th Conference on Organ Music was dedicated to the memory of Robert Glasgow, brilliant organist and much loved professor of organ at the University of Michigan. The conference was truly a celebration of his life as a scholar, performer, and teacher. His raison d’être was music—organ music of soaring melodies and transcendent harmonies. He shared his passion with his students and has left a legacy that can be kept alive through generations of students who instill in their students his ideas.
During the conference, a wide variety of lectures were presented that reflected years of research, along with performances of four centuries of organ music. The conference was international in scope, with lecturers and performers from Germany, Italy, Hungary, Canada as well as the U.S. The themes of the conference focused on the influences of J. S. Bach and Mendelssohn’s role in arousing public interest in Bach’s music.

Sunday opening events
The initial event was an afternoon “Festival of Hymns” presented by the UM School of Music, Theatre, and Dance and the American Guild of Organists Ann Arbor chapter. Led by organist-director Michael Burkhardt, it featured the Eastern Michigan University Brass Ensemble, the Detroit Handbell Ensemble, and the Ann Arbor Area Chorus. Special care was taken to choose, coordinate, and connect music by Bach, Mendelssohn, and Charles Wesley. Many hymn verses and arrangement variations kept the presentation musically interesting and enjoyable. Dr. Burkhardt was masterful in his organ solos, accompaniments, improvisations, conducting, and composing. His leadership from the console was met with great enthusiasm from the appreciative, participating audience. (Review by Lisa Byers)
Sunday evening’s organ recital program featured music of Spain and France performed by musicians from the University of Michigan’s Historic Organ Tour 56 to Catalonia and France. Janice Feher opened with an excerpt from a Soler sonata. Gale Kramer performed the “Allegro Vivace” from Widor’s Symphony V, followed by Joanne V. Clark’s rendering of the “Adagio” from Widor’s Symphony VI. Mary Morse sang the versets of a Dandrieu Magnificat for which Christine Chun performed the alternate versets. Timothy Huth played a section from Tournemire’s In Festo Pentecostes, and Paul Merritt closed the program with the Dubois Toccata. The various composition styles, registrations, and favorable interpretations performed excellently and sensitively on the Hill Auditorium organ were well received and greatly acknowledged by the audience. (Review by Lisa Byers)

Monday, October 5
Jason Branham, a doctoral student of Marilyn Mason, set the stage for celebrating not only Mendelssohn’s two hundredth birthday but also his profound influence in bringing the forgotten music of J. S. Bach to the attention of Berlin and consequently to Western society. Branham’s program was a reprise of Mendelssohn’s Bach recital presented at St. Thomas-Kirche in Leipzig in 1840, performed to raise money to erect a monument to Bach in Leipzig: Fugue in E-flat, BWV 552; Schmücke dich, o liebe Seele, BWV 654; Prelude and Fugue in A Minor, BWV 543; Passacaglia and Fugue in C Minor, BWV 582; Pastoral in F Major, BWV 590; and Toccata and Fugue in D Minor, BWV 565. Branham’s performance was exciting and earned him thunderous applause.
Christoph Wolff, Professor of Musicology at Harvard, eminent Bach scholar, and author of Johann Sebastian Bach: The Learned Musician, gave four illuminating lectures during the conference. In his first lecture, “J. S. Bach the Organist—Recent Research,” he presented arguments supporting Bach’s authorship of the D-minor Toccata and Fugue, BWV 565, dated 1703. Peter Williams, who questioned Bach’s authorship in the 1980s, maintained that such a piece could not have been composed by Bach before 1730. Wolff presented convincing arguments based on an analysis of both the oldest manuscripts and the music itself. He also drew a connection to the discovery in 2008 of Bach’s Wo Gott der Herr nicht bei uns hält, BWV 1128, in the library of Halle University. The work is a large free fantasia dated ca. 1705, with compositional features shared by the Toccata and Fugue in D Minor. Wolff maintained that Bach, whose organ technique was formidable at an early age, composed the D-minor Toccata and Fugue to dazzle his audience with improvisatory passages borrowed from pieces like Buxtehude’s D-minor Toccata. Wolff concluded that this work was written as a showpiece for Bach himself and not intended to be circulated and copied by his pupils; hence only one copy exists, in the hand of Johannes Ringk, dated 1730.
