THE CHORALE PARTITA IN THE BAROQUE PERIOD, A LECTURE RECITAL,

TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF

J. S. BACH, C. FRANCK, M. DURUFLE, D. BUXTEHUDE,

J. ALAIN, J. G. WALTHER, ROGER-DUCASSE,

H. WILLAN, J. DANDRIEU, J. LANGLAIS,

J. GUILLOU, J. P. SWEELINCK,

J. REUBKE, G. BOHM,

AND OTHERS

DISSERTATION

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

David Zane Anderson, B. M, M, M.

Denton, Texas

December, 1974

'4

Anderson, David Zane, The Chorale Partita in the Baroque

Period, A Lecture Recital, Together With Three.Recitals of

Selected Works of J. S. Bach, C. Franck, v. Duruf16, D. Buxte-

hude, J. Alain, J. G. Walther, Roger-Ducasset, H. Willan, J.

Dandrieu, J. Langlais, J. Guillou, J. P. Sweelinck, J. Reubke,

G. Bohm, and Others. Doctor of Musical Arts (Organ Perfor-

mance), December, 1974, 34 pp., bibliography, 39 titles.

The lecture recital was given on August 9, 1974.

Chorale partitas by Sweelinck, Scheidt, B051hm, and Walther

were performed following a lecture on the chorale partita in

the Baroque period. The lecture included a discussion of

the instruments that the partitas were written for and the

functions for which they were written. The works of Sweelinck

and Scheidt and their influence on later composers were dis-

cussed. A number of lesser-known composers and their works

were mentioned. Also, there was a discussion of works by

well-known composers such as Bohm, Pachelbel, Buxtehude,

Walther, and Bach.

In addition to the lecture recital, three other public

recitals were performed, all of which consisted of solo com-

positions for the organ.

The first solo recital, including works of Buxtehude,

Bach, Walther, Pepping, ?ranck, Alain, and Durufle, was

performed on July 18, 1971.

On August 13, 1972 the second solo recital was performed.

Compositions by Greene, Stanley, Searle, Willan, Dandrieu,

Roger-Ducasse, and Langlais were included in the program.

The third solo recital, which included works by Sweelinck,

Bach, Guillou, and Reubke, was performed on June 5, 1974.

The four programs were recorded on magnetic tape and are

filed with the written version of the lecture material as a

part of the dissertation.

Tape recordings of all performances submitted

as dissertation requirements are on deposit in the

North Texas State University Library,

iv

NORTH TEXAS STATE UNIVERSITYSCHOOL OF MUSIC

presents

DAVID Z. ANDERSONin a

Graduate Organ Recital

Sunday, July 18, 1971 3:00 p.m. Main Auditorium

PROGRAM

Passacaglia in D Minor .......................... Dietrich Buxtehude

Prelude and Fugue.inO m c, .(S.4S .).).........Johann Sebastian Bach

Alcuni Variationi (Sopr'un Basso Continuo del

Sig. Corelli) ............................ Johann Gottfried Walther

Partita: "Ach wie flichtig, ach wie nichtig".. ............ Ernst Pepping

I NTFR1 M ISSION

Choral in E Major .................................. Cesar Franck

Two Profane Preludes ................................ Jehan Alain

I. "After this night, yet another. And after another,

yet another. . . and after . . ."

11. "They toiled a long time, without respite and without

hope. Their hands grew calloused and rough. Then,

little by little, they became a part of the grandrhythm of life."

Toccata (Suite, op. 5)............................. M aurice Durufle

Presented in partial fulfillment of the requirements for thedegree Doctor of Musical A rts

NORTH TEXAS STATE UNIVERSITYSCHOOL OF MUSICpresents

*0FK/7 /7\ P

in a

GRADUATE ORGAN RC:VAL

Sunday, August 13, 1972 3:00 p.m. Main Auditorium

Voluntary in C Minor ..................... Maurice Greene

Voluntary, Op. 7, No. 9 in G Major ...... Charles John Stanley

Toccata alla Passacaglia .................. Humphrey Searle

Introduction, Passacaglia and Fugue,

in Eb Minor ........................... Healey Willan

INTERMISSION

Suite in G Minor .................. Jean-Frangois Dandrieu

OfertoireCromorne en TailleDuo sur la TrompeteTrioR6cit de NazardDialogue

Pastorale ...................... Jean-Jules Roger-Ducasse

Hymne d'Actions de graces "Te Deum.........Jean Langlais

Presented in partial fuiillment of the requirements for thedegree Doctor of Musical A rts

NORTH TEXAS STATE UNIVERSITYSCHOOL OF MUSICpresents

in a

GRADUATE OGAN ,CITAL

Wednesday, June 5, 1974 5:00 p.m. Recital Hall

Fantasia "Ut, re, mi, fa, sol, la".....Jan Pieterzoon Sweelinck

Three Chorale Preludesfrom the Clavierubung, Part Ill..............

