E D I TE D BY

FR E D E R ICK J C R OWE S T
. .

TH E
STO RY OF O R GA N MU S I C
 ( th e M us i c S t o r y S e r i es
Vl
.

ne t pe r o u me .

A [ r eady j u blz s lze d i n t h i s S e r i es .

TH E T ORY O R A T O I O By A
S OF fl R PA
B A M W th Ius Doc i
.

llu s t r at i o ns
NN I E s R so x ,

TH E S T O Y N O T A T I ON By C F
. . . .
.
,

R OF A BD v
W M M
I LL I A M s , W th I ll t t
A u s. B ac
.

i u s ra
. .

i o ns
TH E S T O R Y TH E O R G A N By C F
. .
, . .

OF A B DY
W ILLIA S M M M W th I ll t at
A u s. Bac i
.

us r
. .

i o ns
TH E S T O R Y O F C HAM B E R M U S I C By N
. .
, , . .

IL B R N M ( C t ) W t h I l l t at
. .

K U u s. B ac an ab i us r i o ns
TH E S T O R Y TH E I O L I N By PA L
, . . .

OF V S T O E V I NG
W th I l l t t
i us r a i o ns
. U .

TH E S T O R Y O F TH E HA By H G A A
.

RP \V N

F W t h I ll t t
R TI
’ '
. . .

LO O D i us r a io n s
TH E S T O R Y O R G A N M U S I C By C F A B
. .

OF
M
\VI L L I A MS , M W t h I ll t t
A . .
, u s. B ac . i
.

us ra
.

i o ns
.

.
DY

7 71 i s S er i es, i n su pe r i o r lea/li e f b i n di ngs m ay be lz ad ,

o n ap p li cat i o n to t h e P u bli sh e r s .

[ A LL R I GH rs R ES E R V E D ]
 y
“
b
?
!
if
?
H
C . Ff A B D Y W I L L I A MS
M . A . Mus . Bac .

9
0
6 490
9
1
6 {x
'

N ew Yo rk : Cha rl e s Sc ri b n e r s ’
S on s

I 905
 P r e fac e .

AN Y TH I G
N l i k e a com p l et e h i s tory o f t h e ri s e an d de
v e lo p m e n t o f o rgan m u s i c wo ul d req ui r e a far l arge r

b o o k th an th i s an d woul d p rob ably e xten d t o s e ve ral

,

vol um es to say n oth i n g O f a coll ecti on of e xam pl es

,

of th e va ri ou s s ch ool s an d ep och s wh i ch woul d b e

,

n eces sary Th e reade r m u s t th e r e fo r e expe ct t o fi n d

.

n oth i ng m or e th an an o utl i n e o f th e s ubje ct , i n wh i ch

a few o f th e wo rks o f s om e o f t h e l eadi n g rep resenta
r
t i v e s ar e b i efly d escri bed .

I h av e d rawn con s i derably on R i tte r s Ge sch iclzte de s

’

O rge lspi e ls wh i ch deal s wi th organ p l ayi n g f om th e

,
-
r
fou rteen th to t h e b egi n n i ng of th e eigh teen th ce n tu ri es ,

wi th s peci al regard to th at o f Ge rm any I t h as a

.

val uabl e coll ecti on o f n o l es s th an o n e h un d e d an d r

r r
th i rty s i x p i ece s o f ea ly o gan m u s i c Of al l n ati on s
-

as i ts s econ d vol um e ; an d th i s i n conj un cti on wi th

,

th e coll ecti ons o f C om m e r an d oth e rs give s u s a ,

r r
g eat deal Of i n sigh t i n to th e g ad u al growth of o gan r
r
fo m s My s tud i e s h av e l ed m e t o th e con cl u si on th at
.

V
 St o r y Of O rgan M u si c
r
th e h i sto ry o f o gan m us i c al l revolves oun d o n e r
gi gan ti c p e rson al i ty J S Bach : for th e ea l ie r c o m
, . . r
p os i ti on s o f I taly Ge rm any an d E ngl an d see m al mos t
, ,

r
to h ave only existed i n o de r t o m ak e h i s p ossi bl e an d ,

si nce h i m n o o rgan comp os er o f any e m i nen ce h as

e xis ted wh o h as n ot been l argely i n fl uen ced by h i m .

Th i s at any rate i s th e vi ew to wh i ch I h av e been

, ,

l ed bu t i t i s q ui te p os sibl e th at oth e rs m ay ar iv e at
, r
di f
feren t concl usi on s .

S i n c e i t i s n o t conven i en t to ad d a s econ d vol um e of

m usi cal i ll ustrati on s as R i tte r was abl e to do I h av e
, ,

h ad to con ten t mysel f wi th a few q uotati on s i n an

A pp en di x . I h ave gi ve n th e wh ol e o f a Toccata by
r r
Pas qui n i wh ose wo k s we e s up pos ed u n ti l rece n tly to
,

r
h ave bee n l ost to th e wo ld ; an d th e styl e of E l i z abethan
o rgan m us i c i s exe mpl i fi ed by a C h oral vorsp i el by D r .

joh n B ul l th e m os t fam ous E ngl i sh o rgan i s t of h i s d ay

,
.

I take th i s opp ortun i ty o f ackn owl edgi ng t h e cou rt e s y

r
o f th e C urato s of th e S ch ool s of O xford U n ive r s i ty i n

al lowi n g m e to rep rod uce th e i r p ortrai t of th i s gr e at

m us i ci an wh i ch wi l l be fou n d faci ng p age 1 92
,
.

C . F . A W . .

MI L FO R D -
O N- S E A ,

Oelaber , 1 905 .
 C ont e n t s .

CH A PT ER I .

R OM A N O R G AN M U S I C
G R AZ C O -

A
A nt i i ty
qu rgan— y dra l s —
O ft h e o Th e h i c— u u an d i t s m us
’

D ifi e r e n ce s
P GE

between ancient and dern — i c R ap i d i t y exec t i n

mo m us of u o

re erred by ancient wr—i t ers p e eral nat e

f to E h m ur o f i n st r u

m ental ic general Three peri ds

m us in dern rgan o o fmo o

m usi c
CH A P E R I I T .

FORM MUSIC I N .

Ne ce i t y
ss r — D ance i c— rl y— r s rgan i c
o ff
o m m us Ea f
o m o fo m us
M i c and arc i t e ct re c pared H ar n y and c nt er
us h u o m mo ou
p i nt—R i e t nal i t y— R y th
o s o fo p p lar i c h m an d o u m us

CH A PT E R I I I .

I TA LI A O R G A N M U S C
N I .

Land i n — everal k i nd anc ient rgan — rgans at

o Th e s s o f o O St
Mark Ven i ce and
.

’
s, — Z u cch e t t i O r gan u m m agn u m m gan u m
rgan t and rgan b i ld er
fi

f ar t/ u rn O is o u S gu ar ci alu po
—B i c at Mark — ea l ie t
-

VVI llae r t — uu s Th e m u s St
’
s Th e r s

pri nted I tal i an rgan i c

.

o m us

vi i
 St o ry Of O rgan Musi c
CH A PT E R I V .

I TA LI A O R G AN M U I C ( i d)
N S co n t n ue
A
.

—Pal e tri na—Gabrie l i — P p lar t n es c ch— Di r ta

P GE
Me r u lo s o u u in h ur u
— —T ccata —
1 1 Tr an si lv an o st ps— o s Use o ft h e o A n t e gn ati
I al i n rgans and rgan i t
t a o sixtee nth and e ve nt ee nth
o s s O ft h e s
cent ries u

CH A PT E R V .

I TA LI A RGA M U I C ( ti d)N O N S co n n ue .

Fresc—bald i——Dire t i —ns

o c pr per per r nce
o fo r th e si c o f
o ma o fh i s m u
R ssi o ther I tal i an rgan ists
F as o lo O e v e ntee nt h o o ft h e s
and e gh teenth cent ries
i u

CH A PT E R VI .

G E R M AN O RG A N M U I C S .

The ri e rgan i c G er an y—
s ofo m us in m —H
Pau man n i s F u nda
men tum O rgan i z andi
— I ncrea e
C pa
omss G
ofer an rgan
m o s
Hof h ai m e r s n
i n th e umber rgan
o fo — s K Th ec h o
a i l y— rn— ld c l i ck— p
fm A o S h — G er an
S i ege l de r Or gelm aclz er m
Tablat re Kleber C l rat ra
u s o o u erb c
Am m a hP p lar o u

t nes
u red w rd
se t t o sac o s

CH A PT E R V I I .

G E R M AN ORG M U I C ( i d) AN S co n t n u e .

— ri i n
T h e S ch m i ds O g tablat r e— of g e— Pa ix— W lt u s Th e fu u o z
— L t her s y n —R i e
L u y th o n u
’
h mC ralv r p ie l
s s O f t he ho o s

S chei dt weel i nck —Decay G er an tab at re —

S of m l u s Th e
organ — at r t ed
was n o t fi an y c ir to acco m th e ho o r co n

h anag e nt
s us

c
gr e gat i o n Shei dt d rect i ns '
s i o f
o r t e m em o fth e
organ —H t nal i ty —F r s rgan i c ettled
is o o m of o m us s in
G er an y
m

vi i i
 C o nt e n t s

CH A PT E R VI I I .

G E R M A N O RGA N M U I C ( ti S co n n ued ) .

A
S chei d em ann Rei nk en B xteh d e Br h ns t P GE
u u u Th e S o u h
G er an —sch l H a— ler K—i nder —ann c l r
m oo ss m S h e mm e
Pac elbel teigleder — rbach— peth—Fr b rg r and
h S E S o e e th e
legends n ern i ngco Kerl M at
c Bac a l y
h im uf
f Th e h fm i 1 04

CH A PT E R I X .

RGA MU I C G E R M A Y (
O N S IN N co n ti n ued ) .

Th e o rgan w rks J S Bach

o o f . .

[7 aa J
CH A PT E R X .

F R E N C H O R GAN M U I C S .

The rgan
o Franc e— F i r t Fre nch p bl i cat i n — Fre nch tablat re
in s
— R a i n — Fre nch pre ere nc e
u o u
— —
Ti t e lo u z e G i gau lt so r ee d f f
or

t ps— B g e—French rgans—

s o Le e u —Cha b n
o
’
D A n gle b e r t m o

n i eres March and

Th e C o u pe r i ns R a ea Be d s m u o de
Ce lles
CH A PT E R X I .

O RGAN M U I C PA I
S TH E N E T H E R LAND S
IN S N A ND .

t ri t ies — pan i h i cal— hi t ry——M i c a pan i h

Au ho f
or S s m us s oin us S s

cathedral pan i h —rgans Cabe n —pan i tablat

S s o zo S re sh u
H—ernand — Cabe n— o de zo Ca t i ll
D t e go de s — o j
C lav i gO A r r au o
L re nte N
o al Te pera—ent r —t pr p ed I n
ass ar re E qu m m fi s o os

pai — C ange t y l e —rgan c lava

S n h o fs in o P
m us i rt g
Es ee o u u s

i c Ne t erlands c Bell and rgans——B ll P —ll p

-

m us h m u si s o u hi i s,
and t—er ngl i h en
o h E s m Ne t erland
i n th e C rnet Van
h s o
,

G ey n weel i nck Van N

h S -
o o r dt

IX
 St o r y Of O r g an Musi c
CH A PT E R X I I .

E NG L I S H O R G A N MU I C S .

rgan — ngl i h ch rch—— n i ver i t y degr—ee — ngl h I AGE

'

Th e o i n th e E s u U s s E is
tablat re H—enry bi ngt n C athedral
u s c D ay
A mu i
’
s Ce r
egat i nal i ng i ng—Tall is — —B yrd
o
t ai neN C ngr
—B ll —
o t es o o s Tye
Bli th e m an G i bb ns a i ly— b l i t i n
u Th e o fm A o o o f th e
Li t rgy u

CH A PT E R XI I I .

N G L I S H O RGA M U I C ( i d)
E N S co n t n ue .

Re erect i n o rgans a ter — Rest rat i n — i n fl

o fo en e
f the o o Th e u c o ft h e
p ra c rc h si c N rgan —D r Green e
-

O e o n hu mu e w use o ft h e o
—J h n R b i n n — C rne t p iec es —D r Bl w— D bl e and
.

o o so o o ou

si ngl e gans—Cr t — P rce ll — H T ccata — H v ie ws

.

o r o f u is o in A is
o fE ngl sh i c— dvent — H andel—
i m us v ie—w
A o f B u r ne y
’
s s o f
E ngl i i nstr ental i c H —andel s rgan w rks Mace
sh um m us
’
o o
and rgan parish h rches V llage c rch band
th e o in c u i hu s

CH A PT E R X I V .

CO N T N E N T A L O R G A N MU I C S I N CE 75
I S 1 0 .

I tal i an rgan o si c — mu— ant cc i — C ap cc i —

V allo t t i S u T e r rab ugi o o
B s ——Ger an— rgan c—W— F Bach—P p l j
o si m o m us i u i s o f S
Bach a — — V gl er c —n ei ders . . . .

Ri A lb r e ch t s b e r ge r o The S h
Mend e n H e e c ann F i c er
-

lsso h ss S h um — Th e s h s Fai s st
T— iele — R i tter— Merkel ——R ei nberg—er
h R eger
h F ah r man n
French rgan— s c— n i t — o mu i —N Be o s Lam b i llo t t e i sar d
L— b re W—ly Franck
f
ee u e a nt a n —D b i
Bo e llm an n S i S e s u o s

Wi d r —D tch rgan ist —Van

- -

G u i lrn an t o u — o s E IJk C D DC
Lange
 C o nt e nt s

CH A PT E R XV .

TH E R OG R E SS O F O R G AN MU I
P E NG LA ND S C IN .

A
— rn e tanl ey—Nares C k e — D p i B e ck
P GE

R o se i ngr av e A S oo u u s
w i t — — We l—ey — C lark e W— —R ell ——Cr tch
h Th e s s h i tf
e ld us s o

da Wesl ey
-

N o v e llO A
—Best —
s S m a t t irl i ng park
S Sm r S S
pre ent ngl ish sc l
. .

O use ley Th e s E ho o

A PP E ND IX A .

Musi ca l I ll str ti n
u a o s

A PP E ND I X B .

A C r n l gi cal Sy n p is
h o o o o s Of O rgan C p ers o m os

PP E ND IX A C .

B i bl i graphy d C lle t i ns fOrga M

o an o c o o n i
us c

I ND E x

xi
 L is t Of I ll us t r at io n s .

P A GE
“
TE D EU M L A U DA MU S , ”
F RO M T H E PA I TI G
N N BY

E NR Y B ARRAUD
H F r o n t z sp i ece
’

I TA LI A N TA BL A T UR E N I 597 F R OMI , IL T RAN S I L AN O

V

T I TL E A G E OF
“ ”
-
P I T NS L N RA I LV A o

T I TLE PA G E
-
OF A T A BL A T UR E
NTE GNATI S B ’
OOK ,

SH W I G P O R T RA I T OF T H E AU T H O R
O N

T A BL A T UR E
’
A NTE GNA T I S 68 , 1 0

T I TL E A G E OF F
-
P F I R T B OO
R E S C O BA L D I S OF ’
S K

R C AN O N I
E C E R C A R I A ND Z

V I G N E TTE OF F R E S C O B A L D I

O R G AN S C O R E F R OM F F I R T B OO OF
R E S C O BAL D I S
’
S K

R ECE R CAR I

G E R M AN T A BLA T UR E , 1 571 , F R OM A MM E R BA C H W I TH ,

RAN S LA T I O N
T

O R G AN S C O R E F R OM F A N T A S IA TH E
’
R O BE R G E R S F ON

H E A C H O RD F ROM I RCH E R S MU S U R G I A ,
’ ”
X . K

1 650
 S t o ry o f O rgan Musi c
V A R I OUS ATT E M PT S T O O L E T H E T E M E RA M E N T
S V P

D I FF I CU LT Y BY D I I D I NG T H E B LA C K EY
V K S .

F R OM K I R C H E R 65 ,
1 0

P O R T R AI T OF D R JO H N B U LL N T H E O F O RD
.
,
I X

V I G N E TT E O F D R B L O W
.

V I G N E TT E OF T H O M A S MA CE

P O R T R AI T OF S A M U E L W E S L E Y ,
F R O M A PAI N T I NG
JO H N JA C K S ON R A ,
. .

xiv
 St o r y Of O rgan Musi c
wh at m ay s ee m l i k e a parad ox th e o gan i s n ot only
, r
on e o f th e m os t an ci en t b u t i s at th e sam e ti m e th e
,

m ost m ode rn of i ns t ru m en ts for i ts cap a ,

A n t i q ‘ fit y
b i li t i e s and res ou rce s h ave s o e norm ou s ]y
o ft h e

O r ang I
n creased d ur i ng th e l s t cen tu y
a th at th ere ,
r
I s al most as m u ch d i f r
fe en ce betwee n an
i n stru me n t O f to day an d on e Of a h un d ed years ago
-
r
as th e re i s betwe en th e m ode rn exp ess t ai n and th er r
“
stag e coach wi th i ts l igh tn i ng s pee d o ftwelve m i le s
.
, r
an h o u r A n d j us t as rem a kabl e t ravel s an d voyages
we r e m ad e i n t h e d ays of coach es an d s ai li ng sh i p s s o -
,

remarkabl e com pos i tion s we re wri tte n and p e rform e d

by compos e rs wh o were o nly acq uai nted wi th i n s t r u
m e n ts th at we s h o ul d con si de r cl umsy and u n m an age
abl e i n t h e extre m e . Th e o rgan bui l de s art h as
-
r ’

r
certai n ly l ighten ed th e wo k O f th e player an d e x ,

t e n de d th e reso urce s o f th e com p ose r ; b ut i t can n ot

i n i tsel f p rodu c e great compose rs o r p layers Th es e .

w i ll ari s e i ndep en dently o fth e greate r o r l es s pe rfecti on

of th e i n strum en t wi th wh i ch th ey h ave to d eal an d ,

al l i mp rovem e nts i n th e organ are m ad e wi th a v i ew to

th ei r req u i rem e n ts rath e r th an fo r th e sake of th e i a
,

s tru m en t i ts el f.

Th e h i story of th e o rgan begi n s w i th th e hyd rau l u s

of th e R om an E m p i re wh ose p owe rs we e a s ource of
, r
greate r aston i sh m e n t to an cien t aud i en ces
Th e
y
H dr au lu s
r
t han th e fa r fi ne r an d m o e h igh ly d evel oped -

m ode rn o rgan i s to an audi e n ce O f to d ay ; -

r
fo we are s o accustom ed to wonde fu l feats Of s kil l r
x r
an d e traordi na y p e rfecti on of m ech an i sm th at we ,

2
 Mo d e s Of the H y dra u l us
take e ve ryth i ng as a m att e r o f co urs e O f t h e m u si c .

th at w as pl aye d o n t h e hyd raul us n ot a vestig e re mai n s .

Th ough t h e an ci en ts h ad a c om pl et e syste m o fn otati on ,

i t i s p robabl e th at m us i c for a s ol o i n strum en t was

rarely wri tte n d own an d th at t h e hyd raul us was pl ayed
,

e xtem p o re W e kn ow from s un dry n oti ce s th at th e

.

m us i c m us t h av e bee n rhyth m i cal th a t i t coul d b e l ou d ,

an d s oft th at m od ul ati on s an d ch anges O f rhyth m an d

,

r
t e mp o we r e f equ en t th at th e exe cu ti on was Often ,

exceedi ngly b ri ll i an t an d th at s i x m odes we re u s e dl z

,

( Th e m o de rn aj r sc l e )
m o a .

( ) ath e hyp erlyd ian ( )

b th e h yp e r i as t i an
, ( ) th e lyd i an
c , ,

( )
a
'
th e ph rygi an ( )
e t h e hyp olydi , an ( ) th e hyp o , f
p h rygi an .

H arm ony i n i ts m odern s en s e o f s i m ul tan eou s

,

so un ds was n ot e m pl oye d th ough i t i s n o t i mp robabl e

, ,

th at o n e n ote m ay h av e b ee n occas i on al ly h el d as a
”
d ron e an e ffect wh i ch se em s to h av e Obtain ed o n th e
,

1
p
Be lle r m an n , A no ny m i S cr ipt i o de M us i ca 36 Th e m o des
w ld r gh l y represented ( their d i at n i c r ) dern
. .
,

ou be ou in o f
o m o n the mo
organ ctave ales f tes w i th ab ve signat res
by o sc o no th e o u .

‘
Z
 Stor y o f O rgan Musi c
d i aul os or d oubl e pi pe
, B ut m ore th an th i s coul d n ot
.

,
r
h ave bee n u sed fo n o t on ly h as Mr Galp i n s r e p r o du c .
’

r
ti on Of th e hyd au l u s s h own th at th e wi n d arrangemen ts
were n o t adequ ate for th e playi ng O fch o rd s bu t th e re ,

i s ab undan t evi den ce th at pe rson s wh o h ave n ot been

r
h abi tuated to h arm ony f om th ei r e a l i est yea s can not r r ,

tole rate i t Mod e rn E u ropean s of h ateve r

.
, W
n ati on al i ty h ave th e feel in g fo r harm ony s o
,

engrai n ed i n th em afte r i ts c ul ti vati on for ,

over a th ousan d years th at th ey can n ot i m agi n e a sati s

,

r
facto y form Of m us i c wi th ou t i t ; b u t i ts pl ace an d
n am e we re take n i n an ci en t m usi c by vari ati on s of m o de ,

o fwh i ch th ere we e s eve n r “

Th e seven h arm on i es o r
.
,
”

m od es c oul d b e t an s posed and u n de t h e

,
r , , r
n ames Of ch romati c e nh arm on i c h igh l ow , , , ,

e tc co ul d s u ffe r s o m any ch anges o f pi tch

.
,

an d tun ing th at th e s upply Of tone m ate ial was

,
-
r
r
p actically i n exh austibl e ; an d th ough th es e ch anges
would h ave been very rep ul sive to modern E u opean r
ears th ey we re m os t attractive to th e an ci en ts Mode n
, . r
By z anti n e m usi c recogn i s es b etwee n two an d th e e r
h u n d red d i fferen t ki nd s of s cal e as Op pos e d to o ur two ,

form s o f m aj or an d m i n or Th e R ev S G . . . .

H ath erly i n h i s Tr e ali se o n By z an t i n e Mus ic

, ,

r
speci ally wa n s h i s readers th at th ey m us t
a n d Mo der n
n ot exp ect to Obtai n an exact ep oducti on r r
Mu si c of th ese scal es on a p i an ofo te and th i s r ,

r
wa n i ng m ay al s o be appli ed to anci en t
m us i c A fac t that i s ge n e ally l os t S igh t O f i n c o n
. r
n e ct io n wi th an ci en t an d n on E u ropean sys tem s i s -
,
 Sk i ll Of Anc i e nt O rgani s t s
th at ears u n accus tom e d to t h e rest rai n ts i mp os e d by
r r
mode n h a m ony can del igh t i n al l m an n e r of va i ati on s r
i n th e rel ative i n te rv al s Of th e s eve n s ou n d s con tai n e d
i n th e octave an d th i s acco un ts fo r m uch th at i s u su al ly
,

l ooked up on as evi de n c e o f a barbaro us o r at b est , , ,

undevel ope d m usi cal system .

I n addi ti on to t h e exp ess i on o r as t h e an ci e n ts r , ,

woul d s ay “
col ou i n g give n by ch an ge s of m ode
, r ,
”
,

gen us an d tu n i ng th e e i s ev i de n ce th at
, ,
A n c ie n t
r
r
great ap i di ty Of execu ti on was us e d to
R ap i dI ty o f
‘

orn am en t t h e m el od i c p as sages ; p rob ably E e cu ti o n x

t h e ar t o f th e hyd aul us p asse d th o ugh r r
r
s tages co resp on din g i n s om e deg e e to th os e o fth e a t r r
of th e m ode rn organ i st th ough i t m ust n o t b e forgotte n ,

th at at th e ti m e O f i ts d i sapp ea an ce th e p e fected
, r ,
r
r
hyd au l us h ad re ach ed a fa h igh e age th an i ts daugh te r r r ,

r
th e ch u rch o gan h as ye t a ri ved at H u m an n atu re
,
r .

does n ot ch ange an d i n al l ages s ki ll e d m us i ci ans h av e

,

r
natu ally del igh ted i n di spl ayi ng th ei r p owe r for th e
adm i rati on o r aston i sh m en t o f th ei r au di en ces Th at .

rapi di ty o f executi o n was p e fectly feasi bl e o n t h e r

r r
hyd aul us was p ove d wh e n Mr Galp i n exh i b i te d h i s .

m odel at th e Musi ci an s E xh ibi ti on 1

Th e keys we re ’
.

rath e r l arge r th an ou rs an d b ei n g all o n on e plan e , , ,

wi th ou t th e l andm a ks p ovi de d by ou r bl ack keys we re r r ,

di fficul t to l ocate B u t wh e n on ce th e geog ap hy o f

. r
th i s anci en t keyb oa d was m aste ed rap i d execu ti on r r ,

1
xhi bi t i n
An E o o f Mus i cal I nstr ents Man scri pts and Pri nted
um u

B ks held by W r hi p l C pa y M si ci ns at
, ,

oo in 1904 th e o s f
u o m n o f u a
F i ngers H all
,
’
sh m o .

5
 Stor y Of O rgan Musi c
was a matt e r of n o d i ffi cul ty an d th e o f
t qu ot e d pas s a e s ,
- g

r r
i n an ci e n t w i te s we re confi rm ed by th e n ew l igh t s h e d
o n th e m Th u s C lau di an
.

“
Et qui ma g a l e v i d d murmura tactu
n etru en s ,

Inn u m v ces i m de rat us aenae

e r as o s e ge t s o ,

In to n e t e rran t i di g i t p i q b i o, en t u s ue t r a al ,

V e ct e l ab rantes in carmina i undas

o co n c t at .
”

W h o wi th a l igh t touch p rodu ce s great s ounds cal ls

, , ,

r
fo th wi th wan deri ng fin ge r th e i n nu m erabl e voi ce s of
1
th e b ra e n crop an d th rough a b eam l i ke l eve r wi th i n
z , ,
-
,

rouse s th e l ab ou i n g wate rs i n to son g r

H e re we h av e .

n o t only an al lu si o n to th e p owe r an d vari ety O f th e

s ou n d b u t al s o to th e
,
“
wan de i ng fi nge W i th r r .

regard t o th e wo d pe n elas ( wi th i n ) G r abn e r s ugges ts r '

th at i t i s a corrup ti on fo r pe di bu s ( wi th th e feet ) as to ,

th e bl owi n g ; bu t we p refe r pe n i tas S in ce f om th e , , r

p os i ti on Of th e bl owe r beh i n d th e i nstrum en t th e l eve r , ,

wo ul d app ear to an O utsi d e r to be wi th i n i t .

I n J ul i an s wel l kn ow n epig am ’
-
r
’
Opaw Bo vdx wv Ne w filr o v ‘
d1r dk h ns
fl
(

X akx e lns d a p ah h o v a ve xdar naav ci po fipns

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filt e r épm s ao vé o vr at
’ °

Ay pt o t , 066 dv épto w w b ¢
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no v as a ilh o w
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O i 6 drr ak b v am p r é
‘
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wr e s, dr oO Mfio vaw do w
ny ,

1
1 e. o f pi pes whi h c ar e l i kened to s tand i ng c rn r o fo m thei r
bers
.
, ,

n um .
 L ou d and S oft Ef
fe ct s

a refe ren ce i s m ade to rap i di ty of e e cu ti on x

I se e a .

r r
sp e ci es O f eeds : p e h ap s th ey h ave sp un g u p w i l d o n r
a strang e b raz e n s oi l r r
N o a e th ey s h aken by o u r
.

r
wi nds b ut a bl ast ush i n g fo th fro m a cavern O fb u ll s
,
r ’

r
h i de t avel s th ro ugh t h e root O ft h e reeds : an d a h igh ly
gi fted m an wi th n i m bl e fi nge rs tou ch i n g th e con
, ,

cordan t keys O f t h e p i p es th es e ge n tly l eap in g u tte r

, , ,

th ei r son g .

,
r
C assi odorus wh o fl ou i sh ed i n A D 5 1 4 i n h i s c o m . .
,

m en tary o n t h e 1 5 0 t h Ps al m s ays : O gan u m i t aq u e , r

est q uas i t u r r i s q uaedam di v e r s i s fi s t u li s fab r i cat a
qu ibu s fl
,

at u f o lli u m V O x c o p i o s i s s i m a de s t i n at u r ; e t u t

r
eam m o du lat i o deco a c o m p o n at li n gu i s q u ib u s dam ab ,

r r
i n te i o i part e c o n s t r u i t u r qu as di s c i pli n i t e r m agi s
,

tr o r um digi t i r e p r i m e n t i s gr an di s o n am e ffi ci u n t e t
s u av i s s i m am c an t i le n am
”
r
H e e agai n ar e efe e n ce s
. r r
to l ou d an d s oft e f fects an d to t h e ,
“
i n te ior r ”

h i dde n from t h e audi e nc e keyboard — “

Th e o rgan i s .

r
an i n stru me n t fo m e d i nto a ki n d Of t owe r by i t s
vari ou s p ip es wh i ch are m ad e to p odu c e a m os t
, r
powerful s o un d by m ean s Of b el lows : an d i n o d e to r r
r
exp ess agre eabl e m el odi e s th e e a e on t h e i n te i o r r , r r
si de c e rtai n m ovem en ts Of wood wh i ch wh e n p es sed
, , ,
r
r r
by th e t ai ne d fi nge s O f maste s p rod uc e b oth a r ,

magn i fi cen t sou n d an d th e S we etes t can ti l en a .

”

B ut al l th i s giv es u s n o i de a o f th e k i n d of m u s i c
r
th at cal l e d fo th s o m uch ad m i ati on ; an d i t i s p robabl er
th at i f we coul d h ear i t w e sh oul d con s i de r i t i n s ip i d
and m ean i n gl e ss : wh i l e o n th e oth e h an d i f th e
, r ,

r
anci e n t G ee ks o r Rom an s c o uld b e p rese n t at a
 Story Of O rgan Musi c
m ode rn o rgan reci tal th ey woul d fi n d i t m onstrou s an d
,

r
ba b arous an d O ffe ns ive i n th e e trem e ; fo r a wh ol e x
s om e an d h ap py p ovi si on Of n atu re cau ses r
t im e by p roces s o f dest u cti on to p revent
,
r ,

r
th e va i ou s p e i ods o f A r t from b ecom i ng r
a stu mbl i ng bl oc k t o generati on s wh o kn ow
-

th em n ot I t i s i mp ossi bl e th at th e fl eeti ng
.

language Of i nst um en tal m us i c c an s u rvive r

an i mm en s e p e i od o f ti m e r Th e best i n st ru m ental .

r
composi ti on s of any a t pe i od conti nu e to appeal to t h e -
r
c ul ti vated cl asses fo r s eve ral gen e ati on s afte th ei r r r
r r
fi s t ap p reci ators a e d ead ; b u t even th os e wo k s r
wh i ch we cal l cl ass i cal a e b oun d i n cou se o f ti m e to r r
becom e anti qu ated an d to fi n d n o res pons e e xcep t for
,

th ose few p erson s wh o p ossess i ng a feeli ng o f an ti ,

q u ar i an i s m c an
,
r
p oj ect th em selve s m entally i n to a
d i stan t past r
G eat wo ks of art i n th e d om ai n O f
. r
p oetry are n ot s o el u si ve as m u si c for th ey rep resen t ,

th ough ts O f wh i ch th e actual wo ds o r l anguag e ar e

, r
m erely th e veh i cl es an d i f ch anges occu r d u i ng
, r
r
th e cen tu i es i n th e p ron u nci ati on o r m eth od o f ,

r
utte ran ce or even i f t an sl ati on from a dead to a l ivi ng
,

r
l anguage i s n ecessa y th e i nt i n si c val u e of th e p oet ry
, r
i s n ot a ffe cted B ut m u si c e i sts for i tsel f alon e ; i t i s
. x
“
r
a con co d o f sweet s oun ds wh i ch t o th e un m usi cal ,
”

pe rs on o r to h i m wh o h as n ot c ul tivated th e pa ti cula
, r r
r
s tyl e o f m u s i c p e form ed h as n o si gn i fican ce Th i s, .

h olds good n ot only wi th egard to th e m usi c of th e r

r
ti m e s of th e hyd aul us bu t al so o f pe i od s ve ry m uch , r
n eare r t o ou r o w n H en ce we h ave n o m o e igh t to
. r r
8
 Stor y Of O rgan Mu s i c
by givin g an accou n t of th e work s o fs ome of th e m or e
f r
amou s com pose rs fo th at i n strument . W e can n ot
m en tion al l o r n early al l th e n ames o fth os e wh o h av e
,

r
b een celeb rated n or i s th i s n ecessa y : wh at we h ave
,

r r
t o d o i s to exem pl i fy th e va i ou s s tages th ough wh i ch
o rgan com posi ti on h as passed .
 CH A PT E R I I .

FO R M MU IC IN S .

Nec essi t y o r —D n e si c— rl y r s
ff
o m a c mu Ea f
o m o fo rg n i c—M i c
a m us us

an d archi tect re c pared —H ar n y

u o m mo an d c nterp i nt — R ise
ou o

o t n l i t y —Rhy th
f o a p p lar si m an d o u mu c.

IT was cons i dered by som e Of t h e an ci en t G ree k p h i l o

S oph ers th at a m el ody wi th ou t wo rds played o n an ,

i n stru men t was m ean i ngless a m e re s ucc e ss i o n o f

, ,

em pty s ou nds si gn i fyi ng n oth i ng

,
I n stru m ents th ey .
,

th ough t we re m e r e m e ch an i cal contri van ces i nven ted

, ,

t o s ustai n t h e voi c e of t h e s i nge r apart from wh ich ,

th ey we r e worth l ess
Th e stren uou s e fl
.

o r t s o f m usi ci an s t o m ak e i n s t r u
'

mental mu si c s om eth in g m o e th an m e r e em p ty s oun d r

h av e r e s ul ted i n t h e gradual evol uti o n o f
certai n form s t h e o utcom e O f i n n um e rabl e
” Ne cess i t y
,
o f Fo r m i n
exp er i m en ts wh i ch g i v e fo rc e an d m ean i n g
,
I n st r u
to a compos iti on an d wi th o ut wh i ch al l
,
m e n t al
i n stru men tal m u si c wi ll i n ev i tably pa take Mu si c r
of t h e n at ur e o f th at con de m ne d by G ee k r
ph i losoph e s r .

r r
Th e ea l i es t form s o f o gan m u si c wer e u n doubtedly
r r
th ose de rived f om hyth m s con nected wi th th e dan ce ;
I I
 Stor y Of O rgan Musi c
r
for rhyth m requi es a l ess h igh ly devel o p ed i ntelligen ce -

th an m el ody fo r i ts app reciati on B u t i t was g ad ual ly . r

Dan c e
foun d th at dan ce hyth m s we e n ot e nti rely r r
Mu sic s u itabl e for th e o gan pa tly because ofri ts , r
i n capaci ty Of m a k ing accen t b ut ch iefly r ,

r
becaus e f om i ts earl i es t d ays i t was s o m uch u sed i n
th e ch u rch .D an ce m us i c h oweve r h as n eve r been , ,

excl uded from th e ch u rch fo any l ength O f ti me r .

r
I t i s u sed at th e p esen t day i n E nglan d F ran ce , ,

r
an d I taly u nde th e n am e O f th e m a ch and i n mu si c r ,

o f th e n atu re of th e gavotte m i n uet etc A t th e , , .

ti m e O fth e C oun ci l Of Tren t ( 1 5 8 3 ) th e ch u ch r

EffO ft S t o was i n great p e tu bati on abou t o gan play r r r
?an c
PP’C S S “
i ng Th e C ou nci l o rdai n ed th at th e b i sh op s
.

M“S I Ce I n
r
m us t tak e ca e th at th e s oun d o f th e organ
r
C h u ch es
i s n ot l ascivi ous an d i m p u re n o m ust , r
r
wo l dly and f i volo us m usi c b e u sed
'
r .
”

D i ruta i n h i s T r an s z lv an o says th at dance m usi ci an s

, ,
“
are as a rul e n ot ve ry good o n th e organ an d h en ce ,

com es th e p roh i bi tion Of th e S acred C ou nci l Of Tren t ,

r
th at ch u rch o rgan s a e n ot to b e used for Pass i e Me z z i
an d oth er dan ce m u si c n o fo l ascivi ou s ai s b ecau se
, r r r ,

i t i s n ot conven i en t to m i x sac ed an d p ofan e th i ngs r r ,

r r
an d m o e ove th e o rgan wi l l n o t tol e rate bei ng played
, ,

on by dan ce p layers I f i t h appen s th at th ey play o n

.

an o rgan th ey pl ay i n a bad s tyl e ; wh i l e o gan i sts o n

, r ,

r
th e oth e h and can not p op e ly pl ay d an ce m u si c
, r r .

H en ce i t i s best th at n ei th e r t ri es to d o th e th i ng th at
”
h e i s n ot fi tted for .

D an ce m usi c th en h avi ng bee n p roh i bi ted or l ook ed

, , ,

12
 E a r l y F o rms

r
up on wi th d isfavou th e ea ly o rgan i sts wh e n th ey
, r ,

r r
equi ed t o pl ay l engthy p i eces h ad re cou rs e t o th e ,

m os t p op ul ar an d wel l kn own o f th e m otets -

,

r
m ad igal s an d oth er vocal comp os i ti on s
, .

r
A t fi st th ey si m ply pl aye d t h e voi ce p arts ,

r
b ut afte rwa ds th ey e mbel l i sh e d th e p a ts r
wi th al l ki n ds Of o rn am en tal p ass ages an d a v ocal ,

com pos iti on wh e n th us t reated was s ai d t o b e

, ,
”
col orato col ou red .

r
B ut th e r e aros e ea l i n t h e fi fte e nth cen tu ry a form
o f m i lSi C ca lle d
“
R i ce rcar ( so ugh t o ut ) i n wh i ch ”
‘

eve ry ki n d of con trap un tal e f fec t k n own to

Ri ce r car
m u sic ian s Of th at day was i n t odu ced O u t r .

r
o f th e R i ce car was afterwa d s devel op ed th e F ugu e r ,

an d i n th e ti m e o f Praetori u s t h e two term s we e r

synonym ou s Late r o n th e r e was i nven te d
.

th e “
C an z on a F an ces e r
d eri ve d fro m th e ,

r
fo m o f th e F ren ch C h an son : i t was a
contrap un tal p i ece o f l es s elab o at e con structi on th an
,
r
th e R i ce rca r an d i ts fi rs t th re e n ote s we re n early
,

al ways i n th i s rhyth m i cal form : JJ : A n oth e r an d “

,

“
stil l l ate r form was th e
,
Toccata from ,
To ccata
t o ecar e to pl ay : i t was a b ri ll i an t p rel u de
, ,

r
i n th e fo m of an exte mp o re p e rform an ce i n ten de d to ,

x
e h ib i t t h e sk i l l O f t h e pl aye r b efor e h e cam e to ,

th e seri ou s wo k of th e pi ece r Toccate u n p oco .

”

r r
was fo m e ly th e I tal i an an d sti ll i s th e S pan i s h ,

eq u ival en t for Pl eas e pl ay s om eth i ng Th ese we e .

”
r
r
th e ch i ef o f th e e a ly fo m s : o f oth e s we s h al l s peak r r
i n d ue co u rse .

I S
 S to ry Of O rgan Musi c
I n strum en tal m usi c appe al s i n th ree ways t o th e
l i sten er : t o h i s aston i sh m e n t o r adm i rati on th rough
th e agi l i ty o f th e p e rform er to h is i n ,

23 2; ti on an d to h i s e m oti on s th ough th e
t e lli ge n c e th rough i ts sci entifi c constru o
r
Mu si c ,

s en ti m en t th at m ay b e i nh e en t i n th e com r
p os i ti on or i n th e m an ne r Of i ts pe rform an ce an d th e
, ,

best res ul ts are Obtai n ed by a h appy combi nati on o f al l

th ree . I f th e fi rst p redom i n ates o r e n ti ely excl udes r
t h e oth e rs th e m usi c desc en ds to th e l evel O f a cl eve r
,

p e rform an ce o n a tigh t ope o r any oth e r gym nasti c r

exe rcis e wh i ch aston i sh es ; i f th e secon d on ly th e ,

m usi c i s ap t t o b e wh at i s cal l ed d ry th ough th i s i s ,

r
n ot n eces sa i ly th e cas e ; an d i f on ly th e th i d featu e r r
i s p resen t th e m usi c becom e s m awki s h an d s i ckly
,
.

T O b e att ractive i t stan ds t o reason th at b oth com

,

p ose r an d p e rform e r m us t ai m at b eauty Of m elody an d

ton e .

Vocal m u si c may , an d often does ely on i ts wo d s , r r

fo r i ts d u e e fi e ct wh i l e i n strum e ntal m usi c h as to rely
'

o n i tsel f al on e B eauty of ton e m el odi c worth p owe

.
, , r
o f l igh t an d s h ade exh i bi ti on of s k il l o n th e pa t Of
,
r
r
th e p e form e r a e com m on to both
, r .

r
A ch i te ctu re h as been call ed “
f o z e n m usi c for r ,

r r
th e e i s a ce tai n am ou n t of anal ogy b e
r
twe en th e con st ucti on O f a work o fm us i cal
r
a t an d a fi n e bui ldi n g B ut a ch i tectu e . r r
h as s ev e ral advantages ove r m usi c : for i a
s tan ce i t i s appl i ed to bu il di ngs wh i ch h av e
,

r r r
a d efin i te p u pose apa t f o m th e i r cl ai m s to a ti sti c
,
r
14
 Ar c hi t e ct u r e and Musi c
d esign . A tem p l e a Ch u ch a th e at e o r a h ous e
, r ,
r , ,

co uld al l exi s t an d b e us efu l wi th ou t any n ecessi ty

for b eauty of form o r any app eal t o th e m s t h e t i c s en s e
, .

Th e arch i tec t m us t s e e th at th e fou n dati on s are wel l

r
l ai d th at th e wall s a e u p i gh t th e roof abl e t o keep
, r ,

o u t t h e s u n an d r r
ai n th e e m us t b e m ean s of en tran ce ,

l igh tin g an d ven til ati ng etc

, an d on ly afte r all th es e
, .

r
featu res h av e be e n p ovi ded fo r i n th e s ch e m e i s ,

th e design e r abl e to apply t h e resou rces Of h i s art to

b eauti fy th e b u i l di ng an d m ake i t app eal i n o u r s en s e
r r
o f j us t p op o ti on i n i ts gen eral form an d i n i ts orn a

m en tati on .

A gain wh en a work O f arch i tectu ral art i s fi n i sh ed

, ,

i t s tan ds as a m onu m e n t Of th e a ti st s s ki l l to b e r ’
,

r
adm i re d o r c i ti ci s ed o r C op ie d u n ti l futu re gen e a
, ,
r
, r
ti on s h avi ng oth e req u i rem en ts dest oy i t o r l eav e ,
r ,

i t to n egl ect an d con sequ en t ui n wh i l e th ey con stru ct r ,

i n i ts pl ace oth e r b ui l di ngs wh i ch m ay o r m ay n ot be , ,

r
o f a ti sti c design ; f o r a t r
as w e h av e s h own i s n o t a
, ,

r
n ecessary p a t o fa b ui ldi ng i t i s on ly an adj un ct ,
.

r
I n st umen tal m usi c o n th e oth e r h and th ough
, ,

con structed o n th e s am e p i n ci pl es i n ce tai n resp ects r r

r
as a ti sti c arch i tectu re d i f fe s f om i t i n th at th e
, r r ’
appeal to th e ae sth eti c s en se i s i ts wh ol e r ai s o n d et r e
i t s erves n o u se ful p urpos e apa t f om th i s E xcep t r r .

r r
th e m i li ta y m a ch wh i ch e n abl es sol di e s t o keep
, r
step an d th e dan ce tu n e wh i ch p e rfo m s th e sam e
, , r
fun cti on fo r dan ce rs ( both Of wh i ch fo m s Of m us i c are r
r
u ns ui tabl e fo r th e o gan ) i n stru m e n tal m u si c h as n o
,

r igh t to exi s t u nl ess i t can gi ve a reason for i ts

13
 St o r y Of O r gan Musi c
existen ce by an app eal to som e p ortion h oweve r sm al l , ,

o fm an k i nd th rough i ts ae sth eti c q ual iti es I f i t can not

, .

d o th i s i t b ecom es m erely a n u i san ce A n d si n ce i t

, .

r
c an b e of n o u s e apa t from any arti s ti c q ual i ti es i t

p ossess es i t can n ot be t urn ed to oth e r th an i ts origi nal

,

r
p u p os e as a b ui ld ing c an an d i n con seq uen ce i t di s
, ,

appears wh en a n ew gen e rati on a i ses h avi ng oth e r r

i deal s of art .

A n oth e r featu re i n wh i ch m u si c d i f fe rs from arch i

r r
tecture i s th at th e wo k O f p esen ti ng a composi ti on
,

to an au di en ce h as to b e und ertake n by a perform e r ,

r
wh o m ay ren de r i t b ette r o r wo s e th an th e compose r ,

b u t h oweve r cons ci e nti ou s and capabl e h e may be h e ,

can not p ossi bly el i m i n ate h i s own person al i ty o gi ve , r

exactly th e s am e re n deri n g as th e com pose r H en ce .
,

com pos i ti on s gradu ally becom e al te red f om th ei r r

origi nal con cep ti on s and i n addi ti on to th i s an ci en t
, , ,

exampl es be com e t r an s fi gu r e d by th e us e of m ode n r

r
i ns trum en ts ; w h e reas a ch i tectu re “
fro z en m usi c
, ,
”

r
s tand i ng u n al te red fo r gen e ati on s e n ti rely reflects th e
,

origi nal i deas O f i ts creator .

r
A part f om th e dance th e e f , forts o f t h e earl i es t
-
r
o rgan com pose s we re vagu e an d forml ess as was t o ,

b e expected and th ei r s tyl e m ay b e com pared to t h e

,

A rch ai c styl e of G reek s cul p tu re o r th e e a l i es t effo t

, r r s

o f C h ri sti an p i ctori al art Th e o ld ch u ch m odes

. r ,

wh i ch were u ns u i tabl e fo r h arm on i c combi n ati on s ,

exerci se d th ei r ful l sway ove r ch u rch comp ose rs ,

th ough th e m aj o r s cal e h ad bee n ecogni sed by l ay r

m us i ci ans for cen tu ri e s be fore th e bi rth of th e earl ies t
I 6
 St o ry O f O rg an Musi c
D uri n g th e s even tee nth ce ntu ry th e desi re for d ram ati c
exp ressi on i n m us i c gav e ri s e to a s t ruggl e between
th e O ld m odes an d th e m aj or s cal e an d b etween ,

th e Ol d art of cou n terpoi n t wi th i ts d y , r

De fe t ° f an d u n n ecess ary rul es an d th e fre e m ode rn
é m“ h art o f h arm ony wi th i ts d ram ati c p ossi bi l i ,

h i ti es Th e s t uggl e e nd ed i n th e com pl ete

. r
d efeat Of th e Modes an d an al l i ance be twee n H arm ony
,

an d C ou nte rpoi nt each m odi fyi ng th e oth e r wi th res ul ts

, ,

wh i ch are s ee n i n th e m aste rp i eces o f all th e great

r
comp ose s from B ach t o S i r E dward Elgar O rgan .

mu si c b ei ng m ostly con fi n e d to th e C h u ch an d th e re
,
r ,

fore n ot com i ng u n der d ramati c i n fl uen ces s o m uch as

s o cal led
-
s ecul ar m us i c h as retai n ed i ts con trapu ntal
,

ch aracte r m ore th an oth e r m us i c and i n m odern ti me s ,

comp ose rs occasi onal ly u se th e e ccl es i asti cal m odes wi th

great e f fect wh i ch i s al l th e m ore p owerfu l from th e
,

con trast th ey m ake wi th th e m aj or m od e .