Michael Barone’s handout listing Mendelssohn recordings was a testimony to his impressive knowledge of recorded organ music. Of the many Mendelssohn pieces he played, the most compelling was a 1973 recording of Mendelssohn’s Piano Concerto No. 1 in G Minor, op. 25, played by Robert B. Pitman, piano, and George Lamphere, organ, at the Methuen Music Hall (Pipedreams CD-1002; live performance). The playing was stunning in its youthful exuberance and virtuosity.
Professor Wolff showed images of historical organs and churches connected to Bach, many of which unfortunately no longer exist, in his lecture “Silbermann and Others—The World of Bach Organs.” The most riveting information regarding performance practice of the organ in Bach cantatas came from a view of the original Mülhausen balcony. The balcony was large enough to accommodate strings, woodwinds, brass, and choir; kettle drums were fixed onto the railings overlooking the audience. The choir stood below the instruments. The large organ was used—not a little Positiv. A performance incorporating this practice is on John Eliot Gardner’s recording, Bach Cantata Pilgrimage, using the Altenburg organ in Cantata 146.
James Kibbie, Professor of Organ at the University of Michigan, announced that his recordings of the complete organ works of Bach, performed on historical instruments in Germany, can be found at the website <blockmrecords.org>. The project is supported by a gift from Dr. Barbara Sloat in honor of her late husband J. Barry Sloat. Additional details are available at <www.blockmrecords.org/bach&gt;.
Istvan Ruppert is Dean and Professor of Organ in the Department of Music of the Szechenyi University in Gyor, Hungary, and is also an organ professor at the Ferenc Liszt Academy of Music. His program included music by Mendelssohn, Karg-Elert, Max Reger, Liszt, and three Hungarian composers. He has formidable technique and played with great energy and abandon. It was refreshing to hear intriguing and unknown compositions by Frigyes Hidas, Zsolt Gárdonyi, and Istvan Koloss. The humor in Gárdonyi’s Mozart Changes was appreciated. Ruppert is a real enthusiast in sharing music by Hungarian composers by graciously offering to send scores to those who wished to have them.

October 6
Prof. Wolff pointed out in his lecture “Bach’s Organ Music—From 1750 to Felix Mendelssohn Bartholdy” that Bach’s Clavier Übung III offered a textbook of organ playing. Wolff lamented that Mendelssohn’s inclusion of historical music by Bach, Handel, Mozart, and Haydn into the Gewandhaus concerts had unfortunate consequences in our concert programs today. While only five percent of his concerts were devoted to “historical composers,” the remaining works were by contemporary composers, himself, Liszt, Schumann, and Schubert. Today our programs are mainly old music, with five percent devoted to new music.
Susanne Diederich received a PhD from Tübingen University. Her dissertation, “Original instructions of registration for French organ music in the 17th and 18th centuries: Relations between organ building and organ music during the time of Louis XIV,” represents some of the ground-breaking research on French Classical organs; it was published by Bärenreiter in 1975. In her lecture, “The Classical French Organ, Its Music and the French Influence on Bach’s Organ Composition,” Diederich pointed out that the French Classical organ was complete by 1665, and Guillaume Nivers’ First Organ Book of 1665 contained the first description of all the stops. Her handout was especially informative in showing how Bach’s table of ornaments in his Klavierbüchlein für Wilhelm
Friedemann reflected his assimilation of ornament tables by Raison, 1688, Boyvin, 1689, and Couperin, 1690. Robert Luther, organist emeritus of Zion Lutheran Church in Anoka, Minnesota, played movements from Guilain’s Second Suite, and Christopher Urbiel, doctoral student of Marilyn Mason, played movements from de Grigny’s Veni Creator, Marchand’s Livre d’orgue Book I, and Bach’s Fantaisie, BWV 542, to illustrate features Bach borrowed from the French Classical repertoire.
Seth Nelson received his DMA in organ performance from the University of Michigan in 2003; he is organist at the First Baptist Church in San Antonio, Texas, and accompanist for the San Antonio Choral Society and the Trinity University Choir. His lecture/recital, “Music of the Calvinist Reformation: Introducing John Calvin’s Theology of Music,” included an explanation of why Calvin did not approve of the use of the organ in services. The reasons were many: the Old Testament mentioned its use, thus it is not appropriate to use an old instrument in the new age; it is wrong to imitate the Roman Church; it is an unnecessary aid; it is too distracting; it is against Paul’s teaching, “Praise should be in all one tongue.” The highlight of the program was hearing Seth Nelson’s spirited playing of Paul Manz’s introduction to Calvin’s setting of Psalm 42 and Michael Burkhardt’s introduction and interlude to Calvin’s setting of Psalm 134.
