Wolfgang Rübsam Advent/Christmas chorale preludes published by Schott

similar passages that lead in different directions

by Quentin Faulkner

 

“There is nothing remarkable about it.  All one has to do is hit the right notes at the right time, and the instrument plays itself.” —Bach’s reply to compliments on his organ playing (The New Bach Reader [New York: Norton, c.1998], p. 412, #404).

 

This brief essay is about “hitting the right notes.” Among the many technical difficulties players encounter in performing Bach’s organ music, some of the most treacherous are those passages that are very similar (sometimes almost identical) to each other. They may differ by only one note or one accidental, but that difference sends the music in an entirely new direction.

Passages like these are at times quite evident and easily spotted, especially if they involve first and second endings for a repeated segment of music, e.g., the repeated stollen in settings of chorales cast in bar form (see ex. 1). At other times, however, such passages can be quite difficult to identify, a circumstance that is especially distressing when they become clear for the first time in public performance. A particularly distressing incident of this, dating from student days, is seared into this author’s memory. A student was performing the first movement of Bach’s Trio Sonata No. I in E-flat Major, BWV 525. The performer reached mm. 57-58 (Ex. 2), but at that point reverted to mm. 10-11 (ex. 3). We then heard the entire movement again. Only when, at m. 58, the student again shifted to m. 11 did the presiding instructor end the student’s misery by bringing the performance to an abrupt halt. Passages such as these may be separated by a number of measures (occasionally they may even be in different movements), and their differing contexts may veil their similarity (compare examples 4 & 5).

Identifying such pivot points becomes easier when memorizing a piece.  When players are not reading the score, they are more likely to stumble at those points where their ears call for one sound while their fingers automatically execute another. When such confusions occur, it is very much to players’ advantage to stop and try to determine where the similar passage(s) is (are), thereby raising the difference to a conscious level and making careful note of it. Doing this increases the subsequent chances of successfully navigating the (almost) twin passages. It also results in a finer comprehension of the form and structure of the piece.

The reader will find below a list of such similar passages in the various chorale settings that form Bach’s Orgelbüchlein. There may be similar instances of which I am yet unaware, and I would be grateful to anyone who might be able to help complete the list.

 

Nun komm, der Heiden Heiland, BWV 599

m. 2, b. 1-2/m. 8, b. 3-4.

 

Gott, durch deine Güte, BWV 600

m. 3, b. 3/m. 8, b. 3

mm. 4-5/mm. 21-22

mm. 11-12/mm. 24-25.

 

Puer natus in Bethlehem, BWV 603

ped. mm. 2-3/mm. 9-10

ped. m. 6, b.3/m. 10, b. 3.

 

Der Tag, der ist so freudenreich, BWV 605

m. 1, b. 1/m. 6, b. 1;

                  mm. 4-5/m.16, b. 2-3/m. 19, b. 2-3 (all three are similar).

 

Vom Himmel hoch, da komm ich her, BWV 606

m. 4, b. 1/m. 8, b. 3.

 

Vom Himmel kam der Engel Schaar, BWV 607

mm. 4-5/mm. 8-9;

man. m. 6, b. 1-2/m. 13, b. 1-2

man. mm. 9-10/mm. 13-14.

 

In dulci jubilo, BWV 608

mm. 4-5/mm. 8-9

mm. 15-16/mm. 23-24

m. 16, b. 3 (bass)/m. 24, b. 3 (bass).

 

Christum wir sollen loben schon, BWV 611

ped., m. 6, b. 3-4/mm. 9, b. 3-4.

 

Helft mir Gottes Güte preisen, BWV 613

m. 3, b. 1/m. 7, b. 1

m. 12, b. 4/m. 14, b. 4.

 

In dir ist Freude, BWV 615

m. 13, b. 1/m. 30, b. 1.

 

Herr Gott, nun schleuss den Himmel auf, BWV 617

l.h., m. 6, b 1/m. 12, b. 1.

 

Christus, der uns selig macht, BWV 620

m. 2, b. 4/m. 6, b. 4

m. 8, b. 4/m. 19, b. 4

m. 10, b. 3/m. 21, b. 3

m. 11, b. 2 (bass)/m. 22, b. 2 (bass).

 

Da Jesus an dem Kreuze stund, BWV 621

m. 1, b. 3/m. 7, b. 3

m.4, b. 4 (tenor f#)/m. 8, b. 4 (tenor f nat.).

 

Wir danken dir, Herr Jesu Christ…, BWV 624

m. 2, b. 3/m. 14, b. 3.

 

Hilf Gott, dass mir’s gelinge, BWV 624

mm.2-3/mm. 5-6

l.h., m. 4, b. 4/m. 8, b. 4

l.h. m. 4, b. 4/m. 11, b. 4

                  l.h. m. 2, b. 1-2 & m. 6, b. 1-2/m. 9, b. 2.

 

Christ ist erstanden, BWV 627

Vers 1: mm. 4-5/mm. 10-11/mm.12-13

m. 5, b. 1/m. 13, b. 1

m. 6, b. 1/m. 14, b. 1

ped., m. 11/Vers 2, m. 30.

Vers 2: mm. 29-30/mm. 32-33

Vers 3: m. 41, b. 4/m. 44, b. 4

m. 42, b. 1/m. 45, b. 1

    ped. mm. 45-46/mm. 54-56 (decep-

tive similarities).

 

Heut triumphiret Gottes Sohn, BWV 630

m. 2, b. 1/m. 10, b. 1

m. 8, b. 2/m. 20, b. 2.

 

Herr Jesu, Christ, dich zu uns wend, BWV 632

m. 6, b. 2-3 (no tie)/m. 12, b. 2-3 (tie)

m. 6, b. 4/m. 12, b.4.

 

Durch Adams Fall ist ganz verderbt, BWV 637

m. 2, b. 2-3/m. 9, b. 2-3.

 

Es ist das Heil uns kommen her, BWV 638

m. 4, b. 3-4/m. 5, b. 3-4/m. 7, b. 3-4.

 

In dich hab’ ich gehoffet, Herr, BWV 640

mm. 1-2/mm. 7-8

m. 2, b. 3-4/m. 8, b. 3-4.

 

Ach wie nichtig, ach wie flüchtig, BWV 644

m. 2, b. 3/m. 7, b. 3.

 

Sabin Levi

Sabin Levi, DMA, FAGO, is a Bulgarian composer and organist. He has written three musical books and released five CDs, and is also active as a performer, composer, and teacher.

Part I was published in the October 2009 issue of The Diapason.