W i th th e adven t o f h arm ony an d i ts al l ian ce wi th ,

cou nte rpoi n t th e re aros e a feel i ng for wh at i s n ow

,

cal led Ton al i ty o r Key as a m ean s o f

To n al i t y u n i ty Of com pos i ti on I n th e O ld G egori an
,

.
,

r
m usi c th i s ki n d o f u n i ty was attai n ed by maki ng th e
reci tin g n ote t h e p ri n ci pal n ote o f th e key ; i t was th e
“
Mes e of G reek m u s ic an d s i n ce th e m el ody was ruled
”
,

by i t i t was call e d th e D om i n an t i n ch u ch m u s i c B u t
, r .

r
th e art of h a m ony deth ron ed i t f om i ts p lace of ch i ef r
r
i mp o tance an d m ad e th e Key n ote o r Ton i c th e ch i e f
,
-

n ote of a s cal e wh il e i t rel egated th e dom i nan t to a

,

s econ dary place Th e domi nan t of th e m odes stood

.

I 8
 T o nal i t y and R hy t hm

r
at vari ou s i n te val s i n th e s cal e ; th e n ot e wh i ch took
i ts nam e b ut n o t i ts fun cti on i n th e n ew o de Of th i ngs
, , r r
r
stands at a n i nte val o f five n otes ab ov e th e t on i c .

r
A fte th e dom i n an t com es th e S u bdom i n an t i n i mport
an ce : th i s n ot e stan ds at th e i n te rval o f a fi fth b el ow
th e ton i c an d any s ucce ssi on Of com m on ch ords o n
,

th ese th re e i mp ortan t n otes establ i sh es wh at i s cal l ed a

“
Key .

I n Old days th e ea was s ati sfi ed wi th a s i ngl e key r ,

o r at m ost two o r th re e keys i n t h e cou rs e o f a fai rly ,

l on g comp os i ti on ; b u t as m usi c h as ad
Mo du l ati o n
v an c e d i n comp le ity m ore an d m ore Mod u x ,

lat i o n s o r Ch anges o fkey h ave bee n i n t od u ced th ough

, , r ,

i t i s sti l l o n e o f th e s tri ctes t ru le s o f m usi c th at eve ry

com posi ti on sh al l en d i n t h e sam e key i n wh i ch i t
b egan 1 Modern com pos e rs d o wi th com p l exi ty Of key
.

wh at t h e m edi ae val comp osers di d wi th comp lexi ty Of

rhyth m .

Rhyth m o r th e d ivi si on of m el ody i n to s h ort easi ly

, ,

r ecogni s abl e p orti on s by m ean s Of acce n t i s th e stru e , ,

tu ral el em en t Of th e detai ls o fa com pos i ti on

r
Fo m i s th e s tructu al el em en t o n th e wh ol e r R h t h m y
r
an d i s p od uce d by con t ast Of key an d by an d Fo m
r ,
,
r
th e group i n g of th e vari ou s m el odi es i n ce tai n defi n i t e r
secti on s m a ke d by ,
“
cl oses r wh i ch an swe r to th e ,
”

r
p u n ctuati on of w i tten language A c ul tivate d au di en ce .

r “
r
eq ui re s th at th e fo m sh al l n ot b e t o o obvi ou s o r ”
,

r
i t becom es we a i som e : wh i l e an u n cul tivated l i sten e r
1
C ange h o f M de r
o aj r
fo m m o or mi nr o o r v i ce v er sa, is no t c nted
ou

c ange nder t i r le
,

as h o fk e y u h s u .

I
9
 St o ry Of O rgan Mu s i c
r r
p efe s si m pl e d an ce rhyth m s an d wh at O ld Mo l ey i n , r ,

h i s q uai n t way cal l s “

sh o t sq ua e eve n an d u n i fo m
,
r -
r -
r
r
ay es .
”
Th i s wi l l h el p t o e plai n why th e e h as n ea ly x r r
always e xi ste d a “
h igh s ch ool of o gan pl ayi ng r -
,
’
con tem po ran e ously wi th a com m on pl ace p op ular aa , ,
’
cap t an au m styl e agai n s t wh i ch m u si ci ans an d ch u rch
,

m e n h ave i nveigh e d i n vai n .

r
Th e o gan i s h eard by t h e m aj ori ty of c ivi l i s ed m an
r
k i nd on ce o twi ce a week th ough t h e wh ol e yea NO r r .

r
oth e i n stru m en t i s h e a rd s o m uch by s o
m any an d i t i s only i n accordan ce wi th
,

h um an n atu re th at o gan i sts sh oul d fr e r

q u en tly yi el d to th e tem ptati on to pl e as e th e u n cul tu ed r
r
m aj ori ty ath e r th an th e cul ti vated m i n ori ty eve n i f ,

th ei r n atu ral tas te i s th at of th e m i n o i ty wh ich i s n ot r ,

always th e cas e T ivi al an d fash i on abl e m u s i c h as

. r
al ways exi s ted an d al ways wi l l : i t u n s i ts cou s e i n a r r
few years an d th e n d i sapp ea s wh i l e m us i c Of a h igh e r r ,

orde r i s p rese ved r

O u r fo refath e rs we re n ot di f
. fe en t r
fro m u s i n th i s respe ct b ut w e kn ow th e m on ly by th ei , r
best com posi ti on s an d a e ap t i n con seq uen ce t o l ook
, r
“
u p on th e good O ld days as a ki nd O f gol den age O f
r
m us i c Th e e n eve h as been a gol de n age i n m usi cal
. r
h i story ; h igh clas s an d com m on plac e m usi c h ave
-

always co exi ste d j ust as th ey d o at p res en t

-
,
.
 CH A PT E R I I I .

I TA LI A O R G AN M U I C N S .

L nd i n — sever l k i nds ancient rga —O rgan at Mark

a o Th e a o f o n s St
’
s,

Ven i ce— cchett i— and

.

Zu Organ u m m agn u m
p o r gan u m ar en t i n

rgan ist and rgan b i lder—

O o —Wi llaert —B s—
-
u S gu ar ci alu po uu Th e
i c S Mark s—
m us at e rl ies t pri nt e d I tal i n rg n si c
t .
’
Th e a a o a mu .

MO D E RN o rga n p l ayi n g b egan i n I taly and i ts fi r s t

-
,

rep resen tativ e wh o b ecam e cel e b rate d was F ran cesc o

Landi n o ; h e was b orn i n A D 1 3 2 5 an d di e d . .
,
Lan di n o
i n 1 3 90 an d was b u ri e d i n th e ch u rch Of S t
, .

r r
Lo en z o at Fl o e n ce A c on tem p o a y wri te r s ays O f . rr
him : “
Th e wh ol e ass em bly i s exci te d by h i s o gan r
pl ayi ng t h e yo ung dan ce an d s i n g t h e Ol d h u m wi th
, ,

h i m : al l are e n ch an te d H e d raws wo nd e s from th e . r

l i ttl e o rgan : t h e b i rds ceas e th ei r s ong an d i n th ei r ,

aston i sh m en t d raw n ear to l i sten esp e ci ally a n igh t ,

ingal e wh i ch s i ts on a twig ove r h i s h ead an d ab ov e h i s

,

organ 1 I n th os e d ays th e ch u ch o gan was a clu msy

.
”
r r
an d i nt ractabl e m ach i n e wi th o u t s top s an d w i th k eys , ,

r
s i x i n ch es b oad wh i ch h ad to b e pl ayed wi th th e fi s t
,

s uch at l eas t was th e cas e i n F ran ce Ge rm any an d , ,

E nglan d an d th e re i s n o eas on to i m agi n e th at t h e

, r
r r
I tal ian ch u ch o gan s we r e i n advan ce of th os e of oth e r
S e e S amm elban ci e ti er I n t . Mu s . Ger el/scfiaft, vo l ii i
. . p . 6I 4 .

2 1
 S t o ry Of O rgan Musi c
n ati on s Th e organ was u se d to accom pany th e pl ai n
.

s on g i n u n is on an d to att act th e congregati on t o

, r
ch u rch by i ts n oi se j ust as bell s are u sed n ow : arti s ti c
,

playi ng was n ot p ossi bl e n or was i t requ i red fo r th e , ,

r
u nl ette ed congregati on woul d n o t h ave app reci ated i t
bu t th e r e i s n o d o ub t th at th ey l i ke d n oi se p rovi ded ,

th e re was pl en ty o fi t .

I t was n o t h oweve r o n th e o rgan a m agn a th at

, ,

Land i n o m ad e h i s fam e an d h e does n ot appear to h av e

,

e ve r h el d an app oi n tm en t as a ch u rch organ i st B ut i n .

th e cas tle s an d cou rts o fth e ari stocracy th e r e we re two

ki n ds Of organ each wi th a p racti cabl e keyboard s u ch
, ,

as can be see n i n m any o f th e p ai nti ngs Of th e Ol d

I tal i an arti s ts Th e fi rs t of th es e was cal led th e
.

Pos iti ve s i n ce th ough i t coul d easily b e m ove d from

, ,

pl ace t o place i t h ad to b e pl aced i n p os i ti on for p lay

,

i ng. I t was Ofte n ci rc ular an d towe r sh aped l i ke th e -

,

ol d hyd raul u s i n fo rm an d h ad s ometi mes two o r m ore

,

rows O fp i pes .

Th e oth e r ki n d of organ was s m al le r an d was pl ace d ,

on th e knees o r h u ng from th e n eck o f th e p e rform e r

, ,

wh o bl ew th e b ell ows wi th h i s le ft han d and ,

N m fale
pl ayed th e keys wh i ch we e few i n n umbe r , r ,

wi th h i s righ t Th e n am e o f th i s i n s trum en t was i n

.

I tal i an N i n fal e an d i n oth e r l anguage s Po tative

, I ts r .

r
p i tch was ve y h igh owin g to th e s m al l di men s i on s o f
,

i ts p i pes I t i s sh own i n m any s culp tures an d p ai nti ngs

.

r
as a egul ar m e mbe r o f th e ch u rch ban d o fth os e days ,

am ongs t wh os e i nstru m en ts were al s o i ncl ude d bag

pi p es dul ci m e rs stri nged i n st ru men ts both pl ucke d an d
, ,
 L and i no

p l ayed wi th a bow h arp s vari o us form s Of wi n d i n s t r u

, ,

men ts an d cymbal s
, .

r r
A m i n i atu e i n th e Li b ra y o fS t Loren z o at Fl o ren c e .

depi cts Lan d i n o seated p layi ng o n a N i n fal e wh i ch

, ,

r ests o n h i s kn ees an d th i s s ee m s to h ave be en th e

,

i ns trum en t by wh i ch h e gai n e d h i s rep utati on A t an .

r
ea ly age h e becam e bl i n d th rough s m al lpox an d i n h i s
fl
,

yo uth h e s ough t for con solati on i n h i s a f i cti on by s i ng

i n g p op ul ar ai s r
F i n di n g th at h e h ad gre at m us i cal
.

tal en t h e s tu di e d s eri ou sly an d was s oon abl e to

, ,

accompany h i m sel f o n th e N i nfal e b esi de s wh i ch , h e ,

becam e exper t o n n early al l th e oth e r i n strum en ts i n

u s e at t h e t i m e H e cam e o f a n obl e fam i ly an d h i s
.
,

fath er was a p ai n te r fo r i n th os e dei y s th e c ul tivati on

,

o f art was con s i de red a worthy p rofessi on fo r th e

ari stocracy ; h en ce Lan d i n o was s urrou n ded from h i s
r
ea l i es t years wi th cul tu re an d efin em en t an d i t n eed r ,

no t r r
s urp i s e u s th e refo e to fi n d th at l i ke oth e r ,

m us i cian s o f th ose ti m es h e was a fam o u s p oet an d

,
“
ph il osoph e r F ro m h i s bl i n dn ess h e was cal led I l
.

C i eco ,
”
an d from h i s s ki l l o n t h e o gan h e was give n r
th e n am e o fF ran ces co d egl i O gan i r .

I n th e year I 3 64 th e re took p l ace a great festival at

Veni ce l astin g m any days t o c el eb ate th e r e occup a
, ,
r -

ti on o f C an di a by th e Ve n eti ans A m on g .

th e gues ts we re th e Ki n g o f C yprus th e Fes t i v a l at

,
Ve n i ce
A rch d uk e o f A u s tri a Pe t arch an d m any , r ,

x
e alte d p e rsonages from far an d n ear A m on gs t th os e .

r “
att acted to th e fes ti val was 11 C i e co wh os e fam e ,
”

was kn own th rough out I taly an d an i m m en s e asse m ,

23
 St o r y Of O rgan Musi c
bl age gath ered i n th e ch apel O f S t Ma k to h ea a . r r
con tes t o n th e o rgan s be twee n Pesa o th e o gan i s t r r
an d th e bl i n d m an W h at th e i ssu e was i s un kn own ,

r
bu t i t i s e corded th at th e D oge Lo en z o C o l si ,
r ,

c rown ed Lan di n o wi th l au rel ei th e o n accou n t of ,

r
h i s sk i ll as a p oe t or as an o rgan i s t .

r
F om th i s acco un t i t woul d seem th at th e re we e r
playabl e o rgan s i n S t Ma k s at th i s ti m e : d oub tle s s . r ’

r
th e e we re p os i ti ve s an d p o tative s as wel l as o rga n a r
m agn a N on e Of Land i n o s o gan m usi c h as com e
.
’
r
down t o u s : p ob ably h e always pl aye d extem po e r r .

S om e Of h i s v ocal wo ks are p rese v e d i n th e Li b ar y r r r

Of S t Lo ren z o at Fl o en ce i n a col lecti on m ade by
. r ,

S gu ar c i alu p o from wh i ch ext racts h ave b een p ubl i sh ed

,
1
by Ki esewe tte r F é t i s fo un d five I tal i an s ongs by h i m
.

i n th e R oyal Li b rary at Pari s Th i s col lecti on was .

r
p r o bably d est oye d i n 1 8 70 by th e C om m un e b ut F é t i s ,

p ubl is h e d o n e o f th e s ongs i n m ode rn n o tati on i n th e

R e vue M u s ic ale 1 8 2 7 H e con si ders th at th es e co m
, .

p os i ti on s S h ow a h igh standa d of a t i n advan ce o f r r ,

th ei r ti me .

r
Th e e we re h oweve r organ i sts befo e Landi n o b u t
, , r ,

th ey se em n o t t o h av e m ad e any g eat m a k as S ti ch r r
Zu cch ett i
r
th e o gan b ui lde r was O f m o e i m po tance r r
th an th e pl aye an d th e two p ofessi on s r , r
r
we e us u ally comb i n ed — at any rate i n con n ecti on wi th
r
ch u ch m usi c Th us Mi s t r o Z ucch etti b ui l t an o gan
. r
i n th e g r an d du cal ch apel Of S t Mark at Ven i ce i n
-
.

R G K iesewe tter
. .
, S c/z i cksale u nd B esc/z afi n /z e i t de s we lt lz c/re n
'

Ges anges , 1 84 1 .
 St o r y Of O rgan Musi c
f
or th e ch u rch organ was n ow be com i ng s u f fi ci ently
i mp roved to be capabl e of a ti sti c u se r .

S gu ar c i alu p o th e refore wo uld h ave a l a ge r audi en ce r

th an Lan di n o as h e C oul d p e form i n th e cath edral as
, r
wel l as at th e co u rt S O great was th e res pect i n wh i ch
.

h e was h eld by h i s fell ow ci ti z en s th at i n addi ti on t o h i s-

,

m on um e nt th ey pl aced h i s b u s t i n th e ch u ch n ea r th e
, r
organ “
, r
i n m em o y Of th e excellen ce O f th e m usi c h e
”
h ad p rod u ced o n i t Th e i n scri p tion on h i s grav e
.

ston e com p ose d by th e p oet A ngel o Pol i z i an o can s ti l l

, ,

l
b e read an d i s q uote d by A m b r o s ; wh i l e Loren z o
,

r
h i m self w ote a s on n et i n wh i ch h e m akes D eath say , ,

I h ave taken h i m i n o de th at H eave n m ay be m ade r r ”

m ore j oyful wi th h i s m u si c .

Th e o rgan i m pe fect as i t was was eviden tly

, r ,

capabl e i n th e h an d s o f an arti st Of m ovi ng c ul tivated

, ,

r
p e s on s to g eat ad m i rati onr .

Li ke Land i n o S gu ar c i alu p o l e ft n o com p osi ti on s fo r

,

t h e organ an d th e ea l i es t kn own p i n te d organ m usi c

, r r
l r
Wi lae t
i s a l i ttl e book of o gan tabl at u e c om posed r r
an d B u u s
by M a co r
A n ton i o d i B ologna date d 1 5 2 3 , ,

an d e n ti tl ed R e ce r c/zar i M o te ti Gan ao n i , , .

r r
Th e fi st egul ar s ch ool o f o gan pl ayi n g i n I taly was r -

foun ded n ot by an I tal ian b u t by th e N eth e lande rs

, , r ,

r
A d ri an W i l lae t an d Jac h e t B uu s wh o we re r e s p e c ,

r
t i v e ly Maest o an d S econd O gan i st Of S t Mark s at r .
’

rr
Ven i c e Th e m us ical a angem en ts at th is ch u ch we e
. r r
r r r
s o i m po tan t an d ema kabl e th at i t i s n ecess a y to r
r
d esc i be th e m i n s om e d etai l D own to th e yea 1 797 . r
1
Gesclz i clzte def Ill us i k E i i o o f1 8 91 Ed i i i
.
48 2 dt n , . . p . .

26
 ’
S t M ark s .
,
V e nice

Veni ce was a rep ubl i c govern ed by a D oge o r D u ke

, , ,

an d a C oun ci l ch ose n from am ong th e n ob i l i ty Th i s

, .

r r
gove rn i ng b ody ea ly dete m i ne d th at th e m usi c i n th e i r
r
g and ducal ch ap el n ow k n own as S t Ma k s C ath e
-
, . r ’

r
d al sh oul d b e th e b es t ob tai n abl e Th e h i sto ry of
, .

th ei r m u s i c com m en ce s wi th th e year 1 3 1 8 wh en as , ,

we h ave s een th ey ap poi n ted Mi s t r o Z u cch etti to bu i ld

,

an d p lay on th ei r o gan r
I n add i ti on t o th i s h e h ad to
.
,

trai n t h e ch oi r an d to com p os e wh ateve r m usi c was

,

requ i re d fo r s pe ci al occasi on s I n 1 3 8 9 a pos t O f .

r
s econ d o rgani s t was c e ated i n con n ecti on wi th t h e
s econ d o rgan w h i ch as w e h ave s een was e recte d
, , ,

abo u t 1 3 70 Th e d uti e s an d s alary an d o f

. fi ci al p os i ti on
Of th e n ewly app oi n te d o gani s t we re to b e i n al l
-
r
resp e cts exactly s i m i lar to th os e O f th e fi rst an d h e ,

was only cal led th e s e con d fo r co nv en i en ce s i n ce l i ke , ,

th e con s ul s O f an ci e n t R om e h e was s upp os ed t o b e ,

r
eq ual i n eve ry es p ect wi th h i s coll eagu e ; an d wh e n a
fi rs t o rgan i s t d i ed o r reti red i t was cus tom ary t o ,

app oi n t th e secon d to play o n th e fi rs t o gan , an d r

a n ew playe r fo r th e secon d Th e organi s ts we r e .

ch ose n wi th th e gre ates t care eve ry e f fort b ei ng ,

m ade t o Obtai n th e b es t p os si bl e m u si ci ans fo r th e

. r
p osts Th ey we e n om i n ate d by th e Procu ratori o r ,

Magi strates th e p e rs on s n ext i n i m p o tan ce to th e

, r
D oge and th e fo llo w m g ul es we re d awn up f
, r o r th ei r r
x
e am i nati on
1 Th e b ook o fth e ch ap el i s to b e Op en ed at random
.
,

an d th e com me n cem en t Of a Ky i e o r Motet to be r

Copi ed o u t . Th e can di date h as to play a p ope ly r r
27
 St o r y Of O rgan Musi c
constructed Fan tasi a o n i t i n wh i ch th e parts m us t ,

b e kep t cl ear as i f fou s i nge rs we e pe fo rm i ng

, r r r .

2 .Th e book o fPlai n son g i s to b e Open ed at and om r ,

r
an d a C an to Fe m o o r I ntroi t o r s om e th i n g el se i s to
, , ,

b e cop i ed o ut an d s en t to th e can didate wh o h as to ,

r r
add th e e p a ts to i t pl aci ng th e C anto Fe rm o i n th e
,

r
bas s te no al to an d S O p r an O usi ng fugal wo k and
, , , ,
r ,

n ot m e rely accom pan i m en t .

3 Th e si nge rs m us t si n g o n e ve rs e O fa l i ttl e kn own

.

com pos i ti on th e s tyl e o f wh i ch t h e organ i s t m us t

,

i m i tate i n th e s am e an d oth e r keys .

r
Th e Procu rato i h avi n g h eard th e vari o us candi dates
, ,

r
p oceed e d to ele ct by v ote .

H avi ng Obtai n e d th ei r m u si ci an i t was n ot always ,

easy to ch ai n h i m t o th e m on oton ou s work o f dai ly

m as s etc an d i n 1 5 64 th ey we re obl iged
, .
,

r
to cal l th e i r o gan i sts t o accou n t for th e l i ttl e
r
i n te e s t th ey took Often all owi ng young an d ,

r
i nexpe i e nce d pl aye s t o dep uti s e fo r th e m r
r
at m as s an d v espe s wh i l e th ey th em selves played ,

el sewh e re . A n ew regul ati on was m ade i mp os i ng ,

a fi n e o f t wo ducats fo r every futu re d e rel i cti on O f

d uty Th e organ i sts at th i s ti m e we re two fam ou s
.

m e n C laudi o Me r u lo and A n n i bal e Pad ovan o

, But .

at th e sam e m e eti ng th ey p as se d a egul ati on t o r

r r
p rotec t th ei o gan i sts i n th e exe rci s e O f th ei a t r r ,

r r
p esc i bin g th at n o can on o r p ri es t i s to i n te ru p t th e r
r
p layi ng O f t h e o gan b u t th ey m u s t wai t ti l l th e ,

r
o gan i st h as fi ni sh e d h i s p i ece befo e p roceed i ng r
r r
wi th th e i pa t of th e s e vi ce an d a fi n e O f on e du cat r ,

28
 W i ll ae r t
i s to b e i mp ose d o n any p ri es t wh o b egi ns to si ng
r
be fore th e o gan i s t h as fi n i sh ed .

I n 1 491 a m ae s t r o a i cappella was adde d to th e two ’

r
o gan i sts : h e was a m o e i m po tan t p e son th an th ey r r r ,

r
wi th a h igh e r sal a y an d h i s d uti es were to ,
Maest o di r
com p os e t h e m u s i c trai n an d co n d uct th e
,

ch oi r an d b an d an d b e gen e ally resp on si bl e

C p p ella
r a
,

f o r th e m usi c w h i l e t h e d u ti e s Of t h e o gan i sts we e

,
r r
n o w m e rely to p l ay Late r o n a s econ d m ae s t r o was
.

ap poi n ted wi th eq u al ran k an d s i m i l ar duti e s to th e

,

r
fi st . r
Th e o gan i sts i f com p eten t we r e s om eti m es
, ,

app o i n te d to a vacan t p l ac e as m aes t r o .

Th e two o rgan s wh i ch h ad fo m e ly s tood i n two

,
r r
reces s es o n each s i d e Of th e h igh al ta we e b efore th e r r , ,

ti m e o f W i ll ae rt re m ove d t o two gal le i es

, r
above t h e ch oi r an d two s m all e r i n s t r u
,

m en ts for occasi on al us e wi th th e ban d

, ,

r
we e pl aced i n th e ecess es N O egul a p laye r was r . r r
r
ap poi nted fo th em b u t a p l aye r was engage d for each
,

occas i o n at a s m al l fee I n additi on to th e two m aes t r i

.

an d th e two o rgan i sts th er e was o f cou rs e th e s ta f ,

fo f
s i nge rs an d p ri ests .

S uch th e n was t h e c on sti tu ti on O fth e Ch apel wh os e ,

m us i c b ecam e fam o us th rough out E u op e and o fwh i ch r ,

th e m ost em i n en t m us i ci an s we e f o m ti m e to ti m e r r
m ae s t r i an d o gan i sts r .

r r
A d i an W i llae t o r A d i an o as h e was us ually called
,
r , ,

r
was b o n ab o ut 1 490 p obably at B uges
Wi llae r t
,
r r . ‘

H e was m ae s t r o at S t Ma k s f om 1 5 2 7 . r ’
r
to 1 5 62 an d be cam e fam ous n ot o nly fo h i s o gan
, r r
29
 Sto r y Of O rgan Mus i c
r
p layi ng b u t s ti ll m o e fro m h i s com posi ti on s an d h i s
,

r
u se Of d oubl e ch o u ses wh i ch were suggested to h i m
,

by th e arrangem en ts of th e ch apel H e h ad a great .

rep utati on b efore h i s appoi ntm en t an d h ad h el d s eve ral ,

i mp ortan t p osts i n oth e r cou nt i es H i s s ala y w as r . r

only s even ty ducats 1 a year ; bu t on accou n t O f th e
r
excel l en ce o f h i s s e vi ce s to th e C h apel th e i m p rove ,

m en ts h e i n trod uced an d th e geni us h e S h owed th e

, ,

Procurato ri gradu ally rai se d i t to two h un d red an d ,

th i s was con ti n u e d to h is s uccessors .

F eti s gives a l ong l i st o fh is com posi ti on s wh i ch ar e ,

all v ocal wi th th e excep ti on o f a coll ecti on Of F an tas ie

,

e R ic e r car i p ubli sh e d by G ar dan o at Ve ni ce i n 1 5 49

, .

I n 1 5 47 th e re appeared from th e p ess O f Gar dan o r ,

’
R i ce r car i
’
aa c an ta r e e s o n ar e d argan a e alt r i s t r om e n t i ,

’
Bu u s s
no vam e n te p
o st i in by lu ce a q u at r o v oe i ,

“
Ri cer car i
B uus organ i s t o f th e s econ d o rgan Th e e
, . r
i s a Copy o f th i s work i n th e S tate L i b a y rr
.
“
r
at Mu n ich Th e exp es si on da can ta e i m pli es th at i t r ”

was n ot origi n ally i n ten ded for th e o gan b u t con si s ted r ,

Of vocal works tran s cri be d fo r th e o rgan an d o th e r i n s t r u

m en ts . I t was i n s co re l i ke m any early organ works .

I n 1 5 49 th e year o f W i llaert s p ubl i cati on Gar dan o

,
’
,
’
'
’
al s o p ubli sh e d [ n t a bo la t u r a d ar gan a a r r i ce r ca r i di
M Gi acqu es B u u s o rgan i s ta ae IZ i llm o
.
,
’ ’
.

S ign o r i a di Ve n e ti a i n S a n Ma r co Jac he t .

B u u s was el ecte d to th e s econ d o gan i n r

1 5 41 , r
afte a n u n usu al ly S eve e con test i n wh i ch th e r ,

D oge comm anded al l th e S i nge s to b e p esen t and r r ,

1
A u d catwas o h w rt ab t
o u fi ve shi i s in mo e mo e ll ng d rn n y .

30
 E a rl i e s t O rgan Musi c
to give th ei r votes S i n ce th e Procu ratori we re s o,

r
p e rplexed by th e m e i ts of a l arge n u mbe r Of candidate s
as to b e u n abl e to d e ci d e wh i ch to s el ect H i s salary .

was eigh ty d u cats b ut i t i s sai d th at afte r som e years

fl
,

h e foun d th i s i n s u i ci e n t an d makin g a p retext fo r , ,

’
ob tai n in g fo u r m on th s l eave o f abs en ce i n stead o f ,

r
retu n i ng h e took a p os t u n de r t h e E m p eror of A ustria
, .

r
S o an xi ou s we e t h e au th ori ti e s o f S t Ma k s to get . r ’

h i m b ack th at con t rary to th ei r cu s tom th ey wen t

, ,

r
to th e l ength O f o rd e i ng t h e i r ambassad o r at Vi en n a
to t reat wi th h i m H e agree d to retu n i f th ey woul d
. r
m ake h i s sal ary two h un d re d d u cats ; b u t th i s th ey coul d
n ot d o s o th ey p roce eded to el ec t J e rom e Par ab o s co
i n h i s p l ace C afl
,

i h oweve r th rows d oub t o n th i s

.
, ,

s to ry .

T h e works m e n ti on ed ab ove are t h e earl i es t co lle c

tion s o f o rgan m u si c p ubl i sh ed i n I taly W i lla e rt s .
’

r
wo k i s ve ry ra re ; o f A n ton i o s R e ce r c/tar i and B u u s s ’ ’

r
l n tabo lat u r a th e e are w e l l p rese ve d cop i es i n t h e -
r
r
B i ti sh Mus eu m Lib rary Th e fi rst i s p ri nted o n two .

staves Of si x l i ne s each ; th e s econ d on staves o f five

r r
l i n es fo th e igh t h and an d s i x for th e l eft Th ey ar e , .

rr
regul arly ba ed an d a e s o cl ear th at th ey co uld with
,
r ,

a l i ttl e p racti ce b e pl aye d f om by a m od ern o gan is t

,
r r .

r r
Th e e i s n o pa t fo r th e p edal al th ough th i s i mp ortan t ,

r
featu e h ad b ee n i ntroduce d f om Ge rm any by B e rnh ard r
th e Ge rman on e of th e organ i sts o f S t Mark s i n th e
,
.
’

r
p evi ous ce n tu ry an d i t m us t h ave b een wel l known
,

t o th e Fl em i s h organi sts .

I n strum ental mu si c was far b eh i n d v ocal an d ,

31
 St o ry Of O r gan Musi c
W as i e le ws k i l i s perfectly j usti fi ed i n sayi ng Of th e early
R i ce r car i : Th e i m p ress i on th ey p rod uce i s e ssen ti al ly
r
wea i s o m e d y an d m on oton ou s Th ey a e r r
r , .
,
I m p ess i o n gen e ral ly Of g eat l ength an d th ey s o un d
O fE a ly r r ,

Wo r k s
r
l i k e t oubl ed u n easy su ccess i on s of n otes
, ,

want i ng i n cont as t o fsu bjects an d st ength r r

of i deas ; th e eye i s m ore sati sfi ed th an th e e a Th ey r .
”

u s ually con si s t Of two l engthy fl o i d fugal m ovem e n ts r ,

i n e ve n ti m e b etwe en wh i ch i s s an dwi ch e d a m i ddl e

,

r
m ovem en t i n t i pl e ti m e i n s i m pl e ch ords A p e c u , .

li ar i t y Of th e organ m u si c O f th i s p e ri od i s th e use O f a
, r
ce rtai n o rn amen t i n va i ou s form s Of wh i ch th i s i s o n e : ,

I t b ecam e know n as th e Gr u p e tt o i n I tal ian B i sée i n , r

F ren ch D op pel s ch lag i n Ge m an an d Tu n i n E ngl i sh
,
r , r .

r
I t u s ual ly m a ks a ful l cl os e an d occu rs s o freq uently ,

rr
as to becom e an i i tati n g m an n e i s m r .

r
O gan m usi c was i n i ts i n fan cy : to u s i t so un ds l i ke
r
th e fi s t e f r
fo ts Of a s tuden t wh o e n deavo u s to s t i ng r r
toge th e r l i ttl e bi ts o f c oun te p oi n t wi th ou t th e ai d of a r
r
m aste ; b ut th at i t di d n o t appear th u s to con tempo ary r
r r
l i sten e s i s evi den t f om th e ad m i rati o n th ey exp esse d
,
r
r
fo th e compose rs r
Pe h ap s th e com pose s we re abl e
. r
r r r
to pu t m o e fi e an d ve ve i n to th ei r extem pore th an i n to
r
th ei r w i tte n com positi on s .

1
Gesc/I i c/It e de r I n st r u m e n t al/ mi st} , p . 1 2 3.

32
 St o r y Of O rgan Musi c
D u ke o f Pa rm a ,
wh o t reate d h i m wi th eve ry cons i de ra
t i on and h on o u r u n ti l h i s d eath i n 1 60 4 wh e n h e was ,

b u ri ed i n th e C ath ed ral o f Pa m a wi th al l p oss i bl e r ,

d ign i ty H is p ubl i sh ed o rgan wo ks are

. r
Toccate d z n t ao o lat u r a d arg an a ai C lau di o Me r u lo
’
’ ’ ’
I .

’
aa Co r r egg i o o rgan is t a de l se r en i s s S i gno r D ue a ai
’
, .

P ar m a etc , R om e 1 5 98
.
, .

’
’
Toccate d z n t avo lat u r a d arg an a e tc
’
2 . Ven i ce 1 60 4 , .
, .

’
'
’ ’

3 R i e e r car z d z n tabo latu r a d argana e tc

. Ven i ce , .
,

1605 .

4 . Mar i ae Vi rgi n i s, oe to vo e u m cu m
L i tan i ae B e at ae ,

par te o rgan ica Ve n i ce 1 609 .

, .

F é t i s gives Me r u lo th e c redi t o f b ei n g th e fi rs t to
r r
w i te origi n al wo k s fo r th e o gan i n stead o f m e rely r ,

t ran sc ri bing vocal m usi c wi th th e addi ti on O f ,

l
orn ame n tal p assages R i tt e r qu otes a Toe .

e at a o t t av o t u ono from th e p ubl i cati on o f 1 604 ,

an d con si ders th at Me r u lo sh ows an advan c e

o n i ts p rede cessors i n th at i n pl ac e of l ong s uccess i on s
, ,

o fe qual n ote s h e vari es th e val ues and m akes h i s h ar

, ,

m on i c s uccess i on s more arti sti c an d l ess m on oton ous .

Th e e xam pl e h e qu otes i n th e eigh th ton e ( i e i n th e . .

key of G wi th th e F sh a rp omi tted ) i s of great l en gth ,

an d ce rtai nly exh ibi ts a s ort of feel i ng i n th e dark afte r

s ometh i n g l i k e m ode rn h arm on i c p ogress i on s A s i n r .

al l t h e i n st ru m en tal m us i c o f th at d ate th ere are ,

pass ages of i m i tat i on wh i ch afte r runn i ng th rough a , ,

few bars seem to d i e of i nan i ti on givi ng pl ace to n ew

, ,

on es wh i ch s oon becom e exh austed i n th ei r tu n Th e r .

1
Gesc/ i c/z te des O gelsp i els
z A R i e 1 8 84 r , by G tt r . . .

34
 T h e E arl y T o ccata s

vari eti es o f n ot e val ues i n th e runs wh i ch Ri tte r l ook s

-
,

upon as an advan ce o n t h e even u n s Of earli e r wo ksr r ,

s ee m to u s t o b e far fetch e d an d fo ced an d only an

-
r ,

enth usiast fo r an ci en t m usi c coul d fi n d th e p i ece oth e r

th an m on oton ou s an d h el pl es s Th es e ea ly comp osers ,
. r
wh os e work s are s o u n sati sfacto ry to us ,
accustom ed as we are to th e weal th o f
m odern resou rce s we re th e p i on ee rs an d
,

b ui lders Of th e great art o f wh i ch we i n th e ,

twenti eth ce n tu ry are reapi ng th e ben efi t

, .

W i th ou t th ei r l abou rs m ode rn i n strumen tal mu si c

coul d n eve r h av e e xi sted an d w e cann ot b e s u f
, fi ci en tly

th an kful to th em fo r th ei r toi l i n b reakin g n ew grou nd

o n wh ich th ei r s u ccess ors coul d b u i ld Th ey we re s ti l l.

u nde r t h e i n fl uen ce Of th e m odes an d on e sees cl early

,

th e con fli ct b etwee n trad i ti on an d th e n ew art o f H ar

m ony to wh i ch th ei r i n s ti n ct was l eadi ng th em N ow .

an d th en o n e m e ets wi th a h arm oni c p ogressi on wh i ch r

l ooks ah ead i n to th e fut ure , an d th en as i f afrai d O f ,

r
wh at h e h as d on e th e com p os e r b i ngs us b ack wi th a
,

s udden sh ock to h i s o w n ti m e Tak e fo r example th e

.
, ,

Open ing bars Of Me r u lo s toccata on t h e eigh th ton e

’

.
, . r
i n App A e x 1 , th e o igi n al i s S h own o n th e two l owe r
staves an d th e u n derlyi ng h arm on i c basi s o n th e two
,

uppe r staves . I f w e s tri p th ese few bars of thei r

mean i ngl es s r un s w e ge t a p rogressi on that i s i n pe r
,

f e c t ly sati sfactory m odern h arm ony down t o th e m i ddle

o f th e fifth bar wh ere we are p ul led u p wi th a j erk an d

,

r
b ough t back to th e s i xteen th cen tu ry Th e compos e r .

r r
h as ven tu re d too fa f om h i s m od e an d m us t ge t back,

D
35
 S t o ry Of O r gan Musi c
t o i t at al l costs : th e m ode rn m e th od O f p rep ari ng th e
m i n d an d ear fo r th e retu n by s uggestiv e passages r ,

gen tly h i n ti ng at and playi ng ou n d th e com ing key i S r ,

Of l ate r i nven ti on I n th e fo urth b ar we s ee an i ns tan ce

.

Of th e con fl i ct betwe en m ode an d key Th e

Mo de an d
.

K ey
r
h a m ony s i n th e key Of D m ajor b u t th e
i ,
'

run s are i n th e e i gh th m od e t an spose d a ,

r
fi fth upwards : h en ce th e n ote C i s n atu al i n th e igh t r r
h an d an d S h arp i n th e l eft Th e com p ose i n fact d i d
. .
r , ,

n o t d are to v en tu re too fa r
i n th e di re cti on i n wh i ch h i s
geni us was l eadi ng h i m .

Th e great comp ose r Pal est i n a ( 1 5 1 4 o r 1 5 2 4 1 5 94)r -

r
l eft i n m an us c i p t a vol um e o f R i ce ca i i n th e eigh t r r
t on es a few O f wh i ch h ave bee n p ubl i sh e d
r
Pa lest i n a
,

i n m odern col le cti on s S o m e d oubts h ave .

r
a ise n as to th ei r au th en ti ci ty b ut th ey S h ow th e h an d,

o fa m as te r o f th e m o de s an d O f cou nte p o i n t I n th at r .

i n th e Lydi an m ode ( th e n eares t app roach to th e m ode n r

m aj or m ode ) th e re i s m odul ati on to th e d om i n an t an d
s ubdom i n an t : r
W i l lae t an d B uus h ad m odulated t o
o n e o r th e oth e r b u t n o t t o b oth i n th e s am e pi ece
,
.

Th i s MS i s i n th e Li ceo at B ol ogn a
. .

r
A m ongs t th e fo em os t Of th os e wh o s t en uo usly r
en deavou red to advan ce th e a t o f organ m usi c we e r r
r
A fi m “P d
r
two rem a kabl e m en — A n d ea Gab i el i an d r r
f
G i o v an n i
Gi ovan n i h i s n eph ew
,
B oth we re fam ou s .

compose rs Of every s tyl e i n v ogue ; both

r
G ab iel i
r
we e eq ual ly fam ous o gan i s ts an d both r ,

h el d th e coveted post Of o gan i s t at S t Ma k s r . r ’

.

r
A n drea was bo n at Ve n ice between 1 5 1 2 an d 1 5 2 0 ,

36
1 TALIAN T A UL A T UR E IN 1 5 97, F ROM iL T RAN S IL AN
V O .
( Se e p 41
.

37
 St o r y Of O rgan Musi c
i n t h e q u arte r call ed C an ar r e ggi o or C an ar e o h i s , ,

fam i ly l i ke th os e Of s o m any fam ous m us i ci an s being

, ,

an an ci en t an d n obl e on e H e was a p u pi l Of W i l lae rt .

r
o r C i p ri an o de Ro e o r O f both ; afte r h avi ng s erved as
,

a si nge r i n th e G ran d d ucal C h ap el Of S t Mark h e was -

.
,

ch ose n s econ d o rgan i s t i n 1 5 66 wh i ch appoi n tme n t h e ,

h el d ti l l h i s d eath i n 1 5 8 6 B ei n g o n e O f th e m os t .

e m i n en t m u si ci ans o f h i s day h e was com mi ssi on ed by ,

th e D oge i n c ombi n ati on wi th h i s n ep h ew Gi ovan n i

,

an d th e fam ou s Z ar li n o at th at ti m e Mae st r o Of S t , .

r
Ma k s t o com p os e m u si c fo r th e recep ti on o f H en y
’
, r
I I I wh o p assed th rough Ven i ce o n h i s way from
.
,

Pol an d to Fran ce F o r th e o gan h e com p osed :

. r
I . R i c e r car i , co m p o st i e t ab u lat i pe r og n i s o r te di str o
“
me n t i da t as ti Th e I tal i an Tabl at u re fo r
. 1 585 al l
.

s o rts of keyed i n stru m en ts was S i m ply o u r m ode n , r

n otati on wi th a fi v e li n e s tave fo r th e righ t h an d an d
,
-

a varyi ng n u m be r o fl i n es fo r th e l eft .

1 5 96
' '

2 1 1 t e r z o lz or o cli R zc e r car i e tc
.
, . .

3 . C an z o n z
'

a lla F r anc e s e , pe r so n a r so p ra i s t r o me n t i
( ta t as t i Ven i ce 1 60 5.
, .

T h e las t two col lecti on s were p ubl i sh ed afte r h i s

‘

d e ath an d s om e of h i s com pos i ti on s for keyed i n s t r u

,

m en ts are foun d i n oth e r c ol lecti on s .

r
G i ovan n i Gab i el i h i s n eph ew was born a t Ven i ce i n
, ,

1 57
5 an d was a p upi l o f h i s un cl e
,
I n 1 5 8 4 h e was .

C h ose n f o r th e fi s t organ i n s uccessi o n t o r ,

n M r
fn ? ‘
e r u lo wh o h ad gon e t o Pa m a N o th i ng
ab r i e lt
.
,

i s k n own O f h i s l i fe wh i ch s eem s to h ave ,

b ee n e n ti rely d evote d to h i s art an d h i s p up ils m any of ,

38
 Th e G abr i e l is

wh om b ecam e fam ou s an d h e se em s n eve r to h ave l eft

h i s n ati ve t own H avi ng h ea d th e e f
. fect o f doubl e r
r r
ch o uses th ough W i l l ae t s com p os i ti on s h e wen t a r ’
,

r r
step fa th e r i n th i s d i e cti o n an d com p ose d fo r th e e r
, r
ch oi rs th e fi s t con si sti ng of basses th e s econ d o f ,

te nors an d th e th i rd o f s op an os O th e r expe ri m en ts
, r .
,

al l O f wh i ch we re s u ccessful h ave com e d own to u s , ,

and S h ow th at t h e p rai ses b es towe d o n h i m by h i s

con tem p o rari e s we r e fully j usti fi ed H e d i ed i n 1 61 2 . .

E xam pl es o fh i s o rgan wo ks a e fo un d i n s eve ral coll e e r r

ti on s an d F eti s m en ti on s i n addi ti on :
,
’
l
i
l t on as o n
n i d arg an a Ven i ce 1 5 93 .
, .

’
R ic e r car i p e r l argan o Tw o b ooks publ i sh ed at .

Ven i c e i n 1 5 95 .

B es ides th es e W as i el ewsk i m en ti on s
2
,

Gio v an n i
’
I n to n as i o n i d arg an e , di A n dr e a Gab r ie li e

Gab r i e li Ven i ce 1 5 8 3 C on tai n in g eigh t i nton ati on s

.
, .

an d fou r toccatas by A n d rea an d el eve n i ntonati on s by ,

Gi ovan n i .

Th e com p os i ti on s of th e two Gab ri el i s h av e an

i m p ortan t p lace i n th e d evel op m en t of organ m usi c ;
r r
m odel l ed on th e R i ce ca i o f W i llae t an d B u us th ey r ,

r
S h ow an advan ce o n th es e i n th ei r fugal con st ucti on .

I nt nat n
o rt pr l d d gn d pr c d p r r anc
i o s ar e sh o e u es esi e t o e e e th e e fo m e
o ft h elarg r rgan p c d
e o nct n an C rc
ie es use i n t h e fu i o s o ft h e R o m hu h .

T y r tw nt y b r l ngt and av c aract r

he ar e fo m fi ve t o e a s in e h h e th e h e of
r pr v at n nt nat n t c ll ct n av
,

fee i m o i s i o s Th e i o i o s i n h i s o e i o see m t o h e
b n wr tt n d l y ng rgan t T y g n rall y b n
.

ee i e as m o e s fo r o u o is s he e e egi
w t a c rd t n br ak nt t ccat l k r n pp rt d by
.

i h fe w ho s he e i o o a i e u s su o e -

pl ar n
,

si m e h m o ies
p
.

Gesc/i . der I n st m u s i k ,
. . 1 46 .

39
 St o r y Of O r gan Musi c
A R e ce r e ar p de l r th e
im e tu o n o alla gu a r t a alt a ( i . e .

S O call e d
- r
D o i an ton e t ansp osed a fou th u pwa ds ) , r r r
begi n s wi th a egul ar exp osi tion Of th e su bj ect i nr
r
acco dan ce wi th m ode n u les b u t afte r t hi s th e r r ,

r
subj e ct n eve re cu s i n th e i n n e pa ts ( S e e e r r r . x .
,

A p p A NO . I n th e m i ddl e th e e i s a good e
, . r x
“
am pl e O f A ugm en tati on o fth e s ubj ect a favou i te ”
, r
d evi ce of fugue wri te s Of al l ages wi th a n ew s e con da y r , r
s ubj ect p l ayi ng o un d i t r .

r
A R i ce rca e i n th e ten th ton e by G i ovan n i i s far
r r
mo e flo id ( S e e A pp A ex . I n th e cou rs e Of .
, .

r r
th e wo k a b igh t n ew s ubj ect e nte rs ( p p A ex
A . .
, .

Th i s afte r b ei ng work ed u p fugal ly fo r a t i m e i s

, ,

combi n ed wi th th e p i n ci pal s ubj ect to t h e end r .