The evening concert featured Mendelssohn’s six organ sonatas played by James Hammann, chair of the music department of the University of New Orleans. It was a rare treat to hear these technically demanding pieces all played at one sitting. Dr. Hammann’s years of investment in this music is apparent. His recording of Mendelssohn’s organ works on the 1785 Stumm organ in St. Ulrich’s Church in Neckargemünd is available on the Raven label.

October 7
Tuesday morning began with the annually anticipated narrated photographic summary of European organs presented by Janice and Bela Feher. This year featured the UM Historic Organ Tour 56 to Northern Spain and France. The PowerPoint presentation included at least 600 photographs of organs in 35 religious locations and the Grenzing organ factory in Barcelona. The organs dated from 1522 to 1890 and included builders Dom Bedos, François-Henry, Louis-Alexandre, Clicquot, Cavaillé family, Cavaillé-Coll, Moucherel, and Scherrer. The photos showed views of cases, consoles, mechanical works, stained glass windows, altar pieces, sacred art, and other enhancements. The Fehers provided a written list with detailed information for each picture. Their first book, with Marilyn Mason, is available by mail order from <Blurb.com>. (Review by Lisa Byers)
Stephen Morris is a lecturer in music at Baylor University, Waco, Texas; organist-choirmaster and director of music ministries at the Episcopal Church of the Holy Spirit in Houston, Texas; and maintains a studio as a teacher of singing, largely concentrating on early adolescent female voices. His presentation, “Acclaim, Slander, and Renaissance: An Historical Perspective on Mendelssohn,” incorporated visual images and music. Among the lesser-known facts is that Mendelssohn was admired and befriended by Queen Victoria and Prince Albert. They chose Mendelssohn’s March from “A Midsummer Night’s Dream” for their daughter’s wedding. It became a favorite for productions of Shakespeare throughout Europe. However, due to anti-Semitism fueled by Richard Wagner, Mendelssohn’s March was banned by Nazi Germany, and ten other composers were commissioned to replace it. Ironically, the Nazis preferred Bach above all composers, yet they never would have known about him without Mendelssohn. Morris noted that there is a great wealth of information on Mendelssohn research at <www.
themendelssohnproject.org>.
Professor Wolff concluded his Bach-Mendelssohn lectures with a fascinating presentation, “The Pre-History of Mendelssohn’s Performances of the St. Matthew Passion.” He described Sarah Itzig Levy, Mendelssohn’s maternal great aunt and a famous harpsichordist, as the moving force who began the revival of
J.S. Bach’s music. She introduced family members and friends to many of Bach’s works. She studied with W.F. Bach and commissioned C.P.E. Bach to write what turned out to be his last concerto: one for harpsichord, fortepiano, and orchestra. She regularly performed in weekly gatherings in her salon as soloist with an orchestra from 1774–1784. In 1823 Mendelssohn was given a copy of Bach’s St. Matthew Passion by his grandmother, Bella Salomon, Sara Levy’s sister. It took Mendelssohn five years to persuade his teacher, Carl Friedrich Zelter, to have the Singakademie of Berlin perform it. The 19-year-old Mendelssohn conducted Bach’s St. Matthew Passion to a packed audience that included the Prussian king. This performance enthralled the audience and thus began J. S. Bach’s reentry into the hearts of German people and to the world at large. Mendelssohn continued conducting performances of the St. Matthew Passion when he became director of the Gewandhaus in Leipzig in 1834, at the age of twenty-six. He re-orchestrated it, shortened some pieces, omitted some arias, and introduced the practice of having the chorale Wenn ich einmal soll scheiden sung a cappella. That score and the performing parts are now in the Bodleian Library.