Dies sind die heil'gen zehn Gebot (S.678)Christ, unser Herr, zum Jordan kam (S. 684)Wir glauben all an einen Gott (S. 680)

J. S. Bach

Toccata ................................... Jean Guillou

INTERMISSION

The Ninety-fourth Psalm (Sonata in C Minor) .. Julius ReubkeGraveLarghetto - Allegro con fuocoAdagioAllegro

Presented in partialfulfillment of the requirementsfor the degree Doctor of Musical Arts

NORTH TEXAS STA TE UNIVERSITY

School of Music

presents

GRADUATE LECTURERECITAL

David Z. Anderson, organist

Friday, August 9, 1974 4 p.m. Recital Hall

THE CHORALE PARTITA IN THEBAROQUE PERIOD

"Nun freut euch, lieben Christen gemein". ... Jan P. Sweelinck(1562-1621)

"Christ lag in Todesbanden"................. Samuel Scheidt(1587-1654)

"Ach wie nichtig, ach wie fldchtig"...........Georg B-hm(1661-1733)

"Jesu, meine Freude".................Johann G. Walther(1684- 1 748)

Presented in partial fulfillm ent of the requirementsfor the degree Doctor of Musical A rts

TABLE OF CONTENTS

Page

Perf ormance Programs

FIRST SOLO RECITAL.

SECOND SOLO RECITAL

THIRD SOLO RECITAL.

LECTURE RECITAL .

LIST OF ILLUSTRATIONS.

THE CHORALE PARTITA IN THEPERIOD. . . . . .

BIBLIOGRAPHY . . . . . .

It 0909 0 0 ~v

. . .. . .. .. .. .vii

9 9 ...0 ....9.9 9 . 9 9 9 Viii

9 . . .

BAROQUE. . 9 .

x. . . .a a S . . . . .

. . 0 . . 9 . . . .S .

. . . . . . . . . . 32. .0 .0 .0 .9

LIST OF ILLUSTRATIONS

Figure

1. Sweelinck, "Psalm 140". . . . . . . . .

2. Sweelinck, "Psalm 140". . . . . . . . .

3. Sweelinck, "Nun freut euch, liebenChristen gemein" . . . . . . .

4. Sweelinck, "Nun freut euch, liebenChristen gemein". . . . . . . . . .

5. Sweelinck, "Nun freut euch, liebenChristen gemein". . . . . . . . . .

6. Scheidt, "Christ lag in Todesbanden". .

7. Scheidt, "Christ lag in Todesbanden". .

8. Pachelbel, "Christus der ist mein Leben".

9. Pachelbel, "Christus der ist mein Leben".

10. Pachelbel, "Ach, was soll ich Sundermachen?". . . . ., . . . . . * * .*.I

11. Pachelbel, "Alle Menschen mUissen sterben"

12. Buxtehude, "Auf meinen lieben Gott" . .

13. Bohm, "Freu dich sehr, o meine Seele" .

14. BOhm, "Ach wie nichtig, ach wie fluchtig"

15a. Pachelbel, "Christus der ist mein Leben".

15b. Bdhm, "Ach wie nichtig, ach wie flichtig"

16. B'hm, "Ach wie nichtig, ach wie fluchtig"

17a. Walther, "Mach's mit mir, Gott, nachDeiner Gut" . * . . . . . . . . . . .

17b. Buxtehude, "Auf meinen lieben Gott" . .

18. Walther, "Jesu meine Freude". . . . . .

Page

. . . . 6

. . . 9 7

9 0 . . 7

. . . . 8

* . . . 8

. . . . I1

. . . . 12

. . . . 15

. . , , 16

. . . . 16

* . . * 17

. . . . 18

. . . * 19

. . . . 22

* . . . 22

. . . . 22

9 . . * 22

. . . * 24

. . . . 24

9 , * . 25

x

19. Bach, "0 Gott, du frommer Gott". . . . . . .a 27

20a. Bach, "0 Gott, du frommer Gott". . . * . . . . . 28

20b. Bbhm, "Ach wie nichtig, ach wie fluchtig". . . . 28

21a. Bach, "Christ, der du bist der helle Tag". . . . 29

21b. Bdhm, "Ach wie nichtig, ach wie fluchtig". . . . 29

22a. Bach, "Ach, was soll ich Sunder machen?" . . . . 29

22b. Bbhm, "Ach wie nichtig, ach wie fltichtig". * . . 30

xi

THE CHORALE PARTITA IN THE BAROQUE PERIOD

The chorale partita is a composition in which a chorale

melody is presented in a number of variations. Sometimes the

number of variations is the same as the number of stanzas of

the chorale, and sometimes the textual meaning of the corres-

ponding stanza is expressed in the character of the variation.

The origins and functions of the chorale partita are

matters upon which many authorities disagree. Arnold Schering

ascribes the origin of the variations on ecclesiastical melo-

dies to the early Lutheran practice of performing successive

stanzas of a hymn or chorale in alternation.1 Bukofzer

agrees that the chorale partita was used in the church ser-

vice,2 as does Albert Schweitzer, who describes the alternation

practice.

It the organ gave out the liturgical songs andhymns in alternation with the choir. When theorgan had completed its verse, the text...was either recited loudly by a chorister, orelse sung.3

Among the writers who do not share this belief are

Hermann Keller and Caldwell Titcomb. As is seen in the

following quotation, Titcomb is very emphatic in his opinion

1Cited in Robert U. Nelson, The Technique of Variation(Los Angeles, 1948), p. 55.

2Manfred F. Bukofzer, Music in the Baroque Era (NewYork, 1947), p. 107.

3Albert Schweitzer, J. S. Bach (London, 1911), p. 26.

2

that the chorale partita was not used in the church service.

The chorale partita resulted from the substitutionof a chorale tune for the secular dance or air thathad usually served as the basis for sets of variations,. . .The whole 17th-century chorale-partita genre isa branch of harpsichord literature, not organ litera-ture. There was no room in the German church servicefor these lengthy variation works. The chorale par-tita, unlike the chorale prelude, was purely a seculargenre, designed for amateur use in the home; it wasintended to augment the repertory of lied-variations.