The third volume in this cycle of Bulgarian organ composers was published in July 2009, followed by the fourth and fifth in September 2009, and the sixth in January 2010. Additional volumes are currently in progress. The series is published by the Union of Bulgarian Composers (www.ubc-bg.com/). For further information, contact the author at <[email protected]>, or <[email protected]>.
The third and fourth volumes consist of organ sonatas: Artin Poturlian’s Sonata and Velislav Zaimov’s Sonata #1 in the third volume, and in the fourth, Velislav Zaimov’s Sonata #2 and sonatas by Lazar Nikolov and Mihail Pekov. In the fifth volume there are two chorale preludes and a chorale fantasy by Zaimov, and three chorale preludes by Sabin Levi. Also in this volume are two chamber music works: Sonata da chiesa by Neva Krysteva for alto flute, flute and piccolo, and organ; and Landscapes of the Soul by Krassimir Taskov for organ and trombone.
Volume VI contains Sonata Breve by Adrian Pavlov, Five Pieces in Memory of Friedrich Goldmann by Artin Poturlian, Sonatas for Organ #1 and #2 by Yordan Goshev, Prelude and Toccata by Kiril Lambov, and chamber music works by Zaimov: Sonata for Organ and Violin and Sonata for Organ and Cello.
Artin Poturlian’s Organ Sonata, which is in the third volume, was written in the seventies. Its musical language is quite different from his previously discussed organ work, Four Spiritual Chants. The Sonata is a three-movement atonal work, technically demanding for the performer, with some features that are apparent in all three movements. These entail a linear approach, an affinity for unusual, non-square rhythmic divisions, and multi-level canonic figurations related to complex ostinati (Example 1). In addition, one finds polyphonic tools evident in his other organ works, mostly inverse and retrograde canons and intervallic variations.
The musical language of Velislav Zaimov’s single-movement Sonata for Organ #1 is closer to his Fantasy (from Volume I) (Example 2). Throughout his large organ oeuvre, his musical language is quite uniform. Characteristically, he uses consecutive chords, with subtle changes in their internal intervals, repetitive motives, and large-scale thinking, with distinguishable first and second themes and quite large forms. Because of its intervallic structure, the music appears to sound somewhat tragic, while this is not the author’s intention.1 This trend seems to be recurrent in Zaimov’s music.2
Lazar Nikolov’s Sonata for Organ is also a single-movement, large-scale work, but quite different from Zaimov’s. Written in the seventies, this piece would have been called “avant-garde” with its dominance of sonoric effects and an aleatory penchant for non-standard rhythmic divisions. It is not written idiomatically; tremolos, usually uncharacteristic for organ, are abundant. Completely atonal, it is a real challenge for the performer. In addition to traditional notation, this piece uses graphic and aleatoric notation (Example 3).
Graphic language is seen also in the first movement of Mihail Pekov’s three-movement Organ Sonata, dedicated to Neva Krysteva (1975). In this movement, senza misura and measured passages follow one another. The music, somewhat tonal and somewhat modal in sound, is quite calm and serene in the improvisatory segments. In the metered passages, it is more energetic, and the final metered section employs quick triad-oriented movement. The second movement resembles a chorale prelude. The melody is in the pedal, at 4-foot pitch, while there is a slow-moving ostinato texture in the manuals. The two voices in the manuals imitate each other to some extent. Rhythmically, the composer employs multi-level syncopation, which also becomes the main opening motive to the third movement (Example 4).
Velislav Zaimov’s chorale preludes and chorale fantasy employ some of the traditional chorale prelude-related techniques. The author also uses some of his own—i.e., he does not cite any pre-existing melodies; instead, he writes his own, non-diatonic melody, fitted to the pre-existing text. For example, see his melody to Agricola’s text Ich ruf zu dir (Example 5). He uses the Christmas song Es kommt ein Schiff, geladen3 (attr. to Suderman/Tauler, XVII century), also with his own melody. In his chorale he cites the first two stanzas:

Es kommt ein Schiff, geladen
Bis an den höchsten Bord,
Trägt Gottes Sohn voll Gnaden,
Des Vaters ewig’s Wort.

Das Schiff geht still im Triebe,
Trägt eine teure Last;
Das Segel ist die Liebe,
Der Heilig Geist der Mast.

A ship is coming laden,
And rich indeed her hoard;
The Son of God the Father
And his eternal Word.

The ship sails soft, her burden
Of price all measure past:
Her mainsail, it is charity,
The Holy Ghost the mast.

His chorale fantasy follows the same principle. It is based on O Heiland, Reiß die Himmel auf (text by Friedrich von Spee, 1623). The author’s chorale melody is stated twice in the pedal throughout the piece, citing the text’s first stanza:

O Heiland, reiß die Himmel auf,
Herab, herauf vom Himmel lauf,
Reiß ab vom Himmel Tor und Tür,
Reiß ab, was Schloss und Riegel für.

O Saviour, tear open the heavens,
flow down to us from heaven above;
tear off heaven’s gate and door,
tear off every lock and bar.

The Sephardic song Morenica is the cantus firmus of the three chorale preludes of the same name by Sabin Levi. The first chorale uses “coloristic” chorale technique, adding ornaments to the soprano solo line. The second chorale employs a contrasting melody that interplays with the original chorale melody (in the tradition of Bach’s Wachet auf, BWV 645), while the third is a six-voice structure with double pedal. These pieces are tonal, albeit not traditionally so. Levi is working on a cycle of chorale preludes based on Sephardic songs.
Neva Krysteva’s Sonata da chiesa is scored for organ and three different flutes that do not play together. The first movement calls for a normal flute, the second for a piccolo, and the third for an alto flute (in G). The multi-layered structure is often alternated with a light and clear one in all three movements and the vibrati. This is so characteristic of Krysteva’s style and can be seen in numerous places. The flute part is quite idiomatic. The author uses flute harmonics in the first movement. The second movement (with organ and piccolo) is built around an ostinato principle, and the third resembles some scores of Luigi Nono, with a twist. The author’s striving for multi-layered structure is combined with modality, and the lower register of the organ is combined with the sound of an alto flute (Example 6). This movement employs some of the author’s frequent deliberate citations of the opening theme of Bach’s Prelude and Fugue in A Minor, BWV 543.
Landscapes of the Soul, for organ and trombone by Krassimir Taskov, is the last piece in the fifth volume, and the second representative of chamber music with organ. This atonal work of quite large scale (duration of more than fifteen minutes) is an experiment in color. While there are no registration instructions, the player must use all of the keyboard’s range. There are numerous clusters, glissandi, etc. in the organ part (Example 7).
The sixth volume was published in two formats, A3 (in landscape position) and A4, also in landscape, with the intention that the larger format would be better for performers. This volume opens with Adrian Pavlov’s Sonata Breve, also called Les escaliers enigmatiques, written in 2009. The piece is inspired by the following verse of Bulgarian poet Edvin Sugarev:

Descending, among the closed doors
remembered he, the one, always open
always for him open
alone, among the closed doors.