I t was n ot un u s ual fo r Ch u rch m u si c O f al l ki nds to

b e foun ded o n p op ul ar m el od i es : wh ol e Masses we e r
com pose d wi th su ch tune s un n ing th rough r
th e m an d we re cal le d afte r th e tun e su ch
, ,

as “
Mi ssa L h om m e a mé “
Mi ssa ’
r ,
”

Paysan s regr es an d th i s was on e O f

th e ab u ses obj ected to by th e C ou n ci l Of
r
T ren t O gan m us i c n atu al ly was s ubj ect t o th e s am e
. r
i n fl ue n ces R i tte r q u otes a
.
“
Fan tasi a A ll eg a del r
d uodeci m a toni by A nd ea Gab i el i found ed on a
,
”
r r ,

r r l
p op u la F e n ch ch an so n by C r e q u i llo n O f wh i ch t h e ,

1
C r e q u i llo n , t pr l i c and p p lar c p er
o ne o ft h e m o s o fi o u o m os s o fh i s
day a Belgi an eccle i ast c c apel a ter Cha le and a
was s i h -
m s to r s V
c nte p rary Wi llaert ng t c p si t i n se veral
.
, , ,

o m o o f A mo s h is o m o o s ar e

b k r v i ce l ngs were rec gn i ed by

.

oo s o fclz an so n s f
or f
ou o s So o so no t o s

l earned i ci an and were nl y ng by nl arned

.

mus s, o su th e u e .

40
 St o ry Of O rgan Mu s i c
lu ogo di c i asc u n a p ar e t , e co m e n e l D im inuir e si de u e n o
po r t ar le m an i , e
’
i l m o do d i n t e n de r e 1a i n tavo lat ur a ,

p r ov an do la ve r i td e n e ce ss i t ei de lle s ue R eg o le co n le
To e e ate di di v e r s i ecce lle n t i o rgan is t i p o s te n et fi ne de l
L i br a .

O p e r a n u o vam e n t e r i t r o vata, u t i li ss i m a e n e ce ssar i a a

p f r o e sso r i
’
d o r gan o .

r lv lg t tr
T ansi an o : a dia o ue o n he ue me h o d O f a i n
Ii t pl y g
org ll tr t
an s an d qui ed ins umen s ( i e ha sich o ds rp r th e . .
,
by
vr
Re e end a he F t rGr l r t P r g rg
i o am o D i u a o f e u ia o anis o f t h e ,
t
Ct r
a hed a O f hi o l C gg w w rk k wl g
ia : i n hich o a n o ed e O fe e v ry
t ng n wt k yb r
hi c o n ected i h t h e e o a d is easi an d a id au h ly r p ly t g t .

l
A so h o w t o use t h e han ds in D iminu i o t n
an d t h e me h o d o f ,
t
rt g T bl t r pr v ng tr t n
unde s andin t h e a a u e o i t h e u h a d n ecessi o f ,
ty
th e rl
u es i e g v n b y x pl
e am es o f o cca as
, T t by v r
di e s e ce en x ll t
org n t w r pl t
a is s hich a e aced a t h e end o ft h e o o
, A b k
o k . wr
ne wl y made m o st use fu and necessa t o
,
l of r y pr
ess o s O f t h e r
org an .

“
D i mi n uti onh e re m ean s th e o rn am en tati on Of a
s ubj ec t by rap i d n otes Th e b ook i s d ed i cated to
.

r
S igi sm on d B ato ri P i n ce of T an sylvan i a h ence i ts
,
r ,

n am e r
Li ke al l i n st u cti on b ooks of th e p e i od i t i s
. r ,

i n th e form O fa d i al ogu e wi th a l ong Open i ng speech , ,

i n wh ich th e au th or th an ks th e goodn ess O f God th at

r
h e h as each ed Ve ni ce wh e e h e can h ear th e sweetes t
,
r
r
con ce ts an d th e m ost h a m oni ou s s ongs A fter r .

r
seve al pages i n th i s s trai n h e com es t o th e p oi n t , ,

explai ni n g th e m usi cal alph abet as appl i ed to th e ,

G ui don i an H an d ( n ot as we S h oul d expect th e , ,

G ui don ian syll abl es u t r e m i ,

Th en th e cl efs
, , ,

42
T ITL E A
-
P G E OF IL T RAN S IL AN
V O .
”

43
 S t o ry Of O rgan Musi c
r
an d val ues Of th e n otes a e ex plai n ed an d Mutati on ,

by m ean s O f acci dental s Th e keyboa d i s S h own by . r

r
m ean s o fa s tave O f fou tee n li ne s t o be f om C t o A r ,

x
th re e octaves an d a s i th Th e n fol low ru les fo pl ay
. r
i ng th e o gan r “
wi th g avi ty an d eas e r t h e o gani s t r
m u s t si t befo re th e m i ddle o f th e keyboard an d m us t ,

n ot m ake un n ecessary m ovem en ts bu t m us t h ol d h i m ,

s el f u p righ t an d i n a grace ful pos i ti on etc

, Th e , .

fi nge rs m us t be pl aced eq ually ab ove th e keys bu t ,

s om ewh at ben t an d th e h an d m us t n o t b e s ti f
, f: th e
r r
fi nge s m u st p es s an d n o t st i ke th e keys T O th e r .

r
rul es fo r finge i ng h e attach es great i mpo rtan ce Th e .

scal e i s t o be pl ayed by th e fi nge rs alo n e wi th ou t ,

th e th um b wh i ch i s only to b e us ed i n a
, sal to c at
t i v o — z e a l e ap from an accen te d t o an u n accen te d
. .

n ote S cal e passages wi th m ore th an on e o r two black

.

n otes we re n eve r u sed i n th os e ti m es an d th e p rej udi ce ,

agai ns t th e th u m b remai n ed t il l J S B ach b ough t . . r

r
ab ou t a evol u tion i n th e wh ol e m eth od by maki ng h i s
pu p il s u se th e th umb equal ly wi th th e oth e r fi nge s r .

O n page 1 5 h e gives an i n te resti n g exam pl e of

Fal s o B ordon e — i e S i m pl e fou r part h arm ony
”
. .
-
,

r
w i tten o n two staves ( O f fi v e an d eigh t
r
l i n es espectively ) th e igh t b an d playi ng , r
r
th e sop an o an d al to th e l eft th e ten o an d ,
r
bass as i n th e fo m n o w call ed
, r “
S h o t S co e On r r .
”

r
page 1 9 h e gives th e ul es fo finge ing th e T em ol o “
r r r ,
”

wh i ch i s wh at we cal l th e S h ak e ; an d th i s i s followed ‘

by a n um be r o f toccatas by th e va i o u s com pose s , r r ,

i n cl u di ng D i ruta h i m se l f ; th e two Gab i eli s ; L u z z as c o r

44
 I l T ran si l v an o

L u z z as ch i , r
o gan i s t Of th e C ath ed al Of Fe rrara p rai s e d r ,

r
by Me r u lo as th e g eatest o gan i s t o f h i s day ; A n ton i or
Rom an i n i a p upi l o f A n d ea Gab i el i an d an u n
,
r r ,

s u ccess ful c an di date i n 1 5 8 6 fo r th e s e con d o gan at r

. r
S t Ma k s ; Paul o Q uagl i ati
’
a di s ti ngui sh e d C l ave ,

c i n i s t an d r
com p ose Of th e R om an s ch ool ; Vi n cen z o
B e llh av e r a n ativ e of Ven i ce wh o s u cce ed e d A n d ea
, , r
r
Gab i el i at th e s econ d o rgan i n 1 5 8 6; Gi o s e f fo G uam i ,

r
wh o was bo n at Lu cca ab ou t 1 5 45 was o gan i s t , r
at th e C h ap el Royal at Muni ch s ucceeded B e llh av e r , ,

wh o di e d i n 1 5 8 8 an d i s d es cri bed by Z ar li n o as
,
’
G uam i s u o n ato r d o rgan i s u av i ss i m a A ll .

T o ccat a
th es e toccatas h av e a fam i ly l i ke n e ss .

Th ey b egi n wi th a bar o r two Of si m pl e ch o rd s an d

r
th en p roceed to runs i n api d n otes al tern ati ng b etwee n ,

th e two h an ds an d s u stai n ed by ch ord s wi th t h e h an d

,

th at d oes n o t h app e n to b e o ccup i e d wi th th e run s

( p. Th e gr u p e t t o o r tu rn i s p e rp etu al ly re cu rri n g
, , .

A toccata by L u z z as c h i on t h e fou rth ton e h as a ce tai n r

r
dign i ty i n i ts Op e n i n g b a s Of h arm on i c p og essi on s : r r
r
afte r th i s i t p ocee ds i n u n s O f qu ave rs an d s e mi r
r
q u ave s l i ke th e es t
, r .

A s econ d p art was p ubl i sh ed t o [ l Tr an s i lvan o i n 1 609 .

r
I t con tai n s Ri ce rca i an d C an z on e all a F ran ces e by
r
D i uta an d Gi ovan n i Gab iel i ; A nton i o Mo r r
r
ta o a F ran ci scan b orn at B es ci a o gan i s t
, , r
S e co n d ,
r
O f th e cath ed ral s o fO s s ar o an d N ova a th en P “
I I Ir an
Of
r , ’ '

o f th e con ven t Of h i s o de at Mil an an d r r S i lv an o

; ,

fi nal ly at th e F ran ci s can con ven t Of h i s

native town wh ere h e d i e d i n 1 61 9 ; L u z z as ch i ;
,

45
 Story Of O rgan Musi c
r r
Gab i el i Fatto i n i a com pose r of Faen z a ; A d i an o , r
r
Ban ch i e i a com pose an d th eori st bo n at B ol ogn a i n
,
r , r
1 5 67 a p up i l o f G uam i o rgan i s t o f th e C ath edral o f
, ,

Lu cca an d afterwa d s o f S t Ma k s a p ol i fi c wri te r

,
r . r ’
, r ,

and comp ose r i n al l th e kn own styl es Fi n ally th ere i s .

,

a n umbe r O fsh ort fo u r voi ce m ove men ts for th e hymn s -

,

an d th e Magn i fi cat .

Th i s book con tai n s t h e foll owi ng di recti on s fo r

regi s te ri ng wh i ch we give i n th e E ngl i sh equ ivalen ts
,

fo r co nve n i en ce “
Fo r th e Fi s t Ton e :
r ,

wh i ch requ i es ful l sou n d i ng h arm ony l th e r -

,

D oubl e O p e n D i apason th e O pe n D i a ,

p ason an d th e Fl ute o r P i n ci pal , To r .

r
gi ve exp essi on to th e m el an ch oly feel i ng O f t h e
S econ d Ton e th e D ou bl e O pe n D iapason an d
,

Trem ulan t are requ i red Th e m ou rn ful n ess of th e .

Th i rd Ton e can bes t b e exp ressed by th e D oubl e

O pen D i apason an d th e Fl ute o f eigh t fee t .

r
Th e Fou th Ton e req ui res a gloomy an d dej ecte d
r
h a m ony Th e s am e regi ste rs are s ui tabl e as fo th e
. r
S econ d Th e m ode rate gai ety of th e Fi fth Ton e
.

r r
eq u i es O pen D i ap ason Fi fteen th an d Fl u te Th e , , .

x
S i th Ton e wh i ch exci tes d evoti on , sh oul d b e use d ,

w i th D oubl e D i ap as on O pen D i apason an d Fl ute , , .

B ol d an d te n de i s th e e f r
fect o f th e O pe n D i ap ason ,

F i fteen th an d Twen ty secon d ; th i s combi n ati on wi l l

,
-

r
th e efore b e ch ose n fo th e S eventh Tone To exp ess r . r
r r
th e f e e an d ag eeabl e effect of th e E igh th th e Fl ute , ,

1
w rd ar n y
Th e o h mo d r and
i s use he e i n o he o em o t r c nt p rary
wr t ng n al t y t n
,

i i s i n t h e se se o fq u i o f o e
, .

46
 An t e gna t i
o r Fl ute an d O p en D i apason o r F l ute an d P i n ci pal o r , r ,

Fl ute an d Fi fteen th are th e m os t s u i tabl e combi n a

”
ti ons .

Th es e di recti on s give a c uri ou s p i ctu r e O f I tal i an

r r
o gans an d th e ty an ny O fth e e ccl esi as ti cal ton es
, .

C ostan z o A n t e gn at i b orn at B esci a i n 1 5 5 7 was , r ,

o n e of a fam i ly wh os e m em b e s h ad f o r m any ge n era r

ti on s been al m os t excl us i vely o gan b u i lders
A n t e gn at i
r -

an d o rgan i sts H e was h i m self th e b ui lde r

.

r r
Of th e o gan an d o gan i s t O fth e cath ed al o fh i s n ativ e
, r
town I n 1 61 9 h e was s tru ck wi th p a alys i s an d
. r , ,

bei ng n o l onge r abl e to e xe ci s e h i s p rofessi on h i s r ,

fellow ci ti z en s gave h i m a p en s i on o n accoun t O f h i s

-
,

s ervi ces to th ei town r

H e p ubli sh ed col lecti on s o f .

Mote ts an d Masses Hym n s i n tablatu re fo r th e ,

r r
o gan R i ce rca i an d an i n stru cti on book c al l e d L A r te
, ,
’

O rgan i ca ; B res ci a 1 608 I t was al s o p ubl i sh ed i n th e

, .

’
sam e year a t Ve n i ce u n d e r th e t i tl e of L A n tegn ata ,

I n tav o lat u r a .

Th i s work afte r a p reface gi v es a l i s t o fo n e h u n dre d

, ,

-
r
an d th i rty fi v e o gan s b ui l t by th e h o us e O f A n t e gn at i .

Th en i n th e u s ual d i al ogu e th e fath e r

,
’
,

teach es th e s on th e e cel len c e an d uti li ty L Ar t e

O r gan i ca
x
o fth e art o f pl ayi ng th e o rgan an d th e ca e ,
r
h e m us t exercis e to tun e a s trange o rgan befo re p layi ng
o n i t an d h e gi ve s d i recti on s for tu n i n g wh i ch woul d
,

r
h a dly sati s fy m od e n req u i rem e nts r
Th e res t o f th e .

r
wo k i s occupi e d wi th i n stru cti on s fo r th e us e o f th e
r
s tops wh i ch ar e i n te esti n g i f ead i n con n ecti on wi th
, r
th os e Of D i ruta , as th ey give a p i ctu r e o fth e d isposi ti on
47
T IT L E I A G E
' ' "

OI
'
A NT E GN A T I S T A A
BL T UR E B OO K , S HO \H NG PO R T RAI T .

48
 S to ry Of O rgan Musi c
8 . g
Vi esima n o n a
9 . Tr g
i esima e z a tr !

IO . g
Vi esima sec o nda N o 2 , .
0

l t
1

1 I . F au o in quinta decima 3
4

12 . l t
F au o in o a a tt v 0
0

F rom th i s S peci ficati on i t wi l l b e s een th at th e I tal i an

r
o gan bu i l de rs d i d n o t s eek va i ety o fton e o r h arm ony
-
r , ,

as th ey woul d cal l i t S O m u ch as a bu i ldi ng up Of

,

d iap ason work fro m th e 3 2 fe e t p i tch th rough octave s -

an d fifth s to th e h igh est th e ear i s capabl e o fre ce i vi n g

,
.

Th e on ly ch an ge p oss i bl e f om di apas on wo rk was i n r

th e two fl ut e s top s wh i ch we re p rob ably Of wood an d
, ,

i f th ey were anyth i ng l i ke s om e of th e fl ute s top s we

h av e h eard an d pl aye d o n i n m ode rn I tal i an o rgan s ,

th ey woul d h ave a ful l roun d ton e of ext em e beauty , r

wh i ch com mand s atten ti on wh en eve r h ea d r .

F o r th e us e o f th e s top s A n t e gn at i gi ves th e foll ow

i ng s u gge s t i o n s z— “
Th e R i p i en o ( ful l organ ) i s to con si s t
Of N o s 1 3 4 5 6 7 8 9 ; th e oth e r s top s
.
, , , , , , ,
Man age are to b e es e ved fo s peci al e f r r fects NO S r . .

1 0f

51
111
3 5 1 0 an
, d 1
, 2 are to b e us ed i n combi n ati on
, ,
8 13
to i m i tate th e C orn etto 1
NO 1 2 i s t o be . .

u sed as a s ol o s top N os 3 an d 1 2 are to be u sed i n

. .

com bi n ati on fo r D i m i n uti on and fo r th e pe rfo rman ce Of

C an s o ni F r an ces i Th e sam e two stops wi th th e
.
,

a ddi ti on o f th e t rem ulan t can be u sed fo C an e o n i , r

F r ance s i b u t i n th i s cas e th e re m us t b e n o D i m i n uti on
,

— i e rap i d passages
. . N os 1 2 an d 2 can be us ed i n a
. .

d ial ogu e betwee n m an ual an d p edal .

1
A i k nd
o fm i u e s o xt r t p r rl y v ry p p lar
o me
f ,e o u ( Se e o e . nt p , .

50
 C h aract e r Of I tal i an O r gan Mu s i c
I t i s evi de n t th at th e I tal i an organ i s ts m ad e few i f ,

any ch an ges Of regi s te r d u in g p erfo rm an ce an d th at

,
r ,

th ey rath e r t rus ted t o th ei r ap i di ty Of exe cuti o n an d r

com m an d of coun terp oin t to p rod uc e th es e e f fects
wh i ch we re s o adm i re d by th ei r con tem p orari es Th e .

I tal i an s h av e n eve r en cou age d th e b u i l di ng Of en o r r

m ou s o rgans s u ch as o n e fi n ds i n th e m o e n o rth e n
, r r
r
cou nt i es an d i n S p ai n R efi n em en t an d del i cacy o f
.

r
touch i s m o e i n ke ep i n g wi th I tal ian ch a acte r th an r
r
th e ough vigou r an d deli gh t i n th e p owe O f s ou n d r
r r
wh i ch ch a acte i ses m uch of t h e m u s i cal a t O f Ge r r
m any an d H ol l and wh e e th e cl i m ati c con diti o n s by
, r ,

r
fo ci ng a con s tan t s truggl e wi th p owers o f n atu e r
un k n own i n a co un t y s u rrou n ded by th e Me di t e r r
r an e an h as i ts e f
,
fects o n th e n ati on al Ch aracte r an d , ,

r
th ough i t o n t h e n ati on al art
,
.

r
O th e r I tal i an o gan i sts wh o attai n e d to m or e o r
l ess cel eb ri ty i n th e s i xteen th cen tu y we re r
A ntoni o Valen te s u n am e d C i eco s i nce h e was
, r ,

bl i nd a N eap ol i tan wh o p ub l ish ed at

, ,

Napl es i n 1 5 8 0 Ve r s i sp i r i t u ali sop r a t u tte

, ,
S i xt ee n t h
,
C e n tu r y
le n o te 1
di v e r s i C ap r i cci p e r s o n ar
co n ,
O r an i sts g
O ttavi o r
B a i ol a organ i s t Of th e C h urch Of th e
,

Madon n a d i S C el s o i n Mi l an p ubl i sh ed R ice r cate pe r

.
,

s u on a r
’
l ar gan o , 1
58 5 ; Ca p r i cc i , o vv e r o C au s an i a 4,
15 94 H .i s wo ks a e i n th e r
styl e of M err u lo an d th es e ,

r r
two comp ose s a e sai d by R i tte 2 to b e th e fi rs t t o r
p ubli sh C ap r i cc i o s .

1
L e in t h e o es
. all2
tn
Gescb i cb te aes O r ge lsp i e i s
. 16
’
, p . .

5 I E
 '

A N T E G NA T I S TA B LAT R E
U ,

52
 N ot e d I tal i an O rgan i st s
G i ovan n i Matte o A s ol a o r A sol o b orn at Ve ron a a
, , ,

p ries t an d com p os e r , o fwh os e wo ks F eti s gives a l i s t r .

I t i s n ot kn own wh at m u si cal p os t h e h el d .

F Masch era o r Mas cara o rgan i s t at B res ci a an d a

.
, , ,

di sti ngu i sh e d v i ol i st ; sai d to b e o n e o ft h e fi rst t o pl ay

C an e on i alla F r an ce se o n t h e o gan
’
r .

S pe r i n D i o B ar t o ldi o r B ar t o ldo organ i s t Of t h e

, ,

C ath ed ral o f Padu a a n ativ e O f Moden a b orn 1 5 3 0 ;

, ,

com p ose d To e cate R i ce r car i e Can z on i F r ances i i n

, ,
’
t avo latu r a p er l o rgano , 5 61 1 .

Gi ov an n i Mari a T r ab ac ci ,
o rgan i s t at t h e C h ap el
Royal O f Napl es ; p ubl is h ed at th at ci ty R i ce r car i p e r
l o r gano —L i br o L 16 1 61 5
’
0 3 ; L i br a I L
, Th e re i s a , .

copy Of th e s econ d book i n t h e B ri ti sh Mus eu m ; i t co n

tai ns o n e h un d re d ve r s i o r S h o t p i eces o n t h e eigh t r
eccl esi asti cal ton e s Th e m u si c i s i n s core o f five
.
,
“
l i n es t o e ach s tave an d i s i n te n d ed fo r al l ki n ds o f
,

i n stru men ts b ut m o re e sp e ci ally fo r t h e ci m bal o

,

( h arps i ch o rd ) b
, ecaus e th e ci mb al o i s th e S i gn o r o f
”
al l th e i n stru m en ts i n t h e worl d .

Gi acom o B r i gn o li b orn ab o u t 1 5 5 0 e xam pl es o f

, ,

wh os e com p os i ti on s are scatte red th rough th e c o lle c

r
ti on s o f th e ea ly d e cades o f th e s eve n te en th cen tu y r .

N o d etai ls o fh i m are kn own R i tte r q u otes a C an z o n a

.

F r an cese by h i m from S c h m i d s c oll ecti on Of 1 607

’
,

wh i ch i s i n th e k ey Of C w ith regula r m od ulati on s ,

t o rel ate d k eys an d a won d e rful free dom from m odal

,

i nfl uen ces .

O th er organ i sts th ere m u s t h av e bee n i n pl en ty ,

wh os e nam es are l os t Th e n u mb er o fcath edral s and

.

53
 St o ry Of O rgan Musi c
th e i n n um erabl e ch u r ch e s exi sti ng i n eve ry I tal ian town
r
m u s t h ave req u i re d a legi on O fo gan i sts to se rv e th em ,

r
an d i t i s s carcely l i kely th at th e m aj o i ty of th ese
organ is ts ab stai n ed fro m attem p ti n g comp osi ti on fo r
th ei r i n strum en t
.

54
 CH A PT E R V

I TA LI A O R G AN M U I C ( ti d)
N S co n nue .

F esc bald i —Direct i n

r o pr per per r ance
o s f
o r th e o si c f
o m o f h is m u
R s i— o s — t her I tal i an rgan ists
F as o lo O sev e nt ee nt h
o o f th e an d

eigh t eent h e nt ries c u .

AT t h e begi n n in g of t h e s e v e n teen th c e n tu ry w e m ee t
wi th a gen i us wh os e o rgan m us i c b reaki n g away from ,

th e b on dage of th e m odes an d from form e r

r
t adi ti ons s oars to a regi on of i ts o w n i n a Fr es co b a l di
,

r oman ti c i deal i s m wh i ch s eem s alm os t to

fo restal l th e n i n etee n th cen t u ry Vocal m usi c h ad .
,

as early as th e eigh th an d n i nth cen tu i es bee n capabl e r ,

x
o f e p ressi ng h u m an e m oti on s an d aspi rati on s ; an d
th ough i t l os t th i s p owe r d u ri ng t h e con s tructive p eri od
of cou n terp oi n t i t h ad regai n e d i t wi th com po un d
,

i n teres t many ge n e rati on s b efor e t h e ti m e we ar e

speaki ng o f B u t th e con s t u ctive p e i od Of i n s t r u
. r r
m en tal m us i c was st i l l i n p rogress an d i t was Gi r alo m o ,

r
F escobald i a n ativ e Of Fe rra a wh o fi rs t gave th e
, r ,

x
p owe r O f e p ress i on to organ m usi c H i s cont rapu n tal .

s ubj ects are vigorous an d forci bl e ; h i s h arm on i es ,

th o ugh s om eti m es cr ud e an d far fetch ed O fte n h ave a -

,

rom anti c i m agi n ati on th at m us t h av e as toni sh ed th e

55
 St o ry Of O rgan Musi c
h eare rs an d th e wh ol e o f h i s work eve n wh en i t
, ,

res ul ts i n u n success ful exp eri m ents b ears th e s tam p o f ,

r
m as te fu l and con sci ou s gen i us H e al l owed h i ms elf .

to b e h am p e red by n on e O f th e ol d ul es : b e was a r
freeth i n ke r i n h i s art an d d i d n ot s crupl e to l e t i t be
,

kn own “
W h oev e r can u n de s tan d m e
. r
h e wrote ,
“
ove r o n e O f h i s p i eces l e t h i m d o s o ; I u n ders tan d
,
”
mysel f . O ve r anoth e r : H e wh o c an play th i s
B e rgamas ca wi l l h ave l earn ed n ot a l i ttl e ”
Th e date .

o f h i s bi rth i s u n kn own : th e years 1 60 1 1 5 91 an d , ,

1 5 80 h ave b ee n gi ve n by vari ous auth ors R i tte r .

r
con si de s th at i t m us t h ave bee n 1 5 8 0 fo r h i s fi rs t book ,

of m adrigal s p ub li sh ed i n 1 608 sh ows th e h an d o f a

, ,

m aste r n ot th at of a boy o r a you th of seven te en

, His .

teach e r was Fran cesco Mi l l ev i l le a cel eb ate d o rgan i s t ,

r
r
o f F en ch o rigi n l ivi ng at Fe rrara ; b u t d oubtl es s h i s

o w n gen i us taugh t h i m m ore th an any m as te r for h e ,

S eem s to h av e fol lowed h i s i ns ti n cts regardless o f ,

p reced en t B ai n i rel ates th at

. l i ste ners as
. r
s embl ed i n S t Pe te s at R om e wh e n h e fi rs t pl aye d
’

th e re i n 1 61 4 s o great was h i s fam e A bou t th i s ti m e

, ,
.

’
h e was appoi n ted O rgan i s t o f S t Pete r s i n s uccessi on .
,

to E rcol e Pasq ui n i w h o was als o a n ative Of Fe rara

, r ,

an d a p u pi l O f Mi l l evi ll e th ough s en i or to F escobald i

,
r .

r
Ve y fe w d etai l s o f h i s l i fe are kn own an d even th e ,

date O fh i s death i s un reco ded I t i s sai d t o h ave been r .

abo ut 1 644 s i n ce a col lecti on Of h i s C an z o n i was

,

r
p i n te d by Vi nce n ti o n D ece mbe r 1 5 th 1 645 wi th th e , ,

r r
rema k th at th ey we e p ubl i sh ed i m m edi ately afte r th e
death of th e compose r ; but th i s i s con tradi cted by t h e
56
 Story Of O rgan Musi c

ET GA NZ O N I
FR A N Z S E E
so w . A D IV ERS !
0 !
mm13
[ N
‘

r ; RJ I T V R A

GIR O L A MO
E S C O B L A
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I N R O M A
fi h
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.
9 M DC "
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Cm Lm n m

T I TL E -PA C !O F F R E S C O BA LDI S F
'
I R ST B OO K O F R E CE RC A R I A N D CA N NI
ZO .

58
 F r e s c o bald i
’
11 s eco n do li b r o di To ccate , C an e o n i , Ve r s i d inni ,
Gag li a r de Co r r e n t i, ed alt r i P ar t i t e
zlfag n i fi cat , ,

’
d i n tavo lat u r a di R om e 1 61 6
C e m balo ed O rg ano .
,
.

F rom thi s H awki n s q uote s a can z on a i n v o l i v p 1 76 . .

, . .

It p r i mo li b r o de lle C an z o ni a 1
3 4,,
2 , , v o ci , pe r
s o n ar e , o p e r ca n t ar e co n og n i s o r te
R om e di s t r o m e n ti .
,

1 62 8 Th i s was p ub l i sh ed i n p a ts b u t Grassi a p u pi l
. r , ,

o fFres cobal di p ubl i s h e d i t i n s core wi th ou t words

, ,
.

I n P ar t i t u r a, i l se co n da li b r o de lle C an e o n i , a I, 2 , 3 , 4,
vo c i . Per s o n ar e co n og ni s o r te di st r om e n t i . Th i s i s
m en ti on ed by Gerbe r b ut was u n kn own ,
t o Fé t is .

F i o r i m u s ic ali di To ccate , Ky r i e , C an z o n i , C a p r i cc i , e

R ice r car i , i n pa r t i t u r a a q u at t r o pe r s o n ato r i . Rom a ,

1 63
5 .

I n s eve ral cases th es e wo rks we re rep ri nted i n oth e r

t o wn s a s trong evi den ce Of th ei r p opul a i ty E xam pl es
, r .

’
Of F r e s co b aldi s wo ks a e foun d i n s eve ral r P
r
o p u lar ity
m ode rn col l ecti on s Of an ci en t m u si c— fo r
o f F r es co
r
exam pl e i n F an z C o m m e s S am m lu ng de r
,
h aldi s
r ’
’

be s te n Me i s te r we r k e des 1 7 u n d 1 8 ja/z r u n de r t s
Mu sic .

R i tte r i n h i s Ge s ci z icfi te de s O r ge lsp ie ls

, ,

q uotes two toccatas t wo cap i cci os an d a can z on a , r , .

S om e Of th es e h av e an i n dep en den t p edal pa t an d i n r ,

r
th i s as i n al l oth e r es pects th ey a e i n advan ce o f th e
, ,
r
com p o siti on s O fth e Ven eti an sch ool .

Li ke h i s p rede cesso s F es cob al di u s ed p op ul ar r ,

r
r
tun es fo som e of h i s p i eces R i tte m en ti on s fo u rteen . r
r r
Pa ti te o r va i ati on s o n a t un e call e d La R om an esca
, ,
”

“
L A r i a d i Mo n i ch a
’ ”
e leve n on ten o n an ai r by ,
“
R uggi ero S i x o n La Fol l ia
, a s ubj ect wh i ch was ,
”

59
 St o r y Of O rgan Musi c
s om e si xty years l ate r treate d by C orel li fo r th e vi ol i n .

H e also m ade a toccata arrange men t of a m ad igal r ,

A nc ide t e m i pu r by A r cade lt ; that i s to say th e voi c e

, ,

p arts are passeggi ato by fl ori d work .

O n e o fth e toccatas i n wh i ch th e rhyth m i c al compl i

,

cati ons a re excess ive h as th e s up e rscri pti on

,
“
No n ,

s en z a fati ca h i gi unge al fin e to wh i ch Ri tte r adds th e

,

r
remark th at th e pl aye r wi l l ag e e wi th th e compos er as
to th e l ab ou r of arrivi ng at th e e n d Of i t .

Th e F io r i Mu s ic ali of 1 63 5 are p i n ted i n s core i n r ,

orde r to b e availabl e for i a

s tr u m e n ts oth e r th an th e
r
o gan s uch as vi ol s e tc , , .

Th ey ar e m os tly fo r ch u ch r
us e A i ce care i n th i s c o l
. r r
l ecti on con tai n s on e Of th ose
i narti sti c t ri cks o f wh i ch
m usi ci an s we re s o fon d i n
th os e days I t i s i n fi ve .

parts fou r of wh i ch are to

,
m sc o 'i u m
be p layed and t h e fifth
’

s ung o r h um m ed by th e playe r .

Frescobaldi gav e d i recti on s as to th e execution O fh i s

r
toccatas wh i ch we e by n o m ean s to be pl ayed i n stri ct
,

ti m e : h e al l owed h i msel f eve ry freedom wi th

r
D i ect i o n s
th e t e mpo as h e di d wi th th e h a mony
, r .

fo r
r
Pe fo r m
x
W ords O f e press i on we e n ot y e t us ed fo r r
an “
k eye d I n st um enr ts th ough th
, ey we e b e i ng r
r
i n t od uced i nto l u te m us i c an d th e on ly ,

m ean s O f i n di cati n g wh at was req ui red was by rule s

60
 Fr e s c o bald i
r
gi ven i n p i n t o r by th e i n s tru cti on s O f a com p eten t
,

m as te r O u r com pose r wi sh e s th e t em po o fh i s toccatas

.

to b e s ometi m es s lowe r som eti m es faste r Th e op e n

,
.

r
i ng ba s are to b e pl aye d S l owly an d arpeggi an do an d ,

r
th e ge n e a l te m po i s to b e taken at any p oi n t th e playe r
l i kes Th e n ote at th e e n d O f a S h ak e o r a rapi d
.

r
p ass age i s t o b e l ength e n ed i n o de r t o d iv i de o n e
,

r
p h as e o r o n e pass age from an oth e r ”
H e i s careful
.

abo ut th e exe cuti on o f a s h ake : i f i t i s accom p an i ed by

a p as s age i t i s n o t to b e pl aye d n ote agai ns t n ot e
b ut th e s h ake i s to b e p l aye d as q u i ckly as p oss i bl e an d ,

th e p assage q u i etly an d wi th exp ressi on I n s u ch .

pass ages as th i s

th e s econ d s em i quave r i s to b e S l igh tly d otte d— th at i s to

say sl igh tly retarded
, r r
I n o de r to p od uce b ri ll i an cy
.

r
i n api d p as sages fo r b oth h an ds togeth e r a sligh t ,

delay s h o ul d b e m ade o n th e l as t n ote befo e th ey b egi n r ,

an d th ey S h oul d t h e n b e p lay ed as q ui ckly as possi bl e .

r r
Th e e sh oul d b e a st on g r alle n tan do b efo e th e cl oses r ,

r r
an d a sti l l s t o nge r o n e b efo e th e fi nal cl o s e Of th e
m ovem en t Toccatas wh i ch con tai n n o passages can
.

r
b e pl ayed i n q u i ck e r ti m e th an oth e s ; bu t i n al l th es e
cases , as al s o i n passacag li as an d ci taco nn es th e ,

61
 St o r y O f O r gan Musi c
r
va iati on s o f ti m e m ust es t on th e good taste an d r
r efin ed j udgm e n t o fth e pl aye r .

W e s e e i n al l th i s an e ffo t afte wh at i s cal led r r

exp ressi on as Opposed t o m e e ski ll i n compl i cate d
, r
cou n te p oi n t an d r api di ty of fi n ge r wo k r W i th -
r .

r
F escobal d i I tal i an o gan mu s i c m ay b e con s i de red to
, r
h ave reach ed i ts z eni th an d i t was s oon to b e ove r ,

sh ad owe d by th e gre at G erman s ch ool wh os e r e p r e ,

s e n t at i v e s afte r l earn i ng al l th ey coul d from th e I tal i an s

, ,

r
e nl a ge d th e scop e O f th ei r i n s trum en t an d con ti n ue d ,

r
th e wo k s o wel l begu n i n I taly .

Mi ch ael A ngel o R oss i o n e o f F r e s co b aldi s b es t ,

p upi l s p ubl i sh e d at R om e i n 1 65 7 [ n ta b o lat u r a d O rgano

,
’

Ro ssi
e C e m balo an d th e e i s a MS col lecti on o f
, r .

h i s toccatas i n th e B i ti s h Mus eu m ( Add r .

MS S , . Th ere i s plen ty o fv i vaci ty i n h i s wo k r ,

an d a p ecul i ar l ove o f v e y cl os e i m i tati on s r

Th e .

MS col l ec ti on i s i n teres ti n g as i t contai n s a well kn own

.
,
-

’
toccata by Pu rcell wi th ou t th e com p oser s n am e b ei ng
,

give n .

O th e r I tali an organ i s ts Of th e s even te en th c en tu ry

were
Gi ovan n i B attista P asol o a Fran ci scan b orn at A sti , , ,

wh o is only k n own by h i s A n n u ale ci te co n t i e n e t u tto

w r an i s t a r r i spo n de r
F aso lo
g u e ll o c /ze de v e fa r e o g p e

O p 8 Ve n e z ia 1 645
’
a t c o r o t u tt o l a n n o
. .
, ,
.

Th i s was i n ten ded as a h el p t o o gan i sts i n th e dai ly r

r
se vi ces th ough ou t th e yea r I t con tai ns th e Te D e um r .
,

hym n s Magn i fi cat s i n th e eigh t m ode s

,
i cerca i , r r ,

can z oni and fugues as con cl ud ing vol un tari es

, ,
B ei n g .

62
O RG A N SCO R E F R ’
O M FRE S C O BA L D I S F I R ST B O OK O F RE C E R C A R I AND C AN NI
ZO .

63
 Story Of O rgan Mu s i c
for ch u rch us e i t i s s tri ctly i n t h e m odes an d ch rom ati c
, ,

p ass ages an d far fetch e d h arm on i e s are avoi ded

-
Th e .

Magn ifi cat i n th e s eve nth m od e i s tran sp o sed a fi fth

u pwards an d give n th e s ign atu re of two sh arp s — F an d
,

C an d i s sai d by R i tte r to b e p ob ably th e Old es t

, r
e xam pl e o fth i s S ign atu e r
Th e p edal i s n ot used i n any
.

r
pa t of th e book wh i ch i s cu ri o us i n m usi c p ubl i sh ed at
,

r
Ven i ce wh e e th e p edal i s s upposed to h av e b ee n fi rs t
,

i n troduce d i nto I taly .

I n or ab out th e year 1 700 th e r e was p ubl i sh ed by

G iul i o C esare A resti o rgan i s t o f th e C ath ed ral o f ,

B ol ogn a a col le cti on of S o n ate da O rg an o di

, ,
A r est i
v ar i i au t o r i con tai n in g p i eces by m any wh os e
,

n am es are h ardly kn own excep t th rough th is work , .

A m ongs t t h e m ore i mp ortan t of th os e rep esented are r

G i ovan n i B attis ta B assan i born 1 65 7 at Padu a , ,

Mae st r o of th e C ath ed al o fB ol ogn a from 1 68 0 to 1 68 5r ,

Bass “ ,
wh en h e wen t t o Fe rrara an d rema n ed ti l l
h i s death i n 1 7 1 5
i
H e was a V i ol i n i s t as .
,

wel l as o rgan i s t an d i s b est k nown as th e m aste r o f

,

C orel l i .H i s s on ata i n A r e s t i s coll ecti on i s a k i n d of ’

sol o s uch as m igh t b e w i tte n for th e vi ol i n wi th

,
r ,

accom panyi ng h arm on i es an d s om e ped al n otes wh i ch , , ,

r
h oweve , are m erely d upl i cates at an octave l owe r o f , ,

t h e b as s es O f t he l eft h an d Th i s i s th e fi rs t p i ece o f
.

i ts ki n d : i t i s n ot wri tte n fo r two keyboards as ,

on e m igh t exp ect an d th e igh t h and takes as , r

r
m u ch p a t i n th e accompani m en t as th e l eft It .

i s i n th e key Of F I t m od ul ates at th e si xth bar to

.

th e d om i n an t th en goes th rough th e keys of C m i n or

, ,

64
 St o ry Of O rgan Musi c
Th e col lecti on th ough i t was p ubl ish ed wh e n A resti
,

was s even ty years Old wh i ch woul d b e abou t

, is ,

r r
cu i ou sly en ough p i n ted i n a m o e pu z z l ing ki n d o f
, r
r
tablatu e th an th e work s o f B uu s an d D i ruta ; for i ts
righ t h an d stave h as five to eigh t l i n es an d i ts l eft
-
,

r
s even to eigh t Th e i gh t h an d pl ays f om th e t ebl e
. r r
o r th e s op ran o cl ef an d th e l eft h an d f om th e C an d F
, r
cl e fs on th e s am e s tave A m ode rn o gan i s t m igh t
. r
p ossi bly pl ay wi th a l i ttl e p acti ce from th e I tal ian r
organ tablatu re of 1 5 47 bu t i t woul d take h i m a ve y
, r
l ong ti m e to m as te r th at of a ce n tu y and a h al f l ate r r .

Th e re was n ot ye t a consen s u s O f Opi n i on as to th e

p rope r way o f wri ti ng organ m usi c : each comp ose r d i d
wh at h e l i ked an d th e re was an occasi onal reve s i on to
, r
an ti quate d m eth ods .

r r
O th e fam ou s o gan i sts we re
A lessan d ro P o gli e t t i C o urt o gani s t o f Vi en n a f om
, r r
16 61 to 1 68 3 wh o p ubl i sh e d s om e can z on as toccatas
, , ,

an d r e ce r car i
.

Lu igi B atti ferro Mae s t r o o f S S pi ri to Fe rrara wh o

, .
, ,

p ubl i sh ed i n 1 7 1 9 Twe lve R ice r car i

, .

, r
Vi ncen z o A lb r i ci b o n i n 1 63 1 at Rom e b ecam e i n ,

16 64 C ape llm e i s te r to th e E l ecto r Of S a ony at D esd en x r ,

A lb r i ci
afte r h avi ng e mb raced Lu th e an i sm : h e i s r
p robably th e on ly exam pl e at that ti m e o f , ,

an I tal i an Protestan t o rgani st H avi n g been di sm i ssed

.

from h i s p os t on accoun t Of b eaki ng h i s l eave of r

absen ce a comm on faul t of m usi ci an s i n th os e days h e
, ,

becam e organ is t o f S t N i colai at Lei psi c . He e he , . r

1
A es i was o r t
i n 1 63 0 b rn .

66
 B e rnard o P a s qui n i

r emai n ed ti ll 1 68 2 wh en h e wen t t o Prague as m u si c

, ,

d i recto r o f th e C h u rch of S t A ugus ti n e H e comp ose d

. .

a great deal O f ch u rch m u si c o f good q u al ity n otably ,

a Te D eu m fo r two ch oi rs accom p an i ed by an o rch es tra

,

r
o f s t i ngs b rass an d d ru m s ; b u t h i s ch i ef cl ai m to
, ,

n oti ce h e re i s th at wh i l e at D resden h e h ad as a p up i l
Kuh nau th e p redeces so o f B ach at th e Th om as
, r
C h urch .

B ernardo Pas q ui ni b orn at Mass a d e V aln e v o la i n

,

Tuscany 1 63 7 was th e m os t fam ou s I tal i an organ i s t o f

, ,

th e l atte r h al f o f th e s eve nteen th cen tu y

P asqu i n i
r .

W h i l e ye t youn g h e b ecam e o rgan i s t of th e

r r
im po tan t ch u ch of S t a Mari a Maggi ore i n R om e
.
, ,

r
from wh i ch h e was p om oted to th e p rou d p osi ti on o f
O rga n o e du s r
O gan i s t o f th e S e n ate an d
Peopl e o f R om e — a p os t wh i ch s eem s t o h ave bee n
created fo r h i m H i s fam e was great i n fo eign
. r
r
coun t i es and th e E m pe ror Leopol d s en t m any you ng
,

m usi ci an s to com p l ete th ei r s tudi es u nd e r h i m am on gs t ,

r
wh om were F an ce sco Gasp a i n i an d D u an te He r r .

was cembal i st t o th e Teatro C ap ran i ca wh il e C o el l i r

was lead e r o f th e vi ol i n s F o r th e o gan h e l eft two
. r
large m an uscri p t vol um es w i tte n i n h i s o w n h and
,
r ,

wh i ch i n 1 8 5 8 we re s ol d to an A m eri can afte r th e d eath ,

o f th ei r form e r p ossess or Lu dwi g Lan dsbe rg o f , ,

r
B e l i n an d for a l ong ti m e i t was con s i dere d th at
,

h i s organ m u si c was com pl etely l os t t o th e world .

B ut i n 1 90 2 th e B ri ti s h Museu m be cam e possesse d of a

val uabl e MS vol um e ( A dd MS S
. con tai n i ng a
. .

p rel ud e an d seven toccatas by Pasq ui n i , from wh i ch

67
 St o r y Of O rgan Mu si c
we q uot e i n App A N o 6 a fi n e toccata Th e tabla
. . .

t ure h as S i x l i n es fo r th e righ t h an d an d seven fo r th e

l eft.

’
D om en i co Z i p ol i organ i s t o f th e J es ui ts C h urch a t
,

R om e i n th e fi rs t years Of th e eigh teen th cen tu ry ,

’
p ubl i sh e d S o n at e d l n tavo lat u r a pe r o rgan o e
Zi p o li
ce m balo con si sti ng O f s h o t p i eces c on n ected
, r :

w i th ri tu al O n e o f th e p i eces h as a p edal pa t
. He r .

h ad a great rep u tati on as a comp oser for th e o rgan ,

an d th at i t was n o t u n des erv e d i s S h own by a can z on a

’
i n R i tte r s Ge sch i clz t e i n th e fo m o f a fugu e wi th a
, r ,

m i ddl e m ovem en t i n 1 2 8 tim e Th e p i ece wh i ch i s i n

-
.
,

G m i n or i s s o s ati s facto ry th at i t m igh t b e take n fo r a

,

com pos i ti on o f B ach o r H an del Th re e pi eces by h i m .

are i n cl ude d i n th e C e ci l i a coll ecti on an d are d ated ”

,

1 71 6 . A n E le vaz i o n e h as a few s ustai n ed n ote s i n th e

p edal . r
I t con sists o f s em ib eves an d m i n i m s i n th e l e ft
h an d wi th a ru n n i n g com m enta y i n th e igh t an d i s r r ,

s om ewh at an tiquated i n feel in g even fo r i ts ti m e In .

a n ofi e r to r i o t h e ped al s ustai n s th e l owes t C th rough

'

o ut . Th e p i ec e i s m arke d C o n sp i r i to an d q ui te gi ve s ,

-
r “
an o ld wo l d i dea o f a m erry n ois e Th e op en i ng of .
”

“ ’
a can z on a i s evi dently i n spi red by P u rcel l s Golden
”
S onata .

Pad r e G i amb atti sta Marti n i th e great h i stori an o f ,

m us i c t h e fam ous b ook coll ecto r an d th e f i en d of

, ,
’
r
B urn ey p ubl i sh ed i n 1 73 8 S o n ate d l n ta v o la
Mar ti n i ,
’
t u r a pe r l arga n o e d i l ce m balo wh i ch i s n ot ,

s ui te d for ch u rch playi ng th ough i t contai n s a regu la

-
, r
an d sci en tifi c us e of t h e p edal Th e col l ecti on con si sts .

68
 M art i n i
of s ui te s of p i e c e s an d e n d s wi th a b ri sk gavotte
, He.

p ubl i sh ed a s econ d col lecti on i n 1 747 un de r th e ti tl e o f

,

S o n ate p e r l ar gan o e d i t ce m balo i n wh i ch i t wi l l b e

’
,

“
r ”
n oti ced th at th e wo rd i ntavol at u a i s d ropp e d ; b u t i t
con ti n u ed t o b e use d i n con n ecti on w i th o gan m usi c r
l ong afte r i t h ad fal l e n ou t of us e for oth er i n s tru men ts .

Th e s tyl e of Marti n i s m us i c i s s h own by th e fact th at

’

i n h i s S o n ate d l n tav o lat u r a i s fou n d th e o rigi n al c o m

’

p os iti on o f th e Gavotte i n F s o wel l k n own t o am ateu r

,

vi ol i n i sts b egi n n i ng
,

wh i ch i s to b e p l aye d on a C ari ll on s top .