Hermann Keller adds that "the chorale partitas of the

seventeenth and eighteenth centuries transferred to the

chorale the technique and style of the song variations, and,

accordingly, were intended more for music-making in the home

than for the congregational church service

Josef Hedar distinguishes between two 'fundamental types

of chorale partitas: "a liturgical one, in which the Cantus

firmus is carried out as a Cantus planus, without colouring

of the contrapuntal voices, in imitation descant style--and

a coloured monodic type derived from the secular sequences

and figured middle voices."6

Hedar's belief that the chorale partita had both li-

turgical and secular functions is probably closer to the

truth than the views of the above writers who thought the

chorale partita had only a secular or liturgical function.

4Caldwell Titcomb, "Pachelbel: The Seven Chorale-Partitas," The Musical Quarterly, 46 (1960), 407.

5Hermann Keller, The Organ Works of B~ah, translatedby Helen Hewitt (New York', 1967), p. 17.

6Dietrich Buxtehude, Smtliche Or elwerke, Vol. III,edited by Josef Hedar (K benhavn, N.D.), p. viii.

3

Composers during this period often did not specify

which keyboard instrument should be used; therefore, it is

often difficult to decide whether the organ or harpsichord

would be more appropriate. It is likely that those varif

ations suitable for the liturgical service would be played

on the organ, while those of a secular nature would be played

on the harpsichord. In the early seventeenth century there

was a tendency to treat the chorale melody plainly and not

submit it to extensive alteration and variations, while in

the secular variations, alterations in the melody are freely

employed.7 Often during the Baroque period composers would

distinguish between secular and sacred variations by using

the terms "variatio" and "versus" respectively. Hermann

Keller points out that regardless of whether a harpsichord

or an organ is used in the performance of the partitas, a

small positiv organ would be much more appropriate than a

large church organ.8

The first composer of real importance in the development

of the chorale partita was the Dutch composer Jan P. Sweelinck,

who lived from 1562 to 1621. Sweelinck was influenced to

some extent by the Italians and to a great extent by the

English.

One principal source for the dissemination of English

music into Holland was the association of such music with

7F, E. KirbyA Short History of Keyboard Music (New

York, 1966), p.K88.

8Keller, 2p. cit., p. 176.

'4

popular English plays that were performed by various trav-

eling companies. Many of the actors in these companies were

also musicians, they performed much English music in the

various countries they visited.

Some writers have said that Sweelinck and Bull were

close friends. This has been questioned by Alan Curtis,

who says there is no evidence that Bull and Sweelinck met,

although it is probable that they did.9 There are similar-

ities in their styles that seem to indicate that they were

at least acquainted with each other's work.

During a large part of his life, Sweelinck was organist

at the Oude Kerk in Amsterdam. It is probable that a large

amount of his music was performed on the organ as well as

the harpsichord, although he seldom, if ever, indicated a

specific instrument. As with most organists of his time,

Sweelinck was required to play concerts of organ music at

specified times he himself performed every morning for the

benefit of the promenaders in the church.10

Sweelinck wrote at least thirteen sets of chorale

variations that may be considered authentic.11 The tunes

that he used as the basis of these variations include a

9Alan Curtis, Sweelinck's Keyboard Musk (London,1969), p. 27.

10Robert L. Tusler, The Organ Music of Jan PieterazoonSweelinck (Bilthoven, 19587, p. 72.

11 Jan P. Sweelinck, pera Omnia, Vol. I, edited byAlfons Annegarn (Amsterdam, 1968),7p. xi.

5

popular Christmas song, two melodies from the Gregorian

repertoire, two psalm tunes, and eight Lutheran chorales.12

The use of the Lutheran chorales is rather surprising

in view of the fact that Holland had turned to Calvinism,

which permitted only the singing of psalms in the church

service. Robert Tusler points out that there has been too

much stress laid upon the Calvinists' restriction of music

to the Huguenot psalter, for it appears that the Dutch did

not entirely accept this restriction.13 It is entirely

possible that the chorale variations of Sweelinck were at

least used for private ceremonies and for the daily con-

certs, if not for the Sunday services.

Most of Sweelinck's chorale works have four variations,

but there are exceptions. "Erbarm dich mein, 0 Herre Gott"

has six variations, "Ach Gott vom Himmel sieh darein" has

three, while "Dies sind die heilgen zehn Gebot" has only

two. In some of the variations there is an indication at

the beginning of each variation telling the number of voice

parts in the variation and in which part the chorale is.

More often than not, the melody is in the soprano; however,

it is also frequently found in the tenor or bass, but only

very seldom in the alto. Sometimes the melody is treated

in an ornamented fashion, sometimes it is partially ornamented

12Willi Apel, The History of Keyboard Music to 1700(Bloomington, Indiana, 1972), p. 333.

13Tusler, p.. cit., p. 72.

6

but usually it is presented in a straight-forward manner.

In the two-part variations the chorale melody is often set

against a lively countersubject. Although Sweelinck employs

three-part texture most often, it is only in the four-part

chorale settings that he found the medium in which he could

disclose his real powers and prove his mastery.14

Sweelinck was influenced to a great extent by the

figuration technique of the English composers. He frequently

adds rapid passing notes and scales to his melodies. An-

other figure which Sweelinck frequently uses is similar to

the Alberti bass. Figure 1 from Psalm 140 shows this device.