Thinking about her, he went on,
descending, on and on, and even when
there were no more steps anymore,
there were no more doors.4

The composer seems to favor metric modulation, since it is in almost constant use. In addition to the obvious use of word painting, rhythmic variation is an important source of form building. Serial techniques are in use, employing both rhythmical and tonal sets, which further undergo series of permutations throughout the piece, called “Sonata” only metaphorically by the author. According to him,5 traditional form-building is a term that should be treated more widely, not always implying strict, uniform schemes. The piece is more math-oriented than poetry-derived, and the author placed the verse at the end, after having finished writing it.
Quite different are Yordan Goshev’s two organ sonatas, works written and premiered approximately 30 years ago. While leaning on the traditional side of form and metro-rhythmic language, the melodic language is somewhat chromatic, with quasi-tonal elements and without a written key signature. A German style prelude-and-fugue influence is evident, combined with some recitatives (Example 8).
Artin Poturlian completed his Five Pieces in Memory of Friedrich Goldmann in 2009.6 Here Poturlian’s musical language is different from that used in the Four Spiritual Chants (published in the first volume). For the most part, the pieces’ building blocks consist of multi-rhythmic structures, often imitating bells. Bells are referenced in one way or another in all of the five pieces, and, at the end, the composer wrote the following phrase: “Listen to the bell of your heart!” The subtly mathematical, subtly atonal approach is characteristic throughout. There are changes in rhythmic proportions in addition to the composer’s favorite atypical rhythmic divisions (Example 9).
Kiril Lambov’s boisterous Prelude and Toccata, written in the 1980s, is representative of this composer’s style: “spiced-up,” rather energetic and temperamental, with a solid, albeit ambiguous, tonal base. While the Prelude is rather short, mostly preparing the listener for the Toccata (segue), the latter is extensive, with Prokofiev-like rhythmic ostinati, jazz elements, and a final “apotheosis” section. This is a brilliant and effective concert piece (Example 10). 

 

David Wagner

Organ Works of Johannes Brahms (1833–1897), Scott Hanoian, Washington National Cathedral. JAV Recordings, JAV 170;
<www.pipeorgancds.com&gt;.
Eleven Chorale Preludes, op. 122: 1. Mein Jesu, der du mich; 2. Herzliebster Jesu; 3. O Welt, ich muss dich lassen; 4. Herzlich tut mich erfreuen; 5. Schmücke dich, o liebe Seele; 6. O wie selig seid ihr doch, ihr Frommen; 7. O Gott, du frommer Gott; 8. Es ist ein Ros’ entsprungen; 9. Herzlich tut mich verlangen; 10. Herzlich tut mich verlangen; 11. O Welt, ich muss dich lassen. Prelude and Fugue in A Minor; Prelude on “O Traurigkeit, o Herzeleid”; Fugue in A-flat Major; Prelude and Fugue in G Minor.
It has been said that the Eleven Chorale Preludes are a summation for Johannes Brahms of “last things.” Written in the last year of Brahms’s life and published after his death as his opus 122, they were composed in the summer and the fall of 1896, shortly after the death of his lifetime friend, mentor, advisor and fellow musician Clara Schumann. How can one sum up the importance of Clara Schumann in the life of Johannes Brahms? It would be equally as difficult to sum up the impact of Bach on the lives of people who love and play the organ. Just as Brahms may have been influenced by events in 1854, with an attempted suicide of Robert Schumann, and his own mother’s death in 1865 when he produced Ein deutsches Requiem, so it can be posited that Brahms was so moved to write his Eleven Chorale Preludes on the death of Clara Schumann and with awareness of his own impending death.
Thus, all of the chorale tunes have to do with “last things” and the gentle acceptance, as in the German Requiem, that all creatures that are mortal will die. Just as the German Requiem is meant too as a comfort for the living, so too do the Eleven Chorale Preludes treat these most profound issues with comfort, clarity, and conciseness of form. Further, all are treated with not only a complete understanding of the Baroque chorale prelude style as exhibited by Scheidt, Buxtehude, Bruhns, and of course J. S. Bach, but all have the rich harmonic language of late 19th-century German romanticism and of the harmonic turns and style of Brahms that prove to be a rich synthesis of these two great traditions.
Also touching on the idea of “last things” in this recording are two further intersecting stories that also have to do with final chapters. The organist is Scott Hanoian, who at the time was the assistant organist and assistant director of music at Washington National Cathedral. Soon after the completion of this recording, Mr. Hanoian accepted a new position as director of music at Christ Church, Grosse Pointe, Michigan, where he now leads an extensive music program and presides over a relatively new instrument from Harrison & Harrison from Durham, England.
The second story is the organ itself. Built in 1938 by Ernest M. Skinner, the original design of the organ for the cathedral called for the instrument to adequately fill the smaller space of the present day choir with organ tone. At that time, Washington National Cathedral was a much smaller building, and no one knew if or when the plans for the grand cathedral would ever be finished. Such was the case of many buildings that were part of a larger plan. The building where Hanoian now presides in Grosse Pointe, Michigan is a permanent church, yet when it was constructed in the early 1930s it was intended to be the chapel of a much larger building that will now never be built. All that remains of that grand plan is a painting of the grand edifice, which hangs in the undercroft of the church, not far from the subdivision built in the 1940s that claims the land for the unfulfilled structure.
Washington National Cathedral was much more fortunate. After World War II their grand plan was realized, and it became apparent to all that the initial Skinner organ would not be sufficient to the size and to the tastes of a new generation of organists and musicians who were more influenced by G. Donald Harrison’s ideas than those of Ernest M. Skinner. Changes came to the venerable Skinner organ over the years, from a new console in 1958, two “Baroque” additions in 1963, a trompette en chamade above the high altar, and further work from 1970 to 1975, with the addition of more than 7,000 new pipes, bringing the size of the instrument to nine divisions and 10,650 pipes. An organist has to know the instrument very well and have “lived with it” to know its heritage and lineage, to know where Mr. Skinner left off and Mr. Whiteford from Aeolian-Skinner, along with others, picked up. This is the advantage of having a recording on an instrument played by an incumbent who had come to not only know the instrument but love it for all of its strengths and its weaknesses.
Now the cathedral is embarking on another project involving two famous builders who will totally change the sound of this instrument forever. Both are firms of the highest artistic quality, and the cathedral is getting two new organs: in the east section a totally new instrument by the Dobson Pipe Organ Company of Lake City, Iowa. Dobson says it will utilize the best of the present instrument, but as the organ program notes state: “ . . . but newly refigured and at a fitting size.” All that is known to the general public is that most of the new instrument will be placed behind the grand case fronts that exist in the choir. In the west gallery, a totally new instrument by Casavant Frères of St. Hyacinthe, Quebec will be the counterpart of the east choir organ, and both instruments will be able to be controlled by a new console in the choir. All of this will be happening by the year 2011. Work and planning on these instruments have already begun.
That being said, the “last things” aspect of this recording are united; the last substantial works of Brahms played on in instrument that for all intents and purposes will no longer exist, from a young musician who came to know and love it and has himself left a final musical statement in this recording before he has moved on.
I think it is fair to say that many of us who buy organ recordings take into consideration three factors: the music, the performer, and the instrument. Here is a perfect synthesis concerning the music of Brahms and these chorale prelude works that so many organists have always considered an essential part of their repertoire. In this recording, Hanoian uses almost exclusively the Ernest M. Skinner organ at Washington National Cathedral, letting the later massive editions remain silent. It is a wise choice, and the playing here is seamless, with a wonderful late romantic legato and just the right amount of tempo rubato that are the hallmarks of the romantic keyboard style. Yet with the sumptuous legato that Mr. Hanoian exhibits, there is always clarity of line; the tender Es ist ein Ros’ entsprungen, in some ways the most elusive of the set with the tune hidden in one of the inner voices surrounded by layers of accompaniment, is clearly heard in the beautiful voicing of the Skinner stops. Even in the more strictly contrapuntal works, such as the more fugal Mein Jesu, der du mich or the first of the O Welt, ich muss dich lassen settings, there is no lack of clarity in the style of playing or in the choice of registration. In these eleven chorale preludes there is a lifetime of musical experiences summed up by one of the greatest composers of the Romantic period. Hanoian plays this music with a depth of understanding and sensitivity well beyond his years, truly impressive for such a young musician. He has made a true connection to this music and to the richness that is found from bar to bar.
Also included are early works. We know now how very critical Brahms was of his own writing and that he destroyed up to 20 (!) string quartets before the publication of his very first quartet, or how he labored for more than fifteen years on his first symphony, and that even his first piano concerto began its life planned as the first symphony. How many organ works have not come down to us because Brahms felt they were not worthy?
The early Prelude and Fugue in A Minor, written in 1857 and dedicated to Clara Schumann, is one of the works that he did feel was worthy to be preserved, and is in the strict contrapuntal style based on the Baroque models that Brahms admired so much. This work also is played using the full resources of the cathedral Skinner organ, and on hearing it one wonders how anyone could have felt the sound of that early instrument to be inadequate in any way. Again, Hanoian plays this work with grandeur and with the expansive sweeping 19th-century style that is so very much at home on the Skinner organ.
This is another fine project of JAV recordings, a label that has specialized not only in organ recordings, but in documenting important instruments and making of them an audio portrait for future generations. How important it will be for archival purposes to have these recordings, especially after instruments have been changed, altered, or restructured well beyond their present day configurations. Then add to this a young musician like Scott Hanoian, who lived with the instrument and also had a great affection for it. Those of us who have loved and played particular instruments know exactly what it means to have that type of close musical collaboration with keyboards and pipes that is difficult to describe to non-organists. Hanoian’s playing takes full advantage of his knowledge of the instrument. This recording is a fine tribute not only to this organ and to the music of Brahms, but also to Scott Hanoian and his artistry.
—David Wagner
Detroit, Michigan