F o r abou t a cen tu ry from th i s t i m e th e wo ks o f r

I tal i an organ i sts too k n o p lac e i n th e m u si cal worl d
r
for al l m usi cal a t i n I taly w as swam p ed t o s uch an
r
exten t by op e a th at n oth i ng el s e was recogn i sed as
“
exi sting an d th e word m us i c m ean t an d sti l l m ean s
, , ,

to I tali an s th e op e ra on ly
, .
 CH A PT E R V I .

G E RM AN O GA N M U I C R S .

Th e rise rgan i c G er an y
o fo m us in —H m -
Pau m an n i s F u ndam e nt u ni
— C pas
O rgan i z andi oGer an rgans—H
m s o f —I ncrea e
m o o f
h ai m e r s

n ber rgans— K c a i l y— rn ld chl i ck

i n th e um o fo Th e o h fm A o S
p — G er
S i ege l der O rge /m aclze r an Tablat re — Kl e b er —
mC l rat ra u s o o u
— Am merbach—P p lar t n es
o u sacre d w rd s
u se t to o .

T HE fi rs t r ep r esen tative f Ge rman organ m usi c was

o

C on rad P m au P
an n , lm or P wm au f an n , o r a an n , o

N u r em berg wh o was b o r n bl i n d i n 4
, , 1 10 .

P l m an n
C uri ously en ough h e was l i ke h i s p r e
au

decess or Lan di n o th e fi rs t fam o us I tal i an o r gan i s t n ot

, ,

only i n h i s bl i n dnes s b ut th at h e al s was of n obl e o

b i r th an d becam e a m as te r f n ea r ly eve ry k n own

, o

i ns trum en t O th e l ute h e was as celeb rated as on

. n

th e o r gan an d f i t h e i nven ted a tablatu re wh i ch i s

, o r ,

descri be d by V i d g O
r un f th e m any we althy
. ne o

p atri ci an fami li es O f N u rem be r g gave h i m h i s ed u ca

ti on an d h e was at a n ea r ly age appoi n ted o r gan is t of
,

S t .S ebald th e p r i n ci pal ch u r ch of th at town

,
.

B u t h e was n ot con ten t to b e a m e rely l ocal cel eb ri ty

h e travelled and sp r ead h is rep utation i n oth e r coun t r i es ,

especi al ly I taly wh i l e h i s fell ow town sman th e p oet

,
-
,

H an s R o s e n plu e t w rote o fh i m,

70
 P au m an n

N o chist ein Meiste in diesen Gedich e r t ,

r gl
D e h at Man e an seinem Ge s igt ,

r t
D e heis Me y s t e r C u n r at Pawm an n ,

D em h at Go t s o che G e n ad ed anl g ,

r
ytr t
D as e ein Mas e O b a en Ma s e is tr ll .
”

( My poem m u st re cord an oth e r m as te r

“
wh o i s , o ne

bl i nd wh o i s cal l e d Maste r C on r ad P m
,
au an n : to wh om

God h as s h own S O great m e rcy th at h e i s th e m aste r o f

al l
r
H e a ou se d as m u ch e nth u si as m by h i s organ
pl ayi n g as Lan di n o h ad don e a ce n tu y b efore an d as r ,

S gu ar c i alu p o h i s C on tem po ary was d oi n g

,
Val uabl e r , .

r
p esen ts were m ad e to h i m by p i n ces : th e E m pe o r rr
r
Frede i ck I I I gave h im a sword w i th a gol d h i l t an d a
.
,

gold ch ai n ; th e D uk e o f B ava i a a m o e s en s ibl e gi ft r r

o f a p en s i on to h i m s el f an d h i s wi dow an d ch i ld en r .

W h e n advan ced i n years h e b ecam e organ is t at

Mun i ch wh ere h e d i ed i n 1 473 an d was b u i e d i n
, ,
r
th e F r au e n k i r ch e .

H e was th e au th o r Of a di dacti c wo k cal l e d F u n da r ,

me n t u m O rgan i aan di Magi s t r i C on ad i P au m an n s d e r

r r
N u embe ga wh i ch e mai n e d i n man u scri p t
, r
rr
i n a l i b a y at W e rn ige od e u nti l p ubl i sh e d r
by C h r y s an de r i n jalz r b i lc /ze r fur Mu s i k a
'

lis c/ze Wi sse n s ch a t 1 8 71 f

Th i s i s th e
, .

Oldest exi sti ng wo k o n th e a t O f extem po e r r r

r
o gan playi n g fo
-
“
r r
o gan i si n g m ean t i n th os e d ays
,
”

addin g a co unte p oi n t o r “
o gan um r to a gi ve n
,
r ,
”

ten or r
Th e au th o giv es exam pl e s of h o w t o t reat
.

r r r
va i ous p og e ssi on s o f th e te n o su ch as A scen su s r ,

71
 St o ry Of O rgan Mu s i c
sim pl ex , D e sce n su s sim
wh i ch m ean t m ovem en t by pl ex ,

s ingl e degrees o f th e s cal e upwards o r d ownwa ds ; ,

r
A sce n s u s c i D es ce n s u s p e r te r c i as , p er q u ar t as , p er q u i n t as ,

e tc a re al l treate d i n d etail
.
, I n each case a few bars .

of ten o r contai n i ng th e eq u i e d i n te rv als ar e given

, r r , ,

r
an d a pa t i s adde d above for th e ri gh t h and .

O th e r e xam pl e s are P au sw : th ey cons i s t of l i ttl e

m ove m en ts fo r fi l li n g u p th e pau ses i n th e ri tual wh e n ,

th e p ri es t i s si l en t O u r auth o r al s o s h ows h ow to
.

r
d evel op th re e o fou r n otes o f a te nor i nto a l onge r
p i ece and to add an o rgan u m to i t at th e s am e ti m e ;
,

i t m u st b e rem em be e d th at n o on e th ough t o f co m r
r r
posi ng e nti ely o igi nal m us i c an d s om e pl ai nson g o r ,

oth e r m el ody was al ways taken as th e groun dwork o r ,

“ ”
ten o r o f eve ry com p os i ti on
, H e al s o gives on e o r .

t wo p i eces wi th an add i ti onal p art a n ovel ty i n h i s d ay , ,

cal le d B asis I tal i an B as so Ge rm an an d E ngli s h B ass

, , ,

wh i ch i s b elow th e te n o r i n p i tch b u t i s wri tten by h i m ,

above i t a com m on p racti c e i n Ge rm any fo r s om e

,

ti m e afte r i ts i nven ti on 1 .

Th e n otati on emp l oyed by Pan m an a i s th at d escri be d

by V i r du n g 2 th e Ge rman o gan tabl at u e i n wh i ch r -
r ,

,r
th e u pp e rm ost part th e s o cal l ed D i scan t i s w i tten on -
,

a stave of fi ve l i n es wi th d i am on d sh ap ed bl ack n otes ;

,
-

r r
th e l owe r p a t or parts are i n alph ab etical l e tte s ; l in e s

1 i i larl y
S m s e ngl i h hy n b k
in o m olate ft h e E s m -
oo s o fas as t h e

fir t al n i neteenth cent ry ten r lt were pri nt ed

,

s h fo ft h e u th e o an d a o

el d y
,

abov e t h e m o

In M s e b k whi ch des ri bes

.

2
us i ca 5 Ge t u scli t , 1 1 1, th e am oo in he c

Pau m an n l te tablat re
’
s u u .
 St o r y Of O rgan Musi c
th an th e Te n or ; an d th ree sh o t P r wam b ula on e of r ,

wh i ch i s i n toccata form con si sti ng Of a n um be o f , r

p assages ove r s us tai ne d n otes i n th e accom panyi ng
”

p arts .Th e ton al i ty b reak s away f om th e ch u rch r

m odes m ore th an i s th e cas e i n th e early I tal i an o gan r
m usi c Of a centu ry afte r th i s ; bu t th e rhyth m i s al ways
“
Pe rfe ct —i e i n th e t ri pl e m eas u e s o b el ove d by
. . r ,

th e Me n s u r ali s t s .

Th e n ex t famou s G e rman was Pau l us H o fh ai m e r o r

H ofh ei me r b orn at Radstad t i n 1 449 or 1 45 9 H e was
,
.

Ho fh ai m e r
r
cou rt o gan i s t t o Maxi m i l ian I at Vi en na .
,

by wh om h e was gi ve n l ette rs Of n obi l ity

wh i le th e K i ng Of H ungary c reated h i m a Kn igh t o f
th e Gold e n S p u r Li k e s om e o f h i s p ede cesso s h i s
. r r ,

r r
p ai ses we e s ung by con te m po a y p oets an d h i s rr ,

p ortrai t was pai n ted by Lu cas C an ach Th e bu rgesses r .

r
of A ugsbu g gave h i m th e freedom Of th ei r ci ty an d ,

h e i s des cri bed by J oh an n e s C U S p i n i an u s as Mu s i cas

p p
r i n ce s, q ui in u n i v e r sa Ge r m an i a pa r em non Iza be t .
1

H i s fel low organ i s t th e fam ous L u s c i n i u s d esc ib es

-
, , r
“
h i s pl ayi n g as h av i ng n oth i ng p oo r n oth i ng col d , ,

n oth i ng weak i n i ts h arm ony : eve yth ing i s ful l of r

angel i c wa m th an d powe r Th e wonde rful facil i tyr .

o f h i s fi ngers n eve r
al l ows th e maj esti c p og ess of h i s r r
m od ul ati on to be d i s tu b ed r
n o on e h as s u p assed r ,

n o o n e h as eve n eq u all ed h i m S u ch we e th e .
”
r
Opi n i on s o f h i s con tem po rari e s ; we can only fo m a r
r
j udgm en t o f h i s p owe s by th e few wo ks h e l e ft O n r .

r
th e death o f h i s p at on th e E m pero Maxi mi l ian h e , r ,

1 Pr nc
i e O fm usi c wh o h as no eq u i n th e h o e o f e m
,
al w l G r any .

74
 H o fh ai m e r
reti re d t o h i s n ativ e town w h e r e h e d i ed i n 1 5 3 7 H i s , .

1
com posi ti on s con si st o f s on gs an d l u te m u s i c wh i ch ,

fo r th e m os t part em ai n i n MS col lecti on s i n th e r .

I mpe ri al Li b rary at Vi e n n a an d i n a l arge coll e cti on o f ,

r r
va i ous com p os e s p ub l i sh e d by G Fo ste r at N u r e m
,
. r ,

r
be g i a 1 5 5 6 65 e nti tl ed A usz ug s clz oe n e r de u tsc/ze r
,
-
,

L ie dle i n e u s i nge n
,
u n d auf alle r le i I n s t r um e n t e u
-
,

2
ge b r au clze n Th es e are th e wo rk s th at wo ul d b e
.

pl ayed o n th e o gan r
O n e of th e m ost n otewo rthy .
,

a song fo r th re e pa ts en ti tl e d “
On f r
r e wd v e rz e r , ,
”

q u ote d by R i tte r i s a egular o rgan p i ece wi th a, r ,

curi ou s Old wo rl d e f fect wh i ch i s n ot at al l un pl e as i ng

-
,
.

I ts key i s th e s econ d m od e ( A m i n or ) wi th ou t any

acci de ntal s an d wi th a ce tai n am ou n t o f C m aj or
, r
r
i nte m in gl ed Th e m el ody i s i n th e u pp e rm os t p art
.
,

and as a wh ol e i t i s s om eth i n g l i ke a s i mp l e G erm an

C h oralvo sp i el r .

I n th e fi fteen th cen tu ry o rgan s we re only t o b e fou n d

i n th e m o re i m portan t ch u ch es of l arge r
town s ; b ut i n th e n e t cen tu y Ge man I n cr ease 111 x r r
organ i sts b egan to i n c eas e an d m ul ti ply t h e n u m b er
O f Of
r ,

an d th e re was i mm en s e activi ty i n o rgan

r
b u dd i ng wh i ch P ae to i u s p i o usly att i b utes O an ist s
f s
r ; r
,

to th e m e rcy O f Go d i n reveal i ng to m en th e
r g
r
s ecrets of stop s an d o f n u mbe l es s i m p rovem en ts both ,

1
w rd s ng w i th e i val ents
Th e o
“
o i ts q u clz an so n , can z o n a, L i ed,
w i ch e pec i all y c nn e ct e d w i t h a c p i t i n a ngl e
,

h ar e n o w s o o m os o f
or si

v i ce w i th i n tr ental acc pan i ent

o s um th se days sed nl y
o m m was i n o u o o f
t ee and r v i ce c p i t i ns
,

hr f
ou -
o o m os o

e l ect i n G er an ng i ngi ng and all k i nds

.

2
S o o f fi ne m So s, f
or s f
or o f
I n tr ent
,

s um s.

75
 St o ry Of O rgan Musi c
i n th e pi pes an d th rough th e m i n th e ton e s and i n t h e ,

m ech an i cal p orti on s o f th e i ns trum en t A m ongs t th e .

r
i m p o tan t o gan i sts we re th e m embers of a r
K OCI
F am i l
? y r
rema kabl e fam ily o fZwickau n amed Koch , ,

wh o l i ke th e l ate B ach fam ily were S p ead

, r ,
r
r
fa an d wi d e as o gan i sts r
Tobias S ch m idt i n h i s .
,

C h r o n i ca rem a ks th at
,
“
r
D i e Koch e d i eses Ge s ch le c h
r
tes ei n e s on de l i ch e Z u n eigung z u m O r ge ls ch lage n
1 ”
geh abt . Th e foun de r of th e fam i ly Pau l Koch wh o , ,

d i e d i n 1 5 3 5 was o gani s t o f th e Ma i en ki rch e at

, r ‘

r ,

Z wi ckau ; an d W al th e r gives th e n am es Of seve ral o f

h i s descen dan ts wi th th ei r p os i ti ons b ut th ey do n ot
, ,

s ee m to h ave bee n com p ose s o f n ote r .

W e n ow com e to an oth e r fam ous bl i n d m us i ci an ,

A rn old S ch l i ck o r S c h li k wh o was b o n i n B oh e mia

, , r ,

abo ut 1 460 H e was o gan i s t at th e c ou rt of

. r
gi zfifi th e E lecto r Palati n e at H ei delbe rg an d th e
auth o r O f th e oldest p i nted Ge m an o gan
,

r r
,

r
tablatu re b ook I t was p ubl i sh ed i n 1 5 1 2 i n respons e
.
,

to a req ues t by S ch l i ck s s on ( al so n am ed A rn ol d ) fo r a
’

col lectio n Of pi eces for th e o gan an d l ute Th e fath e r r .

r
p romi se s i n a l ette wh i ch i s p i n ted wi th th e col le e
, r
ti on t o acced e to th e req ues t al th ough h e h as be com e
, ,

bl i n d ; an d i n th e same l ette r h e blam e s S ebasti an

2
V i r du n g f o r m any faults wh i ch occu r i n h i s book : he
s eem s to h ave h ad a cons ide rabl e feel i ng Of h ostili ty to
r r
V i r du n g fo h e sati i ses h i m i n ve rs e at th e en d o f
, ,

1 “
This r ce C ks a o f oo h ad a re a kable nat ral bent
m r u f
or o rgan
sm i t i ng
p
.

2
Mu s i ca Get u sclz t , se e .
72 .

76
 A r nold Sc h l i ck
h i s tabl atu r e b ook Th e ti tl e Of th e wo k i s Tabu la
. r ,

tu r e n e t li ci ze r lo bges ang u n d li e dle i n ufi di e o rg e ln u n d

'

lau te n e t c 1 , S ch l i ck exh ibi ts seve ral featu es wh i ch

. r
are an advan ce on Pau m an n Th e p e dal i s used i n a .

r r
egul a ly form e d i n dep e n de n t b ass p art th rough ou t ,

th e Can tu s F i r m u s i s Often i n th e u pp e m os t pa t o r r r ,

D i scan t an d i ts m el ody i s c h ange d wh e r e a n i m

,

r
p ovemen t i s advi s abl e i n s tead o f exh i bi tin g a s l avi s h ,

adh eren ce to th e o igi n al n otes r

Th e D o i an Mod e . r
h as th e acci den tal s B fl at an d C sh a p th u s an ti ci r ,

p ati ng th e m ode rn m i n o r s cal e d ecepti ve cad en ces a e ,

r
r
f eq uen t an d t h e fi nal Cl os e s a e always fo m e d as at
, r r ,

r
p esen t wi th a m a jor dom i n ant ch o d
, Perh ap s r .
,

h oweve r o n e o f th e m os t rem a kabl e s ign s of advan ce

, r
i s t h e b ol d us e of th e t iad o f A fl at o n e o f th e m os t r ,

- -
r
out O ftun e ch o ds u n de r th e o ld syste m s O f tu n i ng b ut ,

con cordan t i n E qual Te mp e am en t wh i ch system h ad r ,

been advocated by a S p an i ard B a tol o Ram i s j u st th i rty ,

r ,

r
yea s b efore th e p ubl i catio n Of S ch l i c k s Tabu atu e l r n
2 ’
.

Th e Ch urch o rgan n ow h ad p racti cabl e fi n ge r keys -

,

r
and th e wo k i n q u esti on was i n ten de d fo r
, r
i t ath e r than fo r th e Posi tive Th i s l ead s
6
S p ‘ e ge l
.

u s t o S p eak Of an oth e r i mp ortan t wo k

2 3 2 2
1
; r 2
by S ch l i ck p ubl i sh e d i n 1 5 1 1
,
cal l ed ,

Sp iege l de r O rg e lm ac/ze r u n d O rgan is t e n alle n S t if fl ,

Tablat re certai n hy ns p aise and l i ttl e s ng

1
u s o f m o f r o s on th e
o rgan and l te s u s.

In M De B l gna u si ca d i c rdant
Tr act at u s , o o 1 48 2 Th e O ld s o

t n i ng re ai ned ngl i h rgan t i ll a ter i ddl e

.
,

u m on E s o s f th e m o f th e
n i neteenth cent ry u .

77
 St o r y Of O rgan Musi c
te n und [ fi r e /z e n so O rg e ln b atte n o de r m ac/ze n
1
lasse n , lzo clz n ute li c/i
i n wh i ch i s d escri bed h ow th e
‘

r
o gan s o fh i s d ay S h o ul d b e bui l t Th e comp ass O f th e .

m an u al s was n ow to b e th e e octaves b egi n n i ng wi th r ,

F an d th e p edal s an octave an d a h al f l i kewi se

, ,

begi n n i ng wi th F Two n ewly i nvented s top s a e

.
-
r
m e nti oned by n am e b u t n ot desc i bed i n o de r to , r , r
p rese rv e t h e secrets o f th e t ade i n vi olate ; th ey are r
evi den tly reed stops Th e p edal o rgan i s to h av e fou
-
. r
stops th e ch i ef m an ual eigh t o r n i n e an d th e R i i ck
’

, ,

r r
p osi tiv ( th e ch oi o gan beh i n d th e pl ayer s back ) on ly ’

r
th e e wh i ch are t o b e an octav e h igh e th an th e
,
r
gen e ral p i tch o f th e o gan Th e stop cal led Z i m mel r .
,

o r Z i mb el a m i xtu re Of si x o r sev en ve ry s mal l p ipe s

“
t o each key i s a s i n e q u a n o n
,
s i nce i t s ou n ds wel l ,

w i th al l th e regis te rs Th e tablatu re u se d by S ch li ck
.
”

i s m uch th e s am e as th at o f P au m an n b u t ,

r
th e up pe m os t part i s w i tten i n wh i t e r
i nstead o f bl ack n ote s an d on a stave of ,

si x i n stead o f fi ve l i n es Th e est O f th e pa ts a e . r r r
r r
w i tte n i n l ette s as wi th Panm an a an d ch ange s O f
, ,

octav e sti l l c om me n c e w i th B i n stead o f C i n acco d , , r

an ce wi th th e Ol d com p as s o f th e organ NO fl ats .

r
except B a e sh own al l oth e r black keys a e i ndi cated r
r
by sh a ps only an d th i s c ustom em ai n ed as l ong as
,
r
r r
Ge man tabl at u e l asted an d l eft i ts m a k on th e ,
r
r
n om en clatu e o f th e n ote s fo m ore th an a cen tu ry r
r
afte rwa ds . r
I n th e m atte r O f hyth m S ch l i ck sh ows ,

rr r rgan b ld r and rgan t

1
Mi o O f O ui es O -
i s s m o s u se fu t o I n st i t u t l all
t n C rc w c p rgan av ng t b lt
,

i o s an d h u hes h i h o ssess O s o r ar e h i h em ui ,
.

78
 K leb e r

an advan ce o n Pau m an n by us i n g eve n ti m e eve ry ,

wh e re w i th o nly o n e excep ti on Th e m usi c th ough

, .
,

r
rath e r th i n to m ode n ea s i s al m os t m ode rn i n i ts r ,

ton al i ty sh owi ng l i ttl e o f th e m od al i n fl uen ce s o

,

ap paren t i n con tem po ary I tal i an wo ks r r .

Leon h ard Kl eb e r o gan i s t of Goepp i nge n i n 1 5 2 4

, r ,

wh o di e d i n 1 5 5 6 l eft a large m an us c i p t tabl atu re

, r
b ook wh i ch i s n o w i n th e R oyal Li bra y at
,
K leb e r
r
r
B e l i n I t con tai n s n o l es s th an o n e h un d red
.

an d s i xteen p i eces m ostly con tem p o a y Ge m an an d

,
rr r
r
F en ch an d Lati n s ongs i n th re e p arts by va i o us c o m , r
p ose rs Th e b ook i s i n two vol u m es th e fi rs t fi n i sh e d
.
, ,

i n 1 5 2 2 b ei ng fo r m an ual on ly an d th e s econ d two

, , ,

r
yea s l ate r bei ng for m an u al an d p edal Th er e a e
, . r
als o fi n ge r exerci ses an d s om e fan tasi as an d p rel udes
-
,
.

r
Th e m os t i n te es ti n g featu e of th e b ook i s th at i t S h ows r
th e b egi n n i ng Of wh at h as b ee n call ed th e Ge m an r
sch ool o fC ol ou i sts r
th os e wh o ove rcrowde d th ei r
r r
wo k wi th o n am en tal passages — f o m th e I tal i an ,
r
co lo r ar e c o lo r a t u r a
, c o lo r i s t a wh i ch we e German i sed
, , r
as co lo r i r e n C o lo r at u r C o lo r i s t
, , .

S om e Of th e p i eces i n th e Kl ebe r MS are really ve ry .

fi n e : th ere i s a s tabi l i ty an d p u pos e i n th ei r p r o gr e s r

s i on s o f a h igh orde r foresh adowi n g th e B ach p e i od
,
r .

Th e c o lo r at u r a i s on ly b egi n n i n g : i t ch i efly con s i sts o f

a t urn , wh i ch towards th e en d o f th e
cen tu y r was to becom e a com m on p l ace
r
t iCk i n d ulge d i n b eyon d end urance
r
by Ge rm an o gani sts ; wh i l e th ei I tal i an c o n t e m p o r r
r r
a i es we e as we h ave s een u sin g a m ore el abo ate
, , r
79
 St o r y Of O rgan Musi c
o rn am en t of th e s am e n atu re , th ough th ey di d n ot
ab use i t to th e sam e exten t .

Th e h arm ony i s th i n b u t th i s defect i s atone d for by

,

th e vigou r an d m ove m en t o f th e coun terpoi n t Th e .

Ph antasi a i n D i s a sh ort p i ece i n D m i nor wi th B flat , ,

r
an d C s h arp an d wi th egul a m odu l ati ons to A m i n o
, r r .

I t i s n ot foun de d o n any Ca n to F e r m o b u t o n o igi nal r

m otives an d i s on e of th e earl i es t German exam pl es o f
,

fre e com pos i ti on .

Klebe r was o n e o f a sch ool o f o rgan com p ose rs wh o -

we re earn es tly i mp rovi ng th ei r art of wh i ch h oweve r , , ,

r
u n fo tun ately few exam pl es h ave com e d own t o u s for , ,

r
d u i ng th e ti m e O f th e R eform ati on an d for som e forty ,

years afte r th e re s eem s to h ave been a cessati on of

,

p ubl i cati on O f m u s i c books .

r
Towa d s th e en d O f th e cen tu ry th e activi ty o fI tali an
o rgan i sts are ri val l ed by th os e O f Germ any an d tabla ,

r
C o l o r at u a
r
tu e b ook s foll owed o n e an o th e r i n rapi d
s uccessi on ; b ut th e art o f co lo r atu r a took
s uch a h ol d th at we fin d a wh ol e pe i od i n wh i ch Ge r r
m an organ m u si c b ecam e debas ed i n to a s ensel ess an d
r
m ech an ical arti s an wo k i n wh i ch vocal com pos i ti on s
,

r r
o f th e bes t au th o s we e si m ply m ade v eh i cl es for ab s o

lu t e ly m e an i ngl es s o rnam en tati on Th e I tal ian s d i d .

s om eth i ng o f th e s am e s ort b u t th e re was th i s d i ffe r

,

r r
en ce th at th ey we e s t i vi ng to i nven t n ew form s of
,

r
a t wh i l e th e Germ an s we re expen di n g th ei r ene rgi e s
,

i n debas i ng form s th at h ad al eady i n th e h ands of r ,

S ch l i ck Kl ebe r an d th e i r con tem porari es begu n to

, , ,

y i el d good res ults Th e books o ft h e C ol o uri s ts began

.

80
 A mm e r bac h
Tr n l t i ’
a s a o n o fAMME R EA C H S T bl t re
a au .
St o r y Of O rgan Musi c
 St o ry Of O rgan Mus i c
be re d I 2 3 4 apart from th e th u m b wh i ch i s sh own
, , , , ,

by a ci rcl e Th e syste m i s th e efor e th e s am e as th at

. r
n o w u sed i n E ngl an d e xcep t th at we S h ow th e th u m b
,

by a cross i n s t e ad o f a ci cl e Th e s cal es ar e t o b e
,
'

r .

played as i n I taly — th at i s to say by th e th ree l ong ,

r
finge s only om i tting th e th u mb an d l it tl e fi nge
,
r .

A n e n ti rely u n practi cal syste m o ft un i n g i s expl ai n ed ,

s uch as an i n expe i en ced am ateu woul d b e l i kely t o r r

adop t Th e com p os i ti on s are d i vide d i nto
.

five s ecti on s : 1 ch oral es i n fo ur pa ts wi th , r ,

th e m el ody i n th e ten o r ; 2 an d 3 dan ces ; 4 ,

an d 5 “
c o lo r i r t e p i eces b oth s ac ed an d
, , r
s e cul ar b ut each i n ten ded for ch u ch u se
, r .

T h e p eopl e only l i ked to h ear i n ch u rch wh at th ey we e r

fam i l i ar wi th : i t m atte red n ot wh eth e r th e tu n es we re
r
sac red or secu l a an d i t was a fav ou ri te p acti ce to se t
, r
s acred wo rd s to p op ul ar tun es 1
Th ere a e n i n eteen . r
“ ”
col ou re d p i e ces : th e col oratu ra cons i sts o fa m ode r
ate u s e O f th e t u rn an d i t i s n ot ove rd on e A s econ d , .

ed i ti on O f th e b ook appe a e d i n 1 5 92 i n wh ich a r ,

n u mbe r of m adrigal s an d Lati n s ongs an d o f n o n

G erman com posi ti on s are added an d al l col oratu ra i s ,
“
om i tted ; bu t th e m ad i gal s are s o i m p rove d i n oth e r r
ways as to b e alm os t un recogn i sabl e .

w rd b n a rt par y av t
r g nal —
s see m t o h e so m e i m es ee
1
Th e o so o f o d o n th e

o i i E in fl bc e o mes A clz ’
ex /agd/e i n sp r acli m i f e u ali c/z u r r n e

a d n k ndl y p k
.
,

H r r Go t t spr i c/z uz i r f e n dli li an ( A m i e

e r iu s o e to m e :
c

L rd k ndl y p ak and
,

O o Go d i s e to m e ) ; I n n sp r ucb i cli m u ss di c/i lasse n

bc t l av t
, ,

e o m es 0 Welt i c/r m u ss di e/z las sen ( I n n s p u ck I no w m us e e h ee r :

rld I t l av t tn la t nd r na
, ,

0 Wo n o w m us e e h ee) Th e u e o ft h e s u e th e m e
w ll nd ngl y n b k i sh h m o o s—e g Hy m s
.
, ,

I nn s pr u ck
”
i b e fo u in E -
n

rr nt d t n
, .
,

A n ci en t and Mo de r n cu e e i i o No 86
, , . .

86
 CH A PT E R V I I .

G E R M AN O R G AN M U I C ( t i d) S co n n ue .

Th e — rig i n
S ch m i ds tablat res —
O g e — Paix —W lt
o f u Th e f
u u o z

—L t er s y n s—R i e
L u yt h o n u h
’
h m — c ei dt s o ft h e C h o r alv o rs p Ie I S h
S weel i nck— Dec y Ger an tablat re — rgan
a o f m at u s Th e o was n o t
fir t ed acc pan y c i r c ngregat i n —S c ei dt s
s us to o m th e ho o r o o h
’

d irect i ns o anage ent

f
o r th e m rgan — H t nal t y—F r s
m o ft h e o is o i o m
o rgan i c ettled G er n y
fo m us s in ma .

Two fam ous organ i s ts o f S trasbu rg i n th e S i xte en th

century were a fath e r an d s on wh o both b ore th e ,

1
n am e o f B e rn ard S ch m i d o r S ch mi dt .

Th e
Th e fath e r wh o was b o n i n 1 5 2 2 was
,
S ch m i ds
r ,

o rgan i st fi rs t of th e C h u ch o f S t Th om as
, r .
,

th e n o f th e C ath e dral Of S trasb u g both o f wh i ch r ,

r
we e at that ti m e P otestan t r
H e w as al s o m ade a .

r
bu gh er Of th e c i ty as h e i s ca eful to i n fo m us, r r .

I n 1 5 77 h e p ubl ish e d a wo k f om wh ose le n gt h v r r

t i tle page i t i s on ly n ecessa y to qu ote an e xtract :
-
r
Z wey b uc b e r einer K u n s t li c/z e n Tabu lat u r f
‘

n e ue n au
O rge l u nd I n st r u m e n t fi is n e u e z u sam me n
au

1
B y a c ri c i nc i dence
u o us o t wo ot r B rnard c dt ncl and
he e S hm i s u e
nep ew ca e ngland cc d ng c nt ry rgan b ld r
, ,

h , m to E i n th e su ee i e u as o ui es -

e ld er wh a Fat r t w
,

th e o f om was t h e f m o u s “
he S m i h so m e o f h o se
”

w rk t i ll re a i n rgan Pa l C at dral and l w r

,

u s he e se h e e
’
o s m s in th e o o fS t . .

87
 S t o ry Of O rgan Musi c
ge b r ac/z t , co llo r i r t u n d i ébe r se /ze n . B u r ch B e r n /rar t
S ch m id, B urge r u n d O rgan i s t e n eu S t r as bu rg
( Two b ooks o f a n ew artisti c tabl atu e fo r o gan an d r r
i n strumen t 1
l ately coll ected colou re d an d evi sed , , r .

r r
By B e n h a d S ch m i d ci ti z e n an d o gan i st Of S t asbu g )
, r r r .

I n h i s p reface h e says “
I h ave deco ated th e m otets
, r
an d pi ece s wi th a l i ttl e col o atu a fo r th e sake of young r r
r
an d i n expe i e n ced pl aye rs on ly an d n ot wi th th e i n t e n ,

ti on o f b i ndi ng com peten t o gani sts to my col oratu ra r

r
fo I wi sh to l eave each free to us e h i s o wn i mp ove r
m e n ts . Pe rs on al ly I woul d rath e r th at th e auth o i ty r
an d art o f th e comp os e r we e e sp ected th at r r
col ou r was om i tted ) Th e tabl ature con si sts o fl ette rs
.

o n ly w i t h o u t a stave l i ke th at o fA mm erbach
, ,
Th e book .

con tai n s a n um be r o f m otets an d songs b oth s acred ,

an d se cul ar by O rlan do Lassus C r e q u i llo n C l audi n

, , ,

le j eu ne , C l em en s n on Papa an d oth e s ; bes i de s , r

r
I tal i an m ad igal s by C yp i an d e R o e A r k ade lt r r , ,

F e r r ab o s co B e r k h e m s eve al o f wh om we re contem
, , r
p o r ar
y wi th o u r auth or .

r
Th e sac e d songs are Lu th e an hym n s on e of wh i ch r , ,

H e rz l ich l i eb h ab i ch d i ch O H er ’
s ti l l s ung i n , r ,
”

r
Ge rm any appea s h e e for th e fi rs t ti m e W e give ( i n
,
r .

A ppen di x A N o 7) th e fi rs t h al f o f th e t un e i n i ts
, .

r r
o igi nal fo m an d wi th S c h m i d s ,
“
l i ttl e col o atu a ’
r r .
”

Ri tte r from wh os e Ge sc/z ic /z te we q uote th e exam pl e

, ,

says th at th i s i s th e bes t pi ece Of col o atu a i n th e r r

wh ol e col le cti on I t wi l l b e n oti ce d th at i t cons i sts o f
.

1
w rd i n tr ent
Th e o
“
s um
”
was i n Ger an y s pec i all y c nnected w i th
m o

keyed i nstr ents t er t an

um o h h th e o rgan .

88
 St o ry Of O rgan Musi c
Th e reason fo r th i s m us t b e s ough t partly i n th e
i n n ate con s e rvati s m of h u m an n atu re bu t p e h aps m ore , r
o n h i stori cal ground s Th e R om an C h u rch
g
O r i in O f
r
d u i n g i ts s up rem acy u ncon sci ously d i d
.
,

Tab latu r es
r
i n cal cul abl e s e v i ce to m u s i c by sp read i ng

th e u se o f a u n i fo rm vocal n otati on th ough ou t r

W este rn E u rop e B ut i ns t um en tal m usi c a ose i n
. r r
d ep en d ently o f th e C h u ch an d h avi n g begun wi th r , ,

i ts own sp eci al n otati on s d i f fe in g i n th e va i ou s

, r r
cou ntri es was S h y of an al l i an ce wi th th e Ol de r ch u rch
,

n otati on wh i ch m o reove r coul d n ot enti rely m ee t th e

, , ,

n ew n eeds wi th ou t certai n m odi ficati on s I t i s rem ark .

abl e h oweve r th at I taly wh ich was l ess p rogressive

, , ,

r r
i n th e m o e e ss en ti al a t o f h a m ony was ah ead o f r ,

r
Ge rmany i n th e m o e m ech an i cal m atte of n otati on r .

W e sh al l se e l ate r th at Englan d was i n advan ce o fboth

i n n otati on .

S ch m i d J u n i o r us es th e wo d “
Fugu e as th e r
Germ an n am e fo r C an e o n a alla F r an ce se Th e am o un t .

g
Fu u e
r
o f col orat u a i s v e ry great as i n h i s fath e s , r ’

b ook bu t h e S h ows ce tai n i m p rovem en ts

, r
i n d esign m aki ng h i s figu e s i mi tate o n e an oth e r i n
, r
th e vari ou s p arts an d i n trod uci ng n ew figu res wh i ch
, ,

h e h ad l earn ed from I taly H e w ri tes n oth i ng fo r th e

.

p ed al an d m u ch of h i s m u s i c i s u ns u i ted to th e o gan
, r .

J acob us Pai x o f B elgi an origi n was b orn i n 1 5 5 0

, ,

at A ugsbu rg wh e re h i s fath e r an d u ncl e we e o gan is ts

, r r .

H e h i m sel f obtai ned a p os t at L au ch i n ge n

Jaco b P ai x an d was th e au th or o f a tablatu re book
,

Li ke h i s p redecessors Pau m an n an d S ch l i ck h e was ,

90
 a co b Pai x
J
n ot only a rem arkab l e o rgan i st b u t was al s o a m aster ,

o f th e l ute I n 1 5 8 3 h e p ubl i sh e d h i s E i n scb b n n u ts

'

u n nd
ge b r a u ch li c fi O rge lta b u la t u r alle m i t g r o ss em
“ ”
I ns tead o f a l i ttl e col oratu ra ,

eve ryth i n g h e e i s as h e says r “

col ou red wi th great
, ,

i nd ust ry I n th e p re face h e S h ows h ow to h ol d down

.
”

o n e o r m ore n otes an d to col o u r wi th th e u n occup i ed

,

r
fi nge s o f th e s am e h an d H e ap ol ogi ses fo r b eaki ng
. r
th e rul e agai n s t cons e cu tive fi fth s m aki ng i t h i s e xcuse ,

th at i t was i m p ossi bl e to avoi d i t ; m o reove r oth e rs h e , ,

,
r
says do n ot t oubl e th em selves abou t th e rul e W h at .

wou l d be s ai d t o a can d i date i n a m odern exam i nati on

wh o mad e s uch a n exc us e
Th e tabl atu re i s th e s am e as u s ual an d th e octaves ,

s ti l l ch ange at B i n stead o f C Th e re are fi fty s i x .

-

pi eces of wh i ch ab ou t h al f are for ch u rch u s e an d

, ,

r
th e res t are G e m an an d Fren ch s ongs I tal i an ,

m adrigal s an d d an ces , W i th regard to h i s c ol ora

.

tu ra h e sh ows l i ke th e res t m ech an i cal add i ti on s

, , ,

to com p osi ti on s by o th ers ; an d t h e figu re s are th e

sam e wh ateve r m ay b e th e p u p o t o f th e word s to
, r r
wh i ch th ey a e ap pl i ed r
H i s favo u i te figu re rep eated
. r ,

th rough wh ol e m o tets i s ,
A m ongs t th e
pi eces i s o n e cal led th e Battle o f

Marignan o b J an n e”
y q u i n wh o was ,

famou s fo r su ch com p os i t i ons ; th e playi n g of battl e

r
m us i c on ch u ch o gan s was v e y p op ular an d was r r ,

vai n ly i nvei gh ed agai n s t by th e e ccl esi asti cal au th o i ti es r .

B attl e pi eces we e analogo us to th e r “

sto m s wh i ch r
were an d p e rhap s s til l are pop ul ar on m ode rn organ s
, ,
.

9I
 S to ry Of O r gan Musi c
Th e last Of th e col ou i sts was J oh an n W olt z fo r r ,

r r
forty yea s o gan i st an d afte wards p a i sh adm i n i s ,
r r
t rato o f H eil b on n r
H i s N ova llI u s ic es
, r .
/

o rg an ic w Ta b u lat u r a p ubli sh ed i n 1 61 7 is , ,

i nten ded en ti rely for ch u rch u s e ; h en ce al l

“
d an ce s an d wo ldly t un es are excl uded r No t on ly
”
.

i s i t th e las t o f th e col ou i s t books b u t by i ts p eface r ,

r
r
w e l ea n th at German s we re b egi n n i ng to ge t ti e d of r
th ei r troubl es om e tabl atu e fo r h e coun sels th os e wh o r ,

r
a e n ot fam i l i ar wi th th e Ge m an tabl atu e to t ran scri be r r
th e m ove m en ts i n to th e I tal ian and afte r th i s date ve ry ,

r
few wo ks we re p i n ted i n th e Ge rm an tabl atu e r O ld r .

fash i on ed organ i sts h oweve con ti n ue d to us e i t t i lL

,
r ,

th e begi nn i ng of th e eigh teen th cen tu y r .

r
Th e ch o al es are a r ange d i n s uch a way th at e ac h “
r
pl aye r m ay ad d h i s o w n col o atu ra an d m o den ts 1
r r .
”

Fugues by O rlan do Las su s and H as sle r toccatas by ,

r
Me r u lo an d th e Gab i el i s are p i nted i n th ei r o i gi nal r r
form wi th o ut coloratu ra
,
“
i n o de r th e be tte r to sh ow , r
r
th e a t o f th e com p os e rs Th e fi s t p a t o f th e work . r r
r
con tai n s Ge m an com posi ti on s wi th a few by fo eign , r
com p ose rs ; th e second on ly Ge rman ch oral es Th i s ,
.

n ati on wh i ch h ad n ow assi m i l ated th e m us i c o f I taly

,

r
an d th e N eth e l an ds was b egi n n i ng to p u t fo th a ,
r
r
b an ch o f i ts own de sti n ed to bear th e f ui t we are all
,
r
fami l iar wi th .

r r
Th e th i d pa t o f th e book con tai n s origi nal o gan r
1
An o rna ent wri tten
m ,

92
 S t o ry Of O rgan Musi c
m odes an d i n th e key o f E for e xam ple s om e o f th em
, , ,

s ti l l m ak e th e F an d G n atu al i n stead o f sh arp to r , ,

r
ag e e wi th th e Ol d th i rd m ode wh i l e C an d D are S h a p ,
r
to s ui t h arm on i c combi nati on s .

A really fi n e com pos i ti o n i n th i s col l ecti on i s a

can z on a e n ti tl ed F uga s u av is s i m a by C h a l es L u y t h o n , r ,

co urt o rgan i s t an d com p ose r at Pragu e from

1 57
9 to 1 62 0 ( R i tte r s ays th at h e was
.

an E ngl i sh m an b ough t up an d p obably ,

r , r
born i n B elgi um ) H i s can z on a q ui te bea s
, . r
o u t i ts ep i th e t s u av i ss i m a A sh ort s ubj ect .
,

o f s i x n otes o nly i s wo ke d th ough th e k eys of C

, r G r , ,

D A an d back to C
, ,
A fte r th e fi rs t expos i ti on a
.
,

coun te r s ubj e ct ente rs i n doubl e cou nte p oi n t an d con

-
, r ,

ti n nes to ac com pany th e s ubj ect d uri n g th e rest of i ts

cou rs e U n fortu nately th e s mooth an d beauti ful fl ow
.
,

o f s ubj ect an d coun te r subj ect i s l ate r o n d istu rbed-

by som e e nti rely s u pe rfl uo us col orat u ra wi th wh i ch

th i s p o rti on o f th e fugue fi n i sh es A n ew s ubj ect n ow .

r
appea s wh i ch afte r bei ng worked th ough th e s am e
, r
keys as befo re i s i n i ts tu rn i n te rup ted by col oratu a
, , , r r ,

an d comes to an e n d I t i s fol l owed by a th i rd s ubj ect ,

.

treated i n th e s am e way b u t th e i n te es t constan tly i a , r

r
c eases by devi ces kn own to compos e rs Th e p i ece .
,

wh i ch i s ve ry l ong real ly cons i sts o f th re e sepa ate

, r
an d i ndep en den t fugues each o f wh i ch e xcep t for th e , ,

r
few bars of u n i n te es ti ng an d rath e di f fi cul t col oratu a r r ,

woul d m ake an accep tabl e p i ece for a m ode n reci tal r

r
p ogram m e .

r
S pace fo bi d s us to l i nge r ove r th i s i n teresti ng c o lle c

94
 T h e C h oral e

ti on an d we m us t co nti n ue ou r s u rvey o f t h e p rogres s

,

r
mad e d u in g th e ce nt u ry C ol orat ura i n i ts wors t
.
,

form s n ow d i sappeared an d th e Ge rm an s returne d t o

, ,

r
th e m eth od s of th ei r e a l i e r com pose rs — wh i ch by th e ,

way s eem n eve r to h av e bee n l ost si gh t o f by th e m ore

,

r
Obs cu e m us i ci an s wh o we re n ot i n flu en ce d by t h e
,

fash i on abl e c ra z e for col ou r .

“
Th e sac re d s ong s com pos ed by Lu th e r an d oth ers
fo r p rivate an d fam ily u s e h ad be co m e s o p op ul ar an d
wel l kn own th at th ey grad ual ly fou n d th ei r
way i n to t h e ch u rch es wh e r e th ey we r e s ung
,

by th e con gregati on u nde r th e n am e C h o al r ,

r
th e Germ an te m fo r p lai n s ong 1 A b ou t th i rtee n o f
.

th es e hym n s h av e bee n att ib u ted to Lu th e r h i m r

sel f amongs t th e m th e p owe rful an d wel l k n own
,
-

E i n fes te B u rg i s t u n s e r G ott ( Hy m n s A n c ie n t an d
’ ”

Mo de r n , O th e r Ch o al e r
com pos e rs
wh ose m us i c i s s un g i n E ngl i s h ch urch e s 0 111 "

r r
a e J oh an n C uge r ( Hy m n s A nc ie n t an d H mn y
C o m po se r s
b l o de r n 2 1 9
, , Georg J os ep h i ( Hy m ns
A n ci e n t an d M o de r n , H an s Le o H assl e r ( Hy m n s
A n c i e n t an d Mo de r n , J oh an n H erm an n S ch ei n
( Hy m ns A nc i e n t an d M o de r n S o great a h ol d di d
,

th es e n ow fam i l i ar t u n e s tak e o n th e p op ular i magi na

ti on th at n ot only di d th e p eopl e l i ke to s i ng th em b ut
, ,

r
th ey l ove d to h ea th e m p layed on th e organ as wel l
r
h ence a os e th e use of th e C h o alvorsp i el o r p rel ud e r , ,

r r
an a ti sti c ren de i ng o f th e t u n e abo ut to be s ung ,

1
G r an C ral
Th e em ho h as ee i b n ntr d c d nt ngl c rc
o u e i o E ish h u hes
und r ngl c d r
e th e A i ise fo m o ft h e m e ho e na C ral , .

95
 St o r y Of O rgan Musi c
wh i ch t h e organ i s t was e xpected to ado n wi th al l th e r
resou rces o f h i s a t r
Th e i se of th e C h oralvorspi el
. r
gave th e d eath bl ow to col o atu a : i t h en ce -
r r
r
Ri se ° ft 11 ° fo th form ed th e ch i ef exe rci s e for th e tal en ts
C h o r al
r
v o s p ie l
o f th e o gan i st r
an d h ad great I n fl uen c e o n ,

r
th e futu e d evel opm en t o f o gan m u S I c r .

r
T h e ea l i e st t reatm en t o f th e C h oral as a p u e o gan r r
p i ece i n stead Of a m e re adaptati on o f th e voi ce pa ts
, r ,

i s fou n d i n th e Tu b u lat u r a N o v a o f S am uel S ch eid t ,

o rgan i st of H al l e S ch ei d t was a p upi l of .

S3 : 22 S we li n o r S weel i n ck o rgan i st of th e ch i ef
th e D utch m an J oh an n Pete S wel i n ck r ,

g , ,

ch u rch o f A m ste rdam wh o from th e n u mbe r of , ,

fam ou s o rgan i sts h e t rai n ed obtai n e d th e sob i q uet , r

of “
r
O gani st m aker -
.
”
B orn ab ou t 1 5 60 S weeli nck ,

r
t avel le d t o Ven i ce at th e age o f twen ty seven wh e e -
,
r
h e p laced h i m sel f u n de Z ar li n o O n his r
etu n to . r r
H oll an d h e h ad th e repu tatio n of b ei ng th e greates t
r
o rgan i st i n th e wo ld an d th e i nh ab itan ts o fA m ste rdam
,

r
c owded to th e ch u rch to h ea h i m pl ay H e i s p r ac t i r .