Fig. l--Sweelinck, "Psalm 140," p. 65

Passages like the following one in which chords are

broken into tremolo-like figures are very frequent in

Sweelinck's music (Figure 2).

Another English technique that Sweelinck uses with

great regularity is rapid scale passages in thirds and

sixths.

14 Apel, 2P. 2il.# p. 334.

7

rL L CiL 4Lr

Fig. 2--Sweelinck, "Psalm 140," p. 65

"Nun freut euch, lieben Christen gemein" contains a

number of devices that Sweelinck is fond of using. The

example shown in Figure 3 illustrates the use of stretto

between the two parts. (The notes of the theme are marked

with an X.)

Fig. 3--Sweelinck, "Nun freut euch, lieben Christengemein," p. 41.

Another favorite device of Sweelinck is the sudden

change from duplet to triplet notation (Figure 4).

In variation two of "Nun freut euch" every one of its

lines begins with Vorimitation, a contrapuntal device often

used in settings of chorale melodies, in which the chorale

melody is anticipated by one or more voices sounding the

same melody, usually in diminution (Figure 5). This very

~EmiW81?

Fig. 4--Sweelinck, "Nun freut euch,gemein," p. 42.

lieben Christen

important device was employed to a great extent by later

composers.

I

-At

40

Fig. 5--Sweelinck, "Nun freut euch,gemein," p. 41.

lieben Christen

There has been some discussion as to the value of

Sweelinck's chorale partitas. Robert Nelson considers

Sweelinck's chorale partitas mechanical and dull,1 5 while

Gustav Leonhardt and Alfons Annegarn say that there can be

little doubt that a more true and a more complete picture

of Sweelinck's greatness will be formed by such masterpieces

as the chorale partitas. 1 6

15Nelson, .Rp., c.t, p. 58.

16 Sweelinck, p. cit., p. xi.

8

lop

AP

I I

I

I I I I

9

In addition to his compositions, Sweelinck exerted

a strong influence through his teaching. His influence

spread to Germany through his many pupils, especially

Samuel Scheidt.

Scheidt's Tabulaturl Nova, published in 1624, contains

the most important pieces in variation form written during

this period in Germany. It contains pieces based on secular

songs and dances, as well as those based on chorale melodies.

Scheidt distinguished between secular and sacred variations

by calling the individual variations 'variatio" or "versus"

respectively. It is probable that the different verses were

used in alternation practice in the church service.17 Scheidt's

twenty-five partitas contain from two to twelve variations

and the total number of variations is more than one hundred

fifty.

Generally, Scheidt's methods of composition are similar

to those of Sweelinck. Usually, the melody is in the soprano,

either in its simple form or in an ornamented form. However,

the melody is also frequently found in a lower part, and is

usually presented there in a simple unornamented manner.

A look at the five variations from "Christ lag in Todes-

banden" will show Scheidt's style. As in the works of

Sweelinck, Scheidt begins with the first variation rather

than with a simple statement of the chorale. The first two

verses are in four-part writing, which is by far the most

17Bukofzer, P2. .it. ,p. 107.

10

frequent type used in Scheidt's works.18 The melody in both

of the first two verses is unornamented and in long notes.

Each phrase is treated separately with a short interlude

between phrases, similar to the points of imitation in the

motet.

The third verse is extremely long and is entitled

"Bicinium complexus mutui." The term "bicinium" indicates

that the piece is written in two parts, "Complexus mutui,"

which means mutual envelopment, probably refers to the fact

that each line of the chorale is presented twice in succession,

first in the upper part, then in the lower one.19 The use of

Vorimitation is also found in this variation.

Scheidt placed a strong emphasis on rhythmic variety,

and he often used different rhythmic patterns for different

phrases of the chorale. The following example from the above-

mentioned bicinium shows several of the different rhythmic

devices that Scheidt used.(Figure 6).

In variation four, which is written in three-part

texture, the chorale melody is in the tenor part. After

each phrase of the chorale, there is a short interlude which

usually contains Vorimitation. An interesting feature in

this variation is the use of "imitatio violistica," which

was a type of violin phrasing which Scheidt transfered to

the organ. An example of this is shown in Figure 7.

18Apel, O2. cit., p. 362.

19Ibid.,9p. 361.

FT

.dl aL

Fig. 6--Scheidt, "Christ lag in Todesbanden,"pp. 110, 111.

In the final verse the chorale melody is in the bass;

the three upper parts contain many parallel thirds and

sixths and there is some imitation between the upper voices.

11

AN

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12

Fig. 7--Scheidt, "Christ lag in Todesbanden," p. 113

In his chorale variations, Scheidt "sharpened the con-

trast between the chorale melody and the abstract patterns

of the other voices in order to emphasize the structural

function of the cantus firmus, and to make it as prominent

as possible."20

Unlike many early organ composers, Scheidt was very

careful about giving detailed instructions concerning

registration and the performance of his pieces. These

instructions are found in part three of his Tabulatura ,

Scheidt indicated that his pieces could be played on any

two-manual organ with pedals and that the melody should be

played on a strong combination so that it could be heard

clearly. He also gave instructions as to where the melody

should be played when it appears in the different voices.

Several composers who were contemporaries of Scheidt

or else lived shortly thereafter include Michael Praetorius,

Heinrich Scheidemann, Matthias Weckmann, Johann Ahle, and

Franz Tunder. Although these composers were not as important

as Sweelinck and Scheidt in the development of the chorale

partita, they nevertheless made some contributions to the

repertoire.