John Collins

In 2015 there are several composers whose anniversaries can be commemorated, albeit some of the dates are not known for certain; some of the names need no introduction but there are also several lesser-known names listed here whose compositions are well worth exploring. No claim is made for completeness and there is no guarantee that every edition is in print—there may well also be editions by other publishers.

 

Christopher Gibbons (1615–76).Eldest surviving son of Orlando Gibbons, he was organist of the Chapel Royal and Westminster Abbey; only a few compositions for keyboard survive in various manuscripts, comprising two short pieces (corrente and saraband) for harpsichord, four verses or voluntaries and three verses or double voluntaries (i.e. requiring two manuals for their execution), with passages for solos on Cornet, Sesquialtera, and Trumpet. Some versions of these double voluntaries seem to have been considerably amended and elongated by the scribe. All nine pieces have been re-edited by John Caldwell for American Institute of Musicology’s Corpus of Early Keyboard Music series (CEKM 18). 

 

Spiridionis a Monte Carmelo (1615–85). German organist, who traveled widely in Belgium, Germany, and Prague before taking a position in Bamberg in 1664. He composed sacred music and also published a two-volume keyboard tutor, Nova instructio pro pulsandis organis, spinettis, manuchordiis, in Bamberg, of which the first part, which appeared in 1670, contained a very large number of cadences, 35 canzonas, and 15 dances including corrente, and the second part, which appeared the following year, contains mainly cadenzas, as well as ten canzonettas, seven toccatinas, two gagliardas, and four corrente. Part three contains more formulas for cadentiae followed by ligaturae and trilli; part four contains the actuarium for parts one and two, an aria, allemanda, sarabanda, and modus variandi. A modern edition by Edoardo Bellotti of parts one and two has been published by Andromeda. Parts three and four have also been edited by Bellotti and published by Il Levante, obtainable via La Stanza della Musica, Rome (www.lastanzadellamusica.com).

 

Gregorio Strozzi (ca. 1615–after 1687). Organist in Naples and doctor in both civil and canon law, in addition to sacred works he left a Capricci da sonare cembali et organi, published in open score in Naples in 1687, which is indebted to Trabaci, Mayone, and Frescobaldi, its 31 pieces covering the main compositional genres of the time including three capriccios, three ricercatas, three sonatas, four toccatas, two balletti, three gagliardas, three sets of variations, eight correntes, a mascara, and a Toccata de passacagli. This important print has been re-edited by Barton Hudson for American Institute of Musicology in the Corpus of Early Keyboard Music series (CEKM 11).

 

Heinrich Bach (1615–92). Great uncle of Johann Sebastian and organist in Arnstadt, almost all of his compositions in various genres have unfortunately been lost. He was the father of Johann Christoph and Johann Michael Bach, who also became composers. For keyboard he left a Chaconne in A, edited by Laura Cerutti for Armelin, and two chorale preludes, on Erbarm dich mein and Da Jesu an dem Kreuze stund, included in Organ Works by the Bach Family, edited by Diethard Hellmann for Edition Peters.

 

Tarquinio Merula (ca. 1594–1665). Organist and violinist active mainly in Cremona, he published a number of sacred concertos, Mass and psalm settings, as well as madrigals and ensemble canzonas. Fourteen keyboard works have survived in manuscripts, including a chromatic Capriccio and Sonata, the former based on the chromatic tetrachord, the latter on a figure covering a major ninth by semitone (!), although many subsequent entries are limited to the tetrachord. There are three intonazioni cromatiche (which may well be incorrectly attributed), a toccata (which contains a fugal section sandwiched between sections akin to Merula’s toccatas but lacking his inventiveness), a capriccio with an insistent rhythmic figure and much sequential writing, and five canzonas, of which the first, an arrangement of his ensemble piece La Loda, has basic similarities to the capriccio, and the second is based on an intriguing sequence of four descending broken triads. The next three canzone have been attributed tentatively to Merula, no. 3 being a version of his ensemble Canzona La Marca. All of these pieces together with a cromatica by Soncino and a  canzona by Fasolo have been edited by Alan Curtis and published by L’Organo, Brescia, as Monumenti di Musica Italiana Series 1, Organo e Cembalo, vol. 1, available from Armelin. There is also a reprint by Kalmus, which lacks the introduction. 

 

Wolfgang Ebner (1612–1665). Organist of St. Stephen’s Cathedral, Vienna, and court organist, contemporary with Froberger. Three works certainly by him include three toccatas, a courante, a Capriccio sopra L’aria Pergamasco, the Partite sopra l’Aria Favorita with seven variations, and the 36 variations divided into three groups of 12 (the second and third groups being in the form of a courante and sarabande) on an Aria in A Minor composed by Ferdinand III. Works of uncertain authenticity include 56 versets encompassing various forms (i.e. toccata, capriccio, fugue in the eight church modes), eight of which are variants of pieces by Froberger and one by Frescobaldi, two preludes, a partita in A, and eight individual dance movements. Published by Bärenreiter in 2 volumes, edited by Siegbert Rampe, the publication also includes keyboard works by Georg Muffat. 