, r
cal ly th e fou n de r th ough h i s pu p i ls of th e great ,

Ge rm an s ch ool o f o rgan i sts wh ich h as l asted to th e

p res en t day O f h i s p u p i ls th e m ost fam ou s was
.

,
r
S ch ei dt b o n at H all e i n 1 5 8 7 wh ere h e di ed i n 1 65 4 , .

r
H e was th e refo e a contem p o a y o f F escob al di rr r .

A fte r studyin g fo r seve al years u n de r S weel i n ck h e r ,

r etu rn ed to h i s n ative town an d s eem s t o h ave r e ,

m ai n ed th e re fo r th e es t o f h i s l i fe r
H i s Tabu lat u r a .

N o v a was p ubl i sh e d at H ambu g i n 1 62 4 I t i s th e r .

r
fi rs t that i s free f om th e pa asite o fcolo atu a th at had r r r
96
 S t o ry Of O rgan Musi c
eve n to take th e pl ace o f th e ch oi r wh e e th e re was r
n on e an d pl ay wh at i t wo ul d s ing i f i t we re p rese n t
, ,

taki ng up th e p lai ns on g o r t un e an d t reat

O i gan n o t i ng i t p olyp h on i cally
‘

Th i s was th e reason .

at f “

? f o r th e s econ d pa t of th e exam i n ati on o f r

22 :2
:01 3 n y Ma k s des cri bed i n th e form e ch ap te
can didates fo r th e organi stsh i p o f S t
r r
.

r
S i n gi n g ,

( p S ch ei d t give s i n th e th i rd p a t o f
. r
r
h i s wo k twel ve sh ort m ove m e nt s t o b e th u s u sed i n
th e K y r i e an d Glo r i a Th e Ps al m of th e Las t S upp e
. r ”

i s an arrangem en t of th e C om m u n i on hym n o f J oh n
H us s to b e p l ayed i n stead o f s ung d u ri ng th e C o m
,

m un i on F i n ally th e re a re S i x p i eces fo r th e ful l

.
,

r
o gan to b e p laye d at th e con cl us i on o f Vesp e s
,
r .

Th e wh ol e work i s con cei ve d i n an earn es t en deavou r

!

r
to b i n g th e m u s i c of th e organ t o a h i gh e r l evel th an
b efore .

’
S ch ei dt s di recti on s fo r th e managem en t of th e i n
r
s trum en t a re i m po tan t fo r n on e o f h is p redece sso rs
, ,

th e c ol o uri sts h ad t ro ubl ed ab ou t th e m atte

, r .

Th e m agn i fi cat an d hym n s h e says are to , ,

O r ang b e played on an o gan of two m an ual s an dr

p edal Th e bass i s always to b e played on
.

th e p edal excep t wh e n th e pe dal h as th e ch i e f m el ody

,
.

Th e di scan t o r s op ran o i s t o b e pl aye d o n th e up pe

, ,
r
r r
m an ual ( th e G eat o gan ) th e i n ne r parts on th e l owe , r
( th e C h oi o gan )r r
; b u t i f th e m el ody i s i n th e ten o r i t ,

i s to b e pl aye d by th e l e ft h an d on th e l owe r m an ual ,

th e alto an d d i s can t o n th e u ppe r B ut som eti m es th e .

p edal i s to play b oth t en o an d bas s wh i l e th e oth e r r ,

98
 ’
S c h e i dt s S t o p C om b i nat io n s

two parts are p l ayed on th e two m an ual s Th e us ual .

com pas s o f th e pe dal s was at th i s ti m e t wo octaves ,

r
f o m C th o ugh i t s om e ti m e s wen t t o D a n ote
, ,
.

h igh er ; an d t h e fi n est e f fect says ou au th or i s , r ,

wh e n th e m el ody i s i n th e al to an d i s pl ayed o n th e
pedal wi th a fou r fee t s top wh i l e th e oth e r th re e pa ts
-
,
r
ar e p laye d o n a s i ngl e m an ual wi th eigh t fee t s tops -
.

O rgan i sts w i ll re cal l th e us e O f th i s devi ce i n s om e o f

th e fi n es t o f] S B ach s Vo r sp i e le
. .
’
.

F o r stop com bi n ati on s h e gives

O n th e G reat f o r accom p anyi ng
, G edact o f8 and 4 ,

feet o r O p en D i apason o f 8 feet alon e o r

, , ,

wi th oth e r stop s .

O n th e C h oi r fo r th e C an tu s F i r m u s
, ,

Q uin tade na o r G edact O f 8 fe et an d of 4

, , ,

, r
fee t o r P i n ci p al of 4 feet wi th Mi xture o r S upe r , ,

octav e o f2 fee t .

O n th e Ped al for C antu s F i r m u s S u b bas s 1 6 fee t

, ,
-
,

Posaun e 1 6 o r 8 fee t D ul ci an 1 6 o r 8 fee t S ch allm e y

T r o m m e t e B au e r n fl
, , , ,

, Ot e an d Ko rn ett th e l as t bei ng a
, ,

r eed n o t th e co m e t o fE ngl i sh o gan s

, r .

T h e above rul es a e f r
o r gen e ral us e b u t h e r e co m ,

m ends frequen t ch an ges o f regi s te r an d especi ally th e ,

occasi on al u se o fs i ngl e s top s .

r
Th e organ i n th e p i n ci pal Ch u rch o f H al l e h ad i n
r
th os e days th e e m an u al s an d p e dal ; th e G reat organ
h ad s i xstops th e Op en d i apason bei ng
,

di vi ded o n th e I tal i an p lan b etwee n th e

, ,

m an ual an d p edal ; th e F on t C h oi r h ad s i r x ,

r
th e B ack C h oi twel ve an d th e Pedal s eve n s tops ,
.

99 H
 S to ry Of O rgan Musi c
Th i s was th e rusty an d worm eaten o gan o n wh i ch -
r
s om e s even ty years l ate H an del l earn ed f om Zach au r r .

r
A m ongs t th e ch o ale s i n th e Tab ulat u r a N ov a a e r
r ’
r
th e Lo d s P aye r and th e C eed ; Luth er h ad p u t th em r
i n to m etre an d associ ated th e m wi th th e tunes t o
,

wh i ch th ey are s ti l l s ung i n G e m any Th e m el ody o f r .

’
th e Lord s Praye r was adapte d from a s ecu la tun e an d r ,

r
i s fam i li a to eve ry E n gl is h o gan i s t th ough th e va i a r r r
ti on s o n i t i n Men del ss oh n s S i th O gan S onata Th e ’
x r .

r
m el ody o f th e C ee d i s an adaptati on o fa fi ft h cen tu y -
r
p lai ns ong . r
I n th e C eed h e Ope n s wi th i m i tative ,

p ass age s sugg e sti ve o fth e com i ng m el ody wh i ch en te s , r

i n th e di s can t at th e fourth bar an d i s accom pan i ed by ,

r
s h o rt i m i tativ e fi gu es i n th e s tyl e n ow kn own i n
Ge rmany as “
Fi guri e te C h o al r
The e a e fou r . r r r
r
ve se s — th at i s to s ay th e tu n e i s played th ough , r
r
fou r ti m es each ep eti ti o n bei ng di f
, fe en tly t eated ; th e r r
r
wo d “
v ers e ”
wh e n appl i ed t o th e o gan Ch oral e
, r -
,

m e an s n oth ing m ore o r l es s th an Va i ati on r .

’
r
Th e Lord s P aye r o f wh i ch S ch ei d t give s n i n e
,

ve rses Op en s i n th e s am e way b u t th e m el ody i s

, ,

i nve rte d i n th e i ntrod ucto ry th ree b ars .

Th e fan tas i as are C h o r alv o r s p i e le wi th th e di ffe r ,

e n ce th at th e m el ody i s d i st i b uted betwee n th e va i ou s r r

r
p a ts i n s tead of b ei n g con fin e d to on e pa r t
,
“ ”
fo r e ach ve rs e A ph antasi a o n a mad .

“
rigal I o s on fe i to by Pal est i n a cal led r , r ,

a q uad rupl e fugue c o n si s ts o f fou s ubj e cts eac h o f

, r ,

r
wh i ch i s wo ked o u t as a s ep a ate fugu e an d th e n all r ,

fou r are combin ed w i th con si de rabl e us e o f ch om ati c

, r
I OO
 St o r y of O rgan Musi c
m ore an d m ore u n sati s factory an d i t occu rred t o s om e ,

o n e at H am bu rg th at th e o rgan m igh t play wi th th e

“
f
ch oi r i n s tead o on ly al on e an d th e n e ach C h ri sti an ,

woul d b e abl e wi th con fiden ce to rai s e h i s bad l ay voic e

as l oudly as h e l i ked , wi th o ut th e dange r of b ecom i ng
1 ”
a fi fth wh eel i n th e m usi cal coach Th e n ew i de a .

r
s oon s p read th o ugh Ge rm any an d ch oi r o rgan an d , , ,

con gregati on p erform ed th e ch oral es toge th e r .

W e m ay con si de r th at by th e m id dl e o fth e s eventee nth

cen tu ry th e p resen t h i gh s ch ool for organ m us i c h ad
r
take n fi m root i n G e rmany th e Ch oral e i n , ,

i ts h un d redfol d treatm e n t th e p rel ud e an d ,

fugue th e toccata can z on a an d fan tas i a

, , , ,

bei n g th e form s i n wh i ch i t was m os t

frequ en tly mani fested Th e Lu th eran s e r .

vi ce gav e m ore Opp ort un i ti es to o gan i s ts th an th e r

R oman of wh i ch th ey d i d n ot fai l to take advan tage ;
,

an d th i s i s p erh ap s o n e o fth e reas on s why th e German s

advance d m ore rapi dly th an th e I tali an s th ough th e ,

o rgan ce rtai nly l os t s om e o f i ts i ndep en de n ce wh e n i t

was em pl oyed to accomp any th e s i ngi ng .

R ece n t research h as s h own th e ordin ary vi ew th at th e

rgan see s h ave ev i cted ch ir H lland
B ut t h e o m to th e o in o i fo n e
j dge r wri ter s experience s e eigh teen year
,
’
m ay u fo m t h e o m s ago i n th e
chie ch rc es
f u st erda and R tterda
h o fA m V rspielm o m Th e o was i n
e ach case a st art i t i c and enj y abl e per r ance there
.

mo s o f
o m ; b ut was no

tra i ned ch ir and w en c ngregat i n j i ned w i th t ei r bad lay

o h th e o o o in h
v i ces cac p n y i nde cri able c ng egat i n ang
,

o
”
th e o ho was s b Th e o r o s its
l dest rgan played l dest ari d d i erence pi tc
.
,

ou th e o i ts ou th e f
f o f h be
twee grad all y reac ed se i t ne wh le t ere a
, ,

n th e t wo u h a m o i h was
slack e n i ng peed t i ll c ngregat i n a beat behi nd rgan
,

o fs th e o o was th e o .

1 02
 C o ngr e gat io nal S i ng i ng
o rgan was fi rst i n trod uced i n to ch urch es to accom pany
th e s ingin g o f th e congregati on to b e a m i stake .

r
Cong egati on al s ingi n g was an ou tcom e o f th e R e
r r r
was at fi s t p e fo m ed by th e voi c e s
r
al on e an d th e s up po t gi ve n to i t by th e organ was an
,

afte rth ough t

.

1 03
 C H A PTE R VIII .

G E R MA N O R G A N MU S C I
c de ann — R ei nk e n — B xte de —Br ns—
S h ei m th G er an
u hu uh Th e S o u m
sch l — H a sl er—K i nd er ann —S c l e er— Pac e lbe l
oo s m h mm h S te i gle
— rbach— p e t h— Fr berger and
de r E S legend c ncern i ng
o th e s o h im
Kerl—M — Bach a i l y '

u fi at Th e fm .

AM O N GT
S th e organ i sts form ed by S weel i n ck was
r
H ei n i ch S ch e idem an n s o n o f th e organ i st o f S t
, .

’
C ath e ri n e s C h u ch at H ambu g r
H e s uc r .

c e e de d h i s fath e r as o gan i st at th i s i m r
r
p o t an t ch u rch an d wh en h e d ied i n 1 663 ,

h e was s ucceeded by h i s pup i l joh an n A dam ,

R ei n ken R ei nk e R ei n cke o r Re i n i cke Th u s th e styl e

, , , .

o f S weel i n ck was h and ed down fro m m aste r to p upi l ,

r r
an d f om fath e t o s on ; an d th e epu tati on o fRei nke n r
was s uch th at pe opl e cam e t o H amb u g f om a di s tan ce r r
t o h ea r
h i m p l ay H e h ad a l a ge fo ur m an ual o gan
. r -
r
at h i s di sposal wh i ch h e l oved l i ke a ch i ld an d was
, ,

con s tan tly tal ki ng ab out accordi ng to Mat t h e s o n , He .

r r
p ese rved h i s ful l p owe s ti l l 1 72 2 wh en h e d i ed at th e ,

r r r
ext ao di na y age o f n i n e ty n i n e Few o f h i s com p osi
-
.

tion s h ave s u v i ved r R i tte an d S p itta m enti on two

. r
C h o r alv o r s p i e le i n wh i ch th e ch o ral e i s t reate d l i n e by
,

1 04
 St o ry of O rgan Musi c
i n yo u . H e th e n i nvi te d Bach t o vi si t h i m an d treated ,

h i m wi th eve ry attenti on .

r
D i et i ch B u xteh ud e wh o h ad s ti ll m o e i nfluen ce o n
, r
B ach was a D an e h avi ng been b o n at H el si ng o r i n
, , r
B u xt eh u de , r
1 63 7 wh e e h i s fath e r was an organ i st an d ,

d i ed at L ubeck i n 1 707 I n 1 667 h e was .

r
app oi n ted o gan i s t o f th e Ma i en ki rch e at L ubeck i n r ,

s uccessi on to Tun de r a pu p i l of F escob ald i , He e he r . r

was d i sti ngui sh ed n o t only by h i s o rgan playi ng an d
,
-

com posi ti on s b u t al so by h i s s ucces s i n ce tai n ch u ch

, r r
r
p e form an ces o f v ocal an d i n strumen tal m usi c cal l ed ,

A be n dm u s z k an o ld L ubeck i n sti t uti on

'

, Th es e p e r .

f o r m an ce s attracted many pe opl e from a d i stan ce and ,

am ongs t th e vi s i tors to L ubeck we re H andel an d

'

Mat t h e s o n an d B ach : th e two fo m e r to i nqu i e i f i t

,
r r
sh oul d s u i t th e m t o s u cce ed B u xteh ud e afte r h i s death ,

o r reti rem en t an d th e l as t t o l earn wh at h e coul d of

,

r r
th e a t o f o gan p l ayi ng from s o g reat a m as te r
-
.

’
r
B uxteh ude s o gan h ad fi ft y th ee s t e p s o f wh i ch -
r ,

r r
th i ty eigh t we e on th e th ree m an ual s an d th e rem ai n
-
,

i ng fi fteen o n th e pedal Th ough i t was n ot t un e d i n .

equal tem peramen t ti ll eigh ty yea s afte r h i s death yet r ,

s o p ressi ng was th e n eed to b eak l oos e from th e r

b on dage o f bei n g con fin ed t o a few keys th at ,

B uxteh ude m od ul ated j u s t as Bach d i d

Bu fl
, ,

h a de s
'
e '

i n to al l th e keys con si de i ng ri gh tly th at , r

Mo du l ati o n
r
f ee d om 0 f m o d u 1at i o n was of m ore i m p o rt
an ce th an th e avoi d ance o f th e h arsh d i s
r r
co d s p od uced by i t with th e o ld tu n i ng Th e t u e . r
artis t l ike th e ordi na y h ealthy h uman b ei ng woul d
,
r ,

1 06
 B u xt e hu d e
r
rath e r p ut u p with a v e ry g eat d e al o fdi s com fo rt u n d e r
r
con di ti on s o f f eedom th an enj oy l ux uri o us e as e wi th i n
,

a confi n e d an d n a row p ri son r .

r
TO B uxteh u d e a e du e s om e ve y i mp ortan t d evel op r
m en ts I t was h e wh o fi rst used th e sh ak e o n th e
.

p edal s an d S pi tta says th at h e was t h e fi rs t

,

t o tak e pl easu r e i n em pl oyi ng s h akes i n

r r
seve al p a ts at on ce ; b u t t h e s h ak e i n m o e r
r
th an o n e pa t s i m ul tan eo usly was com i n g
r
i nto u s e e lsewh e e for h i s con tem p o a i es
, rr
Pasqu i n i i n I taly an d Mu fi at i n S outh Ge m any u se d r
sh ake s i n b oth h an ds togeth e 1
B u t th es e are m e re r .

d etail s o f e xte rn al tech n i qu e : a far m or e i n te resti n g

featu r e i s h i s t reatm en t o f th e fugu e s ubj ect He .

adh eres to th e N orth Ge rm an th e efol d fugue b u t each r ,

n ew s ubj ect i s d evel op e d o u t o f th e fi s t wh i l e i n s om e r ,

cases th e fi rs t s ubj ect i s fo resh adowed i n t h e p rel u de .

Th u s th e wh ol e se em s t o grow by a n atu al p roces s o f r

d evel op m en t o u t o f i ts o w n m ateri al i n stead o f b ei ng ,

r
a se i e s o f di s con ne cte d m ove m en ts as i n th e old e r ,

fugu es Th i s d evel op m en t o fn ew m ate ri al ou t o fwh at

.

h as gon e b efore h ad b ee n s uggested by F escobal di r ,

an d i s o n e of th e devi ces wh i ch B e eth ov en carri ed to s o

. r
h igh a poi n t A n oth e d evi ce wh i ch B uxteh u de s e em s ,

r
t o h av e b ee n th e fi s t to u s e i s th e o ccas i on al i n t r o du c
,
’

ti on o fa k i n d o fi nst ru m e ntal reci tativ e se n z a m ts a r a ,

th at i s wi th o u t m eas u re d rhyth m su c h as i s fou n d i n

, ,
’
som e o fB eeth ove n s l ate r son atas .

r
A dded t o al l th i s h i s h a m on i e s a e con cei ve d i n t h e
, r
1
S e e A p p A , No
. . 6, b ar 4 .

1 07
 S t o ry of O r gan Musi c
boldest an d m os t rom an ti c sp i i t : h e b rough t organ r
m usi c to a p oi n t wh i ch coul d only b e s u passed by t h e r
con sum mate gen i u s of ] S B ach . . .

’
B uxteh ude s best p upi l was N i col au s B ru h n s th e s on ,

r
o f a n o gan i st b orn i n 1 665 , H e was al s o a vi ol i n i s t .

r
B uh ns o f h igh attai
.

r
n men ts H e di ed
th i ty two years o ld at H u s um wh ere h e
-
wh e n only .

, ,

r
h el d a p ost as o gan i st A P rel ud e an d Fugu e by h i m .

r
are p u bl i sh ed i n C om m e s S am m lu ng de r bes te n Me i s te r
’

we r ke de s 1 7 a n d I 8 ja/z r lz u n ae r ts fzZr di e O rge l Th e ’ ‘

r
p el ud e open s wi th ve ry vigo ous passages i n m an u al s r
an d pedal rem i nd i ng u s o f B ach s ea ly wo ks ; an d
,
’
r r
th e doubl e p edal i s als o used Th e re i s a good deal o f .

rei te rati on o f passages b u i l t o n th e ton i c tri ad b u t th i s ,

i s rel i eved at th e en d by th e fi n e t eatm en t o fa des cen d r

r
i ng s cal e i n s em i b e ves o n th e pedal accom pani ed by ,

i m i tativ e work o n th e m an ual A th reefol d fugue .

r
foll ows th e fi s t p o ti on of wh i ch em i nd s u s of
,
r r
’
H an del s s tyl e Th e s econd s ecti on i s an i n te l ud e i n
. r
E m i no r i n rap i d i terati on of a sh o t figu re di s t i buted
, r r
b etwee n th e two h an ds an d th e th i rd i s a new fugu e i n
,

6 4 ti m e devel ope d fro m th e s ubj ect of th e fi st fugu e

-
, r
i n th e m an ne r i nven ted by h i s m aste r B uxteh ud e .

r
Th i s e n d s wi th a fl o i d cod a l i ke som e of B ach s organ ,
’

fugu e s .

W h i l e organ m u si c was th us p og essi ng i n th e r r

So u ht r
n o th o f G e many a fi n e sch ool was bei ng r ,

Ger m an y r
fo med i n th e s outh th e weal thy town o f ,

r r
N u embe g bei n g th e ch i e f ce ntre o fth e Pro
testan t b ran ch an d A ugsb u g o f th e Roman C ath oli c
, r .

1 08
 St o r y of O rgan Musi c
p os e rs o fv ocal works i n S o uth Ge rm any ; b ut we are
only con ce rn e d wi th h i s organ wo ks wh i ch a e th ree r
’
,
r
i n n um be r P s alm e n a n d Cb r zs tlzc h e Gesang e fug zve zs
' '

c o mpo m r t 16
'

07 ; ,
th es e are ch o al es i n th e styl e o f r
r
fugu es Th e se con d wo k i s th e sam e s et of ch o al es
. r ,

r
a ranged for fo u r voi ces p ubl i sh ed th e foll owi ng year
, .

Th e th i rd i s a col l ecti on o f ri ce rcari a can z ona an d a , ,

m agn ifi cat Th e s econ d o f th e i ce ca i i s supp osed

. r r r
r
t o be i n th e fi fth ton e t an spos ed ; b ut i t i s i n C m aj or
,

r
p u e an d si m pl e wi th two m od ul ati on s to G an d D
, ,

m inor . r
I t con s i sts o f a se i e s of sh ort fugu es each of ,

r r
wh i ch afte b ei ng car i ed o u t fo r a ti m e gives way t o a
, ,

n ew an d i n depen d en t s ubj ect O n e o f th e s ubj ects i s .

th at wh i ch H an del u s ed wi th su ch won de ful skil l an d r

“
p owe rfu l e f fect i n th e ch orus Let al l th e angel s o f
,

G od worsh i p H i m i n th e Mess i ah , .

’
H as sl e r s co u n te rp oi n t i s s tron g an d e ffective an d
r
m ode n i n feel i ng ; s o m uch ch a acte i s th e e i n i t th at r r r
th e atte n ti on i s attracted away from th e wan t o fvari ety
o fkey wh i ch woul d oth e rwi s e b e an el em en t of m on o
,

tony .H e i s con si de red by Ri tter to h ave bee n to

r
G e m any wh at Gi ovan n i Gab i el i was to I taly ; bu t h i s r
m u si c sh ows a di s ti n ct advan ce o n th at o f h i s m aste r .

r
Th e P ote stan t G erm an an d C ath ol i c I tal i an b oth ,

r
starti n g f om th e sam e p oi n t a i ved at d i f fe en t goals
,
rr r ,

r
th ough th ey we e contem p o a y an d h ad equal m aste y rr , r
ove r th ei r m ate i al s r .

r
Passi n g o ve a n um be r of Nu r e m b e r ge r s wh o al l ,

r
cont ri b uted i n a g eate r o r l esse r deg ee to th e advan ce r
r r
m e n t o f th ei a t we com e to E asmu s Ki n derm an n
, r ,

I IO
 K i nd e r m ann , S c h l e mm e r ,
etc .

b orn at N urem berg i n 1 61 6 wh er e h e di e d i n 1 65 5 , ,

as organ i s t of S t ZE gi di u s H e p ubl i sh ed H ar mo n i a
. .

o rg an z ca i n Germ an tabl atu re i n 1 645

'

con ,

s isti ng o f p rel u des i n t h e tw elve ton es i n ,

wh i ch h e s h arply di sti n gui sh es b etween t h e

o ld an d th e n ew by com p osi n g s om e o f h i s p i eces
,

i n t h e m odes en ti ely an d o th e s e n ti ely i n t h e r , r r

m ode rn keys o f C m aj o r F m aj o r an d D m i n or , ,
.

r
Th e re a e al s o fugu es o n ch oral es i n wh i ch th e ,

E ch o e f fe ct i s us ed Ki n de rm an n carri ed o n th e wo k
. r
b egu n by S ch ei dt us i n g th e p e dal freely i nven ti ng
, ,

n ew form s an d ob tai n i n g a com pl ete m aste ry ove r h i s

,

i n strum en t .

H ei n ri c h S ch lem m e r wh o was b orn i n 1 62 1 at ,

Gu b e r t s h au s e n was d iven from h i s h om e by th e wa

, r r ,

an d com i ng to N u em be g i n 1 64 1 s tud i ed r S c h le m m e
r ,
r
unde r Ki n de m an n r
H e be cam e m usi cal .

r
d i ecto r o fth e Li eb frau en ki rch e an d was a rem arkabl e ,

teach e r H e d oes n ot ap pea to h av e bee n e i th e r an

. r
o rgan i s t o r c o mp os e fo th at i nst rum en t ; b u t h e r r
tra i ned a great n u mbe r of o rgan i st p up i l s ,
Pach el b el
ch i ef o f wh om was Pach el bel th e m os t cel e ,

b r at e d and e n ergeti c o f th e s eve n teen th cen tu ry N u r e m

r
b erg o gan is ts wh o was born i n th at ci ty i n 1 65 3
,
.

O n th e com pl eti on o f h i s e du cati on Pach elbe l wen t ,

to Vi en na wh e re h e b ecam e dep u ty to Kas pe r Ke l o r

,
r ,

,
r
K e r ll o gan i st o f S t S tep h e n s Late o n h e h el d .
’
. r
p osts at E is e nach E furt an d S tuttgart even tu ally , r , ,

r
retu n ing to N u remb e rg wh e e h e becam e organ i s t o f ,
r
S t S e b ald s
’
. .

I I I
 S t o r y of O r g an Musi c
r
I f S ch l em m e r was a g eat teach e h i s p up i l Pach elbel r ,

was a gre ate r and i n al l th e pl aces i n wh i ch h e tem

,

p o r ar i ly s ettl ed h e l eft n um e ro us d i sci pl es to car y o n r

th e work o f fou nd i ng o r con ti n ui ng a great sch ool o f
r
o gan pl ayi ng A t E fu t h e was s u cceede d by h i s
-
. r r
p upi l N i col au s Vette r wh o i n h i s tu rn was foll owe d by
,

r
H ei n i ch B uttsted t an oth e p u pi l o f Pach el bel
,
rAt .

r r
E rfu rt h e al s o t ai n ed C h i s top h B ach th e e lde r broth e , r
an d fi rs t teach e of S ebastian r .

Pach el bel l eft a large n umbe o f C h o r alv o r s p i e le o f r

th e h igh est m e ri t S u ch was th ei r p op ul a i ty th at s o m e
. r
o fth em b ei ng t o o l ong fo r us e i n th e o rd i n ary s ervi ce
, ,

r
we re cu tai l ed by l ate r o gan i sts i n ord e r to m ake r
th e m avail abl e .

H e i nve nted a n ew fo m th e C h o r alfu ge i n wh i ch 1

r , ,

th e s ubj ect o fth e fugu e was th e fi s t l i n e o fth e ch o al e r r ,

i n di mi n u ti on : th i s fugue h avi n g bee n c ar

C h o r aI
fu e g r i ed th rough u p to a ce ta i n p o m t th e r ,

ch oral e i tsel f e n te ed i n i t s own l ength o f r .

n ote th u s app eari ng as an augm en tati on of th e fugu e

,

s ubj ect p rop e r Th e p oss i bi l i ti es o f th i s fo m are v e ry

. r
great ; th e o nly d rawback s ee ms to b e th e l ength to
wh i ch i t m us t n ecessa i ly b e carri ed an d th i s m ayr ,

r
p e h ap s accou n t for i ts n o t h av in g been m uch adopted
by l ate r com pose rs H e al s o l eft s om e bri ll ian t
.

toccatas an d oth e r com p os i ti on s n ot foun ded o n

,

r
ch o al es .

r
A cu i ous b ook i s a Ta b latu r e of t h e Me lo dy O t h e f
1
No t t o b e o f use c n dwt
i h th e E ish e m ho fu ue me i ngl t r C ral g an ng
a g ng by a c r
,

f u ue t o b e su ho us .
 S t o r y of O r gan Musi c
C om m e r q uotes an i n te resti ng form of fugu e o n th e
r r
th i d ton e f om th i s wo k r
I t i s p e ceded by n i n e ba s
. r r
“ ”
of tastata th e I tal ian fo r p re l ude Th ere i s th e n a
, .

“
sh ort com pl ete fou r part fugue foll owed by V ar i at i o 1
-
,

a n ew fugu e o fab o ut th e sam e l ength as th e fi rst wh ose ,

s ubj ect con s i s ts o f th e sam e n ote s as th at of th e fi s t r ,

b u t so ch ange d by al te rati on s o f accen ts an d val ues as

to b e on ly j us t recogn i sabl e “
V ar i at i o 2
. i s a th i d ”
r
fugue on th e sam e n otes b ut agai n altered i n accents,

an d val ues ; an d th e p i ece con cl u des wi th th i teen ba s r r

o f
“
F i n ale ,
”
r
i n t i pl e m eas u e b ui l t on ye t an oth e r r
r
vari ati on of th e o igi n al s ubj ect .

Th e toccatas i n th i s wo k h ave th e sam e form as r

th os e of F rescobal di ; t wo d upl e m eas ure m ovem en ts -

d ivid ed by o n e o ftri pl e m easu e r .

I n th e fol l owi ng year th e e was p ubli sh e d at A ugs r

b u rg A r s M agm a Co n so m e t D zsso n zl —aas s is t O rgan i se /z
'
'
’
,

] n s t r um e n talz se /ze n L u s tg ar te n ( Th e g eat A r t

’

r
Speth s
'

o f C onsonan ce an d D i ss onan ce — that 15 to

A Co n
say r
an O gan i c I n st u m e n tal Pl eas u e
,
-
r r
Di s so m
garden ) b y J oh an n S peth
, th e cath ed al , r
organ i st I t contai n s toccatas m agn i fi c at s
.
, ,

an d ai rs wi th vari ati on s o f m u si cal val ue O n e of th e .

“ ”
p i eces h as a m ark o f exp res si on co n af fe tto , ,

r r
p e h aps th e fi s t o f i ts ki n d i n organ m us i c th ough ,

I tal ian wo rds o f th i s n atu re began to appea i n Lu te r

r
m u si c s om e fi fty yea s p revi ou s to th i s an d E ngl is h ,

words i n 1 5 93 .

S om e o fS p e t h s m od ulati on s go fa afield : f
’
o r i n s ta n ce r ,

i n a toccata i n A maj o r h e m od ulates to F m aj or .

1 14
 F rob e rg e r
A toccata i n G m ajo r con si sts o f a m elodi o us i n tro
du cti on i n wh i ch i m i tative p assages o n t h e m an u al are
,

b uil t ove r a l ong h ol ding G o n th e p edal fi n ally m od u ,

lating t o D wh e n a regul ar fugu e e n te rs Th i s form o f

, .

toccata i n wh i ch th e l onges t an d mos t i mp ortan t

r
po ti on i s a fugue becam e com m on ; b ut i n l ate r ti m es
,

th e toccata was sepa ated fro m th e fugu e by a ful l cl os e r

“
i n i ts o w n key an d th e p i ece was cal l e d To ccata an d
,
”
F ugu e .

J ohan n J acob F rob e rge r was born at H all e ab ou t

,
r
1 61 0 wh e e h i s fath e r was a C an tor O f h i s ea ly l i fe . r
n oth i ng defin ite i s k n own an d th e gap h as
bee n fi ll ed i n by an ext ao d i n a y sto ry
Fr o b e e r ,

r r r ,
rg
wh i ch R i tte r p uts asi de as a fabl e W e give i t fo r .

wh at i t i s wo th r
H e i s s ai d to h ave b ee n wayl ai d an d
.

r r
st i pped by b igan d s o n h i s way th ou gh F ran ce t o r
’

E ngl an d an d to h av e b een obliged t o cros s t h e

,

C h an nel i n an o ld sai lo coat H i s sh i p was captu ed r -

. r
by p i rates b u t h e j um pe d ove rboard an d
, ,

being a good swi m m e was s ave d by s om e A n

x r
tr a
,
j
r
fish e m en wh o en abl e d h i m t o reach E ng
,
o m ar y
Le ge n d
lan d C l oth ed i n ags h e m ad e h i s way to
. r ,

London by beggin g wh e e h e h eard th e o gan as h e , r r

was pas si n g W estm i nste A bbey E n te i n g h e wen t r . r ,

o n h i s kn ees an d re m ai n ed i n th i s p osi ti on til l t u rn e d

,

“
o u t by an ol d m an Y o u see m ve ry u n h appy
. sai d ”
,

th e o ld m an as h e cl o sed th e doo s ,
“
Yes sai d r .
,

r r
F ob e ger an d tol d h i s s to y
, Li ste n sai d th e ol d r .
,

m an : “
r
I am th e o gan i st o f th i s ch u ch an d als o of r ,

th e C ou t r
I f yo u wi l b e my bl owe r I wi l l p ovi d e you
. l r
1 1
5 1
 Story of O rgan Musi c
wi th food an d l odgi ng Th e ol d m an o fth e s tory was
.

n on e oth e r th an C h ri stoph e r Gi bbon s b ut h ow h e cam e ,

r
to b e acti ng as ve ge r and why h e s h ould h ave to
,

p rovi d e h i s own b l owe r i s n ot tol d u s , F rob erge r .

accep ted h i s o f fe r n ot da i ng t o an n oun ce h i s real

,
r
r r
p ofessi on for fea of l os ing h i s m ean s of s ub si sten ce
, .

D uri ng th e fest ival of th e m a riage of C h a l e s I I r r .

,

wh i ch took pl ace sh ortly afte rwards Frob erge r i n h i s , ,

r
admi ati on o f th e m agni fice nce o f th e s u rroundi ngs ,

r
fo got to bl ow an d Gi bbon s i n h i s fu ry upb rai ded h i m
, ,

s truck h i m i n t h e face and ret reated i n to t h e vestry

, .

A s udde n i d ea s tru ck Froberge r Fi ll i ng th e bell ows .

,

h e began to pl ay i n s uch a m an n er th at al l eyes we e r

r r
tu n ed to th e i n st um e n t an d i t was ask ed wh o was ,

th i s great arti s t ? A l ady i n t h e assem bly wh o h ad ,

h eard F rob e rge r i n Vi en n a recogn ise d h i s style an d , ,

r
p esented h i m t o th e ki ng wh o at on ce h ad a cl ave ci n ,

b rough t i n an d m ad e h i m play fo r an h ou r to t h e
, ,

d el igh t of t h e wh ol e cou rt Th e ki ng th e n gave h i m a.

gol d ch ai n an d fro m th at m omen t h i s fo tun es we re

’

, r
s ecure .

Th i s s tory i s tol d by Mat t h e s o n wh o s ays th at ,

’
h e got i t from F r o b e r ge r s own n otes ; b u t i t i s ve ry
i m p rob abl e an d l ook s m uch as i f Frob e rge r h ad
,

d ream e d o r i nven te d i t Mat t h e s o n al so says th at

.

F robe rge r h ad t h e p owe r o f rep resen ti ng on th e o rgan

r
th e h i sto i es o f p arti cular t an sacti on s o n e o f h i s r ,

favou ri te th em es bei ng th e c ossi ng of th e Rh i n e by r

C oun t Th u rn o n e o f th e gen e ral s i n th e Th i rty Y ears
’
,

W ar wi th wh om Frob erge r was p resen t on th e occa

,

1 16
 S t o r y of O rgan Musi c

AR T
P or
'
e no s e n c e a s F AN TAS IA
x m c u aR s
'
o n T HE
“ u s u ac m .
u n x ac n o an .
”
F R OM

1 18
 K a s pa r K e rl

tion ,
D i ve r se C u r i o se e R ar e P ar fi le m u s i cali de l E x ’f
f"

e F am ‘? G G F r o b e r ge r 1 696
o r gan is t a, . .
, .

r
H e l eft th e C ou t o f Vi en n a an d was p rotected by ,

th e D uch ess S yb i ll a of W u r t e m b e r g i n wh os e s e v i c e , r
h e di e d i n 1 667 H e i s ch i efly i m p ortan t fo r th e
.

i nfl uen ce h i s m us i c h ad i n t h e deve l op men t of J S . .

B ach S p i tta ( B aa/z v o l i

. p 3 2 3 ) sh ows th at h i s
, . . .

toccatas con tri b ute d to th e fo m ati on of th e N o th r r

r
Germ an fugu e fo m con si s ti n g of several di s ti n ct ,

s ecti on s S om e of h i s p i e ces we re contai n e d i n th e

.

book b el ongin g to J oh an n C h i stop h B ach wh i ch th e r ,

yo ung S ebasti an cop i e d by m oon l igh t at O h r dr u f

'
f .

A dl ung s ay s t h at h e was h el d i n h igh h on ou r by

S ebas ti an th ough h e was s om ewh at an ti q uate d
,
Th e .

styl e o fh i s toccatas i s fou n ded o n th at o f th e Gabri el i s ,

r
i n wh i ch un ni n g passage s a e fo l lowe d by a fugue o r r ,

r
fugato wo k an d n ew fl o i d p assage s con cl ud e th e
,
r
r r
wo k Th e E m aj o fugue i n th e s e con d pa t of th e
.
,
r
Wo /z lte mpe r i r fe K lav ie r i s an adap tati o n o f a fugue i n
,

r
th e Ph ygi an m ode com pose d by F robe ge r r .

r
Kaspar Ke l a n ati ve o f S axony cam e to Vi en n a
, , ,

and was s en t by th e E m pe o Fe rdi n an d I I I to R o m e rr .

,

to study un de r C ari ss i m i O n h i s e tu n to . r r
Vi en n a h e was e n n oble d by th e E m p e o r r
Leopol d an d th e K u r fti r s t o f B ava i a m ad e
,
‘

r
h i m h i s C ap el lm ei ste r at Mun i ch Th e n h e return ed to .

Vi enn a agai n an d be cam e o gan i st o f S t S teph an

, r . .

H e p ubli sh ed a col l ecti on of toccatas an d can z on as i n

th e styl e o f F r e s c o b aldi m aki ng l i ttl e u s e o f th e p edal
, .

H e i s known to studen ts of H an del th ough h i s can z on a r

1 19
 S t o r y of O rgan Musi c
“
i n E m i n or wh i ch H an del b orrowed n ot e for n ote
,
”
i n h i s ch oru s Egyp t was glad at th ei r dep arti ng i n ,

I s r ae l i n Egy t p .

Th e greates t o f G erm an C ath ol i c organ i s ts w as n u

d oubted ly Georg Mu fl at wh o was b orn ab ou t 1 645 an d
'

, , ,

afte r s tudyi ng at Pari s wh il e Lu lly was th ere

G Mu f
,
f at
becam e o rgan i s t o f S trasb u rg C ath edral .

D ri ven th en ce by th e war h e we n t to R om e wh e re h e
, ,

rem ai n ed ti l l 1 690 wh e n h e retu rn ed to Germany H e

, .

r
n ow be cam e o rgan is t to th e A ch bi s h op of S al z b u rg an d ,

fi ve years l ate r h e l eft th i s s e rv i ce to en te r th at o f th e

B ish op o f Passau , as C ap el lm ei s te r an d Maste r of t h e
Pages H e di e d i n 1 704
. I n 1 690 h e p ubli sh ed
.

Appar at u s M u s ic o O rg an i s t i cu s a c ol lecti on o ftoccata s

, ,

a ch acon n e a p assacagl i a an d oth e r p i eces

, , It is .

s tran ge th at s o l ittl e m en ti on h as b een m ad e o f th i s

real ly great arti s t : H awki n s d oes n ot n oti ce h i m an d ,

B urn ey give s h i m on ly a few l i n es s ayi n g th at h e was ,

an em i n en t organ i s t com p ose r an d fu gh i s t an d o n e

, , ,
”
o f th e gre at h arm oni sts o f Ge rm any Y e t i n i ts o w n .

l i n e h i s wo rk i s as fi n e as th at of B uxteh u d e wh o h as
, ,

b ee n b rough t i nto wel l des e rved p rom i n en ce of late

-

years owin g to h i s conn ecti on wi th B ach Th e re i s .

a h um an feel in g abou t th e m usi c o f Mu f fat wh i ch ,

rem oves i t ab ov e m e re coun te rp oi n t o r e xh i bi ti on of

s ki ll an d ap p e al s to th e h eart m ore th an any of th e
,

r
ea l i e r com pos i ti on s Pe rh aps h i s Ge rman n atu re
.
,

r
com bi n e d wi th h i s F en ch ed ucati on b rough t o u t i n ,

h i m th e bes t ch aracte ri sti cs o f th e m usi c o f both

n ati on s an d p rod uce d that combi n ati on of sp on tan ei ty
, ,

1 20
 St o r y o f O rgan Mu si c
o f Th u ri ngi a Th e i nh ab i tan ts of th i s coun try seemed
.

s o sp ecial ly gi fte d wi th m usi c th at th e e was a p o ,

r r
Mu si c i n
ve b “
r r
Th u i ngi a wh ere eve y p easan t
, ,
r
k n ows m u si c N ot a vi llage was th ere i n
”

r g
Th u i n i a
.

wh i ch ch u rch m us i c d i d n ot fl o u i sh : i f th e re r
was n o organ i ts pl ace was taken by a b an d o f v i ol i n s
,
.

Th e b oys o f th e town s an d v i l lages were carefully

taugh t to si ng an d to ead m usi c at sigh t ; an d eve ryr
S un day th ey we n t ro u n d an d s ang part s ongs befo re th e -

h ouses t h e i n h abi tants of wh i ch p ai d th e m a few

,

copp ers an d th ey th us earn e d a p a t o f th ei r s uste

, r
n ance . I t m u s t n ot b e s u pposed th at th ey h ad anyth ing
i n th e l east i n com m on wi th th e m en di cants wh o i nfes t
th e s treets o f many cou nt i es i n E u rope w h o s ing o r r ,

p reten d to p l ay o n m u si cal i n strume n ts as a m ean s o f

r
b eggi ng ; o n th e con t ra y th ey we e th e ch u rch ch oi r ,
r ,

and th e i r m usi c consi sted of th e bes t o f i ts ti m e an d ,

r
th ei r op en ai s i ngi ng was egularly o gan i sed by th e
-
r r
r
town auth o i ti es Th i s c ustom i s s ti ll kep t u p i n s om e
.

o f th e s m al l er town s of Th u i ngi a ; an d wh e n th e p esen t r r

r r
wri te r was at O h d uf i n th e s um m e o f 1 8 99 th e ch oi r r ,

o f eigh teen o r n i n eteen b oys cam e at h i s reques t an d , ,

r
sang pa t s ongs by Mendelssoh n an d oth e r c lassi cal
-

com pose rs at th e w i n dow o fh i s h otel o n S u nday m o n , r

r
i ng b efo e th ey wen t i n to th e ch u ch i n a s tyle wh i ch
, r ,

c oul d n ot h ave been bette d on e by th e b oys o f an r

E ngl i s h cath ed al r .

Th i s m u si cal l an d was th e h om e of th e em a kabl e r r

B ach fam i ly th e fo und er o f wh i ch Ve i t B ach was a
, , ,

m i lle r wh o u sed to s in g and play h i s ci th e r i n ti m e

,

1 22
 Bac h F a mi l y
to th e b eat of h i s m i ll wh eel H i s s on H an s was -
.

a weave r wh o sp en t h i s l ei s u e i n p layin g h i s vi ol i n
,
r
at weddi ngs an d oth e r gath e i ngs Th e fi rs t r .

r
i m po tan t organ i st o f th e fam i ly was H ei n
r i ch th e s o n o f H an s b o n at W e ch m ar
, , r ,

i n 1 61 5 r
H ei n i ch b ecam e o gan i s t o f th e F ran
. r
ci sca m C h u rch o f A rn stad t i n 1 64 1 Th e fam ily .

n ow i n creas ed an d i ts m e mb ers b egan to fi l l m os t

,

o f th e i m p ortan t o r gan i s t s h i p s i n Th u i ngi a an d th e r

n eigh bou ri n g co un tri es Th u ri ngi a s u f fe re d s eve rely
.

from th e d is organ i s at i on cau se d by th e Th i ty Y e ars r ’

W ar an d organ ists , as wel l as o th e rs fou n d i t d i f

,
fi cul t ,

to l ive : i t was t h e cu sto m to p ay th e m p artly by

m on ey wh i ch was at th at ti m e v e ry s carce p artly i n
, ,

,
r
ki nd an d p a tly by t h e us e o f a pl ot o f l an d wh i ch ,

wo ul d ofte n b e ove u n by th e con ten di ng arm i es rr .

r
I t i s to th e c edi t o f th e B ach fam i ly or cl an ( for th ey
h el d th ems elves so m ewh at aloof f om oth e r m usi ci an s ) r
th at th ey retai n e d th ei r s el f resp ect al l th ro ugh th es e -

troubl ou s ti m es wh i ch d e m oral i s e d an d rui n ed s o m any

,

o f th ei r con tem po ari es r

Th e h i s to y o f m us i c i n . r
r
Th u i ngi a d uri ng s om e two cen tu ri es ch i efly cen tre s
o n th i s fam i ly wh i ch b ecam e s o n um ero us an d s o
, ,

associ ated wi th m us i c th at th e town m us i ci an s were ,

r
f equ ently al l uded t o n ot as th e m us i ci an s b u t th e “ ”

,
”
B ach s eve n i f th e e we re n o B ach am ong th em r Th e .

n am e h as n ot d i ed o ut : n o l ess th an th i rteen fam i li es o f

r
B ach s we e l ivi n g at E fu t i n 1 8 99 an d th e re we e r r ,
r
r
oth e s el sewh e re .

1 23
 C H A PTE R IX .

O RG AN M U S C I G E R M A NY (
111 con t i n ue d ) T HE O RGA N
W R
O KS or
J . 5 . E AC H .

W E h av e n ow s e e n h ow organ m usi c gr o w m g m I taly ,

an d G erm any o u t o f th e fi rs t crud e e f forts Of th e

fo u rteen th an d fi fteen th cen tu ri es reach ed i n th e , ,

s i xte e n th an arch ai c pe ri od ; h ow i t th reatened to

,

s ti f
fe n an d b ecom e fi xe d i n c onven ti on al form s by ,

D i m i n u ti on i n I taly an d C ol ou rati on i n Ge rmany ;

”
,

r
h ow th e p rogressive s pi i t o f th e Ge rm an s l ed th em to
avoi d th i s d ange r ; an d h ow by th e labou rs Of a s ucces
s i on of e arn es t an d gi fted m en , th e m os t s oull e s s an d
m ech an i c al o f i ns trum en ts w as m ad e to s e rv e for t h e
e xp ress i on o f a n obl e and l ivi ng art em i ne n tly s u i t e d ,

to th e n ee ds of rel an d t h e e difi c at i o n o fm an ki n d .

r m an y an d H ol lan d n ow c u l
,

e m igh ty gen i us ,

p redece sso s as h i s poi n t of r

, r
departure s oare d to egi on s o f p ure an d l ofty m usi c ,

far ab ove anyth i n g th at h ad gon e b efore h i m so th at ,

r r
al l p rev i ous com p ose s appe a i n th e l igh t of for e
, r
run n ers to h i m wh ose wo k was to p repare th e groun d ,

th at h e m igh t e nte r i n to p ossessi on an d m ak e th e be s t

u s e o fi t
.