20Bukofzer, 2p. 9110, p. 107.

13

Michael Praetorius, the earliest of these composers,

wrote only one chorale partita. Its two variations are

based on the chorale "Nun lob mein Seel den Herrn."

Heinrich Scheidemann, like Scheidt, was a pupil of

Sweelinck. He wrote a large number of chorale partitas

which contain from two to four variations. His variations

are written in the style of Sweelinck and are typical of

the North German composers of his time. "The chorale

melody is in sharp contrast with the other voices, usually

by rhythmic differentiation, with the result that the chorale

melody stands out, particularly when the music is played on

the proper type of organ, with independent 4 and 2' pedal

stops, and with manual tones of brilliant, nasal clarity."21

Matthias Weckmann studied with Scheidemann, and his

works are similar in style to those of Sweelinck and Scheidt.

Like the two earlier composers, Weckmann uses echo effects

and employs the cantus firmus in a variety of settings:

long-note cantus firmus, melody chorale, and chorale motet.22

His nine chorale partitas, which have from four to seven

variations, contain many rapid scale passages, trills, and

much chromaticism.

21Farley Hutchins, Dietrich Buxtehude (Patterson, N. J.,1955), p. 15.

22Carl Luther Waldschmidt, Gorg Boehm: Hig Life andWorks (Ann Arbor, 1962), p. 154.

Among the seven chorale-based works of Franz Tunder are

two chorale partitas: "Jesus Christus unser Heiland" and

"Auf meinem lieben Gott." Each of the two works has three

variations. In "Jesus Christus unser Heiland" the variations

are unconnected, while in "Auf meinem lieben Gott" there are

no breaks between variations. G. B. Sharp points out that

"Jesus Christus unser Heiland" was probably the only example

written for the alternation practice, the other being composed

either for the AbeNmusiken or for when "the congregation was

to be sent home with organ music."23

The first variation of "Jesus Christus unser Heiland"

is interesting because of the use of the double pedal part,

the upper notes of which are the chorale melody. Also, there

is a change in meter from 4/4 to 6/4 after the second phrase

of the chorale. The change in meter occurs again in the

third variation, but this time after the third phrase of the

chorale.

The chorale tune, which is in the tenor part in the

second variation and in the bass part in variation three,

is presented in all three variations in a simple unorna-

mented manner.

The most important organ composers in the period

immediately before Bach were Pachelbel, Buxtehude, and

Bdihm.

23G. B. Sharp, "Franz Tunder: 1614-1667," The MusicalTimes, 108 (1967), p. 997.

15

Johann Pachelbel was a pupil of Heinrich Schwemmer

and Georg Wecker in Niirnberg, and of J. K. Kerll in

Vienna.24 He wrote at least seven chorale partitas, four

of which were published under the title &Lslkajische Stor-

bensgedanken. An examination of the three other partitas

reveals a certain amount of technical immaturity and un-

evenness of quality, leading to the conclusion that they

are a product of earlier years.25

Pachelbel begins each of the partitas with a simple

four-part setting of the chorale. In most of the variations

the melody is in the soprano part in a recognizable form

although it sometimes is found in other voices. Occasionally

the chorale is hidden in passages of sixteenth notes as in

variation six of "Christus der ist mein Leben" (Figure 8).

Fig. 8--Pachelbel, "Christus der ist mein Leben,"p. 8.

Sometimes the chorale is completely disguised in con-

tinuous figuration, as in variation four of the same partita

(Figure 9).

24David W. Hinshaw, "Cantus Firmus Treatment in theChorale Prelude Before Bach," A Qerican Organist, 46 (1963),p. 23.

25Warren Frederick Schmidt, fThe Oran Chorales ofJohann Gottfried Walther (Ann Arbor, 191) ,0p.76.

x x~ty

Fig. 9--Pachelbel,p. 6.

Some features of Pa

"Christus der ist mein Leben,"

chelbel's partitas are similar to

those of earlier composers: the employment of the bicinium

style, the shifting of a theme into a lower voice, and the

changing of the motif of figuration within a variation.26

An example of the changing of a motif within a variation can

be seen in variation five of "Ach, was soll ich Siinder

machen?" (Figure 10).

OF.

Fig. 10--Pachelbel, "Ach, was soll ich Sunder machen?"p. 42.

Chromaticism is used rather sparingly in most of the

partitas so that when it is used, as in variation seven of

"Alle Menschen missen sterben," it is all the more inter-

esting (Figure 11).

26 Apel, p. cit, p. 658.

16

v

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i

I

Fit-L,

I

17

Fig. ll-Pachelbel, "Alle Menschen missen sterben,"p. 19.

Dietrich Buxtehude was influenced by the music of

Tunder, and as all North German organists, he was also

strongly influenced by Sweelinck.27 In his six chorale

partitas he primarily used traditional forms such as bignium

and triinium settings which contain the chorale melody ac-

companied by one or two ornamental voices. Buxtehude's

bicinia, in particular, differ from those of Sweelinck,

Scheidt, and Weckmann, not only because the strict cantus

plans is replaced by a naturally flowing chorale rhythm,

articulated by rests, but also in the vitality of the figural

counterpoints, which are free of schematism and formalism.28

The chorale partita based on "Auf meinen lieben Gott"

is very unusual in that the dance rhythms of the suite

have been applied to the variations. The variations, the

beginnings of which are shown in Figure 12, consist of an

Allemande with Double, a Sarabande, a Courante, and a

Gigue,

27Hutchings, p. gjci., p. 29.