 

Nikolaus Bruhns (1665–97). Pupil of Buxtehude, he became organist in Husum in 1689. Comparatively well known to players today, particularly for his preludes in E minor, Bruhns was also a highly skilled violinist who, according to undoubtedly reliable contemporary accounts, accompanied his violin playing at the organ by a bass played with great dexterity on the pedals. None of his organ works were printed in his lifetime, and no autograph manuscripts have survived. His small opus survived in a virtually unbroken transmission in both manuscripts of the 18th century and printed editions from the 19th forward. He wrote chamber music, which regrettably has not survived, and 12 cantatas, and left four brilliant praeludia for organ in manuscripts—multi-sectional, and clearly showing the influence of his teacher as well as echo devices. A highly ornamented Chorale Fantasia on Nun komm der Heiden Heiland also shows continuation of the North German tradition of Scheidemann, Reincken, and Tunder. Modern editions, which also include an adagio and a praeludium, of which only fragments survive, have been prepared by Klaus Beckmann, published by Schott in the series Masters of the North German School vol. 13, and also edited by Harald Vogel for Breitkopf & Hartel.

 

Johann Hanff (1665–1712). Organist in Hamburg and Schleswig, only three of his cantatas and six chorale preludes survive in manuscripts. Five of the preludes are in a similar style to Buxtehude’s, with highly ornamented melodies in the right hand, but in Erbarm dich mein two verses are set, the second verse opening with a fugue based on the descending chromatic fourth before reverting to a right hand solo of the ornamented melody. They have been edited by Ewald Kooiman for Harmonia Uitgave, Incognita Organo Part 7. 

 

Johann Fischer (ca. 1665–1746). Kapellmeister to Ludwig Wilhelm of Baden, he published chamber and vocal music. His keyboard works include four sets of pieces, comprising two sets of suites for harpsichord/clavichord in 1696 and 1738, which show the French influence, and two sets of pieces for the organ, which show a more Italianate influence. Musikalischer Blumenstrauss of 1732 is a collection of pieces on the eight tones comprising a praeludium, six fugues, and finale for each tone. Ariadne Musica, of 1702 and 1715, contains 20 short preludes and fugues, each in a different key (including B, E-flat, and A-flat major, B, F#, and C# minor), which were known to J. S. Bach, who used some of the subjects in his Well-Tempered Clavier, and five ricercars on hymns for Advent, Christmas, Quadragesima, Passiontide, and Easter. 

The complete keyboard music has been edited by Ernst von Werra for Breitopf & Hartel. The Ariadne has been edited by Ernst Kaller for Schott as Liber Organi vol. 7 and the Musikalischer Blumenstrauss by Rudolph Walter for Musikverlag Alfred Coppenrath, Altötting as Süddeutsche Orgelmeister des Barock vol. 1, available through Carus Verlag. Facsimile editions have been published by Broude Bros in the Performers’ Facsimiles series nos. 197 (Ariadne) and 199 (Musikalischer Blumenstrauss). 

Johann Molter (1696–1765). German organist in Eisenach and Karlsruhe whose comprehensive works embrace all genres. Six chorale arrangements have been edited by Siegbert Rampe for Bärenreiter in German Organ and Keyboard Music from Bach’s Period.

 

Xarava y Bruna (ca. 1640–1715).Nephew of Pablo Bruna. Two pieces by him, an Ydea Vuena por a la mi re and fuga, and an Obra en lleno de 3 Tono (a tiento accidental found in the Jaca manuscript is a short version of the fuga), are to be found in one of the Martín y Coll manuscripts, and have been edited by Julian Sagasta for Union Musical Española in Tonos de Palacio y Canciones Communes vol. 2, and by Carlo Stella and Vittorio Vinay for Zanibon in Composizioni Inedite dal ‘Flores de Musica’ di Antonio Martin y Coll. 

 

Georg Wagenseil (1715–77). Organist and composer to the court in Vienna, he composed operas, chamber music, concerti, and organ and harpsichord music. Although considered as one of the most important Viennese composers of the 18th century, very few of his many keyboard works have been published, and conspicuous by their absence are the organ works, including 97 versets in various tones, a cycle of Praeambula and Versets on the Eight Tones, and numerous other individual pieces. Five pieces have been edited by Erich Benedikt and included in Viennese Organ Music from around 1750 published by Doblinger as DM1335 in the Diletto Musicale series, including a praeludium on the 1st and on the 2nd tones, a Fuga in D Minor, a piece titled Das Glockengeläut zu Rom dem Vatican (in C minor), and an Andante in D minor taken from the third Divertimento of opus 1, better perhaps suited to stringed keyboard instruments. 

 

James Nares (1715–83). Became organist of York Minster in 1735. In addition to much sacred music including services and secular vocal music, he left several publications for keyboard including two sets of lessons for harpsichord and a set of six fugues with introductory voluntaries for organ or harpsichord, which are available in a modern edition by Greg Lewin as well as in facsimile from Oxford University Press. Only nos. 1, 3, and 5 are preceded by an introduction. Also available in facsimile from Oxford University Press is Il Principio, or A Regular Introduction to Playing on the harpsichord or Organ, which gives basic information on ornamentation and fingering followed by a graduated series of pieces.

 

Georg Reichardt (1715–89). Pupil of Jakob Adlung. His Sechs fugierte Orgeltrios have been edited by Rudolph Walter for Hänssler Verlag and are available from Carus Verlag. 

Charles-Joseph van Helmont (1715–90). Organist in Brussels, he composed a large quantity of sacred vocal music including Masses and motets and a much smaller amount of secular vocal music. His keyboard works comprise the Pièces de clavecin of 1737, which include two suites, the pieces of which have French titles. The first suite and four fugues have been edited by J. Watelet and published by Vereniging voor Muziekgeschiedenis te Antwerpen in 1948 as Monumenta Musicae Belgicae vol. 6 (also contains pieces by Dieudonné Raick), with the second set edited by Laura Cerutti for Armelin, with a facsimile edition published by Anne Fuzeau. The complete set of Six Fugues has been edited by Jan Vanmol for Calcant.

 

Johann Doles (1715–97). Pupil of Bach in Leipzig, where he became Kantor, he composed much sacred and secular vocal music, harpsichord sonatas, and some chorale preludes, of which four pieces from the fifth volume of Singbare und leichte Choralvorspiele has been edited by Eberhard Hofmann for Musica Rinata in Orgelpräludien vom Barock zur Klassik. 

 

John Alcock Sr. (1715–1806). Organist at Lichfield Cathedral from 1750 until 1765, and thereafter at Sutton Coldfield and Tamworth, he composed sacred choral music, numerous secular vocal works, Six Suites of Easy Lessons and a Trumpet Tune for the harpsichord, which has been edited by Richard Jones and published by the Associated Board of the Royal Schools of Music, as Easier Piano Pieces (vol. 15), and a set of Ten Voluntaries for the Organ or Harpsichord, a new edition of which has been edited and published by Greg Lewin.

 

Carlmann Kolb (1703–65). Organist of the community of Asbach and priest, he left a sinfonia for harpsichord and strings and the Certamen aonium published in 1733, a set of pieces on the eight tones, including a fairly expansive prelude, 3 fugal verses in a variety of styles and meters, and a toccata-like cadenza. Some of the preludes, particularly the third, are almost extravagantly eccentric in their modulations and dramatic rests. Modern editions by Rudolf Walter for Musikverlag Alfred Coppenrath, Altötting as Süddeutsche Orgelmeister des Barock vol. 5, available through Carus Verlag, and by Gregor Klaus for Willy Müller Süddeutscher Musikverlag, available from Bärenreiter.