1 24
 St o ry of O rgan Musi c
wi th s uch e xtraordi nary p erseve ran ce th e b roth e r con ,

fi s c at e d i t B u t th ough th e b oy th us l ost th e e te rn al
. x
r
evi den ce o f h i s labou h e h ad sown s eed wh ich was
,

r
s oon to b i ng forth ab un dan t h arves t I t i s th e e x p e r i .

e n ce Of eve ry s tud en t o fm us i c th at th e i n tell igen t copy

r r r
i ng o f g eat wo ks of a t gives m ore i n sigh t i n to th ei r
con stru cti on th an any am oun t o f playi ng an d analysi ng
th e m ; an d o n e can i m agi n e h ow s o great a gen i us as
B ach woul d p rofi t by th e p ocess r .

W h en h e was fi ftee n h e l eft O h d ru f an d b e gan t o r ,

earn h i s own l ivi n g at L un eb e g as an accom pan i s t an d r

a v i ol i n playe r i n th e ban d ; an d o n certai n
-

festival s th i s ban d p laye d w i th th e s i ngers

i n th e s treets wh e reby i ts m em be rs we e
,
r
r
abl e t o i n c eas e th ei r e arn i ngs a l i ttl e H i s s i mpl e .

m od e of li fe d i d n ot h owev e r eq u i re any great e

, , r x
p en ses an d h i s s al a y b ei ng s u f
, r f
i ci en t f o r h i s n eed s ,

b e d evoted al l h i s spare ti m e day an d n igh t t o i m , ,

p rovi ng h i m sel f i n every b ran ch o f h i s p ofessi on by r

r
u n em i tti n g s tudy o f th e wo ks o f h i s p e decess o s by r r r ,

p racti ce on th e keyb oard and by j ou rn eys to H am b u g

, r
t o h ear Re i nke n p l ay th e o gan an d to C el l e wh ere r , ,

th e d ucal ban d h ad a great rep utati on fo r i ts pl ayi ng o f

r
F en ch d an ce m u 5 1 c .

A t th e age Of ei gh tee n h e was appoi nted o gani s t o f r

r
a ch u rch at A n stadt wi th l igh t d uti es th at l eft h i m
,

pl en ty o f l ei s u re fo r s tudy C omi ng t o
rn t
A t A s adt
dif r
fe en ces wi th th e ch u rch au th o i ti es
.

r ,

r r
p a tly by eason o f outs tayi ng h i s l e ave o f abse nc e i n
r r
o de to s tudy B uxteh ude s s tyl e at L ilb e c k and ’
,

126
 J.S Bac h .

r
p e h ap s s ti l l m ore from h i s m an ne r o f p layi ng wh i ch ,

h ad al l th e exu b e ran ce O f yo uth ful gen i u s un controll ed

r
by exp e i en ce h e ch ange d th i s p os t fo r on e
,

at Muhl h ausen i n 1 70 7 H e e h e took step s . r

to h av e th e o gan e n ovated fo r i t h ad r r ,

r
fall e n i n to di s epai r ; b u t h i s p os i ti on s oon b e cam e
r
i n tol e abl e owi n g t o th e bigot y o f a s ect cal l ed th e
, r
Pi eti sts wh o l i k e m any of th e s ecta i es o f th at ti m e
, ,
r ,

r
h ad n o arti sti c pe cep ti on s an d con sequ ently h el d th e ,

r
doct i n e th at m us i c was “
wo l dly an d i n con si ste n t r ,
”

wi th wh at th ey con si de e d a C h ri stian l i fe H e th e e r . r
fore accep ted a p os t as C ou t o rgan i st an d r -

C once rt m ei ste -
r
l eadin g v i ol i n i st o fth e
r r
o ch est a ) to th e D u ke of S ax e W e i mar -
.

H ere h e fou n d ful l op po tu n i ty un de r a cul tu red an d r ,

wi de m i n ded em pl oye t o p u s u e h i s stu di es ; an d at

-
r ,
r
th i s p eri od n ot o nly we e m any o f h i s o gan wo ks r r r
comp osed b u t h e al s o gai n e d h i s as ton i sh i ng m aste y
, r
ove r th e m an ual s an d p edal s H i s o gan was a s m al l . r
o ne h avi n g only seven te e n stop s o n i ts m anual s an d
,

s eve n o n i ts p edal b u t i t was a v e r y good o n e ; an d i t

,

i s rem arkabl e th at th o ugh h e was th e g eatest o gan i s t r r

o f h i s ti m e h e n eve was app oi n ted to an i m p o rtan t
, r
o rgan 1
Th e p os t at W ei m ar was i n fact th e l as t h e
.

r
h el d as o gan i s t an d h e q ui te qu i tte d i t i n 1 71 7 for
,

r
C Ot h e n wh e e h e b ecam e C apel l mei ste r to P i nce
, r
Leop ol d o fA nh al t C o th en -
.

r r
B ei ng n ow f e e f om th e an n oyan ces wh i ch see m
1
Pr babl y rea n t at great
o th e so was h as h e was as an exec tant
u he
was st ll greater a c p ser
i as o m o .
,

1 27
 Stor y o f O rgan Mu s i c
al mos t i n separabl e from m usi cal w ork i n con n e cti on
wi th a ch u rch 1 h e was abl e t o give fre e rei n to h i s
,

p owers as a con ce rt pl aye r m aki n g frequ en t j o urn eys -

,

to pl ac e s wh e r e l arge organ s we re to b e fo u nd .

B ut th is h appy s tate o f th i ngs d i d n ot l as t fo r m ore

t h an fi v e years Th e p ri n c e m arri ed and h i s wi fe h avi ng
.
, ,

n o i n te res t i n m u si c b ecam e j eal ous o f i ts p rofes so rs ,

,

an d B ach fo un d i t n e cessary to l eav e .

I n 1 72 3 th e re fo re h e took th e p os t o f C antor at S t
, , .

’
Th omas s C h u rch Lei ps i c wh e r e h i s greates t work s
, ,

i n eve r y b ran ch o f m usi c we re p rod uced ,

A t Lap s ”:
an d wh e r e h e re m ain ed ti l l h i s death i n 1 75 0 .

H i s d uti es we re to com pos e t h e n ecessary m u si c to ,

t rai n t h e ch oi r an d condu ct t h e o rch estra an d ch oi r

,

i n t h e ch u rch fes tival s an d o n S un days ; an d from t h e

i m p o rtan ce o fth e work h e d i d h e re , h e i s Often re fe rred
”
to as t h e great C an tor .

H i s n u m e rou s o rgan works ar e p ubl i sh e d i n s e ve ral

e d i ti on s o n e o ft h e b es t k n own bei ng that of
,
Bu b s
Pete rs o f Lei psi c i n wh i ch th ey occu py n i n e ,

vol u m es an d w e s h al l fi n d i t conven i en t to refe r

Musi c ,

to t h e vol u me s an d n umb e rs O fth i s e d i t i on .

1 Th e r t an yoo o fm pett y y n es whi ch p tent

o ft h e an no a c to co m e

m us i c i ns a ten s bj ected whe n they ept rg n p ts ee

ar e so o f u acc o a os s ms
to t at exp nents rel gi n s all y r
be h th e o nat re o f i o are u u fo m t h e u o f
their pr es i n n erv t i ve l k i ng b ckward precedent whi l e
,

of s o co s a oo a to ;
i c i n b i ld i ng w at g ne be re and b i ng exp nen
, ,

th e m u s a u on h h as o f
o e th e o

gr w i ng and advanc i g art nat rall y pr gre i ve and l k

, ,

o fa o n is u o ss oo s f
or

w rd l i ve p st ther t re ri t i n
, ,

a : th e o ne sf
o r th e a th e o o r the f
f u u an d f c o

t d i eren e tl k th gh nw i tt i ngl y ttri b t ed

, ,

i es
ar s r o m h is
f f
f c o fo u oo ou i t is u a u

ther e
,

to o caus s .

1 28
 S t or y o f O rgan Musi c
r
f om th e p ed al s t o th e u ppe pa t o fth e m an ual th e n r r ,

r r
th e pedal s a e s i l e n t fo a m om e n t on ly to j oi n l ate r on ,

i n th e b us tl e an d m ovem en t o f th e m an uals Th e .

th em e th ough always p ese n t i s n ow ve i l ed u nde r

, r ,

r
great a p eggi os rush i ng f om th e b ottom t o th e top of r
th e keyb oa d r
Mag ni fi ce n t crash es o f s ou n d i n doubl e
.

an d tri pl e s usp ens i on s fol l ow th e two h an ds b reak i nto ,

r rr
a fu i ou s t o en t of t i pl ets an d th e m u si c as i f er , ,
x
h a n ste d be com e s m o e placi d an d gi ve s way t o a
, r ,

l engthy fugu e o n th e th em e I n ten ded as a m e re .

p racti ce p i ece i t resul ted i n a comp osi ti on o f t h e

,

r
g eates t beauty an d va i ety r .

I n contras t i s th e un fi n i sh ed Pasto ral e wh i ch co n ,

c lu de s th i s vol um e a q ui et s ooth i ng p i ece as i ts n am e

, ,

s uggests .

r
Th e s econd th i d an d fo u th vol u m es of th i s e diti o n
, , r
r
con tai n th e g eates t o fth e o gan wo ks , apart from th e r r
C h o r alv o r s p i e le B ac h was alway s p ol i sh
.

el u des
? “gu e s '
i ng an d rep ol i sh in g h i s com posi ti on s : l i ke
'

H an del h e s eem s to h ave added s om e n ew i m

,
To ccatas
an d
p
,
r o v e m e n t s for each n ew p e fo m an ce Th e r r ,

F an tas i as
fi s t two n r
um be s r
o fVol u m e I I we e w i tte n . r r
at W ei m ar o r C o th en an d as su m ed th e fo m ,
r
i n wh i ch we kn ow th e m at Lei psi c Th e C m aj o . r
r
Prel ud e h as a ce tai n am oun t of feel i ng i n comm on wi th
r r
th e en e geti c an d vi go ous fugue i n C m i n or for vi oli n
r
an d figu ed bass Th e G m aj o P el ude wi th i ts. r r ,

r r r
t em end ou s ei te ate d ch o ds an d i ts s to my p edal r r
p assages seem s l i k e a gi an t at pl ay an d we can
, ,

i magi n e h ow B ach m us t h av e evell ed i n th e ocean of r

1
30
 Bac h s O rgan Wo r k s
’

s oun d h e p rod uced Th e Prel ud e an d F ugu e i n A NO 3

.
, .
,

o f a tranq u i l ch aracte r , i n con tras t to th e fi rs t two i s , ,

l i ke th em an earl i e r work i m p rov ed at Lei p si c

, ,
.

Th e great G m i no r Fan tas i a an d F ugu e N o 4 i s o n e , .

,

of t h e m os t p owe rfu l of h i s ea ly p rod ucti on s It is r .

b as ed on t h e B uxteh ud e m od el s an d th e th em e wen t ,

th rough seve ral i m p ortan t ch ange s b efo re i t attai n ed i ts

.
-
r
p res en t sh ap e Two th i ds o f t h e fan tas i a con si s t o f
i n te rch anges of wi l d reci tativ e wi th cl osely wo ked r
i m i tative p as sages an d th es e giv e way to an i n te rl ud e
, ,

i n wh i ch th e b ol des t m odul ati on s rega dles s o f th e ,

r
tu n i ng o f th e organ ar e l ed th rough m assi ve ch ords i n
,

five an d s i x parts on a m ovi ng p edal bas s wh i ch

, ,

p u rs ues i ts m aj esti c cou rs e d own t h e s cale r e ,

gar dle s s o f th e tum ul t above i t Th e comp ose r .

rej oi ces i n m ass es o f s oun d an d startl i ng m od ulati on s

s u ch as n o m an eve r h eard b efore N ow th e re i s .

a retu rn to th e reci tati ve o f th e b egi n n in g an d th e ,

fan tas i a cl os es B u xteh u de h ad don e th e sam e ki n d o f

.

r
th i n g before ; an d F es cobald i befo e h i m h ad give n ,
r ,

ve n t t o h i s asp i rati ons th ough bol d m odulati on s : r

th ey we re th e p i on ee rs wh o m ade i t p oss i bl e fo r B ach
,

to p u t al l th e fo rc e o f h i s i m agi n ati on i n to th es e
m as te rpi eces u n fette red by a p edanti c conven ti on al i sm
, .

W i th ou t th e works o f h is p redecessors , B ach s wou l d ’

h ave b een i m p oss i bl e .

Th e wel l kn own G m i n or Fugu e i s o n e o f th e many

-

exam pl es o fh ow B ach d eligh ted i n s etti n g h i m sel f tech

n i c al tasks o fth e g eates t i n t i cacy an d di fl
r i c u lt y an dr ,

th e n maki ng th em e nti rely s ubse rvi en t to h i s wi ll s o ,

1 31 K
 Story of O rgan Mu si c
th at eve ryth i ng s eem s t o fl ow as eas i ly as ru n n i ng
r
wate r : th e greate th e di fficul ty th e m o e eas i ly an d , r
tri umph antly d oes h e ove rcom e i t and as i t we e , , r ,

l augh at i t as i n th e tri p l e coun te p oi n t i n th e fugu e

, r .

r
Th e p racti ce o f w i ti ng t i pl e coun te p oi n t i s a part r r
r
Of th e regula t rai n i ng o f eve y st uden t o f com posi ti on r ,

for i t i s an excel l e n t m en tal gym n asti c exe rci se ; b u t

h ow many h av e su cceede d i n i n fu si ng sp ontanei ty an d
l i fe i nto th i s dry as d us t an d di f i cul t ki n d o f s tudy ?
f - -

Y e t h e re w e h ave B ach rej oi ci ng i n i t playi n g wi th i t , ,

and p rod ucing an exampl e wh i ch n o t onl appeal s t o y

m u si ci an s by th e won derful ski l l d i spl ayed i n i ts c o n s t r u c
ti on b u t s ou nd s s o s pon tan eo us an d n atu ral th at th e
,

r
l ay h eare r p e cei ves n oth in g e ma kabl e b eyon d t h e r r
b eauty o fth e m u si c ; s o ca eful i s Bach of th e m axi m ar s r
e s t ce la r e a r t e m A n d as i f th i s was n ot en ough as th e
.
, ,

fugue p roceeds eve r wi th i n creas i ng an i m ati on n ew

, ,

co un te rpoi n ts ap pear above an d b el ow th e tri pl e

e xampl e : th e fund o f i nven ti on i s i nexh austi bl e an d ,

th e fugue o f wh ich th e th e m e i tsel f at on ce arrests th e

,

atte n ti on by i ts v igou r i n creases i n i n teres t f om , r

b egi n ni ng t o e n d : al l a ti fice i s con ceal ed u n de r th e r
1
i n ten s e app eal to th e em oti on s .

T h e great Prel ude i n C m i n or N O 6 of th i s vol ume , , .

d ates from th e ti m e wh en th e compos e r was at

1
t a y an n i gi nat i ve rgan i t play thr gh
B ut i t i s q ui e e s f
or u ma o s to ou

t i w nd r l p c c a c rrect c ld and nresp n i ve anner

h s o e fu ie e i n su h o o u o s m as

ake tterl y ep l i ve I l ke hear Bach s i c played

, , ,
“ ’
to m it u r u s do no t i to m us
ch rc s i d si cal v i car a L nd n ch rch s nd
.

“
in u h,
”
a th e mu o f o o u ; it ou s

Dev i l
t o m e as i fth e br k n l se rgan h ad o e oo on th e o .
”

1 32
 St o r y of O rgan Musi c
Th e Toccata i n F wi th i ts gre at pedal s ol os em
, ,

b raci ng th e wh ol e com pass of th e m ost m odern pedal

board i ts can on repeated i n i nve rs i on i ts
,
Me n de ls
, ,

s o h n an d
r
tri pl e cou nte p oi n t i ts en orm ou s en e gy an d , r ,

i t s m agn i ficen t m od ul at i on at th e e n d i n to
t h e F m aj or ° °

t h e k e y o fG 11 a t i s an ot h e r s t r i k i n g i ns tan ce
To ccata
o f h ow B ach l ove d to p l ay wi th th e greates t

tech n i cal d i f fi c ul ti es an d to m ake th e m th e absol ute

,

sl ave s o f h i s m usi cal i d eas I t was a favou ri te pi ece

.

wi th Men del ssoh n : “

Th e F m aj o r Toccata wi th th e ,

m od ulati on at th e en d s oun ded as i f th e ch u rch woul d

!
,
”
tumbl e down . H e was a trem en dou s can tor says
Men delssoh n i n a l e tte r to h i s fam ily from S argan s
, ,

dated S ep te mbe r 3 r d 1 8 3 1 , .

Th e Toccata and Fugu e NO 3 of th i s vol um e i s .

r ”
r
cal l ed D o i an p e h ap s becaus e th e e i s n o B fl at i n
, r
th e s ignatu re b u t i t i s real ly i n D m i n o th e fl at bei ng
, r ,

r
i n trod uce d wh e re n ecess a y as an acci den tal acom m on ,

r
p acti c e i n th os e days Th i s p i ece was c om p osed at
.

W ei mar an d th e n am e D ori an was d oubtl es s accepted

,

as a conve n i en t m ean s o fd isti ngui sh i ng th e comp osi ti on

r
from an oth e r g eat toccata an d fugue i n th e s am e k ey .

Th e Prel ud e an d Fugu e N O 4 al s o i n D m i no r i s an .
, ,

arran gemen t fo r th e o rgan o f th e G m i n or Fugue o fth e

fi rs t son ata for vi ol i n sol o I t was n ot at al l u n com mon
.

f r
o r com pose rs t o t ansfe r th ei r com p osi ti on s from o n e

r
i n strumen t to an oth e : n ot to w i te th e m o u t n ote fo r r
n ote b u t to s tudy th e di fl
, e r e n t m ean s o f exp ressi on

avai labl e o n th e oth e r i n strumen t , an d to r e w i te th e -

r
p i ece wi th th i s i n vi ew .
 ’
Bac h s O rgan Wo r k s
Th e Prel ud e an d Fugu e i n G m i n o r N o 5 i s an , .
,

early work s h owin g th e i n fl uen ce of B u xteh ud e Th e

,
.

n ext com pos i ti on N o 6 i s cal l e d Fan tasi a an d Fugu e

, .
,

“ ”
by fan tasi a B ach m ean t a f e e comp osi ti on fou n ded r
o n o n e o r two sh ort m oti ve s wh i ch con s tan tly recu rred , ,

wi th ou t n ecessari ly foll owin g th e s tri ct rul es o f fugu e ,

an d d i d n o t exten d to th e l ength o f an o rdi n ary fugu e

subj ect .

Th e great C m aj o r Prel ud e an d Fugu e i s su ppos ed to

h ave bee n wri tte n i n th e ea ly d ays at A rn stadt abou t r ,

1 71 7 f, o r h i s o w n u s e wh e n i nvi ted to p lay at oth e r

pl aces I t i s a di spl ay p i e ce an d i s su p e s c ib e d
.
, r r
C on certato i n s om e o f th e MS S an i n dicati on th at .
,
“
i t was i nte nd ed fo r wh at w e cal l an o gan re ci tal r ,
”

an d th e Ge rm an s cal l an organ con ce rt I t i s i n the .

”

N orth ern s tyl e o fs eve ral m ov em en ts an d th e i n fl uen c e

, ,

o f B u xteh ud e an d F res cobal di i s seen n ot on ly i n t h e ,

fo rm b u t i n th e fi n al s ecti on wh os e tri pl e m eas u re

, ,

r
s ubj ect i s de ived from th e fi s t bar o f th e fi rs t fugu e r
s ubj ect Th e Prel ude an d t h e fi rs t F ugu e are als o
.

fo un d i n th e key of E m aj or p robably to s u i t th e pi tch ,

of som e pa ti cul ar o gan r r .

Th e great Toccata an d F ugu e i n C m aj o r NO 8 al s o , .

,

i ntended for di spl ay i s an attem p t to adap t th e I tal i an

,

th ree m ov emen t con ce to t o th e o gan

-
r
B ach h ow r .
,

r
eve s eem e d n ot to h ave foun d i t s ati s factory as h e
, ,

di d n o t u se i t agai n Th e exceedingly b eautiful A dagi o

.

i n A m in o r i s th e only exampl e h e h as l e ft of a l ong

cantab il e sol o for o n e m an ual accompan i ed o n a s econ d ,

m an ual an d p edal : i t i s afte th e m odel o f o n e at l e as t r

1 35
 St o r y of O rgan Musi c
’
o f Bo h m s C h o r alv o r s p i e le ,
i n wh i ch th e latte r p l ace s
th e m elody i n th e righ t h an d an d e mbell i sh es i t wi th ,

r
i n nu m erabl e o n am en ts wh i l e B ach w i tes an o igi n al ,
’
r r
m el ody an d accom pan i e s i t i n B Oh m s m an n e r
, .

.
, r
No 9 i n A m i n o i s q u i te an early wo k i n wh i ch
, r ,

two sh ort fugues on e s i ngl e th e oth e r do ubl e are

, , ,

r
s ep a ated by an i n te rl u de an d h ave n o con necti on wi th ,

o n e an oth e r ; wh i l e th e p i ece fi n i sh e s wi th a coda con ,

tai n i ng rem i ni s ce n ces o f th e Prel u de Th e i n fl uen ce o f .

B u xteh u de i s see n i n th e d o ubl e sh ake o f th e p el ude r ,

an d th e p edal sh ak e at th e e nd o fth e fugue .

Th e l i ttl e E m i n o r Prel ud e an d Fugu e NO 1 0 i s a .

r
m aste pi ece o f m ou rn fu l feel i ng o f th e u n t ansl atabl e , r
wo d r “
S eh n s uch t
”
H e e agai n B uxteh u de s doubl e
. r ’

r
sh akes app ea i n th e p el ude Th e m elan ch oly i s sti l l r .

m ore i n ten s e i n th e fugue wh i ch s eem s to exp es s th e , r

r
u tm os t th at th e o gan i s capabl e of i n th i s d i recti on .

r r
I t was fo m e ly th e h abi t o f s om e o gani sts to pl ay th e r
m o r de n t w i th a s em i ton e i n stead o f a ton e b el ow th e ,

p ri n ci pal n ote th u s des t oyi ng i ts ton al i ty an d r ui ni n g

,
r
th e e f fect O f th e s ubj ect wh i ch th e reby becam e com m on
,

pl ace .

Vol um e I V ope n s w i th a b i l l i an t P el ud e an d Fugue

. r r
i n C m aj or c om pose d at W ei m a
,
N o 2 a P elu de r . .
, r ,

wi th a l ong F ugu e i n G was al s o com p osed at W ei mar , .

Th e pedal s ol o i n th e p el ud e appears to h av e bee n r

s uggested by th e W ei mar o gan wh i ch h ad s peci al r ,

x r
e cel len ce i n th i s depa tm e n t Th e p rel ude i s i n t i pl e . r
t i m e an u n us ual feat u e
, r .

Th e Prel ude an d Fugue i n D NO 3 i s a pa ti cul a ly , .

, r r
1 3 6
 St o r y of O rgan Musi c
at t h e e n d Th e coda o f m e re di splay pass ages , h as
.
,

n o con n ecti on wi th wh at h as gon e b efore an d i s som e ,

t i m es om i tted i n th e MS S .

'

Th e Fugu e i n G m i n or N o 7 i s an early work , .

,

th e cou nte rs ubj ect i s p i n ci pally fo unded o n b oke n r r

ch ords easy to com pos e an d easy to pl ay
, Th e , .

r esul t i s h oweve r s o h arm oni ous th at th e fugue i s

, ,

ve ry pop ular .

Th e Fugu e i n B m i no r N o 8 i s an oth er adaptati on , .

,

r
from a n I tal i an s ou ce th e s ubj ect an d cou nte rs ubj ect ,

bei ng from a v i oli n sonata by C orell i Th e Fugue i n C .

m i n o r N o 9 an oth e r o f th e earl i es t works i s al m os t

, .
, ,

B eeth oven i sh i n th e way i t p u rpos ely begi n s by p u z z l i ng

th e h eare r as to i ts tonal i ty an d rhyth m Th e pedal .

h e re only e n te rs at th e coda , an d takes n o p art i n t h e

s ubj ect .

W e n ow com e to t h e on ly exam pl e o f th e C an z ona

( NO 1 0 ) l eft
. form wh i ch was p rod uced i n
h und red s b n d Ge rm an p redecess ors He .

m ake s i t i n

th e fi rs t H e doe s .

b u t th i s p ecul i ari ty o f th e can z on a i s foun d i n fou r o u t

o f th e eigh t bars o f th e s ubj ect n ot bal dly stated , ,

b ut h i dde n u nde r th e m el ody Th e ch omati c co unte . r r

s ubj ect an d i n fact th e wh ol e tranq u i l fl ow of t h e
, , ,

pi ece h ave a m ost m el odi ous an d beau ti fu l e f

, fect .

NO 1 1 a Fan tasi a i n G i n five parts i s o f th e

.
, , ,

r r
n atu e o f a g ave an d d ign i fie d extem po e pi ece p re r ,

1 38
 Bac h s O rgan W orks’

c e d e d and foll owe d by b ri ll ian t p as sag e s as a foi l t o t h e

r
gravi ty o f t h e p i n ci pal m ovem en t Th e fi ve p art s .

r
n eve ceas e i n t roduci ng th e s h ort m otiv e o f fi v e n otes
only ; i t i s h eard ove r an d ove r agai n always wi th ,

fresh l i fe an d i n te rest Th i s i s an oth e r i n t h e l ong l i st

.

r
o fwork s i nspi e d by B uxteh u d e an d B ruh n s .

Th e fi v e part Fan tas i a i n C m i n or , NO 1 2 , i s al s o

-
.

fou n ded o n a s ubj ect wi th o nly a few n ote s I t i s an .

e arly work an d was som eti m e s u sed by th e com p ose r

,
’
as a p rel ud e to t h e fugu e o n L e gr e n z i s th em e .

Th e Prel ud e i n G N o 1 3 i s real ly o f t h e n atu r e

, .
,

Of a Fan tasi a from t h e p e pet ual re cu rre n c e o f r

th e sh ort figu re of fou r n otes I t was com pos e d at.

W ei m ar .

Th e Tri o No 1 4 owi ng to i ts i n n um e rabl e m an i e r e n

, .
,

an d t h e abse nce o fs o s te m i to n otes s e em s t o h ave bee n ,

r
w i tte n m ore for th e cl avi ch ord th an t h e organ .

W e h av e dwel t at som e l ength on th os e works o fB ach

wh i ch ar e b est k nown i n E ngl an d becaus e w e wi sh e d ,

t o sh ow t h e h i stori cal devel op me n t o ft h e m u si c wh i ch

cul m i n ate d i n h i m Fol l owi ng th e i n sti n cts o f h i s
.

n ature h e began by taki ng wh at was b es t o f eve y

, r
s tyl e an d i n fus ing h i s own sp i ri t i n to i t ; an d th en
, ,

wh e n h e h ad exh austed al l kn own fo rm s h e th rew h i s ,

r
gigan ti c gen i u s an d h i s g eat c ul tu re togeth e r wi th th e ,

p rofou n des t k nowl edge o f al l th at p e tai n e d to h i s art r ,

r
i n to t h e wo k an d p rod u ced th e se i e s of o i gi nal
, r r
r
m aste p i eces o f th e Lei p si c p e i od r .

r
B u t th e wo ks we h ave al ready d i scusse d by n o
m ean s exh au st th e l i st : th e n ex t th e e vol um es o f r
I 39
 St o r y of O rgan Musi c
’
Pe t e r s col le cti on contai n a vas t n u mbe r o f p i eces
s

wh i ch fo r conven i en ce are al l g oup ed u n de r th e gen e al r r

r
C h o al
n am e o f C h o r alv o r s p i e le b u t sh oul d m o e ,
r
v o r sp iele
r r
p op e ly b e d i s t i ngu i sh ed as Vo sp i el e for r
r r
us e d u i ng th e s e v i ce an d C h oral e arrange ,

r r
men ts i n te nde d fo o gan reci tal s W e d o n ot p ropose .

t o d is cu ss th em i n detai l si n c e th ey do n ot make th e
,

sam e appeal to E ngli sh h ea e rs as t o Ge rm an s wh o r ,

r
are fam i l i ar wi th th e wo d s an d t un es o f th ei r ch oral es
from i nfan cy an d i n wh ose fam i ly l i fe th ey tak e a l arge
,

r
pl ace Th es e wo ks of B ach e h ibi t th e sam e p oces s
. x r
o fevol uti on as th os e we h ave bee n con si de i ng : taki ng r
as h i s m odel s th e Vorspi el e an d C h oral e a rangem ents r
o f Pach elbel , r r
F obe ge r B uxteh ude B ruh n s an d
, , ,

oth e rs h i s gen i us was as evi d en t i n al l th at h e di d i n

,

r
th i s as i n eve y oth e r b ran ch Th e C h oral e s an k deep
.

i n to h i s s oul an d form ed th e grou n dwork of m any o f

,

h i s greates t works both vocal an d i nst rum e ntal

, .

Th os e wh o h ave h ad opp ortu ni ti es o f h ea i ng h i s r

r
Passi on m us i c an d h i s ch u ch can tatas wi l l h ave som e
i dea of wh at h e di d wi th th i s p ecul i a ly Ge rm an form o f r
m usi c ; an d as h e adapte d th e C h o al e fo r voi ce s an d r
i n strume n t s o d i d h e m ak e i t al s o yi el d th e m ost
,

b eau ti ful m us i c fo r th e o gan r .

Th e eigh th vol um e of Pete rs con tai n s fou r co n

, r
ce rtos arranged f om th e v i oli n conce rtos of Vi val di
’
,

wi th Bach s o w n add i ti on s an d i m p rove

C o n ce r t o s
m en ts Th ey were com posed at W ei m ar
.
,

wh e re I tal i an m u s i c was very m u ch i n favou an d r ,

r
wh e e B ach an d h i s cou si n J G W al th e th e le x i c o , . . r ,

1 40
 S t o ry o f O rgan Musi c
o ne wh o i n any way app roach ed h i m i n gen i u s an d i n
ex e cuti on H e sto od al on e a gi an t far ove r toppi n g h i s
.
,

r
fel l ows ; an d afte h i s d eath th e ri s e o forch estral m u si c
u nde r Mo z art H aydn B eeth oven S ch ube rt Me n
, , , ,

de ls s o h n S ch um an n an d oth e rs l e ft th e o gan to a
, , , r
ce rtai n e xten t i n th e backgrou n d u nti l i t was agai n
,

b rough t i nt o p rom i n en ce i n th e latte r h al f o f th e n i n e

t e e n t h centu ry
.

1 2
4
 C H A PTE R X .

F RE NC H O RGA N MU S C I .

Th e o rgan France—Fir t French p bl i c t i n— French tablat re

in s u a o u

—
Ti t e lo u z e —R a n —Fre nch pre ere nc e
Gigau lt reed st ps
is o f f
or o

B eg e— French rgans— — b e — ’
he
'

Le u o D An gle b e r t C h am o nni res fl

—M r hand — R ea —B ed
C o upe r i ns a c Celles am u o s de .

THE fi rs t ch u rch o rgan bui l t i n F ran ce s o far as i s ,

recorded was at F ecam p b etwee n t h e m outh o f t h e

, ,

S ei n e an d D i epp e i n th e twelfth cen tu ry ,

I t rai s e d a s torm o f Opp osi ti on b u t i n t h e

Or an i n
.

g
F r an ce ,

end was s u f fe re d to re m ai n an d th e o rgan ,

i n cou rs e o f ti m e too k th e sam e pl ac e i n F ran c e as i n

oth e r cou n t ies r .

W e d o n o t m ee t wi th a sch ool Of F ren ch com pos ers

u n ti l t h e b egin n in g o f t h e s i x t e e n t h cen tu ry , th ough .

th e re are pl enty of eferen ce s to o rgan is ts r F“

b efore th at d ate Th e i r n u mbe r ar e s u f
. fi
F ?
ci e n t i n 1 5 3 0 to j usti fy th e p ubl i cati on i n
th at year o f five l arge vol um es o f o rgan
C o llzs iizn

r r
m us i c by a p i nte n am ed Pi e rre A t t ai n gn an t ( th e
,

r
n am e i s va i ously spell ed ) Of Pa i s Th i s work wh i ch
, r .
,

i s n ot m enti on ed by F é t i s o r G rove i s desc ibe d by , r

R i tte r I t cons i s ts Of a coll ecti on o f m agn i fi cat s , Te
.

D e u m s p rel ude s kyri es m ot e ts secul ar s on gs an d

, , , , ,

I 43
 St o ry of O rgan Musi c
d an ce m usi c “
Le tou t mys e n tabl atu re des o gues
, r ,

e spi n e t te s r
e t m an i ch o d i on s e t tel z s ai m b ab le s i n s t r u
, ,

m en tz E spi n ette an d m an i ch ordi on are th e o ld

.

F ren ch n am es fo r th e S p i n et o r h a p si ch o d an d , r r ,

cl av i ch ord resp ectively .

r
Th e F en ch tabl atu e fo r o rgan s spi n ets an d r ,
”
,

cl avi ch ords an d s uch l i ke i n strum en ts was i n o n e

,
-
,

res pe ct even m ore advance d th an th at o f

r
F en ch
I taly for i t was w i tten 0 11 t wo s tave s o f r
Tab l at u r e ,

fi ve l i n es each i n stead o f th e va yin g , r

n umbe r o f I tali an o gan i sts r
B ut i n oth e esp ects i t . rr ,

was beh i n d th em s i n c e th e e we re n o bar l i n es an d al l

, r ,

th e n otes we re wh i te e xcep t th e s em i qu ave r wh i ch was

, ,

black A n oth e r de tai l w h i ch m u s t h ave l e d t o c o n

.
,

fusi o n was th at th e ai s i ng o f any n ote a s em i ton e

, r
h igh e r was i n di cate d by a d ot place d u nd e r i t i n stead ,

Of by a n atu ral o r sh a p wh i l e al l n otes to be lowe e d r ,

r
wer e s h own wi th a fl at before th e m Th e p i n ti ng of . r
th i s col lecti on i s ful l o f e o s especi al ly wi th rega d to rr r , r
th e bass ; an d m any n ote s a e om i tted wh i ch can h ow r , ,

eve r b e d is cove red by th e context Th e collecti on

, .

r
con s i sts o f th e wo k s of a l a ge n u mbe r o f F ren ch r
com p osers an d th e m u si c i s o f an advan ce d o de r
, r ,

s h owi ng al l th e s ki ll th at h ad up to th e n b e en acqu i red

r
i n I taly an d Ge m any to wh i ch was added th e F en ch , r
ch aracteris tic Of eas e an d l igh tn ess wi th out trivi al i ty , ,

an d a faci l i ty on th e pe dal s eve n greate r than th at o f

r
Ge m an p laye rs R i tte r Obse ve s th at Fren ch co m
. r
r
p ose s wh i l e ve ry com peten t contrapu n ti sts made
, ,

th ei r cou n te rpoi n t m o e su bse rv i en t to pl easan t an d r

I 44
 St o ry of O rgan Musi c
th em Th ey b rough t o rgan bui l di ng an d organ pl ayi ng
.
- -

t o a h igh degree of e f f
i ci en cy di f fe ri ng i n styl e from
,

th at o f th e Ge rm an s as th e n ati on al tem
fe s f
p e r am e n t d i f r
o r th e a t of any n ati on
, r
i s b u t an exp re ssi on Of n ati on al tem p era
m en t F rom th e s i xtee nth cen tu ry onward s
.

F ren ch o rgani s ts h ave l ai d m ore stress on

th e e f fective m an agemen t o fstops th an o n th e excell en ce
o f th e comp osi ti on i tsel f Th i s i s i n a s ens e pu tti ng
.
, ,

r
th e cart b efo e th e h o rs e ; bu t i t i s d on e s o gracefully
th at few wi l l b e d i sp os ed to cavi l at i t .

I n 1 62 6 th e r e was p ubl i sh ed at Pari s Magn ificat de

t o u s les t o n s ave c le s v e r se t s
, po u r l o rgu e by J ean
,
’
,

Ti t e lo u z e
T i t e lo u z e a p ri es t o f S t O me
, an d canon . r ,

an d organ is t o f th e cath ed ral of R ouen ,

wh i ch p lac e h e obtai n ed afte r a comp e ti ti on i n 1 5 88 ,

an d occup i ed fo r forty fi v e years -

H i s o rgan com posi
.

ti on s are acco rdi ng to F eti s o fcon sid e rabl e m e i t and

, , r ,

see m t o h ave m uch i n com m on wi th th e styl e o f

F roberge r T i t e lo u z e l eft t wo capabl e p upi l s to carry
.

on h i s work N i col as Gigau lt an d A n dr e R ai s on

, .

Th e re s eem s to b e n o do ubt th at th ey we e h i s p upi l s r ,

b u t th e re i s con si de rabl e con fus i on wi th regard t o th e

dates . r
F eti s gives th e bi th o f Gi gau lt as 1 645 an d ,

s ays th at h e was taugh t by Ti t e lo u z e “

o ganis t at , r
Pari s wh o h e says d ie d i n 1 63 3
, , , Perh aps th e re .

we re two organ i sts of th e n am e o fT i t e lo uz e .

Gi gau lt “
G igau lt says F é t i s was o n e o f th e
, , good
r
F en ch o rgan i s ts of th e seve n teen th ce n tu y s ch ool -
r ”
,

wh i ch was s u peri o r t o th at o f th e eigh teen th He .

1 46
 Andr é R a i son

p ubl ish ed i n 1 68 5 L i v r e de m u s iq u e p
our
’
l o r g ue , co n

t e n an t pl us de ce n t q u at r e - v i ng ts pie ces de to u s les

car act er es ,
’
de di e s d 1a Vi e r ge . I n th e sam e year h e als o
1
p ubl i sh ed L i v r e de [ Vo els di ve r s ifi es wi th vari a
' '

t ion s ) a de ux t r o i s e t q u at r es par t i e s
’
.
, , ,

O fth e oth e r p up i l of T i t e lo u z e A n dr e Rai son R i tte r , ,

pl ace s th e b i th at ab o ut 1 65 0 r H e b ecam e o rgan i st o f .

t h e abbey of S t Gen evi ev e i n Pa i s i n 1 68 7 .

Rais o n
r ,

an d i n th e foll owi ng year p ubl i sh ed h i s L i v r e

d O rgue con tai n i n g m ass e s an o f
’

,
fe toi re an d a p i e c e , r ,

i n i m i tatio n o f F r o b e r ge r s d esc i ptive m usi c e ntitl e d ’

r ,

Vi ve le R oy for t h e fe sti val h el d o n th e recove ry o f

,

r
Lou i s X I V f om il l n ess Th e obj ect of t h e wo k was
. . r
r
to sh ow o gan i s ts b oth m al e an d fe mal e wh o are , ,

r
sh ut u p i n p ov i n ci al cl oi s ters h ow to m ak e u s e O ft h e ,

excel l en t n ove l ti es an d th e i n crease i n t h e n umbe r o f

k eyb oard s i n trod u ced by m odern organ b u i l ders He -
.
”

gives th e fi nge ri ng o f th e p assages an d an expl an ati on

A gr emen s
”
o fth e nu m e ro us a ki n d O f m usi cal s h ort ,

, r
h an d fi st i n t rodu ced by th e o rgan i st C h am b o n n i é r e s ,

wh i ch was sp readi n g ove r E u rop e Th ey we r e t h e o u t .

com e O f th e i nn um e abl e orn am en ts wi th wh i ch i t was r

th e fash i on to emb ell i sh al l m u si c an d wh i ch h ad h e ,

com e stereotyp ed i n form ul as wh i ch eve ry m usi ci an was

supp ose d to kn ow by h e ar t f "

1
l No e C ri t ngs c r l
s ar e h s m as so or a o s
ist r y and explanat i n gre ens reader sh d
.

9
F o r th e h o o o ft h e A m th e o ul

c n lt Gr ve s
o su fM
o
’
edi t i n
D i ct i o n ary p 5 and o u si c, 1 904 o
,

vo l. i 2,

N ve ll s Pri er M by D annre ther T ere

. .
,
’
o o m u si cal Or n amen t at i on , E u h
ve been a rage abbrev at i ns every de cri pt i n at this
, . .

see s m to h a f
or i o o f s o

1 47 1 .
 St o ry o f O rgan Musi c
’
Rai son s m us i c sh ows consi de rabl e com m an d o f th e
i n strum en t esp eci al ly wi th rega d to th e s tops Al
,
r .

th ough reed stops we re i n ven ted i n Ge rm any ,

r r
F e n ch o gan b ui l ders we re th e fi rs t to m ak e
-

any con s iderabl e us e of th em an d Fre n ch ,

r
o gan i sts h ave al ways sh own a p referen ce
for th e m ove th e fl u e wo r k S o st on g i sr . r
r
th ei r p redi l ecti on fo reed ton e th at i t h as l ed th em to
th e i nven ti on Of th e h a m on i um wh i ch i s cal led i n r ,

Fran ce th e o rgu e ex p e ss i f an d so great a m u si ci an r ,

”

r
as B e l i o z actu al ly s eem s to h ave p efe rred i t t o th e r
organ 1 !
r
R ai s on wri tes a Ky i e i n th e secon d ton e and cal l s i t
”
,

Fugu e s u r l a Trom pette o u C rom orn e ; i t i s n ot a

fugu e i n th e m ode rn s en s e b ut a p i ece i n wh i ch a ,

s h ort m otive con stan tly occu rs s uch as woul d be ,

p layed on t h e fl u e s top s i n Ge rm any o r E ngland Th e .

p edal on ly en te rs at th e fi n al caden ce B ut h i s u s e o f .

th e reeds i s sti l l m o re n oti ceabl e i n a Kyri e on th e fi rs t

t on e wh i ch by th e way i s really i n th e D ori an m ode
, , , ,

r
n ot al te ed t o D m i n or by acci den tal s Th e p i ece .

b e gi n s wi th a dign i fied m oti ve i n fou r p arts fo r th e

ti me, w c t k r pac and t

e o f hi h o o m o e s e
so m wr t t n w rd i m e to i e ha th e o s
or n t t y r pr nt d
o es he e ese e Gr k Tr at Th e ee e i ses o n Musi c pub
by all and ab nd t xtra rd nary
.

li sh e d W is Me ib o m i us ou i n th e m o s e o i
abbr v at n r nd r ng t ll g bl w t t c n d rabl t d y and
e i io s e e i h em i e i e i h o u o si e esu
n c tat ng an a nt xtr t y p t at t v add d d rabl y
, ,

e essi i mo u o fe a e h m us h a e e co nsi e
c t pr nt ng
to th e o s o f i i
B rl tra l t d by ary C wd n C lark
.

1
e i o z I n st r u m en tat i o n ns a e M o e e z ud
p
, , ,

ed . . 1 28 .

1 48
 S t ory of O r gan Musi c
m an ual s an d pedal d i al ogue s fo r two m an uals Th e
, .

F ren ch o rgan i sts wel l kn ew h ow to m ak e u s e of t h e

con tras ts af ford e d by th e i n te ch anges b etwee n s eve al r r
m an ual s Th e n ames th ey gav e to th e
.

F r e n ch
O r an sg m an ual s of wh i ch th e l a g e organ s h ad at
, r
l eas t th re e an d someti m es fou an d eve n r
five we re Gr an d O rg u e wh i ch con tai ne d m u ch th e
, ,

s am e n um be r an d ki n ds o fs tops as th e H auptwe k o fa r
r
large Ge rm an o gan ; P o s i t if an swe i ng to th e P o s i t i v , r
o f Ge rm any an d t h e C h oi r o rgan of E nglan d ; C lavi e r
,

de s B om bar ds e n ti rely o f p owerful reed stop s ; C lav i e r

,
-

1
da R e ci t of a t ru m pe t an d a co m e t ; an d E ch o c o n
, ,

s is ti ng o f a stop o r s top s e n cl ose d i n a box to give th e

efl e c t o fd i stan ce
'

Th e comp as s o f th e pedal was l arge r

.

th an i t i s n ow as i t exte n ded fro m F b el ow th e C o f

,

th e Ge rm an p edal board to th i rty s i x n otes ; bu t i t was

- -

afterward s red uce d to th e th i rty o f th e p esen t day r ,

starti ng from C Th e Trem ul an t was as popul ar as i t

.

was i n Ge rm any an d each l arge i ns t u m en t h ad at l eas t

, r
two C u ri ously en ough th e p edal does n ot seem to
.

h ave been i n ten ded fo r th e b ass b ut fo r th e teno r part , ,

as we h ave s een i n R ai son s ky i e ; for i n th e descri pti on ’

r
given by D o m B edos of an o rdi n a ry o gan th e pedal r ,

h as only e igh t an d fou r feet stop s — n amely fl ute 8 fee t

-
, ,

fl ut e 4 fe e t trump et 8 feet an d cl ari on 4 feet an d th e e

, , , r
i s n o 1 6 fe et s top A favou i te stop was as i t sti l l i s
-
. r , ,

th e v o ix h u ma i n e Le B é gu e a rrange s a charm i ng
.

1
n
Wh e th e s e w ll i nvented by th e E ngl i h b i lder J rdan
s u o h ad
b an nt g al part rgan French gave na
, ,

eco m e i e r o ft h e o th e i t th e m e of
t
,

R eci .

1 50
 F r e nc h O r gan is t s
l i ttl e q uai n t N o el O r n ou s di tte Mari e
, po u r la vo i x ,

h u ma i n e i n wh i ch som eti m es th e s ol o s o meti m e s all

, ,

r
th e p arts a e to b e pl ayed on th i s s top A s om ewh at .

m on oton ou s O f fertoi re i n C m i n o i s rel i eved by c o n r

s tan t ch ange b e tween th e G ran d j e u ( ful l o rgan wi th
re ed s ) i n b oth h ands o r i n o n e h an d with R e c i t i n t h e
, ,

oth e r an d th e
,
“
Pl ei n j eu B oth p i ece s are ful l o f
.
”

agr em e ns i n accordan ce wi th th e taste o fth e ti m e

'

.
,

J ean H e n ri d A n gle b e r t th e C h amb e r C l ave ci n i s t to

’
,

Lou i s X I V p ubl i sh ed i n 1 68 9 P iece s de C lave gi n ave c

.
, ,

la m an ier e de jbu e r , di ve r ses ch aco n e s , o u ve r

dh gle b e r t
i

tu r es, e t au t r es a i r s de Mo ns ie u r de L u lly m i s ,

su r ce t i ns t r u m e n t , qu e lq u e s ugu e s f
o u r l o rgu e , e t les p ’

p r i n c ioe s de l acco mpag ne me n t , o fwh i ch th e bes t German

’

r
an d I tal i an o gan i sts we re gl ad to avai l th ems elves .

r
Th e o rgan m u si c fo m s a s uppl em en t to th e v ol um e ,

an d am on gs t oth e r th i ngs i t contai n s a q uarte t fo ,

r
r
th ee m an ual s an d p edal two O fth e pa ts to b e p laye d ,
r
wi th o n e h an d o n two keyboards i n th e way th at we ,

h av e becom e fam i l i a r wi th th rough th e wo ks o fM F A r . . .