2 8Apel, 9 2 .it. ,9p. 617.

I z~zzzizez

aix 62

-V

A Y1 ~ I ~~' 'di

t~#3~W,0~~-

IIV

Fig. 12--Buxtehude, "Auf meinen lieben Gott," pp. 37-39

18

El 4 i I LI

olNLV

A

Alp

Or

Ar L.a AFr

Eii

ot

I

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01

"

19

Farley Hutchins concludes that the separation of the

world into sacred and secular spheres was not yet decisive

and that it was not unusual to hear dance rhythms played

on the organ during church services.29 According to Willi

Apel, however, "surely we may assume that Buxtehude's

chorale suite was not heard on the church organ but on the

harpsichord or clavichord for domestic edification.30

After Buxtehude, one of the most important composers

of chorale partitas was Georg Bbhm, who wrote nine works

in this form. Bohm was a North German composer who was

very much influenced by the French style. His use of many

of the French ornaments is, in fact, one of the main con-

tributions that he made to keyboard literature. Figure 13

shows a number of the ornaments B*5hm used. Among those

which he frequently used are the mordent, trill, appogia-

tura, turn, arpeggiated chord, and ort de voix.

Fig. 13--B~hm, "Freu dich sehr, o meine Seele, " p. 106

The individual variations in Bohm's partitas are called

e ither "partita, " "versus, " or "variatio. " Willi Apel

30Apel, 2.. p. 617.

20

divides B'Ohm's chorale variations into two categories. The

pieces whose variations are called "partita" or "variatio"

are in one category while those whose variations are called

"versus" are in a second category. Apel's explanation for

the division into two categories is given below.

Bahm adds a new type, the chorale partita, to thetraditional species of chorale variations. Thetwo types derive from the same idea, but they differin their methods. In chorale variations the melodyis treated in many different ways: as a motet, bi-cinium, cantus planus, free fantasy, etc; in thechorale partita, on the other hand, it is handledlike a secular song, usually employing only variouskinds of figuration. The former are dominated bycontrapuntal texture; the latter employs counterpointonly to enliven the homophony. In the former theharmonic and structural features of the theme, such asthe length of the individual phrases, have no im-portance, in the latter they are retained strictly.In chorale variations the melody is often freelytreated, put in a lower voice, diminished, ornamentedor fragmented: in a partita it is always heard in itsoriginal form and almost always in the soprano. Theformer are meant for the church organ: the latter isjust as easily executed on a house instrument. 31

Although Apel has tried to put the pieces into two

different categories, this is often very difficult since

there is bound to be some overlapping. For example, there

are exceptions to the statement that "in a partita the

melody is always heard in its original form and almost al-

ways in the soprano." In variation seven of "'Ach wie nichtig,

ach wie flUchtig" the melody shifts among the three voices.

In the first phrase the melody is in the lowest part, in the

second phrase the melody is in the alto, while in the rest

of the variation the melody is in the soprano.

31Apel, op. cit., p. 632.

21

Carl Waldschmidt classifies the variations by the

instrument for which he says they were intended. He calls

the pieces that Apel says are chorale partitas "harpsichord

variations"; the pieces that Apel calls chorale variations,

Waldschmidt calls "organ variations."32 Concerning the

harpsichord variations, Waldschmidt says that "the thick

chordal texture in the left hand, the large skips, and the

general style are so inappropriate to the organ that one

can assign them with confidence to the harpsichord."3

Whether or not the pieces are for the organ or harp-

sichord, or whether or not they are called "partitas,"

"chorale variations," or "harpsichord variations," they

nevertheless contain many interesting features,

Sometimes B*hm begins a piece with a simple harmonized

setting of the chorale while at other times he begins with

the first variation. The texture of Bdhm's chorale har-

monizations, as well as much of his other music, varies

considerably. In the following two-measure example (Figure

14), the texture varies from three to seven parts.

As in Pachelbel's partitas, B8hm's chorale melody is

often found in flowing sixteenth-note patterns; the similar

way in which both composers use this rhythmic pattern can

be seen in Figures 15a and 15b.

32Waldschmidt, op. cit., p. 157.

33 Ibid., p. 158.

22

Fig, 14-Bhm, "Ach wie nichtig, ach wie fluichtig,"p. 74.

Fig. 15a--Pachelbel, "Christus der ist mein Leben,"p. 8.

Fig. 15b--$6hm, "Ach wie nichtig, ach wie fliichtig, "p. 74.

The transfer of motives from one register to another,

as seen in Figure 16, is frequently found in Bdhm's music.

ZAP fp,N C

loz 1 1%4

Atdo

dv

AAPIF

Fig. 16--B6hm, "Ach wie nichtig, achp. 76.

wie fliuchtig,"

Bohm also uses arpeggiated style and echo effects.

AfF

4pp,

23

The music of Pachelbel, Buxtehude, and Bdhm greatly

influenced other composers, both their contemporaries and

later composers, such as Walther and Bach, This influence

was spread through direct contact with these composers, and

indirectly, through their pupils. Pachelbel, for example,

was the teacher of Buttstedt and J. C. Bach, who in turn

were the teachers of Walther and J. S. Bach.

During this period a number of lesser-known composers

also wrote chorale partitas. These include Nicolaus Hasse,

Johann Krieger, Johann Buttstedt, Johann Kortkamp, Adam

Reinken, J. C. Bach, J. M. Bach, and Vincent Liuibeck.