 

Jose Ferrer (1745–1815). Organist in various Spanish cathedrals, including Oviedo, he composed mainly secular and chamber music. Seven sonatas for keyboard by him are preserved in a manuscript now in Zaragoza, and a further six have been attributed to him on stylistic grounds, although as no. 8 is by Domenico Scarlatti, it may well be that further pieces are by other composers. Many of the sonatas are far better suited to stringed keyboard instruments but nos. 9–11 sound well on the organ. All 13 sonatas have been edited as Sonatas para Clave by Dionisio Preciado and published by Real Musical, Madrid, as Teclado Espanol Siglo XVIII, vol. 1. No. 2 in G minor and a further Sonata in C Minor, both taken from MS 1665 at Montserrat, are included in Early Spanish keyboard music: an anthology—Vol. 3, The eighteenth century, edited by Barry Ife and Roy Truby for Oxford University Press.

 

Pietro Morandi (1745–1815). After studying with Padre Martini in Bologna he worked in Pergola and Senigallia cathedrals. He composed sacred and secular vocal and damatic music and also left 12 Concerti per L’Organo solo, with instructions for registration, and twenty sonatas and sinfonias, all of which have been edited in four volumes by Maurizio Machella for Armelin. 

 

Giuseppe Gherardeschi (1759–1815). Organist in Pistoia, first of S. Maria dell Umiltà and then the cathedral, he composed much sacred vocal music and several sonatas for harpsichord or fortepiano plus violin and also concerti. His numerous organ compositions, which include versetti, offertorios, elevazioni, sonatas, and rondos, contain precise instructions for registration, including drum pedals and toy stops such as the Uccello. Many have been edited by Umberto Pineschi in Musiche pistoiesi per organo (Biblioteca Classica dell’Organista, vol. M05 and M06), Antologia del Settecento organistico pistoiese (Biblioteca Classica dell’Organista, vol. 19), Musiche d’organo a Pistoia (Biblioteca Classica dell’Organista, vol. 30); Letteratura organistica toscana dal XVII al XIX secolo (Accademia di musica italiana per organo, Pistoia). Some twenty pieces have been edited by Maurizio Machella in two volumes for Armelin as L’organo Italiano nell’Ottocento (OIO 222 and OIO 223). An official download of Gherardeschi’s complete organ works, together with many other pieces from the Pistoia cathedral archives, is available from www.accademiagherardeschi.it/eng-partiture.php?id_sezione=6 for a payment of 10 Euros.

 

Domenico Puccini (1772–1815). organist in Lucca and grandfather of the famous opera composer, he composed both sacred and secular vocal music, as well as operas. He left 42 one-movement sonatas for organ in manuscripts, which have been edited in four volumes by Maurizio Machella for Armelin. A further volume contains sonatas for violin with accompaniment for organ or fortepiano. 

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

 

Publishers’ websites 

American Institute of Musicology—CEKM series:
www.corpusmusicae.com/cekm.htm&nbsp;

Armelin: www.armelin.it

Associated Board: shop.abrsm.org

Bärenreiter: www.baerenreiter.com  

Breitkopf & Hartel:  www.breitkopf.com  

Broude Bros: www.broude.us&nbsp;

Calcant: www.janvanmol.be&nbsp;

Carus Verlag: www.carus-verlag.com&nbsp;

Doblinger Verlag: www.doblinger-verlag.at

Fuzeau: www.editions-classique.com&nbsp;    

Greg Lewin Music: www.greglewin.co.uk

Monumenta Musicae Belgicae: www.dbnl.org&nbsp;

Musica Rinata: www.berliner-chormusik-verlag.de

OUP: ukcatalogue.oup.com/category/music.do 

Schott Music: www.schott-music.com&nbsp;

John Collins

John Collins has been playing and researching early keyboard music for over 35 years, with special research interests in the English, Italian, and Iberian repertoires. He has contributed many reviews and articles on repertoire and performance practice, including translations and commentaries on treatises in German, Spanish, and Portuguese, to European and American journals, including The Diapason. He has been organist at St. George’s Church, Worthing, UK, since June 1984.

In 2017 the anniversaries of numerous composers can be commemorated, albeit some of their birth and death dates are not known for certain. Some names need no introduction, but there are also several lesser-known names here whose compositions are well worth exploring. No claim is made for completeness, and there is no guarantee that every edition is in print—there may well also be editions by other publishers. 

An increasing number of pieces, ranging from complete, original publications or manuscripts (which present the usual problems of multiple clefs and original printer’s errors) to modern versions of complete or individual works, can be found on various free download sites, most notably IMSLP. However, the accuracy of some modern typesettings is highly questionable, and all should be used with caution. 

 

Heinrich Isaac (ca. 1450–1517), a leading Flemish contemporary of Josquin, left much vocal and also some instrumental music. Some 19 intabulations of sacred and 27 of secular works exist, scattered among the tablatures of Bonifacius Amerbach—written mainly by Hans Kotter (edited by Hans Joachim Marx and published by Bärenreiter as Schweizerische Denkmäler, Volume 6), Fridolin Sicher (edited by Hans Joachim Marx and published by Amadeus as Schweizerische Denkmäler, Volume 8), Leonhard Kleber (edited by Karin Berg-Kotterba in two volumes in Das Erbe deutscher Musik, Bd. 91 and 92, published by Henry Litolff’s Verlag), August Nörmiger (no complete edition but some pieces in Organ Music of the Era of the Reformation, edited by J. H. Schmidt), and Clemens Hör (edited by Hans Joachim Marx and included in Schweizerische Denkmäler, Volume 6, and also published separately as Volume 7).

 

Pedro Alberch Vila (1517–82) served as organist of the cathedral of Barcelona. He published a Libro de Tientos but unfortunately no copies are known to have survived. Two Tientos were published in the Libro de Cifra Nueva in 1557 by Venegas de Henestrosa and are numbers XXXVIII and XXXIX in the modern edition La Música en la Corte de Carlos V edited in two volumes by Higínio Anglés for the Consejo Superior de Investigaciones Científicas, Barcelona. The music is in the second volume and, rather annoyingly, commentary, the prefaces, and contents are in volume I.

 

Bernhard Schmid der Jünger (ca. 1567–1625) lived in Strasbourg all his life, becoming organist of the cathedral. Instead of preparing a new edition of his father’s two tablature books of 1577 in 1607, he published his own Tablaturbuch containing 90 pieces. These are divided into 30 intonations on the eight tones by Giovanni (22) and Andrea Gabrieli (eight); six toccatas by the Gabrielis (two by Andrea, one by Giovanni), Diruta (two), and Merulo; 12 motet settings of from four to six voices; 16 canzonetta settings in four to six voices; 12 four-voice fugues or Canzoni alla Francese by Mortaro (three), Brignoli (two), and one each remaining anonymous, Soriano, Vecchi, Malvezzi, Maschera, Banchieri, and A. Gabrieli (his Canzon Ariosa); and 14 dances including two Pass’e mezzi (the second being by G. M. Radino and included in his book of 1592) and 12 Gagliardas, of which the first is by Hans Leo Hassler. The complete book has been edited by Willem Poot in five volumes for Interlude Music productions (I.M.P. 2021-2025). A facsimile has been published by Broude Bros. as Monuments of Music and Music Literature in Facsimile, I/20.