G u i lm an t Th i s sh ows th at th e F en ch keyb oards

. r
m u st h av e b ee n v e ry conve n i en tly pl aced for s uch ,

p layi ng woul d h ave b ee n i m possi bl e o n th e o rgan s o f

r
oth e cou nt i es r .

J acq u es C h ampi on d e C h am b o n n i er e s cam e of a

r
m us i cal fam i ly h i s fath e an d g an dfath e r h avi n g b oth
, r
r
bee n celeb rated o gan ists i n th e ei gn o f r
Lou i s X I I I . r
H i s eal n am e was C h am p i on D e C h am
b o n n i er es
, ‘

to wh i ch h e adde d C h am b o n n i er e s o n h i s
m arriage wi th th e h ei ess o f an estate of th at n am er ,

1 51
 S t o ry of O rgan Musi c
i n th e p rovi n c e of B ri e Loui s X I I I m ade h i m h i s fi rs t
. .

ch ambe r clave ci n i st and h e i s descri bed as d rawi ng

,

a sweete r q ual i ty o f s oun d from h i s i n s tru men t than

any oth e r arti s t H e h ad n u m e rou s p up i ls am ongs t
.
,

wh om we re Le B é gu e D A n gle b e r t an d th e b roth e rs
,
’
,

r
C oup e i n al l o f wh om h and ed d own h i s s tyl e o f play
,

i ng . H e d i e d i n 1 670 an d app ears to h av e l eft n o

,

organ m usi c b ut l i ke S weel i nc k o fA mste rdam h e h ad

, ,

an i m p ortan t i n flu en ce on th e devel op me n t of organ

m usi c th rough h i s p up ils .

Mor e cel eb rate d th an any we h ave h i th e rto des c i be d r

am ongs t th e F re n ch o rgan i sts o f th i s p eri od were th e ,

m em b e rs o f th e C oup e ri n fam ily w h o l i k e , ,

th e Koch s o fS ou th Ge rm any an d th e B ach s ,

r
of Th u i ngi a h ad a h e redi tary tal en t for ,

organ playi ng wh i ch ran th rough m any ge ne rati on s

-
,
.

Th e fam i ly fi rs t cam e i n to p romi n en ce th ro ugh th e e r

b roth e rs b o rn at C h aum e i n B ri e al l o f whom we re
, , ,

pup i l s O f C h am b o n n i er e s — Loui s F ran coi s and , ,

C h arl es .

Loui s was born i n 1 63 0 th e s am e year as Le B é gu e ,

.

H e wen t to Pari s as a yo ung m an an d Ob tai n e d th e ,

p os t o f organ is t at S t G e rvai s an d l ate r o n at th e

.
,

C hapel Royal H e d i ed at th e age o f th i rty fi v e an d

.
-
,

l eft th ree s ui te s fo r cl ave ci n only F ran coi s was bo n . r

i n 1 63 1 an d fro m 1 679 t o 1 698 was o rgan i s t o f S t
,
.

G e rvai s H e d i e d at th e age O f s even ty from th e

.
,

ef fe cts o f b ei ng ru n ove r by a ca t H e l e ft P iece s r .

d argu e co n s i s t an te s e n de u x m e ss es 16 He
’

, 90 , .

r
was p eceded at S t G e vai s by h i s yo unge r b roth e
. r r ,

1 52
 Story of O rgan Musi c
o r fou r oth er ch u rch es ; b ut h i s con d uct b e comi ng n u
s ati s factory h e l os t th e m al l an d h ad to l eave Pari s
, , .

H e h ad a great rep utati on as a pl aye r b ut th e few ,

com p osi ti on s h e p ubl i sh e d sh ow th at h e was m erely

a p rod uce r o f b ri ll i an t t rivi al i ti es o f th e m os t supe r
fi c i al orde r . H e i s best kn own at th e p resen t day
th rough th e s tory o f a con tes t b etween h i m an d
S eb as ti an Bach at D resden wh i ch was a ranged b ut
, r ,

n eve r cam e O f f th e d etai ls o f wh i ch are t o o fami l i ar

,

to b ear repeti ti on A fte r fleei ng from D resde n to

.

escap e i n evi tab l e d efeat by B ach h e retu n ed to Pari s , r .

R am eau , wh o was u n acq uai n ted wi th th e d eg e e o f r

excel le nce to wh i ch I tal i an an d Germ an m us i c h ad
reach e d by th i s ti m e con si de red th at n o o n e coul d
,

c om pare wi th March an d as a m aste r of fugue , an d

h e coul d n ot con cei ve i t p oss i bl e th at any o n e could
v i e wi th h i m i n p owe r o f i m p ovi s ati on r I t i s p obabl e . r
th at th i s Opi n i on com i n g from th e greates t Fren ch
,

com p os e r an d th eori s t o fth e day e mbol den ed March an d

,

r
t o con template m easu i ng h i s stren gth wi th o n e s o
i m m easu rably h i s s up e ri or as B ach O n h i s ret u n . r
to Pari s h e was m u ch s ough t as a fash i onabl e teach e r ,
’
recei vi n g as m u ch as a l ou i s d o r fo r each l e sson .

Y e t h i s extravagan ce was s uch th at h e d i ed i n p ove ty r ,

i n 1 73 2
. H e i s an exam pl e o f a m us ici an of b i llian t r
r
an d sup e fici al attai nm en ts wh o ,
“
catch es o n fo r a ”

r
ti m e w i th a f ivol ou s an d fash i on abl e p ubli c and i s ,

fo rgotte n wh en s om e n ew attracti on appea s r .

J ean Ph il i pp e R am eau was born at D ij on wh e re ,

h i s fath e r was an organ i st i n 1 68 3 ,

H i s ch i e f fame
.

I S4
 R ame au

rests o n h i s Ope ras bal l ets an d oth e r m u si c fo r t h e

, ,

th eatre an d h i s th eo eti cal t reati s es A s an organ i s t

,
r .

h e h eld p osts s uccessi vely at Li l l e an d C l er

m on t wh e re h i s younge r b roth e esign ed i n
,
rr
h i s favou r H e re h e m ade a great rep u tati on
.

r
as an extemp o e pl ayer ; an d i n 1 73 2 wh en h e was fifty ,

years o ld h e l eft C l e rm on t fo r Pa i s wh ere h e b ecam e

, r ,

r
o gan i st o fa ch u rch an d h ad Op po tun i ti es o f b i ngi ng
, r r
o u t h i s ope ras b esi de s be com i n g a fash i onabl e m us i c
,

m aste r H e n ow h ad th e repu tati on o f bei n g th e

.

gre ates t F ren ch o rgan i st h i s f i en d an d i val Ma ch an d , r r , r ,

h avi n g d i ed ; an d h e took th e Opportu n i ty to p ubl i sh a

work wh i ch adde d con si derably t o h i s repu te i n spi t e ,

o f fi e rce adve s e cri ti ci s m r

Th e ti tl e i s l engthy b u t .
,

i t m us t b e quoted o n accou n t of th e cu i ou s cl ai m r
r
asse te d i n th e l as t s en tence : D i sse r tat i o n s u r le s
e r e n ts m e t h o de s d acco mp agn e m e n t p o u r le c lave ci n
’
dif
'

ou p our
’
l arg u e : a v ec le pl an
’
d u ne n o u ve lle m e th o de
e s t ab li e e
’
sur m e can igu e de s do igts q u e ou r n i t u n e
u ne f
s ucce s s i o n f ’
on dam e n t ale de l h a r m o n ie :
’
e t it l a ide de
laq u e lle on pe n t de v e n i r s avan t co m p o s i te u r , et h a bi le
acco m p ag nate u r , m em e s an s s avo i r li r e la m u s iq u e .

Th e i de a o f a syste m by wh i ch a p e s on w i th ou t th e r
r
natu al gi ft cou l d l ea n to comp ose m ech an i cal ly was r
n ot n ew ; i t h ad be en attempte d by Ki rch e r eigh ty
r r
yea s b efo e by mean s o f a Ta bu la m i r ifica o m n i a
, ,

c o n t r ap u n c tce a r t i s a r can a r e v e lan s 1 wi th fu l l i n s t r u c ,

ti on s for i ts u s e N ei th e r R amea u n or Ki rch e r s u c

.

1
arvell s table reveal i ng all
A m ou th e cr t
se e s o ft h e ar t o f c nter
ou

p i nt ( K rcher M p
,

o . i , u s u r gi a, vo l i
. . .

I SS
 S t o r y of O rgan Musi c
c e e de d in
m aki ng comp ose rs o u t of un sui tabl e
m aterial b ut th e th eori es of th e fo m e a e s o
, r r r
s ci en ti fi c that th ey h ave h ad an i n fluen ce o n th e teach
i ng o f h arm ony wh i ch h as lasted ti l l th e p res en t d ay .

H e p ubl i sh ed n o sp eci al o rgan m us i c b u t a vol um e ,

o fP i eces de C lav e ci n , av e c u n e t ab le p our le s ag r em e ns ,

i n 1 73 1 an d a secon d vol um e a few years late r H e

, .

di ed i n 1 764 .

D o m J ean F ran coi s B edos d e C el les a B en edi cti n e ,

m on k ( b orn ab ou t 1 71 4 di e d cl ai m s n oti ce n o t
, ,

as an o rgan pl aye r b u t as a bu i ld e r wh os e
-
, ,
B e do s de ’ ’
L A r t da F acte u r d O rgu e s g i ves us a great
C el le s
d eal o fk n owl edge o fth e cond i ti on of F ren ch
organ s i n th e ei gh teen th c en tu ry Th e vari ous d epart .

m en ts of th e i n s tru m en t we re des c i be d ( as wi th th e r
r x
G e man s ) as Of si teen eigh t o r fo u r feet accordi ng to
, , ,

th e pi tch o fth ei r resp ectiv e op e n d iapason o r m o n t r e a , ,

n am e give n to th i s s top fro m i ts us u al p os i ti on i n fron t

o f th e othe r p i pes Th us a s o cal l e d 1 6 feet keyb oard
.
- -

wou ld h ave as i ts ch i ef fou ndati on s top a m o n t r e o f 1 6

fe et : wh i l e a Pos i ti f m igh t h ave n oth i ng l arge r th an a
fo ur fee t m o n t r e
-
Th i s wi th a D o u ble tte o f two feet
.
, ,

an d s om e stop s of th e m i xtu re s peci es wou ld form th e ,

o r ful l organ o f th e Pos i ti f

”
Pl ei n j eu , Th e com .

bi n ati on s ugges te d by D o m B edos as p rope r fo a sl ow r

fugue wi l l stri k e E ngl i sh o rgan i s ts as som ewh at bi z arre :
Mon tre o f fou r feet Tru mp et an d C l ari on o n th e G reat
, , ,

r
coupl ed to Trum p et C l a i on an d C rom o n e on a second
, , r
m an ual wh i l e th e p edal i s to h av e Tru m p et an d C l ari on
, ,

wi th ou t any fl ue s top s Th e q ui ck fugu e o n th e

.
,

1 56
 C H A PTE R XI .

O RGA N MU S C I PA I TH E E TH E R L A D
IN S N A ND N N S .

Au th ri ties p n ish sical hi t ry—M i c a S pan i h cathedral

o f
or S a mu s o us in s

— pan ish rgan s—C abe n — pan i h tablat re —H ernand

S o zo S s u o de
C abe n Diegzo C ast i ll o de rranj L rente o C av igo A o o

N assar re— al Te pera ent first pr p sed S pai n—Ch nge

E qu m m o o in a
o st y l e
f rgan i c — slava— P rt g ese si —Netherlands
in o m us E o u u mu c

m us i c — B e lls and rgan —B ll Phi ll i p and t er ngl is e n

o s u s, o h E hm in
Ne therlands— C rn e t — G ey n— weel i nck —Van N
,

th e o V an h S o o r dt.

FO R th e h i story of organ m us i c i n S pai n th e cou n t ry ,

i n wh i ch eve y m ul e d i ve i s ar caball e ro wh os e
-
r r ,
”

“ ”
m an n e rs are i mb ue d wi th a cou rtly S pan i sh grace ,

an d wh e re a d ign i fied beari n g i s com m on

to al l cl ass es wh eth e r do n o r peasan t th e , ,

ch i ef auth o i ti es a re th e work o f D o n r
r
H i la i on E sl ava e n ti tl ed Mu se o o rgan ic o ,
i

e spano l p ubl i sh e d at Mad i d i n 1 8 5 4 an d

, r ,

H i sp an ice S ch o la M u s zcce S ac r a a col lecti on of m usi c of ,

th e fi fteen th to th e eigh teen th ce nt u ri es by Ph i lli p p o ,

Ped rel l .

A s i n oth e r th i ngs s o al so i n m us i c S p ai n h as to
, ,

a great exten t kep t apa t an d b eh i n d th e res t of r

E u rope an d o n e h ea s th e m os t cu i ous contrasts i n
, r r
h e r ch u ch es r r
O u r exp e i en ce i n a ce tai n cath ed al
. r r
1 58
 Span ish O rgan Musi c
is p e rh ap s worth rel ati ng as sh owi ng o n e aspect o f ,

m ode rn S p ani sh m u si c Th e p e form an ce o f th e c an . r

t o llan o o r pl ai ns ong
,
was an u n en du rab l e ,

h owl v ari e d by th e sc ream s o f b oys a

, ,

wors e n oi s e th an anyth i ng th at can b e

h eard i n an I tal i an cath ed ral Th e o rgan i s t .
,

wh os e du ty was to accom pany th e pl ai n song ,

frequ en tly p laye d e n ti rely i n depen den tly Of i t t h e p i e s t r

r
a n d th e o rgan i s t p e form e d th ei r s ep arate parts s i m u l
t an e o u s ly as u n con ce rn edly a s i f th ey we e i n s ep arate r
b ui ld in gs I n t h e i nte rl udes th e o gan played th e m os t
. r
r
vap i d t ivi al i ti es as th i s was s u pp os ed to ple as e t h e
,

m ul ti tud e an d th e i m p ressi on n atu rally was gi ve n th at

,

t h e o rgan i st was a p oor creat ure wh o co ul d d o n o b ette r .

B ut th e wri te r was i nvi te d to h e ar th e o rgan wh e n

t h e cath ed ral was cl osed to th e p ubl i c an d t o h i s ,

r
s u p ri se th e s econ d organ i s t a youn g m an o f ab o ut
, ,

twen ty afte r p rel udin g a l i ttl e s u dde nly b ok e i n t o a

, , r
r
b i ll i an t e xtem po re pe forman ce o n a rap i d r
m otive i n B flat m i n or wh i ch fo r n ea ly h al f , r
-
r
an h ou r h e wo ked up i n good sol i d cl as s i cal , ,

s tyl e wi th con trasti ng s ubj ects wi d e m odu

, ,

lat i o n s s equ en ces f eq uen t ch ange s o f r e

, , r
g i s t e r wi
,
th a compl ete com m an d o f t h e u n com fortabl e
l i ttl e two i n ch p edal s an d al l wi th th e greates t freedom
-
,

an d e as e I t s eem ed as i f th e o ld faci l i ty of extem p or e

.

pl ayin g of wh i ch Men d el ss oh n was p e h ap s th e l as t

, r
r x
g eat e pone n t was sti l l s u vi vi ng i n S pai n ; for i t i s
, r
r r
n ot l i kely th at ou f ien d was th e on ly organ is t capabl e
of i t . B ut S pai n i s em i n ently a l an d O f con tradi cti on
I 59
 St o r y of O rgan Musi c
rr
an d pl e as an t s u p i ses an d i t i s i m pos si bl e t o j udg e of
,

r r
h e o gani s ts by th e i r ri tual p e fo m an ces r r .

Th e early S pani sh organ s w ere l i k e th os e o f I taly .

Th e p edal i s i n m any cas es s ti l l i n an el em en tary s tage

, ,

i ts stops a re cal le d C ontras an d are pl ayed ,

o n by an octav e o f l i ttl e woode n tongue s ,

p roj ecti n g two i n ch e s f om th e case an d r ,

h av i ng n oth i ng to d i sti n gui sh b etwee n th e sh a rp s an d

n atu ral s excep t th at th e form e r a re p ai nt ed bl ack
, B ut .

r
t h e fi n e o gan s b ui l t i n l ate years by B elgi an an d
F ren ch fi rm s ar e p robably wel l u p to date i n th i s as - -
,

i n t h e oth e r d epartm e nts .

A s i n som e I tal i an m usi c th e part for th e con t ras i s

,

wri tte n i n s m all er n otes th an th e rest as i f th ey we re ,

o nly th ere o n s u f fe ran ce .

A p ecu l iari ty wh i ch cam e i n ab ou t th e m i ddl e of th e

seven teen th cen tu ry i s th at al l S pan i sh o gan s are r
parti dos — th at i s to say th at each stop
”
,

acts on ly o n h alf th e keyboard an d i t h as ,

l ong b ee n th e custo m to d raw al l th e

r
reeds O n th e igh t han d s i de an d only a few s tops o n
-

r
th e l eft , an d to pl ay b i ll i an t passages wi th th e righ t
h an d an d accom pany th em by soft ch ords wi th t h e l eft .

r
Th e S pan i a ds are i m me n sely fon d o f eed stops wi th r -
,

r
wh i ch th ei r o gan s a re m ore ri ch ly p ovi de d th an th os e r
o f Fran ce ; an d th e reed p i pe s a e su spe nded from th e r
r
cas e h o i z on tal ly i n fan l i ke groups s o th at th ei r s oun d
,
-
,

i s p roj e ct e d i nt o th e ch u rch .

Th e e arl i es t S pan i sh o rgan i st o f wh o m w e h ave

composi ti on s i s D o n Fel i x A n ton i o C abe z on wh o ,

160
 Sto r y of O rgan Musi c
h arp and s tri nge d i nstru m en ts o fA n ton i o d e C abe z on
, , ,

Mus i ci an o f th e C h ambe and C h ap el o f Ki ng Ph i li p r ,

ou r m aste r C omp i led an d p u t i n to tabl atu e by H e

. r r
n ando C abe z on h i s s o n al s o Musi ci an o f th e C h ambe
, , r
an d C h ap el o f h i s Maj esty O rd e red by c omm an d o f .

Ki ng Ph il i p ou r m as te ), r .

Th e b ook contai n s n o l es s th an 400 p ag es of S pan i sh

r r
tabl at u e con st ucted o fn u m e al s h en ce th e e xp ressi on
, r ,

pu estas e n cifr a ( p u t i n to fi gu es ) i n th e r
ti tl e Th e l owe s t octave of th e o rgan was
.

F an d i t an d th e n ext s i x n otes above i t

,

we re i n di cate d by th e figu e s 1 to 7 u n de l i n ed Th e r , r .

l
n ext octave ft o f was sh own by th e fi gu res 1 to 7
, , ,

r
n ot un de l i n ed Th e th i rd octave was sh own by 1 1 2 1
.
,

1 2 2 2
to 7 and t h e h igh est octave by 1 2 3 etc Val ues
, , , , .

r r
we e sh own by ord i n a y n otes pl aced ove r th e figures ,

an d th e res ul t m u st h ave b ee n eve n m ore clum sy th an

th e Ge rm an lette r tablatu e Th e wh ol e w ork h as bee n r .

rep ubl i sh ed by Ped rel l i n H i span iw Sch o la Mu s ic ce

,

S ac r ce Th e m u si c i s o f excel len t q ual i ty Th e re was

. .

i n th ose days a great deal of i n te cou s e between S pai n r r

r
an d th e N eth e lan ds an d N eth e l an d m usi cian s h ad as
, r
m u ch i nfl uen ce i n S pai n as el sewh ere Th e S pan i a ds . r ,

r
l earn i ng from th e N e th e l an de s p od uce d a s ch ool o f r ,
r
organ com posi ti on i n wh i ch th ei own ch a acteri sti cs r r
r
of g ace an d d ign i ty we re g afted o n to al l th e tech r
n i cal ski l l th at h ad bee n acqu i re d u p t o th at ti m e .

’
Th e composi ti on s of C abe z on s coll ecti on cons i st o f
n i n e p racti ce pi eces cont rapu n tal settin gs o f th e Ky i e
,
r ,

.
,
r
etc sh o t p rel ud es cal led Ve rs os o r V e r s i llo s Gl osa ,

1 62
 C ab e z on

das F ab o r do n e s Hym n s Magn i fi c at s l onge r p rel udes

, , , ,

cal l ed T i e n t o s 1 Fugas Motets by C r e q u i llo n C le me n s

, , ,

n on Papa Mouton J osq ui n an d oth e rs t reate d wi th

, , , ,

Gl osas an d D i fe re n ci as or vari ati on s , .

C abe z on s “ ’
r
Ve s o del p i m e ro de l ton o i s a sh o t r r
p rel ude begi n ni n g i n th e D o ri an b ut m od ul ati ng to A
, ,

m i n o r F maj or an d D m i n o e n di n g wi th
, ,
C ab ez o n s
r , ’

r
th e m aj o r t i ad o n D th us l i ke al l th e m ore Mu sic
, ,

adv an ced m us i c o f th e p e ri od sh owi ng a ,

r
tende n cy towa ds th e m od e rn keys All h i s v e rsos an d .

t i e n t o s are good s ol i d fo ur part contrap un tal w i ti n g -

r ,

t h e voi ces e nteri n g wi th th e open i ng s ubj ect on e afte r

“
an oth e r b u t n ot al ways i n fugal orde r Th e Vers o del
, .

”
s ep ti m o ton o s h ows th e sam e te n den cy as th e fi rs t to
modern ton al ity : b egi n n ing i n Mi xolydi an transp osed ,

i t e nd s i n G m i n o “
r
Th e Ti ento d el p i m ero ton o . r ”

s tart s b ol dly i n A m i n o r b ut afte rwards wave rs b etwee n ,

D m i n o r and th e D orian m ode con stan tly usi n g C sh arp , ,

wh il e B fl at doe s n o t on ce occu r Th e part w i ti ng .

-
r
h e re i s o f a digni fied m ad ri gal styl e fre e from orn a ,

, r
m en tati on an d ath er rem i n di ng u s of Pal est i na His r .

“
Ti en to del segu ndo ton o i s q u i te di f
feren t i n ch aracte r
”
.

O p en i ng boldly i n th e key o f B flat wi th a sl ow fugue , ,

wh i ch h oweve r i s n ot carri ed beyon d th e fi rs t e x p o s i

, ,

1
ans a t ch w rd t ch w r erl y ed
Ti e n lo m e ou : th e o
“
ou as f
o m us in
England a i i lar c p i t i n I t d e represent sa e
f
o r s m o m os o o s no t th e m
r c p i ti n I tal ian t ccata th gh w rd pan i h
.

f
o m Of o m os o as t h e o ou the o in S s

play an i nstr ent and pan i h

,
“
f
or to um i s To car Glo sa glo s ado ar e t h e S s

e i val e nts i gher rd er

.

qu f
o r Co lo r at u r a, co lo r at o ; b u t th e glo sa was o fa h o

o than Ger an
far t th e m Co lo r at u r .

1 63
 S t o r y o f O r gan Musi c
ti on ; i t i s m ore i n st rum ental than th e l as t s i nce i t has ,

m ore m ovem e n t an d th ere are freq uen t ecu rence s o f

, r r
r
th e conven ti on al tu n u sed by al l com pose s i n th os e r
days Th e pi ece conti n ues i n B flat maj or an d G m i n o
. r ,

end i ng wi th th e m aj or t i ad o n G r .

C abe z on was th e ch i ef rep resen tative o f a sch ool as

r
advan ced as any i n E u op e an d s i n ce n o departmen t of ,

r
art c an s p i ng s udden ly i n to e is te n ce i t fol l ows that x ,

th ere m us t h ave been p evi o us S pan i sh o gani sts o f r r

rep ute of wh o m th e reco ds are l ost o r a e n ot ye t
, r , r
b ro ugh t to l igh t D o n J uan R i afi o h as sh own t hat th e
.

Posi ti ve was u se d i n S pai n an d p robably th e o gan ,

r
r r
form ed a regula pa t o f th e ch u rch fu n i tu e h e e as r r r
s oon as i n oth e r pa ts of E u rop e r .

H e rn an do d e C ab e z on th e s on of A n ton i o wh o s uc
, ,

c e e de d h i s fath e i n h i s cou rt appoi ntme nts r ,

i n cl uded a few o f h i s o w n com posi ti on s i n

th e O b r as cle M u s ica Th ey a e i n th e sam e . r
s tyl e as th os e o fh i s fath e r .

r
F ay Th omas d e S an ta Ma i a was bo n at Mad i d r r r
x r
i n th e s i teen th cen tu y an d di ed i n 1 5 70 at Val ladol i d
,
.

H e p ubl i sh ed L i b r a llam ada A r te de Tane r a n tas ia as s i f ,

pa a T
r e cla pa a Vi h
r u e la, y p a r a t o do i n s t r u m e n to en qu e
sep di u ere tano r a t r e s y a c u at r o vas e s , y a m as , p a r cl

q u al e n p
b r ev e t i e m o y co n o c o t r a bai o , fac z lm e n te p ’

se

po dr i d t alle r f
Val l adol i d 1 5 62
an t as i a .
( B ook call ed , .

th e A r t o f playi ng a fantasi a o n keye d an d s t i nged , r

i n strum en ts and on eve ry i n s t umen t th at can b e
,
r
pl ayed i n th re e fo u r o r m o e voi ces By th i s book on e
, ,
r .

wi l l be eas ily abl e to play a fan tas i a i n a sh o t space r

1 64
 St o ry of O rg an Musi c
and th e Ar t o fth e O rgan ) I t con tai ns seven ty p i eces of .

r
con si d e abl e powe r an d at th e e nd of th e b ook i s a
,

d i s co u r s e o n th e excel l en ce of D i ego d e C as ti llo an d

B an ch i e ri 1 an d oth er con tem p o a ry m usi ci an s
, r .

A n dres Lore nte a D octo r of A rts an d Ph il osophy i n

,

th e U n ive rs i ty Of Al cal a was bo n i n 1 63 1 ; an d afte r , r

h avi n g s e rved as a C o m m i ss i on er Of th e
r
L o en t e
I n q ui s i ti o n at Tol edo becam e p rebenda ry ,

an d organ i s t of th e ch u rch o f an oth e r town cal led ,

A l cal a d e H en ares 2 H e was a d i l igen t studen t o f

.

I tal i an comp os i ti on s an d th e auth o O f a wo k call ed

, r r
E l P o r gu e de lla m u s i ca , en q u e se c o n t i e n e lo s cu at r o
a r te s de e lla, C an t o Lla n o , C an t o de O rgan o , C o n tr a
p an ta, y Co m p ( Th e W h e re fore o f Mus i c
os i t i o n . 1 672 . ,

i n w h ich i s con tai n ed h e r fo u r a ts : Pl ain song r ,

Meas ured s ong C o unterp oi n t an d C om p o si ti on ) H e

-
, , .

di ed i n 1 70 3 .

F ray Pabl o Nas s ar r e was b orn i n 1 664 an d at th e ,

age o f twen ty two e n te red a F ran ci scan m onaste ry at

-

S aragossa i n wh i ch h e p assed th e res t o f ,

N as sar r e
h i s l i fe Li ke Lorente h e was a st uden t of
.
,

I tal i an m us i c especi ally o fth e th eo i es of Z ar li n o an d

, r ,

h e gav e th e res u l t of h i s s tu di es to th e wo l d i n a r
“
t reati s e o n th e fou r ar t s O f m us i c at S aragoss a i n ,

16 93 . A secon d wo k o f ove r 1 000 pag es was r , ,

p ubl i sh ed by h i m i n 1 72 4 en ti tle d E s cu e la M us ic a s egu n,

la pr ac t ica m o de r n a ( S ch ool o f Musi c accordi ng to ,

m od er n p ractice ) I t con tai n e d al l th at an o gan i st

. r
p
S ee 46
T re l e t eve n t wn pa n c lled lcala
. .

9
he ar e at as s o s in S i a A .

166
 T e m p e ra m e nt

req u i red to kn ow i n addi ti on to i m p o rtan t m atte r co n

,

r
ce n i ng th e s tru ctu re o fo gan s r .

S pai n h ad u p to th i s ti me m ai ntai n ed a pl ace i n th e

r
o rgan worl d as wo thy an d dign ifi e d as I taly an d sh e ,

h ad i n fact don e m ore fo r i t was i n S p ai n ,

th at th e revol t b egan agai ns t th e Ol d system E q u al

r
O f tun i n g l ea n ed from B oeth iu s an d m ai n
,
Te m p er “
m en t
,

t ai n e d th rough ou t th e Mi ddl e A ges as s om e

th i n g sacre d wh i ch i t woul d b e a ki n d o f adv o c ated
g r :
sacri l ege to i n te rfe e wi th r
Th i s sys tem i n S p ai n
.
,

p erfectly s u itabl e to u n i so n pl ai n s on g an d ,

u n accom pan i ed m eas u re d m u si c w as n o l onge r ,

adeq uate fo r th e growi ng n eeds o f i n stru m en tal m u si c ;

an d i t i s to th e cred i t of S p ai n th at th e fi rs t to rai s e th e
r “
standa d O f Tem pe ame n t was a S pan i ard Th i s r ”
.

was D o n Ram i s d e Parej a a m usi ci an b o n at B ae z a i n ,

r
A ndal u si a abou t 1 440 O f cou rs e h i s th eori es l i k e
.
,

r r
eve y i m po tan t i m p rovem e nt m et wi th v i ol en t O p ,

p os iti on an d th e c on trove rsy l aste d s eve al ce ntu i es

, r r
before i t en d ed wi th th e gen e al adopti on o f e qu al r
t emperam en t .

I n th e eigh teen th ce ntu ry th e e b egan a f ee r an d r r

r
l igh te styl e o fcom posi ti on i n S p ain D o n J osef E l ias .
,

r r
a p rol i fi c com pose o gan i s t O fa m on aste ry
,

r r
at Mad i d was th e fi st t o i n t od uc e i t i n to
, r
th e ch u rch an d to m ake a s i ngl e m el ody
,

s tan d o u t above th e oth e pa ts as Oppose d r r ,

r
t o th e con t apu n tal m eth od i n wh i ch th ey ,

w e re all o f eq ual i m p o tan ce r

I t h ad b een attem pte d .

i n th e m i ddl e o f th e s even teen th ce ntu ry by D o n ,

1 67
 St o ry of O rgan Musi c
L u z e r o C lav i an o wh o ven tu red to ass e r t th at m el ody
,

of th i s k i n d sh oul d take i ts pl ac e i n th e ch u rch as wel l

as el sewh e re an d m any o rga n i sts were of th e s am e
,

op i n i on B ut th e i n fl uen ce o fth e C h u rch i n rep e ss i ng

. r
any k i n d of i nd ivid ual ity o f th ough t i s p robably
r
n owh e re s o s t ong as i n S pai n an d t h e attem pt to ,

m ak e m usi c m o re att active to th e populace was m e t r

r
wi th a s to m of i nvecti ve h ostil e p amph l ets dec ees o f , , r
, r
cou nci l an d al l th e p a aph e rn al i a o fdogged Opposi ti on .

I n th e eigh teen th centu ry th e opposi ti on began t o

r
wea i ts el f o u t an d con t apu n tal m us i c was grad ually
, r
r
d opp ed wh i l e th e rage fo r m el ody wh i ch n at ural ly
, ,
”

was easi er to com pos e as wel l as t o play g ad ual ly , r

red uced S p ani sh ch urch m u si c to th e p opu la“
co n r ”

d i ti on i n wh i ch i t n ow i s O f cou rs e i t n eve r occu e d. rr

to th e di sp utants th at th e re m igh t b e room for both
styl es an d th at e ach party m igh t agre e t o l et th e
,
’
oth e r al on e Th e i de a o f h oldi n g on e s own v i ews an d
.

al lowi n g oth e rs to d i f fer wi th ou t q uarrell i ng with th e m

i s s o e nti rely a p roduct o f th e twenti eth cen tu ry th at i t ,

h as n ot yet h ad ti m e to take root an d b ecom e gen e al r .

Ri tte r m enti on s a n u mbe r o f eigh teen th cen tu ry

r
o gan i sts s om e of wh om adh e ed to th e ol d
, r
“ ”
s o call ed s ubl i m e s tyl e
-
A m ongs t th e m .

r
we e a fam i ly cal l ed Ne bra fou r o f wh ose ,

r
m emb e s we e o gan i sts of th e C ath ed ral s r r
o fS evi ll e ,
r
Mad i d S a agossa an d C uen ca , r ,
.

A nton i o S ole r r
O gan i st an d C hapel m aste r of th e
,
-

E scu ri al p ubli sh ed a t eati s e O n t he O ld Mu s ic i n

,
r , ,

1 762 . J osep h Li n don D i ecto r o f th e C h apel Royal, r ,

168
 St o r y of O rgan Musi c
was fi rs t u sed i f by th i s i s to be u n ders tood a passage
,

1
q u oted by S ch l ech t f om a Fl emi sh ch ron i cl e o f th e r
fou rteen th cen tu ry wh i ch s eem s to i mply th at Lu dwig
,

d e V aalb e c k e i n B raban t wh o d i ed i n 1 3 1 2 was th e fi st , ,

r
to use th e pedal B ut th e h i sto y of N eth e rlan d o gan
. r r
m usi c d oe s n ot begi n s o ea ly Li ke th e Ge rm an s th e r .
,

D utch we re fon d o flar ge o gan s before th e R eformati on r ,

an d th ey were i n creased i n si z e afte rwa ds wh e n i t r ,

b ecam e n ecess ary to con trol th e s ong o fth e congrega

ti on Th e N eth e rlan ds d i d n ot al l accep t th e
.

R eform ati on for B elgi u m remai ned C ath ol i c wh i l e

, ,

H ollan d becam e Luth e an an d C alvi ni sti c as s oon as r ,

sh e h ad freed h e sel f i n 1 5 8 1 f om S pan i sh sway r , , r .

r
H en ce th e o gan playi ng took two di recti on s accordin g
-
,

t o t h e requi rem ents o f th e two com m uni on s B oth .

cou ntri es h oweve r we r e al i ke i n th ei r cu i ous passi on

, , r
for bell s wh i ch wi th th em by a strange su rv ival o f
, , ,

m e di ze v ali s m are cl osely con n ected wi th o rgan pl ay i ng

,
-
.

Bel ls an d
Th e fi rst an d last th i ng o n e h ears o n en te i ng r
H ol lan d i s a tun e from a ch u rch towe r h igh
rg
O an s
u p ove r on e s h ead Th e e ffect i s c u i ous at ’
.
-

r
,

fi rst b ut as th e sam e tun e i s rep eated by cl ockwo k

,
r
r r
eve y q ua te r o fan h ou r day an d n igh t i t s oon b egi n s , ,

to p al l on th e st range th ough th e n ati ves n eve r seem r ,

2
ti red o fi t .

1 p 3
Gesch i ch t e def K i r clz cn m u si l ,
'
'
1 8 71 , 10
e ve n t hi d es sat is y crav i ng D tch ac i ne
. .

9 f th e ft h e
B ut s o no t o u f
or m h
m ade i c m us a th r an y years landed r a yac t at
Th e u o m ago fo m h
Fl hi ng at r cl ck rn i ng bta i n per is i n r
.

’
us f
ou o o i n th e m o to O m s o fo m th e
arb r aster enter w i th rn i ng t id e and whi le gett i ng
,

h ou -
m to th e m o , the

1 70
 B e lg i a n O rgan pla yi ng -

Th e r
cari ll on s we e n ot al ways p layed by clockwork ,

b u t often h ad a keyb oa d l i k e th e o ld fi st k eyboard s r ,

o f fou rteenth cen tu ry o rgan s -

a n d on th i s ,
C ar i ll o ns
r
th e o gani st was exp ecte d to p lay at stated
ti mes . I n 1 40 2 C lae s B o e r k e n was appoi nted organ i s t
,

o fth e C h u ch o f S t r Pete at Leyd en wi th th e d uty o f

. r ,

keepi ng th e fou r bell s i n orde r as wel l as th e o gan , r ,

an d t o play th e organ at weddi ngs an d Mas s .

Th e reco rd s o f B elgi an o rgan pl ayi n g b egi n wi th -

r
En gli sh o gan i sts fo r afte r th e R efo m ati on th ere was
, r
a great d eal o f i n te cours e b etwee n E nglan d an d th e r
N eth e rlan ds .

J oh n B ul l at o n e ti m e o rgan i s t to J am e s I , b e cam e
, .

o rgan i s t o fth e C ath edral o fA n twe rp i n 1 61 7 wh er e h e ,

d i e d i n 1 62 8 A b ou t a h un d re d an d fi fty
.

Dr B u l l .

o fh i s o rgan comp os i t i on s ar e fo un d s catte red

th rough vari ous E ngl i sh an d C onti ne n tal coll ecti on s ,

both p ri n ted an d m an usc i pt W e sh al l retu rn to h i m r .

i n a l ate r ch apte r .

Pete r Ph i ll ips a p i est was born i n E nglan d d uri ng

’
, r ,

E li z abeth s reign an d becam e can on an d organ i st o f

,

B eth u n e i n F ren ch Flan de rs

, F rom th e e
P et e r
. r
h e wen t to R om e an d m ade a g eat ep uta ,
Ph i l l i p s
r r
ti on . R etu rn i ng about 1 5 95 h e b ecam e o n e ,

r
o fth e th re e o gani sts o fth e ch apel o fA ch d uke A lbe rt r .

I n 1 61 0 h e was ap poi n te d p rebe n dary o r can on o f

S oign i es wh ere h e d i e d i n 1 62 5
, H e was m ore a com .

n e e sary papers i gned

c s wn w i t great pri de an en r cl ck
s was sh o h o m o us o

w i ch cc pied ab t a t ird h arb r ast er s parl r and w i ch

,
’
h o u ou h o ft h e ou -
m ou h
played t nes every h r
u ou .
,

1 71
 St o r y o f O rg an Musi c

AR I S ATT T S
V OU EM P wn mr n n amn n r D I F F I C U L I V av
‘ ’

B LA R
T O so 7 11 1: Tr

D i v w i N G 1 11 8 C K x avs .
(F OM x i c nR ,

1
72
 St o r y of O rgan Musi c
S t r i ggi o , O rl and o
Las so an d G i ul i o Rom an o p ut i n to , ,

tabl atu re by Ph i ll i ps th e l ast b ei ng dated 1 60 3 an d a , ,

fan tasi a Thi s i s p obably th e fugu e al lu ded to by

. r
r
B u rn ey Th e e a re n o l ess th an th i ty en tri es of th e
. r
s ubj e ct al l i n th e ton i c o r dom i n an t wi th o n e excepti on
, ,

only n ear th e en d wh e re th e e i s an e nt ry i n th e
, , r
s ubdom i n an t Th e re are exam pl es o f augm en tati on
.
,

d i mi nu ti on an d doubl e di m i n uti on of t h e subj ect an d

,
-
,

s everal s trettos wh i l e m odul ati on s occur i n th e epi sodes

, .

Th e pi ece i s ve ry i m port an t as a step i n th e d evel opm en t

of th e m odern fugue o u t o fth e i ce rcare th e fan tasi a r , ,

an d th e can z on a I t i s foll owe d by a pavana date d

.
,
“
1 580 , th e fi rs t o n e Ph il li p s m ad e an d th e re i s an oth e r
, r
fan tasi a e a l i e r th an th e on e we h ave des cribed wh i ch ,

r
h as a regul a fugal exposi ti on b u t i n oth e r esp ects i s , r
th e ol d fan tas i a ath e th an a fugue r r .

W i ll i am B rown o r B ron n o I ngl ese s eem s to h ave, ,

b ee n anoth e r o f th e E ngl i sh m en wh o wen t t o th e Low

C ou n tri es N oth in g i s k n own o fh i m an d R i tte r says
.
,

th at h e m u s t h ave b een an o gan i st of th e secon d an k r r

only .

Fou r oth e r E ngl i sh n am es ap pear i n th e B elgi an

v ol u m es : J oh n B ul l J am es J Ken n edy an d L u y t h o n , , .
, .

O fth e l as t we h ave sp oke n i n C h apte r V I I o fB ul l we .

r r
sh al l s peak fu th e wh e n w e com e t o deal wi th th e
E ngl i sh compose rs O f J am e s an d Ken n edy n oth i ng
.

i s kn own : th ei r con t i buti ons a e only un i mp ortan t r r

dan ces .

r
Th e g eates t n ati ve B elgi an o gan i s t o f th i s ti m e r
r
was Pi erre C o n et o f wh o s e l i fe n o p a ti cul ars a e , r r
I 74
 Th e B e lg i an Sc hoo l
forth com i ng excep t th at h e was o rgan is t to th e
,

r
I nfan ta C la a E ugen i a at B rus s el s th at h e may h av e
, ,

b ee n th e s on o f a ch ap el m aste r of t h e -

cath edral at A n twerp an d th at b e caused th e

,

B elgi an MS of 1 62 5 to be m ade to wh i ch h e
.
,

r
con t i bu te d a n u mb e r o f p i eces o f excell en t q ual i ty .

A fan tas i a i n th e eigh th ton e i s a v e y fi n e p i ece O f r

work i n wh i ch a sh ort m otive o f o n e b ar i n l ength
,

r ecu rs agai n an d agai n always wi th fres h treatm en t

, ,

as i n th e fantasi as o f B ach a cen tury l ate r ; bu t t h e

i n fl uen c e o f th e m ode s i s s ti l l s trong an d th e m us i c ,

r
h as n o t th e ri ch n es s an d v a i ety of B ach wh i l e th e ,

figu res are to s om e exte n t conve n ti on al I n an ar

!
.

ran gem en t o fth e pl ai n son g o f O Cl eme n s th e m el ody

“ ”

i s h eard i n th e trebl e ab ove a con s tan t re cu rren ce o f

r
a sh ort m otive i n th e pa ts an d o n al l p oss i bl e degrees
,

of th e s cal e
. I t h as a ve ry good e f fect .

F rom th i s ti m e th e B elgi an s ch ool cam e u n de r th e

F ren ch i n fl ue nce rath e r th an E ngl i s h an d I tal i an an d
, ,

th e greatest o rgan i s t o f th e eigh teen th

cen tu ry was Matth i as v an d e n Gh eyn wh os e ,

b iography an d comp osi ti on s we e p ubl i sh ed r

i n 1 862 by X avi e r v an E le wy k at Lo uvai n C om i ng .

o f a cel eb rate d fam ily o f b ell foun ders -

h e was eq ually ,

r
fam ou s as a C a i ll on e u r an d o rgan i st H e w as bo rn .

at Mal i ne s i n 1 72 1 . A t th e age o f twen ty fou r , h avi n g -

al ready attain ed to con sid e rabl e cel ebri ty h e com p ete d ,

for th e o f f r
i ce o f C ari l lon e u at Lo uvai n wh e re h e was ,

r
al ready organ i s t of th e C h u ch o f S t Pete r Th e . .

competi tors we re requ i red to b e abl e to pu t n ew tu n e s

1 75
 St o r y of O r gan Musi c
o n th e barrel o r to pay for i ts bei ng d on e an d th e
, ,

s u ccessful candidate was to pay th e j u ry fo r th ei r

atten dan ce Van Gh eyn was su ccessful an d th en
.
,

furth e r con d i ti on s we re m ade H e was n o t to all ow .

any o n e to dep uti s e fo r h i m u nder pen al ty o f a fi n e ; ,

rr
h e was to tu n e o ecas t at h i s own e pens e any bel ls
, x ,

r
th at we e ou t o f t un e ; an d h e h ad to pay d u i ng th e , r
r
fi s t year o f o f f r
i ce fo a n ew b aldach i n o fo r th e p o
,
r
cessi on of th e S ac am e nt r
H i s d uti e s we e to play
. r
r
o n ma ke t an d fete d ays an d at p ivate fes ti val s b ut
,
r ,

f o r th e l as t h e was pai d e t a H e h ad s even teen xr .

r
ch i l d en an d on h i s death i n 1 745 h e was s ucceeded
, , ,

i n h i s o rgan i s tsh i p by o n e o f h i s s ons A m on gs t h i s .

fugues p ubl i sh ed by E le w y k i s on e i n G m i no for

, , r ,

r
th re e vo i ces on a ch om ati c s ubj ect o f a ve ry b igh t
, , r
an d pl easan t ch aracte r b u t m ore o fth e n at u e o f h a p
, r r
s i c h o r d th an o gan m us i c r .

r
Th e g eates t o f th e D utch organ i sts was S weel i n ck ,

organ i s t o f th e N e w C h u ch at A m s te rdam r H e was .

S w eel i n ck
r
b o n at D eve n ter i n 1 5 60 O f h i s ep u ta . r ”
ti on as a teache r o r O r gan i s t m ak e r,we ,

h ave al ready spoken Th e ki n dly feel i ng wh i ch th e

.

r
i n h ab i tan ts o f A m ste dam h ad fo r h i m i s sh own by
an arrangem e n t m ad e to p rovi d e h i m wi th a p en si on
i n h i s o ld age wi th out h avi ng recou s e t o ch a i ty o r to r r ,

th e fun ds o f th e ch u rch S om e o f th e m e rch an ts

borrowe d two h undred fl
.

o r in s f om h i m wi th wh i ch r
t o speculate th e cond i tion s bei ng th at th ey we re to
,

r
bea p ossi bl e l osses and h e was to ece ive th e p rofits
,
r .

Th ese afte r a few years am ou n ted t o th e s um o f

, ,

1 76
 St o r y of O r gan Musi c
van N
A nth ony o rgan i s t of th e N ew C h urch
o o r dt ,
1

at A m s te rdam p ubl i sh ed i n 1 65 9 a Ta bu le r t u r B eech

,

v an P s alm e n en F a n t asey e n waar va n de

P salm e n doo r v e r s ch ey de n v e r sen v e r an de r t sy n ,
s oo i n de S u p e r i us , Te n o r , als B as s u s , me t 2 , 3
en 4 pa r t, M
doo r A n th o ny i t p r i v i le i e vo r
g v an N oo r t .

1 5 jaa r ( Tabl atu re B ook o f Psal m s i n Fan tasi a form

.
,

wh e rei n th e Ps alm s are vari ed i n th ei r d i f fe ren t vers es ,

th e tun e be in g i n th e t ebl e tenor and bass i n two r , , , ,

, r
th ree and fou r pa ts by A v No o r t W i th p i vil eges, . . . r
for 1 5 years ) Th e tablatu e consi sts o f two s taves
. r
o f s i x l i n es e ach wi th two cl efs o n e ach s tav e Th e
, .

r
sh arp i s rep esen ted by a S t A nd rew s cross an d o n e .
’
,

can i m agi n e con si de rabl e con fusi on ari si ng wh en

S weeli n ck only a few ye ars l ate r u se d th e sam e
, ,

r
s ign to resto e a n ote th at h ad p revi ously bee n mad e
sh arp Th e work con tai n s s o m e excell en t m usi c ; a
.