Eugenio Fagiani, resident organist at St. Michael the Archangel Catholic Church in Bergamo, played a recital at Hill Auditorium featuring Italian composers Filippo Capocci, Oreste Ravanello, Marco Enrico Bossi, and four of his own compositions. His playing was impeccable, and his compositions reflect the influence of one of his teachers, Naji Hakim, in style and use of exotic sounds and feisty, driving rhythms. His Victimae Paschali Laudes, op. 96, has a wide variety of striking timbres, ranging from a clarinet plus mutation stops to a big-band sound. His creativity as a composer was undeniable in his Festive Prelude, op. 99b, composed for this conference. Here the pedal occasionally sounded like percussive drums. The work sizzled with energy and ended in a fiery toccata. Fagiani played “Joke,” another of his compositions, as an encore. The audience enjoyed his quotations from J. S. Bach and John Lennon. More can be learned about this impressive composer/organist at his website:
<www.eugeniomariafagiani.com&gt;.
Michele Johns, Adjunct Professor of Organ at the University of Michigan, presented an interesting lecture on the changes of taste reflected in hymnals from four denominations over the past forty years. She noted that the texts have become more gender inclusive, hymns in foreign languages are included (“What a Friend We Have in Jesus” appears in four languages in the Presbyterian Hymnal), and there is greater variety in styles from “pantyhose music”—one size fits all—to Taizé folk melodies; she proved her point that in today’s hymnals there is “Something Old, Something New.”
One of the most exciting recitals of the conference was played by Aaron Tan, a student of Marilyn Mason and a graduate student in the School of Engineering at the University of Michigan, organist/choirmaster at the First Presbyterian Church in Ypsilanti, and director of the Ypsilanti Pipe Organ Festival. His memorized recital shimmered with grace and energy: Alleluyas by Simon Preston; Prelude and Fugue in G Minor, op. 7, no. 3, by Marcel Dupré; Sicilienne from Suite, op. 5, by Maurice Duruflé; Prelude and Fugue in A Minor, BWV 543, by J. S. Bach; Moto ostinato from Sunday Music by Petr Eben; Naïades and Final from Symphony No. 6 by Louis Vierne. The audience gave him a standing ovation.
The concluding recital was played in Hill Auditorium in memory of Robert Glasgow by some of his former students. The program was a beautiful tribute to his life—a life devoted to the study, performance and teaching of organ music, especially the music of Franck, Mendelssohn, Vierne, Widor, Schumann, Liszt, and Brahms. The performers brought with them some of his spirit, some of his light, some of his joy in creating something that puts us in another dimension. His attention to the minutest detail of the score, his total commitment to breathing life into each phrase was mirrored in these performers:
Mark Toews, director of music, Lawrence Park Community Church, Toronto, past president, Royal Canadian College of Organists, Variations de Concert, op. 1 by Joseph Bonnet; Ronald Krebs, vice president, Reuter Organ Company, O Welt, ich muss dich lassen, op. 122, no. 11, Fugue in A-flat Minor, WoO8, by Johannes Brahms; David Palmer, Professor Emeritus, School of Music, University of Windsor, organist and choir director, All Saints’ Church, Windsor, Ontario, L’Apparition du Christ ressuscité a Marie-Madeleine by Olivier Messiaen; Joanne Vollendorf Clark, Chair of the Music Department, Marygrove College, Detroit, minister of music, Hartford Memorial Baptist Church, Detroit, Pastorale, op. 26, by Alexandre Guilmant; Charles Miller, minister of music and organist, National City Christian Church, Washington, D.C., Pièce héroïque by César Franck; Joseph Jackson, organist, First Presbyterian Church, Royal Oak, Michigan, “Air with Variations” from Suite for Organ by Leo Sowerby; and Jeremy David Tarrant, organist and choirmaster, the Cathedral Church of St. Paul, Detroit, Andantino, op. 51, no. 2, and Carillon de Westminster, op. 54, no. 6, by Louis Vierne.
Professor Marilyn Mason made the 49th Conference on Organ Music at the University of Michigan a reality. She invested countless hours of planning and organizing into making it happen, because she has an insatiable thirst for learning and thinks “we all need to learn.” She has brought brilliant scholars and performers together for 49 years to teach and inspire us. The list includes such figures as Almut Rössler, Umberto Pineschi, Martin Haselböck, Todd Wilson, Janette Fishell, Madame Duruflé, Catherine Crozier, Guy Bovet, Peter Williams, Lady Susi Jeans, Wilma Jensen, Gordon Atkinson, and Marie-Claire Alain (to name only a few). We thank her for such priceless gifts.