 

Melchior Schildt (ca. 1592–1667) studied with Sweelinck and became organist of the Hannover Marktkirche in 1629. His preserved organ works comprise a 5-verse setting of Herr Christ der einig Gottes Sohn, a setting for two manuals of Herzlieb lieb habe ich dich, a 5-verse setting of the Magnificat on the 1st Tone, two preludes, and a setting of Allein Gott in der Höh’ sei Ehr’. These have been edited by Klaus Beckmann for Schott as Masters of the North German Organ School, Volume 5 (ED9585). Two variation sets on Gleichwie das Feuer and Dowland’s Lachrymae Pavan are included in Lied- und Tanzvariationen der Sweelinck-Schule, edited by Werner Breig for Schott (6030). 

 

Franz Tunder (1614–67) was probably born in Lübeck, where he became organist of the Marienkirche in 1641. Some 17 organ pieces have survived in various manuscripts, comprising five praeludia (one is just a five-bar fragment), a canzona for manuals only, and 11 lengthy chorale settings (Auf meinen lieben Gott is Auff 2 Clavier Manualiter, the rest require pedals) of which the first verse of Jesus Christus unser Heiland opens with a pedal solo moving into double pedals beneath three manual parts. Fifteen pieces have been edited by Klaus Beckmann for Breitkopf & Härtel (EB8825). He has also edited the chorale fantasias on Allein zu dir, Herr Jesu Christ, and Ein Feste Burg ist unser Gott in Zwei Choralfantasien for Breitkopf & Härtel (EB8576), previously attributed to Heinrich Scheidemann by Jerzy Golos and Adam Sutykowski for the American Institute of Musicology as Corpus of Early Keyboard Music (CEKM) 10, Keyboard Music from Polish Manuscripts, (Volume II). 

 

Johann Jakob Froberger (1616–67) spent much time as court organist in Vienna. He was one of the most influential keyboard composers of the second half of the seventeenth century, as his wide-ranging travels took him to France, England, and Italy. His large output comprises free-form and contrapuntal pieces as well as over 50 dance suites, surviving in many sources including four autograph volumes (a recently discovered one is not accessible, and two have been lost). The three surviving autographs of 1649, 1656, and 1658 contain among them 12 toccatas, 12 ricercars, 12 capricci, six fantasias, six canzonas, and 12 suites of dance movements, with several more pieces in each category as well as single dances, tombeaux, and lamentations from other manuscripts being reliably attributed to the canon. Pieces were included in publications from 1693 onwards, but many contain a corrupt and unreliable presentation of the text.

Siegbert Rampe has edited for Bärenreiter the keyboard pieces in six volumes. Volume 1 is devoted to the 1649 autograph, Volume 2 to the 1656 and 1658 autographs, Volumes 3 and 4 to partitas (suites) from copied sources, Volume 5 to toccatas and polyphonic works from copied sources, and Volume 6 to new readings and new pieces from newly discovered sources (Volumes 3–6 are each in two parts). A seventh volume includes the vocal music and a catalogue of Froberger’s output. An appraisal of the autograph manuscripts plus a list of each volume’s contents and of the works by genre and volume will appear in a future issue of The Diapason.

 

Nikolaus Hasse (1617–72), born in Lübeck, succeeded David Abel as organist in Rostock in 1642. In addition to chamber music, he left a few organ compositions. Four chorale settings for organ on Allein Gott in der Hoh’ sei Ehr’, Jesus Christus unser Heiland (one setting for manuals only and one for three manuals) and Komm, heiliger Geist, Herr Gott (for two manuals) are preserved in the Pelpin Tablatures and have been edited by Klaus Beckmann for Breitkopf & Härtel (EB6715) and also by Jerzy Golos and Adam Sutykowski for the American Institute of Musicology as CEKM 10 Keyboard Music from Polish Manuscripts, Volume I, which also includes a setting of Allein Gott in der Hoh’ sei Ehr’ by a composer known only as Ewaldt. 

 

Christian Witt (1660–1717) studied with Georg Wecker in Nuremberg and became court organist at Altenburg. His compositions include vocal and instrumental music, but unfortunately much keyboard music seems to have been lost. His preserved compositions include a chorale prelude on Herr Christ der einig Gottes Sohn, edited by Gotthold Frotscher and included in the series Das Erbe deutscher Musik Reichsdenkmale, Band 9, Orgel Choräle um Johann Sebastian Bach, published by Henry Litolff’s Verlag. A prelude on Nun komm, der Heiden Heiland was edited in the 19th century by G. W. Körner in Der Orgelfreund, viii. A capriccio in the style of a sarabande is included in Keyboard Music from the Andreas-Bach Book and the Möller Manuscript, a modern edition by Robert Hill, published by Harvard University Department of Music. A modern edition of 12 pieces in two volumes edited by Laura Cerutti (Armelin AMM026 and AMM053) contains two suites, in A major and A minor, a sinfonia in D, a Ciacona con Fuga in E minor, a suite in C, a praeludium in G, a Partie in C, a menuet in G, a Passegalie with 30 variations in D minor, a fugetta [sic] in G, and two fugues in F and G. Witt’s fugues in D minor, E minor, and the Prelude and Fugue in D are included in The Mylau Tabulaturbuch: Forty Selected Compositions, edited by John Shannon for the American Institute of Musicology  (CEKM 39). A complete critical edition is much to be desired.

 

Daniel Purcell (ca. 1664–1717), the younger brother of Henry, composed much stage, sacred, and secular vocal music as well as some instrumental works. His few keyboard pieces include a suite in D minor published in A collection of lessons and airs. . . . 1702, a toccata in A minor that was included in The 2d. Book of The Lady’s Entertainment or Banquet of Musick (1708), facsimile available from Broude Bros. (PF205), together with the first book in Seventeenth Century Keyboard Music, Volume 17, edited by Alexander Silbiger for Garland Press. His Psalms set full for Organ or Harpsichord was published in 1718 as an addition to the Harpsichord Master Improved. . . with a choice collection of newest and most air’y lessons with a variety of passages by Mr. Babel, and reprinted separately in 1731, facsimile of the latter available from Broude Bros. (PF264). 

 

Johann Christoph Pepusch (1667–1752) was born in Berlin. Like Handel, he settled in London during the early eighteenth century and became one of the founders of the Academy of Ancient Music. After about 1728 he gave up composition (with works for stage and church music as well as chamber music) and became renowned as a teacher (his pupils included Boyce, Green, and Roman). In 1737 he became organist of the Charterhouse and left a voluntary, which is found in a manuscript now in the Royal Academy. This is unique in having no fewer than 12 movements, possibly intended to be played at the opening of an organ to demonstrate the stops. An opening Largo and concluding Allegro frame movements for specified registrations for solo stops. Modern editions are by David Byers for Universal Edition (UE18603) and by David Sanger for Oxford University Press. Other movements attributed to Pepusch are included in manuscripts in the British Library and Royal College of Organists Library.