The last composer before Bach whose chorale partitas

will be discussed in some detail is Johann Gottfried Walther,

Walther, who was almost an exact contemporary of Bach, was

a pupil of Buttstedt. His study with Buttstedt, however,

was not successful, and, as a result, he decided to study

music without the help of teachers.

Walther's thirteen chorale partitas can be divided into

two groups. One group consists of partitas whose variations

dalther planned to be played in a series. "Jesu meine

Freude" and "Meinen Jesum lass ich nicht" are among the five

partitas in this category. The other group consists of par-

titas, each of which is, more or less, a collection of chorale

preludes on the same tune. "A careful study of the components

of these sets shows that each is a chorale by itself, re-

flecting the general spirit of the entire text, rather than

24

an individual stanza2"3I The influence of a number of earlier

composers can be seen in Walther's partitas. Walther employs

a number of devices used also by Pachelbel, such as meter

changes from 4/4 to 3/4, and the presentation of the phrases

without pauses. Both composers also usually introduce the

melody in a simple, straight-forward manner.

The use of dance rhythms in Walther's partitas is

reminiscent of Buxtehude. Figure 17 shows a comparison

between the last movement of Buxtehude's "Auf meinen lieben

Gott" and variation five of "Mach's mit mir, Gott, nach

Deiner Gut" by Walther.

AA

Fig. 17a--Walther, "Mach's mit mir, Gott, nach DeinerGut," p. 91.

de I

4 1_____________

Fig. 17b--Buxtehude, "Auf meinen lieben Gott," p. 39

34Yarren Frederick Schmidt, The Organ Chorales of JohannGottfried Walther (Ann Arbor, 19617 p. 1 .

25

The ornamemtation of the melody in the style of B'hm

can be seen in variation two of "Jesu meine Freude" (Figure

18).

I)I

Fig, 18--Walther, "Jesu meine Freude," p. 143

Walther's chorale partitas are primarily of the melo-

dico-harmonic type which is described below by Robert Nelson.

The melodico-harmonic chorale variation is moretransparent and graceful than the complex cantusfirmus type. The theme melody is confined mainlyto the soprano voice, where it generally appearsin figured form; the basic theme harmony undergoeslittle change; and the texture, although often in-volved, is less contrapuntal than that of thecantus-firmus variation.35

In the individual variations of his partitas, Walther uses

various chorale settings such as cantus-firmus type, or-

namented type, melody chorale, and chorale canon. An

inspection of Walther's works reveals that he did not

create any new forms or introduce any new musical techniques

but was satisfied to model his style upon that of the com-

posers who came before him.

35Nelson, _2. cit., p. 62.

26

The chorale partitas of J. S. Bach, especially the

one based on "Sei gegruiisset, Jesu gutig," represent the

culmination of the development of the form. According to

Hermann Keller, "Sei gegrusset, Jesu gutig" is the most

important partita in the entire literature for organ.36

In addition to "Sei gegrusset, Jesu gitig," Bach wrote

partitas on "Christ, der du bist der helle Tag" and "0 Gott,

du frommer Gott." There are two additional partitas which

may have been written by Bach. They are "Ach, was soll ich

SUnder machen" and "Allein Gott in der Hh sei Ehr." Albert

Schweitzer says it may be left undecided as to whether these

partitas are by Bach.3 7 Hermann Keller believes that the

partita on "Ach, was soll ich SUnder machen" may pass for

a work of Bach as well as the other partitas.38

One interesting question regarding the partitas is

whether or not Bach was influenced by the text. In "Christ,

der du bist der helle Tag," Bach wrote seven variations to

correspond to the seven stanzas of the hymn. "0 Gott, du

frommer Gott" contains nine variations, while the hymn has

eight stanzas. If the text is not applied to the first

setting, which is just the plain harmonized chorale, the

eight stanzas of the text may be placed under the remaining

variations. Then it appears that some of the individual

36Keller, p2. cit., p. 182.

37Schweitzer, 2. c it., p. 282.

38Keller, op. cit., p. 181.

27

variations may be interpretations of individual stanzas of

the text. "It seems certain that the eighth partita (vari-

ation seven) in its yearning chromaticism is an interpretation

of stanza seven (Figure 19), the text of which partially

iS:

'Let nothing that may chance,Me from my Savior sever."39

Fig. 19--Bach, "0 Gott, du frommer Gott," p. 89

Although Bach was influenced either directly or in-

directly by most European composers, his chorale partitas

seem to have been influenced more by Bdhm's works than by

those of any other single composer. Schweitzer goes so far

as to say that when he wrote these works he had not yet

of 40 #found himself but was still a pupil of Bohm. Bohm's in-

fluence on Bach is not to be denied, but whether or not

Bach actually studied with Bdhm is a question which may

never be answered. It seems reasonable to believe, however,

that during the three years Bach spent in Luneburg, he had

39 bid., p. 180.

40Schweitzer, p*. cit., p. 282.

v In bf Afga Af 6 iF, w v orAP L ,&Ah .0 V-w1 A -A 11 v IF V '0120 1

\1 J kz or i-

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28

close contact with Bohm.l A number of examples can be

given which show the influence Bohm has on Bach. In the

harmonized setting of the chorale "0 Gott, du frommer Gott"

the texture varies considerably and is very similar to the

texture of Bhm's "Ach wie nichtig, ach wie flichtig."

Both examples are shown in Figure 20.

-g-

Fig. 20a--Bach, "0 Gott, du frommer Gott," p. 84

Fig. 20b--Bbhm, "Ach wie nichtig, ach wie fluchtig,"p. 74.

Bach's fourth variation of "Christ, der du bist der

helle Tag" is very similar to the third variation of B6hm's

"Ach wie nichtig, ach wie fluchtig" (Figure 21).

Another example is the second variation of "Ach, was

soll ich Sunder machen" in which Bach was probably influenced

41Waldschmidt, op. cit., p. 18.

29

_ IIIV

Fig. 21a--Bach, "Christ, der du bist der helle Tag,"p. 80.

Fig. 21b--B6hm, "Ach wie nichtig, ach wie Tluchtig, "p. 7Lj.

by the second variation of B6hm's "Ach wie nichtig, ach wie

f2Lichtig" (Figure 22).

Fig. 22a--Bach, "Ach, was soil ich Sunder machen, "p. F4.

Bach's longest and most mature partita, "Sei gegrsset,

Jesu giitig," seems to have been written at a later date

than the others. Unlike the other partitas, "Sei gegriisset,

, 44- 11

30

Aft

ddlL'PAP

r 1- .AO

v

i ty.

Fig. 22b--B~hm, "Ach wie nichtig, ach wie fluchtig,"p. 74.

Jesu gtig" begins with a four-part chorale setting the style

of which Bach did not use before 1713.42 Hermann Keller

believes that Bach made a number of revisions in all of the

partitas and that "Sei gegrUsset, Jesu gutig" was probably

43revised for the last time at Weimar.

Like BOchm, and also Walther and Pachelbel, Bach em-

ployed the melodico-harmonic technique in his partitas,

although he also used the cantus-firmus type, examples of

which are found in variations seven, nine, and ten of "Sei

gegrisset, Jesu gutig."

The chorale partitas of Bach stand at the end of the

history of the chorale partita in the Baroque period. Its

development, from Sweelinck to Bach, was unusual in that it

resulted from the combination of the secular song variation

and chorale prelude, and thus it was a hybrid type. "In

4 2Keller, . cit., p. 182.

I3biodp . 182.

31

spite of its undeniable inherent interest, the chorale

partita had little immediate influence upon the course of

variation technique as a whole." Although chorale par-

titas were written by many Baroque composers, and were

performed on both secular and sacred occasions, the form

was cultivated very little after the Baroque period, until

the twentieth century.

44 Nelson, gp. cit., p. 65.

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Arnold, Richard Corliss, Organ Literature: A ComprehensiveSurvey, Metuchen, N. J., 1973.

Bedbrook, Gerald Stares, Keyboard Music from the Middle

Aggs to the Beginnings of the Baroque, New York,Da Capo Press, 1973.

Bukofzer, Manfred F., Music in the Baroque Era, New York,W. W. Norton & Co., Inc., 1927.

Curtis, Alan, Sweelinck's Keyboard c, London, OxfordUniversity Press, 1969.

Dart, Thurston, The Interpretation of Music, New York andEvanston, Harper and Row, 1963.

Geer, E. Harold, Organ Registration in Theory and Practice,Glen Rock, J. Fischer and Bro., 1957.

Gillespie, John, Five Centuries of Keyboard Music, Belmont,Wadsworth Publishing Co., Inc., 1965.

Hutchins, Farley, Dietrich Buxtehude, Patterson, N. J.,Music Textbook Company, 1955,

Keller, Hermann, The Organ Works o Bach, translated byHelen Hewitt, New York, C. F. Peters Corp., 1967.

Kirby, F. E., A Short History of Keyboard Music, New York,The Free Press, 1966,

Liemohn, Edwin, The Chorale, Philadelphia, Muhlenberg Press,1953.

Nelson, Robert U., The Technique of Variation, Berkley andLos Angeles, University of California Press, 1948.

32

33

Schweitzer, Albert, J. S. Bach, translated by Ernest Newmann,

London, A. & C. Black, Limited, 1911.

Spitta, Philipp, Johann Sebastian Bach, translated by Clara

Bell and J. A, Fuller Maitland, London, Novello and Co.,Limited, 1899.

Taylor, Stainton De B., The Chorale Preludes of J. S. Bach,London, New York, Toronto, Oxford University Press, 1942.

Tusler, Robert L., The Organ Music of Jan PieterzoonSweelinck, Bilthoven, A. B. Creyghton, 1958.

_, The Style of J. S. Bach's Chorale

Preludes, Berkeley and Los Angeles, 1956.

Williams, Peter F., The Eurooean Organ 1450-4850, London,B. T. Batsford, 196 .

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Beck, Theodore Albert, "The Organ Chorales of Johann Gottfried

Walther: An Analysis of Style," unpublished Ph.D.

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Schmidt, warren frederick, "The Organ Chorales of Johann

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Dalton, James, "Samuel Scheidt," Musical Opinion, 78 (October,1954), 43-44.

Dunham, Edward K., "Samuel Scheidt," Organ Institute Quarter-

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Hinshaw, David W., "Cantus Firmus Treatment in the Chorale

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1963), 10-15, (July, 1967)-, 22-24.

Sharp, G. B., "Franz Tunder: 1614-1667," The Musical Times,108 (November, 1967), 997-999.

Staplin, Carl B., "Stylistic Changes in the Chorale Preludesof J. S. Bach," The American Organist, 50 (September,1967), 16-18.

Titcomb, Caldwell, "Pachelbel: The Seven Chorale-Partitas,"The Musical quarterly, 46 (1960), 405-407.

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