 

Georg Philipp Telemann (1681–1767), born in Magdeburg, worked in Leipzig and Frankfurt before settling in Hamburg in 1721. A most prolific composer across all genres, of his many keyboard pieces those more suitable to the organ include Forty-Eight Chorale Preludes (two settings: one in three voices, one in two for each of 24 chorales) and settings of Nun komm der Heiden Heiland and Nun freut euch, lieben Christen g’mein edited by Traugott Fedke and published as Orgelwerke Volume I by Bärenreiter (BA3581) and the Twenty Little Fugues, a sonata for two manuals and pedal in D, two fughettas in F and D and a fantasia in D also edited by Traugott Fedke and published as Orgelwerke Volume II by Bärenreiter (BA3582). A set of Fugues légères et petits jeux à clavessin seul consists of six fugues, each followed by several short pieces; a performance on appropriately light registers could work well. The set has been edited by Martin Lange for Bärenreiter (BA268).

 

Pere Rabassa (1683–1767) was born in Barcelona and worked at the cathedrals of Vic, Valencia, and Seville. Two tocatas have been tentatively assigned to him by one editor—although anonymous in the manuscript, they follow a four-movement sonata ascribed to him. These include a Tocata de mano derecha de 8 Tono ad libitum in four movements and a rare example of a Tocata de ecos y contraecos para clarines de mano derecha de 5 Tono which requires use of an enclosed second manual. These have been edited by Agueda Pedrero-Encabo in Vicente Rodríguez’s Obres per a orgue (the second piece she ascribes to Rodríguez without reference and also suggests Rabassa as composer of a four-movement Tocata de 5 Tono punto alto included in this volume).

 

Nicola Antonio Porpora (1686–1768), born and died in Naples, worked in Rome, London, and Venice, and was principally known for his operas and church music. Seven fugues were included in Clementi’s Selection of Practical Harmony for the Organ or Piano-Forte published 1803–15 (the seventh piece, in E-flat was published by Johann Albrechtsberger as Fugue III, op. 7) and have been edited by Maurizio Machella for Armelin (CM002). 

 

Georg Monn (1717–50) was choirmaster and organist of the Karlskirche, Vienna. He composed Masses, oratorios, some 16 symphonies, chamber music, concertos, and keyboard music. Three Preludes and Fugues for organ or stringed keyboard instruments in G minor, G, and F have been edited by Franz Haselböck for Doblinger, Diletto Musicale (DM822) and a Preludio & Fuga in A Minor and a Fuga in C have been edited by Erich Benedikt and included in Viennese Organ Music from around 1750 for Doblinger, Diletto Muiscale (DM1335). A set of preludes and versets on the eight tones has been edited by Rudolph Walter for Butz Verlag (BUTZ1825). 

 

Carlo Lancellotti (ca. 1717–82) was born in Rimini, where he became organist of the cathedral. He left 11 one-movement sonatas (six Allegros and five Adagios) in a manuscript, which have been edited by Maurizio Machella for Armelin (AMM143).

 

Justin Heinrich Knecht (1752–1817) was a Lutheran preceptor and music director in Biberach. He became organist at the Martinkirche in 1792 and was employed in Stuttgart from 1806 to 1808. He left numerous compositions for church and stage as well as a few chamber pieces. He also left theoretical treatises for clavier and on numerous other subjects as well as many sets of organ pieces. Pieces available in modern editions include Selected Organ Works edited by Martin Haselböck and Daniel Schlee for Universal Orgel Edition (UE17469). Three pieces in D major including a Capriccio, Cantabile and Nachspiel, have been edited by Willem Poot for Interlude Music Publications (I.M.P.2005). Eberhard Hofmann has edited Ausgewählte Orgelwerke for Sonat Verlag (MR5.098.00), who also publish a set of 16 Orgelstücke in den gebräuchlichsten Dur-Tonarten (MR5.215.00) and 14 Orgelstücke in den gebräuchlichsten Moll-Tonarten (MR.5.216.00), both sets taken from Caecilia. These two sets have been edited by Andre Maisch for Edition Kunzelmann (GM664a and 664b). A set of three volumes of selected pieces has been edited by Wolfram Syré for Forberg Edition (F25033-5). Die durch ein Donnerwetter unterbrochne Hirtenwonne has been edited by Heinz W. Höhnen for Breitkopf & Härtel (EB8364). The 15 items, each frequently subdivided into several pieces, from the Vollständige Orgelschule für Anfänger und Geübtere—Abteilung I-III (1795–8), are available in facsimile from Breitkopf & Härtel (BV256). Martin Haselböck and Daniel Schlee have edited and published separately no. 4 from Abteilung I, Die Auferstehung Jesu, ein Tongemälde für die Orgel, Universal Edition (UE17159). The three sections of the Anhang zu Württemberg Choralbuche containing 84 short preludes in various keys, a further 72 preludes and 24 organ pieces, are also available in facsimile from Maltzahn’scher Musikverlag, (MMV10010–12). The firm has also published a facsimile of the first of the eight volumes of the Neue vollständige Sammlung aller Arten Vor- und Nachspielen u.a.1791–5 (MMV10001). The Sonata in C and Three Fugues in B-flat (on B-A-C-H), C minor and G have been edited by Michael Ladenburger for Doblinger (DM843 and 844, respectively). Willem van Twillert has edited six chorale preludes in Organisten uit de 18e en 19e eeuw 9 published by Willemsen (Wil912) and nine pieces for manuals only including four rondos, a set of variations, a 4-voice fugue, a Handstück, a Cantabile and a setting of Liebster Jesu in Organisten uit de 18e en 19e eeuw 14, also published by Willemsen (Wil1086). Organisten uit de 18e en 19e eeuw 2 (Wil742) in this series contains three pieces by Knecht and an anonymous Giga and Pastorale. W. B. Henshaw has edited Six Short Pieces for Bardon Enterprises (BE00559). 

 

Vincenzo Benatti (1767–97) is little known. His compositions that have come down to us include three volumes of organ pieces (23 pieces total) that have been edited by Carlo Benatti for Armelin (AMM219–221), Composizioni inedite per organo o clavicembalo. Volume 1 contains a pastorale, a sinfonia, a Sinfonia e Polacca, and an Allegro. Volume 2 contains 11 sonatas, a rondo, a Marcia, a finale, and an Introduzione. Volume 3 contains four sonatas, of which the first is in three movements, the others in just one. 

 

August Eberhard Müller (1767–1817) studied with J. C. F. Bach and became organist in Leipzig. He left numerous compositions for keyboard, and six of the pieces in Sammlung von Orgelstücken, enthaltend zwölf leichte und sechs schwerer Sätze (Erste Heft 1798) have been edited by Anne Marlene Gurgel in Leipziger Musik aus der Thomaskirche, Band 1 for Butz Verlag (1492).

 

Also deserving of mention is the 500th anniversary of the publication of Frottole Intabulate da Sonari Organi by Andrea Antico in Rome in January 1517, the oldest printed volume to consist exclusively of keyboard music. Its 26 settings are available in a modern edition by Christopher Hogwood for Zen-On Music and by Maria Luisa Baldassari from Ut Orpheus (ES69). A facsimile is available from Forni Editions. Another very good resource is www.bodensee-musikversand.de/, especially for many German, Austrian, and Swiss publishers.