Fan tasi a i n th e fi rs t ton e i s e al ly a vigorou s fugue i n D r

m i n or b u t wi th a l ea ni n g to th e m odes
,
.

1
ll w i ng G erber lls
Fé t i s , f
o o y brant van N t Walther
ca h im S oo i ;
g i ves C rist i an na e i n r at i n g i ve n b y t e e
,

h im no h m A ll t h e f
o m o h s

three l exi c grap ers a nts nl y act that rgan i t

.

o h mo u o t o th e f h e was o s o f
th e N w C h rch
e that p bl i hed a b k s nata v i l i
u , and he u s oo of o s f
or o ns .
 C H A PTE R XII .

E G LI H O RGA M U I C N S N S .

Th e rgan
o ngl ish C rch — U n i versi t y degree — ngl i tabla
i n th e E hu s E sh

t re H enry bi ngt n— Cat edral si c—D ay s

u A o N h mu
’
C cr t ai n c o t es

C ng egat i nal i n i ng—Tall is— —B y d—

o r o s g
—B ll Ty e r Bli th e m an u

G i bb n a i ly— b l i t i n
Th e o s fmLi t rgy A o o o fth e u .

A C O M P O E R reserves th e m ore i n terestin g devel op me nts

S

of h i s th em e for th e l atter p o r ti on fh i s com p osi ti on i n o ,

o r de r th at h att r acti on m ay i n crease as th e wo r k p ro

t e

ce e d an d acti ng
s, th e s am e p r i n ci p le w e h av e
,
o n ,

del aye d th e d i scuss i on f E n gl i s h o rgan m u si c u n ti l o

n ow as we h av e con si de r ed th at th i s b ran ch of ou r
,

th em e wi l l p rob ably b e th e on e o f m os t i n te rest to

E ngli sh reade rs .

Th e re h as n eve r b ee n a dearth o f ex cel len t o gan r

playe rs i n E ngl and I n th e Mi ddl e A ges o u r E ngl i s h
.

m usi ci an s as eve ry o n e knows too k a

,

l eadi ng pl ace i n th e worl d s m usi c l ayi ng

E n lish ’
,

,
g
0r gan i st s
th e foundati on s for m any future devel op
m en ts B u t th e o rgan th ough as m u ch cul ti vate d i n
.
,

r
p i vate as o n th e C onti n en t n eve s eem s to h ave take n , r
r
s o i mpo tan t a pl ace i n th e ch u ch se rvi ce as i t d oe s r
i n th e R oman an d Lu th e an ri tu al A ll ou m os t r . r
r
fam ou s Ch u ch m usi c h as been vocal i n wh i ch th e ,

1 79 N
 St o ry of O r gan Mu si c
organ h as occu p i ed a su bord i n ate place as an acco m
p a r r
n i m e n t ; an d th ough fo m e ly ce tai n vol un tari es we re r
pl aye d d u ri ng th e s e rvi ce th e C an z onas an d ,
P13 “ 01
g
1 11 ° O r an
Toccatas o f th e R om an C h u ch an d th e r ,

C h o r alv o r s p i e le of th e Ge rm an h ave p r ac ,
m th e
E
'

I h
ti cal ly foun d n o equ ival en ts i n th e E ngli sh
r
C h u ch . A s a rul e th e o nly pl aces i n
,

r
wh i ch th e o gan i s h eard by i tsel f a e r
at th e begi n n in g an d e n d o f th e s e rvi ce wh e re i t i s ,

r
m e rely a cove fo r th e n oi s e O fth e feet of th e congrega
ti on wh i l e e nte ri ng an d l eavi ng th e Ch u rch H en ce .

we fi n d th at un ti l com paratively recen tly few speci al ,

r
coll ecti on s o f E n gl i sh o gan m u s i c we e m ade l i ke th e r ,

r
n um e rou s tabl atu e b ooks of I taly Ge rmany Fran ce , , ,

H ol l an d an d S pai n ; an d th e comp os i ti on s for th e o gan

, r
by th e great E l i z ab eth an o rgan i sts bei ng i nten ded fo r
th e h ouse organ rath e r th an th e C h u rch are s catte e d , r
r V
th ough th e vari o us i rgi nal books an d a e i n fact , r , ,

r
i n te nded q ui te as m u ch fo th e i rgi nal as th e o gan V r .

r
O th e r cau ses we e al s o at wo rk S i nce th e o rgan.

r
was us ed al mos t en ti ely to accomp any th e voi ces i t ,

h ad n o p edals th ough why E ngl ish pl aye rs

, ,
Pedals
wh o h ave n eve r been defici en t i n ski ll ,

sh oul d h ave been con ten t t o do wi th ou t th i s val uabl e

accesso ry i s i n com p reh e nsi bl e u nl es s th ey th ough t i t
,

r
was too p ond e o us fo r accompanyi ng th e s ingi ng of a
r
h igh ly t ai ned Ch oi r Th e Ch oi r h as als o d om i nated th e
.

r r
o rgan i n an oth e depa tm en t : th at o f tun in g Engli s h .

m u si ci an s h el d th e th eory th at i t was bette r to h ave a

few keys abs ol utely i n tun e th an to b e abl e t o m od ul ate
,

1 80
 Story o f O rgan Musi c
, r
scul p t ure at E xete r an d e l sewh e e th at p ortati ves an d ,

p osi tive s were u sed i n th e E ngl i sh Ch u rch es an d C h au ce r ,

m akes s eve ral al l us i on s to th e m e ry o gon at Mas s r .

A s yet we h ear o fn o n am es o fE ngli sh organi sts Of .

th e great E n gl i sh comp ose r D u n stable wh o l ived i n th e ,

fi rs t h al f of th e fifteen th cen tu ry an d was ,

Du n stab le
r
th erefo re con tem p o ary wi th S gu ar ci alu p o ,

th ere i s n o record n or i s th e re o f any oth e r E ngl i sh

,

comp os er th at h e e xcel led o n th e organ ; an d i t i s n ot i m

,

r
p ossibl e th at i mb ued as th ey we e wi th th e teach i ngs of
,

B oeth i us comp osers woul d cons i de r s kil l on an i n s t r u

,

m en t to b e b en eath th ei r dign i ty I n t h e l as t ch apte r o f

.

h i s fi rs t b ook o n m usi c th i s au th or i s careful to expl ai n

,

r
th at th e p osi ti on o f a p e form e r o r s inge i s as i n feri or r
r
to th at of a th eo i st wh o kn ows th e s ci en ce of acous ti cs
, ,

r
as a s e van t i s to h i s m aste r a sol di er to h i s captai n o r
, ,

a m ason s l ab ou re r to th e arch i tect W h ateve r b e th e

’
.

Caus e we h ear of no E ngl i sh m u si ci an s di sti ngui sh i ng

,

th em s elves as e xecutan ts on th e o rgan un ti l th e tim e o f

th e R eformati on wh e n t h e revi val o f learn i ng taugh t a
,

m ore l i beral vi ew o fth ings .

O u r u n iversi ti es began to give m u si cal degrees i n th e

fifteen th cen tu ry to pe rson s d i sti ngu ish ed for th ei r
Un i v er sity
kn owl edge o f B oeth i us ; th en wh e n wi de , r
vi ews began to p revail th e p rivi l ege was ,
D egr ees
exte nded to com p ose s of Ch urch m us i c r .

N ot u n ti l l ate i n th e n i n eteen th cen tu ry was p u ely r

r “
i n st um e ntal m us i c recogni sed i n th e req ui em en ts r ,

an d to great execu tants as s u ch th e d egrees h ave n ot

, ,

yet b een give n W e fi n d th e p ai ses Of n o E ngl ish

. r
182
 E ngl ish O rgan T ablat u r e

Lan di n o o r S gu ar ci alu p o o r Pau m an n s ung by th e

, ,

poets o f th e day ; an d o f s o l i ttl e i m p o tan ce was th e r

r
o gan i s t th at h e i s n o t eve n m en ti on ed i n th e O ld
cath ed al s tat utes r .

A s regards n otati on E ngli s h m usi ci an s h ad by th e ,

b egi nn i n g of th e s even teenth ce n tu ry evolved a tabl a

r
tu e for k eye d i n st u m en ts o n th e s am e r En l i s h
,
g
p r i n C i p le as th at o fth e I tal i an s b u t far m ore Tab lat u e ,
r
p racti cal W h i l e th e G e man s w e re usin g
. r
a C l um sy n otati on o f alph ab eti cal l etters t h e S pan i ard s ,

a wo rs e o n e o f n um erals an d th e I tali an s a stav e o f

, ,

va ryi ng n u mbe rs o f l i n es th e E ngl i sh h ad settl ed o n a ,

r x
tabl atu e o f a fi e d n umbe r of s i x l i n e s for each h an d ,

wh i ch was n oth i ng m o e o l e ss th an th e m ode rn p i an o r r

forte b race O f s tave s wi th th e add iti on o f a s i th l i n e
,
x
r
b el ow th e t ebl e an d abov e th e bass staves th e two
, ,

r
e xt a l i n es b oth i n d i catin g m i ddl e C : s o th at i n eadi n g r
i t al l th at we h ave to do i s to rem emb er th at m i ddl e C
,

i s S h own i n both h an ds by a conti nu ous l i n e i n stead of ,

th e m od ern l ege r l i n e e xcep t i n th e com paratively are ,

r
cases o fa C h ange o fcle f .

Th e e arl ie s t E ngl i sh m an wh o i s m e nti on ed as a

fam ous organ i s t i s H en ry A bi ngton o r H ab y n gt o n , ,

Mu s B ac a p i es t wh o di e d i n 1 497 H e
. .
, r ,
Hen
.

ry
was s uccentor o f W el l s Maste Of th e S ong
A b u gt o n ,
r l
at th e C h ap el R oyal an d Maste at S t ,
r .

C ath e ri n e s H osp i tal at B i s tol ; an d h i s fam e as an

’
, r
r r
o gan i s t ests n ot o n h i s com p os i ti on s o r o n all us i on s
, ,

rr r r
by contem p o a y w i te s b u t o n h i s e pi taph at S tony ,

h u str '
 S t o r y of O rgan Musi c
Millib us in mi e can ll
t r fuit p timus i ll e o O

Praeter haec is t a fui t q i

et o r ga u e n s t a .

(
“
He was th e b es t s inge r am ongs t th ousan ds , an d
besi de s th i s h e was th e b es t o gan i st
, r .

B u t th o ugh th e cath ed rals d i d n ot fin d i t n ecessary to

m ai n tai n an organ is t s i n ce each s in ge r took h i s tu rn at
,

th e i n s tru m en t i n th e palaces o f th e ki ng an d o f th e
,

m ore weal thy n obl em e n an o gan i s t an d o gan m ake r r r -

were regula r m e mb e rs of th e m usi cal establ ish m en t .

r
Th e i n s t um en ts u s ed we e o f cou s e portatives p os i r , r , ,

t i v e s an d l ate r o n regals : fo r th e Ch u rch o rgan i n

, , ,

E ngl an d only app roach e d p l ayabl e con di ti on s by

degrees as o n th e C onti n en t
, .

r
Th e fu i ou s i nvective s o f th e P uri tan s S h ow th at
r
E ngl i sh cath ed al m u s i c was m ai n tai n ed at a h igh
C at h edr al
s tandard 0 f e f f
i ci en cy d u i n g an d afte th e r r
No d oub t ab us es h ad crep t
.

Mu si c R efo rm at i on .

i n as el s ewh e re an d th e R eformati on gav e

, ,

a good Op portun i ty o f re m ovi ng th em , of w h i ch ful l

advan tage was taken B ut j us t as th e C oun ci l of Tren t
.

d esi red to rem ov e ab uses by sweepi n g away m usi c

al toge th e r s o th e u ngove nabl e j ealousy Of th e Pu i tan s
, r r
i n E n glan d woul d h ave ab ol i sh e d eve ryth i ng th at was
refi ned an d dign i fie d i n th e reform ed ch u ch Th ey r .

r
we re k ep t i n Ch eck fo a ti m e an d J oh n D ay publ ish ed ,

i n 1 5 60 C e r t ai n e N o te s i n F o u r e a n d Th r ee
par ts to be su ng at th e Mo r ni ng C o m
, ,

m u n i on , a nd E v e n i ng P r aie r , ve ry n ecess ar i e

f or th e C h u r ch f C h r zste , t o be
o f
r e qu e n t e d

a n d u se d: an d u n t o t h e m be adde d di ve r s Go dly P r ai e r s
184
 St o ry of O rgan Musi c
squeaki ng of Ch an ti ng ch ori ste rs d i sgui s ed i n wh i te ,

s u rpl i ces Th e P u i tan s d i d n ot ge t th ei r way

. r
e n ti rely b u t a reason abl e com p om i s e was arrived
, r
“ ”
at by wh i ch a
, pl ai n tu n e was s ung by th e con
gr e gat i o n r
afte m o n i n g an d even in g p raye r an d
,
r ,

before an d afte r s e m on s r .

Fo r a ti m e th e refo re Ch u rch m us i c conti n ued to

, ,

r
fl ou i sh an d a sch ool of g eat com posers aros e m any
, r ,

o f wh om b e cam e fam ou s o gan i sts W e h av e al ready r .

m en ti on ed s om e o f th os e wh o adh e ri n g t o th e fai th of ,

th ei r fath ers we re obliged t o es cap e to th e C on ti n en t

, ,

wh ere th ey sp read th e ep utati on o f E ngl i sh m usi c r ’

.

Th e great o rgan i sts of E l i z ab eth s reign wh o rem ai n ed ,

p rotected by th e C ou t from b ei ng w o i ed abo ut th ei r r rr

r
p ivate rel igi ou s vi ews we re Tal l i s Tye B li t h e m an , , , ,

Byrd an d B ul l
, .

Th om as Tal l i s Tallys o r Talys was b orn early i n

, , ,

th e s i xteen th cen tu y r
H i s fi rs t app oin tm en t was as .

o rgan i st of W al th am A bbey from wh i ch h e ,

Tal l is
was di sm i ss ed at th e D i ss ol uti on H e th en .

be cam e a Gen tl em an of th e C h apel Royal wh i ch post ,

h e retai n ed th rough th e rei gn s O f H en y E dwa d r , r ,

Mary , an d E l i z abeth ti l l h i s d eath i n 1 5 8 5 O f h i s ,

.

r
n um e ous com posi ti on s fo th e C h urch both to Lati n r ,

an d E ngl i sh words an d o f h i s fam ou s m otet i n fo rty

,

r
pa ts th i s i s n ot th e place t o speak ; a l i st o f th em i s
,

r
given i n G ove s D ic t i o n ary I n addi ti on to th e pos iti on
’
.

o f Ge ntl ema n o f th e C h ape l R oyal h e was al s o on e o f ,

i ts o rgan i sts b ut few o f h is com pos i ti on s for th i s

,

i n strumen t h ave su vi ved Th e e i s a MS Fan cy r . r .

1 86
 E l i z ab e t h an O rgan i st s
( Fan tas ia ) i n A m i n or i n th e Lib rary O f C h ri s t C h u rch ,

r
O xfo d an d th e re are two pi ece s i n th e Fi t z wi l l i am
,

r
Vi gi n al B ook bes i d es on e i n B enj am i n C o s y n s Vi rgi n al
,
’
’

B oo k at B ucki ngh am Palace Tall i s s two com p os i ti on s .

r
i n th e F i t z w i lli am Vi gi n al B ook b oth con s i s t o f va i a r
ti on s on th e pl ai n son g o f F e li x n am gu e E ach h as an .

i n t r o du c t i o n an d th e on e i n B ook I p 4 2 7 i s i n te es ti ng
,
.
, .
, r
b e cau s e th e com pose h as t reate d i t as a can z on a r
f r an ce s e . I n Add MS S . th e re i s a p i e ce
.
,

cal led Mr Tall i s h i s O f

. fe rto y,
i n wh i ch th e feel in g r ,
”

fo r ton i c an d d om i n an t as i m p o tant n ote s of th e s cal e r

i s foresh ad owe d by a m otiv e wh i ch ru n s th ough th e r
fi rs t p orti on o f th e p ie ce ( S e e A pp A N o
. Th e .
, .

s am e te n den cy to p roceed fro m ton i c to dom i n an t i s

obse rvabl e i n th e op en i n g s ubj e cts o f m any pi eces by
Byrd S weel i n ck an d oth e s Tal l i s s O f
, ,
r
fe rtory i s o f .
’

e n orm o us l ength an d i s i n th e form o f a fan tasi a i n

, ,

r
wh i ch th e o rth odox t i p l e hyth m s ecti on i s rep resen ted r
by t ri pl e m eas u re i n th e ri gh t h an d agai n s t dupl e i n th e
l eft.

C h ri s toph e r Tye Mu s D o c o f C am bri dge an d

, . .

r
O xfo d was a con tem porary o f Tal l i s an d l i ke h i m
, , , ,

r
Gen tl em an an d O gan i s t o f th e C h ap e l Royal th rough
r
al l th e Ch anges o f eligi o n o f th os e t oubl e d ti m es r .

H e was m u s i c maste r to E dward V I

-
an d p e h ap s .
,
r
r
to oth e r C h i l d ren o f H e n y V I I I an d a g eat com p ose r .
, r
r r
Of m us i c b oth fo r th e efo m e d C h u ch o f E ngl an d an d r
t h e Lati n s e vice r H e was a fav ou i te wi th E l i z abeth
. r
r r
m ona ch s we e wi s e en ough n ot to b e con cern ed wi th
r
th e eligi o us Op in i on s o f th ei m us i ci ans s o l on g as r ,

1 87
 S t o r y of O rgan Musi c
1
th ey kep t th e m to th em selves an d th e m u si ci an s on , ,

r
th e i r si d e we e conten t to occupy th e mselves solely
,

w i th th ei r m u si c an d n ot to e mb oi l th emselves i n th e
, r
fan ati cal di sp u tes of th e ti m es A m an n ee d n o t cease .

to b e a good C ath ol i c o r a good Protes tan t m erely

becau se h e fi nds s cop e for th e exe rci se of h i s m u si c al
gen i us i n a C h u rch oth e r th an th at to wh i ch h e bel ongs
by trai n i n g o r convi cti on .

Tye d ie d abou t 1 5 8 0 H e was says A nth ony W ood .

, ,

a p eevi sh an d h um ou rsom e m an especially i n h i s ,

l ate r days a n d som eti mes pl aying on th e

,
A necdo te
o rgan i n th e Ch apel o f Q uee n E l i z abeth ,
o f Ty e
wh i ch con tai n ed m u ch m u si c b ut l i ttl e ,

d el igh t to th e ear s h e woul d s en d th e ve rge r t o tel l

,

h i m th at h e played o u t of tun e ; wh e re up on h e sen t

r r
word th at h e ea s we e o u t of t un e r
Th i s i s th e on ly .
”

n oti c e we h av e o f h i s o rgan p laying an d i t i s n ot ve y -

,
r
r
com pl i m en ta y : ye t h i s vocal work s S h ow h i m to h ave
bee n so great a comp ose r th at h i s o rgan m usi c coul d
n ot h ave al l been poo r .

r
W i lli am By d was b orn i n 1 5 42 o r 1 5 43 an d was ,

By t d
r
b ed u p to m usi ck u nde r Th om as Tal l i s .
”

H e was at fi s t o gan i st o f L i n col n r r

C ath ed ral an d i n 1 5 69 was s worn i n as a Gen tl eman
,

1
rgan i t
Mar he ck e G e rge s C apel Wi nds r c ld
o s o fSt o
’
h o ou no t
re rai n r i nter eddl i ng w at B i p G rd i ner sai d
.
, , ,
“
f fo m m in h s ho a was no

a ai r
f
f o and c nse ence
f h i s,
”
wri t i ng agai nst P pery
in o
qu o fh is s o in
Mary rei g c nde ned deat and act all y bei ng
,
’
s n, was o m to h, was u le d o ut

to the s tak e when B i p Gard i ner eei ng r sh o w i nd w and s h i m fo m h i s o

w ishi ng l se g d a si c i an saved l i e
, ,

no t to o so oo mu ,
h is f .

188
 Sto r y of O rgan Musi c
th e R i ce rcare Th e l arger E ngl i sh com p osi ti on s we re
.

calle d Fantas i as o r Fan ci es an d Pr ae lu di u m s

, Th e ,
.

Fan tasi a was th e E ngl ish n am e for th e R i cercare b ut ,

th e words Fan tas i a Prel ud e R i ce care C an z on a were

, ,
r ,

l oosely appl i ed an d den oted l i ttl e d i stin cti on Of fo m i n

, r
r
th e va i ous com p os i ti on s Th e greate r n umbe r o f th e .

p i eces by Byrd an d h i s contemp ora i es were h oweve r ,

r ,

dan ce tun es n ot n eces sari ly i nte nded to dan ce to b u t

, ,

t o b e l i sten e d to by an aud i en ce l i k e th e son ata o f ,

to day-
Th ey we re call e d Pavan a Gall i ard A l man
.
, ,

( i e A lle man de ) Passam e z z o H unts U p Gigge C o r

. .
, , , ,

an to B ran l e Toye Touch etc

, , Th en th e e w ere
, , . r
”
Gr o u n de s con si s ti ng o f vari ati on s o n a Grou nd , o r
,
.
‘

r r
pe rpetually ecu ri ng bass as i n th e Passacagli a I n , ,

r
N om i n e s ( o igi n ally a ki n d of m otet ) an d Va i ati on s , r .

Two Fan tas ias by Byrd i n th e Fi t z wi ll iam Vi gi nal r

B ook are i n th e I tal i an s tyl e con si sti ng o fs everal l i ttl e ,

fugues each e ndi ng wi th th e conven tion al tu n an d

, r ,

r
th e e i s a m i dd le s ecti on i n t ipl e ti m e A Touch by r .
”

h i m i n Add MS S , . b egi n s wi th a api d s cal e

. r
pas sage an d th en p roceeds i n sedate m ad igal styl e
,
r .

“
Th e organ s we re q u i t e l i ttl e th i ngs Th e fai r l a ge . r
g
E n l i sh
h i gh o rgan given to Y o k Mi nste r abo ut
,
”
r
rg n
O a s
1 63 2 by C h arl e s I
f
h ad on ly ou tee n s tops
,
.
,
r
th e sam e n umbe r as th at o n wh i ch Frescobald i
pl ayed befo e r peopl e at S t Pete s . r ’
.

W i ll i am B li t h e m an Mu s B ac o n e o f th e o rgan i sts
, . .
,
’
o f Q ueen E li z abeth s C h ap el was am ong ,
B li t h e m an
th e few E ngl i s h m usi cian s o f th ose days
wh o seem t o h ave m ad e a s peci ali ty o f th e organ ; o r ,

1 90
 B li t h e m an
“
as H awki ns s ays h e was a s i ngular i n stan ce o f a
,
”
l i m i ted tal e n t i n th e s ci en c e of h i s p rofess i on Th e .

days o f sp eci al i sts we re yet to c om e B li t h e m an i s .

ch i efly kn own as th e m as te r o fJo h n B ul l an d H awki n s ,

gi ves h i s qu ai n t epi t ap h i n th e C h u rch of S t Ni ch ol as .

,

C ol e A bbey ,
wh i ch was d estroye d i n th e F i r e of
Lon don
H e re Bli h m l ies a w rt h y wi g h t
t e an ,
o ,

W h feare d G d a b v e
o o o :

A f rie d all a f n e
n to , o e to on ,

W h m r ich and p r di d l v e
o oo o .

O fpr ince s hap e ll g ent l eman

’
C

U n t h i d y i g da y
o s n

W h m a ll t k e gr ea t de l i g h t
o oo hear to
H im t he rgans pl ay
on o .

Wh se p assi g s k i ll in m i k art
o n us c e s
’
,

A sch l a r l e f
t b ehind
o ,

J hn Bu ll b y ame h i master s v eine

o n ,
s
’

E xpr essin g in each kinde .

B utn t hin g he r e c ntinues l n g

o o o

N resti g p l ace can hav e

or n :

H is s u l e de parted hence heaven

o to ,

H is b d y here in grav e
o .
”

H e di e d i n 1 5 91 H awki n s gi ves on e o f h i s com

.

p osi ti on s : i t h as n o n am e an d wou l d b e p e h ap s a , r
Fan cy o r an I n N om i n e
, I t i s i n G m i n o wi th F
. r ,

sh arp an d E fl at an d wi th m odul ati on s to C m i n o r an d

,

B fl at . I t i s a s k ilful p i ece of con trap un tal wo k b u t r ,

i n s p ite o fth e m ode rn ton al i ty i t i s col d an d arti fici al i n

feeli ng th ough i t i s at any rate fre e f om th e n u
, , , r
1 91
 St o r y o f O rgan Musi c
m ean in g o rn ame n t s o com mo n i n I taly an d Ge m any r .

A bou t twe nty o f h i s comp os i ti on s are to b e fou n d i n

th e Fi t z wi ll iam book an d oth e r col lecti on s A dd . .

MS S .
, r
B i ti sh Muse um h as an I n N om i n e ,

by h i m a s ort of canto fe m o i n th e righ t h an d

,
-
r ,

accom pan i ed by th e l eft h an d i n q u ave rs an d crotch ets .

Th e re i s al s o an un n am e d pi ece i n th e e part s i n th e r ,

s tyl e o fa m ad igal r .

Th e m os t fam ou s vi tuos o i n th e l atte r p art of t h e r

rei gn of El i z abeth an d th e begi n n i ng of th at o f J am es
,

I w as u ndoubtedly J oh n B ull Mu s D o c
.
, , . .

Dr B u ll
W e d o n ot us e th e te rm v i rtuos o i n a
’
sen s e o frep roach as i m pl i ed i n G rov e s D i cti on ary bu t
, ,

i n i ts righ t m eani ng as u se d i n I taly an d Ge m any of a , r ,

r
p ers on o fextrao di na ry tech n i cal sk i l l i n h i s a rt Th i s .

J oh n B ul l ce tai nly was r H e was bo n ab ou t 1 5 62 an d . r ,

h i s fi rs t ap poi n tm e n t was as o gan i s t o f H e reford r

C ath edral I n 1 5 91 h e su cceeded h i s m as te r B li t h e m an
.

as o rgani s t o f th e C h ap e l R oyal an d i n th e foll owing ,

, r
year acco d i ng t o th e cu stom o f th e ti m e h e i n ,

c o r p o r at e d as Mu s D o c at O x ford afte h avi ng . .

, r
r
p evi ously acq ui re d th at degre e at C amb ri dge In .

16 0 1 h e wen t ab road an d h i s fam e attracte d to h i m ,

m any O f r
fe s o f em pl oym e n t from foreign cou rts ; b u t
E l i z abeth wh o h ad a l i ki ng fo al l h e m usi ci an s
,
r r ,

r
h ea i ng of th e O f fers e c al l e d h i m i n h aste , r .

I n 1 606 h e was ad m i tted t o th e freedom o f th e

r r
Me ch an t Tayl o s C om pany an d i n th e fol lowi n g yea
’
,
r ,

wh en th e ki ng ( J am es I ) d i n e d at Me ch ant Tayl ors . r ’

“ ’
H al l B ul l
,
bei ng i n a ci ti z e n s go w n e cappe an d
, , ,

1
92
 Dr Jo h n B u ll .

h ood p l ayed m os t excel l en t m el od i e u p on a sm al l

,

p ayr e of organ e s p laced th e e fo r th at p u rpos e r

“
on ely Th i s .p ay r e of o rgan es 1 was o f co u rs e ”
, ,

a p o s i t i v e .

Mus i ci ans attach ed to a co u r t coul d n ot l e av e th ei r

“ ”
p osts wi th ou t a l i cen s e wh i ch was Ofte n refu sed , .

I n 1 61 3 B u l fou n d i t n eces sary t o l “

go
”
b eyon d th e s eas wi th ou t l i cen s e to
r u n away — for h e w as ab out to be b rough t
,

u p on Ch arge s o f i m m oral i ty H e at on c e .

Obtai n ed th e p os t o f organ i s t i n t h e A rch

’
d uke s p al ac e at B russel s an d fo u r y e ars l ate r th at of ,

r
o gan i st at A n twe rp C ath e d al H e re h e di e d i n 1 62 8 r . .

r
Th e e are two p ortrai ts Of h i m on e o f wh i ch i s i n th e ,

p oss ess i on o fD r C um m ings th e o th e r i n t h e E xam i n a

.
,

t i on S ch ools O xford S om e of h i s p i eces h ave b ee n p ub

, .

r
li s h e d i n m od e n e di ti on s an d a l i s t O f th e MS S i n ,
.

wh i ch h i s works are to b e foun d i s gi ve n i n th e arti cl e

’
on h i m i n G rov e s D ic t i on ary .

1
t i ce expre si n payre rgane
No th e s rgan w
o l ng o fo s Th e o as f
or a o
t i e all y sp ken pl ral thi day pa i n r
.

m u su o o fi n t h e u as i t is t o s in S fo m
e d i eval w rd and
, ,

th e m a use o f t h e t wo o s o r gan u m o r gan a. Organ u m

m eant i c th at
m us s ng was re part w i le
u i n t wo or mo s, h o r gan a, i n th e
pl ral eant c nj nct i n p i pe ( Greek
u m th e o u) w i ch w call o o f s 6
p7 aua h e

rg n pai n w i ch preserves c t l nger than t er

,

o a S h O ld us o ms o o h
c ntrie st i ll k eeps thi d ist i nct i n t gh wri ter cann t
.
,

ou s, s o ho u h er s o

expla i n ( i ng lar ) d es ean ig t

,

it C an to dc O rgan o s u o no t m as m h be
i n erre d an y t i ng w i th i n tr e nt w hat ther nat i ns
.
,

f h t o do th e s um b ut o o

called ea red i c— ic part i nstr e nt call d

, ,

m su m us i c m us in s Th e um is e

( pl ral ) T i explanat i n w i ll per aps acc nt

. . .

Lo s o r ga n e s u h s o h ou f
o r th e

expres i n pa i r rgans w i c s et i e p led si ci ans

.

”
s o o fo h h h as om m s uz z mu .

1 93
 Stor y of O rgan Musi c
B ul l an d S weeli n ck s ee m to h ave b een o n f i endly r
r
te ms an d B ul l was p e h aps th e fi n e executan t o f th e
, r r
two . Th e S p eci m en s of d i f fi cul t passages f om h i s r
r
va i ati on s o n th e h exach ord q uote d by B u rn ey S h ow , ,

r
m a vel l ou s o igi n al i ty an d fan cy r I t s eem s to h ave .

b een a p oi n t of h on ou r wi th com p ose rs o fal l nati ons to

r r
w i te fan tas i as o r va i ati on s o n th e h exach o d a d ul l r ,

an d sen sel es s th em e wh i ch th ey took care t o e h i bi t i n

, x
al l i ts n aked n ess as a s u cces si on o f rhyth ml ess sem i
r
b eves i n ord e r p robably to S h ow wh at th ey coul d d o
, , ,

wi th s uch u n p rom is i ng m ate ial B ul l u ses th i s barre n r .

th em e as a p eg on wh i ch t o h ang s om e wond e fully r

m usi cal an d b eauti ful e f fects i n con tras t to th e d ul l an d ,

r r
ca efully stud i ed wo k o f som e o f h i s con temp o ari es r .

I n h i s d an ce tun es th e e i s a pl easan t l igh tnes s and r

h um ou r an d h i s p rel u des l i ke th ose o f h i s c o n t e m p o r
, ,

ari es are u sually sh o t pi eces s omewh at i n th e styl e

,
’
r ,

o f Gab ri el i s toccatas wi th th e conven ti on al tu rn at

,

e ach Cl os e b ut wi th out t h e u su al ch ord at th e begi n

,

n i ng H i s tonal i ty i s vagu e : h e wi l l begi n i n C th e n

.
,

s uddenly j um p i nto B flat th en go th rough F back ,

t o C an d con cl ude i n G
, Th e keys th emsel ves are .

modern b u t th e ch ange s are m ade wi th out any o f th e

,

round ing o f f to wh i ch we a e accustom ed an d th e r ,

gene ral i n de fi n i t e n e s s i s Ch arm i ng i f on e can m om en t

ar i ly r
t ran spo t onesel f b ack i n i magi nati on th ee r
h u nd red years ; an d th e s udde n Ch an ges o f key S h ow
th at B ul l was b egi nn i ng to wea y o f th e m on otony r
wh i ch we can n ot h el p feeli ng wh e n we p lay s eve ral of
th ese Ol d wo k s i n s uccess i on r .

1 94
 Stor y o f O rgan Musi c
th e R e v E dward G ibbon s born i n 1 5 70 p robably
.
, ,

th e s on o f o n e o f th e wai ts o f C amb ri dge H e was .

O rgan i st o f B i stol C ath ed ral an d afte r r ,

wards o f E xete r C ath ed ral S om e o f h i s .

com posi ti on s are i n th e m us i c s ch ool at

O xford and oth e rs i n th e T u dway MS S , .

at th e B ri ti sh Muse um .

O rl an do Gi bbon s h i s youn ge r b roth e r was d es ti ne d , ,

t o becom e th e fi nest comp ose r an d o rgan i st O f h i s ti m e

i n E n gland an d h as bee n call ed th e E ngl i sh ,

Pal es t i n a r
H e was born at C am b ri dge i n .
”

1 583 I n 1 604 h e s u cceeded A rth u r C ock

.

as o rgan i s t o fth e C h apel R oyal I n 1 62 2 h e was give n .

th e d egree s o fB ach el or and D octor o fMusi c at O xford ,

an d i n th e fol lowi ng year becam e o gan i s t at W est r

m i n s te r A bbey H e d i ed i n 1 62 5 at C an te b ury
. r ,

wh i th e r h e h ad bee n s u m mon ed to atten d th e weddi ng

of C h arl es I , an d was b u i ed i n th e cath ed al o f that
. r r
Ci ty Th e fe w p i e ces h e l eft for keye d i n s tru men ts a e
.

”
r
s om e dan ce s an d a F an tas i a i n Parth en i a th e fi rs t , ,

V
m us i c fo r th e i rgi n al p i n ted i n E ngl and wh i ch was r ,

p ubl ish ed i n 1 61 1 by h i m sel f By rd an d B ull , , .

A dd MS S. con tain s volu n tari es

.
, A n I tali an ,
“ ” ’
G roun d Th e Ki ng s J uel l an d m any oth e r pi ece s
, ,
”

by h i m Add MS S. h as p rel udes i n th e us ual

. .
,

form a vol u n tary i n m i n i m s wi th graces o n n early h al f

,

th e n otes an oth er vol un tary i n th e fo m o f a can z ona

, r ,

an d a fantas i a o n o n e s u bj ec t only Th i s vol um e by .

,

th e way h as eigh t ba s o fm u si c by E lway B evin cal led

, r ,

G races i n Play Th e grace s b e fore i s h e re e x p r e s t i n

.

196
 E ngl is h O rgan is t s
n otes s h owi ng th e m ean i ng o f a few o f t h e i n n u m e r
,

abl e graces wh i ch are n ow obs ol ete .

,
r
H i s s on C h i stoph er G ibbo n s Mu s D o c b orn i n , . .
,

1 61 5 r
was o gan i s t o f W i n ch este r C ath ed al u n ti l th e
,
r
C om mo n wealth wh en h e m ad e h i s l iv i n g as
,
C h ist o h e r r
Gi b iio n s
a s ol di e r of th e ki ng A t th e R es torati on .

h e becam e organ i s t to C h arl es I I an d h e .

,

d i e d i n 1 676 H e app ears to h av e b e en a sk i lful i m

.

r
p r o v i s e r on t h e o gan an d th e e i s by h i m i n A dd ,
r .

MS S .
, a “
vol un tary fo r y e dub l e o rgan It .

r
alte n ates b etwee n th e “
Great o gan an d “
Li ttl e r
r
o gan .
”
I t i s ful l o f o rn am en ts b u t wo ul d p rob ably ,

s ou n d fai ly e f r
fective o n a s m al l m od e n i n st rum e n t r .

A t t h e en d th ere are toccata l i ke ru ns an d t h e l owes t -

,

n ote us e d i s A b el ow th e bas s s tav e .

A n oth e r m us i cal fam i ly was th at O f Tom ki n s wh os e ,

m emb ers we r e p re cen to s organ i s ts an d s i nge rs at r , ,

r r
va i ou s cath ed al s Th e m os t e m i n en t was .

Th o m as
Th om as Tomk i ns Mu s B ac a p u p i l o f To m k i n s
, . .
,

r
By d wh o was b o n towa d s th e e nd o f th e
, r r
S i xtee n th cen t ury H e was o gan i s t o f W orceste r
. r
C ath e dral an d from 1 62 1 o n e o f th e organ i s ts o f th e
,

C h ap el R oyal Th e F i t z wi lli am b ook contai n s fi v e o f

.

h i s com p os i ti on s .

Th e cath edral s an d th e R oyal C h ap el we re th e s ch ool s

o f m us i c i n th ose days ; an d th e Ch i ef m usi ci an an d
C omp oser was n o t a Ch apelm aste r as o n t h e C on ti n en t , ,

b u t an o rgan i st H en ce n ea ly al l o u r great com posers

. r
r
we re g eat organ i sts wh o for th e m os t part e x t e m p o r ,

i se d wh ateve r s ol o m u si c was req ui ed Th e wh ol e r .

1 97
 Sto ry of O r gan Musi c
system c am e to a tem porary en d i n 1 644 wh en t h e ,

l i turgy was abol ish ed th e o rgan s p ul led d own an d

, ,

th e m usi c O f th e Ch u ch ed uced to m etri cal r r

z ég
b ’o n

f psal mody each vers e be i ng read out l i n e

,

r
,

Lit u r g y by l i n e by th e m i n i,
ster o s om e fi t pers
appoi n ted by h i m before th e s ingi ng th ere
on ,

o f 1
”
. O rgan i s ts n ow l os t th ei r occupati on an d th e ,

i n strum en t was s il en t th rough ou t th e lan d as far as ,

Ch u rch es we re con cern ed fo r n early twe nty years , .

1
H wk i ns i p
a vo Thi sy te rvi ved a re te c ntry
l v. 42 s s m su in mo ou

v i llage Dev n hire and perhap el ew ere nt i l ab t 8 7

, . . .

in o s s s h u o u 1 0, th e

lerk read i ng p al l i ne by l i n e a str ng Dev ns ire acc nt

, ,

C o ut th e s m, in o o h e

and acc pany i ng i gi ng vi lin

, ,

o m th e s n o n h is o .

1 98
 St o ry of O rgan Musi c
tak e as h igh a p l ace i n th e wo l d as i t had don e u n de r r
E l i z abeth A n ew an d mo re m ode n s tyl e o fcath ed ral
. r
m us i c cam e i n to b ei n g e m i n en tly s u i tabl e t o th e E ngl ish
,

servi ce an d i n i ts o w n sp eci al l i n e as g eat as th e

, , ,
r
r
ch u ch m us i c o f th e C onti n en t B u t m u s i c was n ow .

ove rfl owi ng th e narrow con f i n es o f th e ch u rch an d i ts

g eates t exp on en ts we e giv i ng th e i b es t e fl
,

r r o r t s to th e r '

r
th eatre an d th e c on ce t room ; an d i n th es e d epartmen ts
-

E n gl i sh m en owin g to ce rtai n n ati on al ch aracte ri sti cs

, ,

fai l ed t o ach i eve d i s ti n cti on .

r
C h a l es I I h as b een bl am ed be cause h e del igh te d i n
.

m u si c o f a l es s s eve re ch aracte r th an th at o f th e o ld
r
E l i z abeth an com pos e s ; b u t th e ch a acte r r
of m u si c was ch angi ng al l over E u rop e an d ,

r
C h a les was n aturally i n fl uen ced by th e taste
of h i s ti m e S i n ce th e d eath o f E li z abeth
.
,

ope ra an d d ram ati c m us i c h ad bee n i nvented an d was ,

exe rci s i ng a great i n fl ue n ce o n ch u rch m u si c : reci tati ve

and s ol o s on g h ad take n th e pl ace o f th e m ad igal r
r r
an d th e p a t s ong ; Mon teve d e h ad b ol d ly e nl a ge d
-
r
r
th e bou nda i es wi th i n wh i ch h arm ony h ad b ee n p e r
v i o u s ly con fined an d o rch estral i ns t u m en ts we re
,
r
r
u se d i n th e ch u ch as wel l as th e o rgan Man ki n d .

can n ot al ways rem ai n at o n e pa ti cula r s tage o f d e r

v e 10 p m e n t ; th e m u si c of th e e n d o f th e s i xteenth
cen tu ry d i d n o t s ui t th e taste of th e e n d o f th e seven
t e e n t h an d i f th e C h u ch i s to b e e nti ely u n i n fl
, r u e n ce d r
by th e s o call e d s ecular styl e o f th e day i t m u st be
-
,

r
conten t t o l ag b eh i n d th e e s t of th e wo ld and only r ,

ap peal t o th e taste of a smal l m i n o ity of anti q ua ian s r r .

2 00
 T h e E ngl ish Sc h o o l
Ch a rl e
n ot bei n g con ten t with t h e s e ve r e an d t o
s, ,

h i m anti quated m eth ods o f h i s o rgan is ts s e n t o n e o f

, ,

r
h i s young ch oi b oys Pel h am H u mp h reys-
, ,

to s tudy u nde r Lully at Pari s ; wh o i t i s ,

s ai d cam e back with a p rofou n d con tem p t

,

r r
fo eve yth i ng E n gl i sh i n m u s i c as b e wel l m igh t u n de r ,

t h e ci rcu m s tan ces Th e fi n e E l i z abeth an s ch ool o f

.

r
ch u ch m u s i c h ad b ee n s o fa r st angl ed by t h e P u ri tan s r
th at i t h ad n ot s u fl i ci e n t l i fe l eft t o i n s pi r e t h e yo ung
an d e n th us i asti c com p os e r I f th i ngs h ad b een al l ow e d
.

to tak e th ei r n atu ral co u rs e H u m ph reys an d

h i s con tem p orari es woul d h ave b ee n g an d
,
En lis h
r g
S ch o o l
r
p up i l s o fBy d B ul l an d Gi bb on s th u s c o n
, , ,

t i n u i n g an d devel op i ng an E n gl i sh s ch ool i n stead o f ,

h avi ng to i mp o t forei gn meth ods r H e di ed at t h e age .

of twen ty s eve n ; an d h i s s uccess o P u rcell sough t h i s

-
r , ,

m odels i n I taly Fran c e an d Ge rm any fo r h e h ad n o

, , ,

r
m atu e d E n gl i sh m odel s o f h i s o w n ti m e to b u i l d u p on .

Th us th e o ld E ngl i s h s ch ool di ed o u t an d t h e n ew ,

E ngl i sh m usi c b ecam e a refl ecti on o fforeign styl es ; for

Pu rcell wh o i n h i s m aturi ty m igh t h av e l ai d th e
,

fo un dati on s o f an E ngli s h s ch ool d i ed before h i s

gen i us h ad ti m e t o s u fl
,

i c i e n t ly devel op fo r th i s , o r to
r
h an d on h i s a t to a n u m be r o fpu p i ls .

r
W i th regard to th e o gan J am es C li fi o r d s C o lle ct io n ,
'
’

of D i v i n e S e r vi ces an d A n t h e m s u s u ally s u ng i n h i s
Maje s ly s Ch ape l an d i n all Cath e dr al an d
’

Ne w U se o f
C o lleg i ate C h u r ch e s i n E ng lan d an d I r e lan d
a book o fword s only , wi th ch an ts for
th e Or g a n
th e psal m s , contai n s “
r
B ief D i recti on s fo r th e u n de r
20 1
 St o ry of O rgan Musi c
r
stan di ng o f th at pa t of th e D ivi n e S e rv i ce pe rfo m ed r
r
w i th th e O gan i n S t Pau l s C h u ch o n S und ays i n
.
’
r ,
”

wh i ch i t i s expl ai n ed “
A fte th e Ps al m a vol unta y
,
r , r
u pon th e o rgan al on e ; “
A fte
”
th e B l essin g Th e r ,

r
G race of O u r Lo d a vol unta y u pon th e o gan al on e
,
r r .
”

H awki n s 1 says th at th i s was th e u sage i n cath edral s fo r

r
m any yea s b ut i n som e p a ti cul a ly i n S t Paul s an d
, , r r .
’

r r
a t C an te bu y an d W es tm i n ste r A bbey th e p racti ce ,

r
was fo r m o e th an a ce n tury to s i ng th e S an ctus b e
r
twee n th e e n d o f m o n ing p raye r an d th e b egi nn i ng
o f th e C omm un i on s e rv i ce ; at th e Tem pl e C h u ch r ,

, r
h oweve r a vol un ta y was pl ayed i n th i s pl ace .

r
Pa i sh ch u rch es als o h ad a vol untary b etween th e
p sal m s an d th e fi rs t l ess on an d i t was at fi st a s olem n ,
r
p i ece i n kee pi n g w i th th e s e vi ce B ut i n th e n e t r . x
r
cen tu y G reen e an d R o s e i n gr av e an d oth e rs i n trod uced
a n ew styl e wh i ch event ual ly gave th i s v ol untary i ts
,

d eath bl ow th ough i t l i nge ed u n ti l th e n i n eteen th

-
, r
cen tu r y for i n a s et o f fugu es by E berl i n publ i sh ed
, ,

i n 1 8 0 1 th e ed i tor D i e t t e n h o fe r s ays i n h i s p eface :

, , ,
r
“
r
Th e vol u nta i es m ay b e played befo e th e Psalm s o r r
any figu rative sacred m usi c ( i e an th em s ) o r may b e . .
,

u sed as p rel ude s o r i nte l ud es W h e n pl ayed afte r r .

r
D ivi n e S e vi ce th ey m ay b e cal led p ostl udes
, .
”

. r r
D r Mau i ce G een e ( 1 696 1 75 5 ) was a contem pora ry -
,

Dl G“ 2 11 6
a n d for a ti m e a f i end o f H andel A fte r , . r
r r
‘
. o

occu py i ng th e p os t o f o gan i st m seve al

r
Lon don ch u ch es h e be cam e o gan i st o f S t Pau l s i n
, r .
’
o

1
Vo l i v . . p .
3 51 .

202
 St o r y o f O rgan Musi c
i t as th ere are exam pl es o f i t i n th e C roft an d B l ow
,

MS S at th e B i ti sh Mus eu m
. r .

J oh n R obi n son o gan i s t o f W estm i n ster A bbey a

, r ,

p upi l of B l ow i s sai d by H awki n s t o h ave bee n a

,

I 11 i
r r
ve y fl o i d an d el egan t p e form e r i n som uch r ,

I;0b m so n
} th at c rowds resorted to h ear h i m H e was .

al s o a cel eb ate d m aste o fth e h a ps i ch o d r r r r ,

an d h ad a greate r n u mb e r o f p upil s th an any o n e i n h i s

ti m e. H e d i ed i n 1 762 an d doe s n ot s eem to h ave l eft ,

r
any o gan wo ks r
Li ke G een e h e als o us e d th e s ol o
. r ,

r
s tyl e i n th e vol u n ta y afte r th e p sal m s m aki ng i t i n to ,

r
an al legro o n th e t um p et co n e t or s e s q u i alt r a fo r th e , r ,

righ t h an d wi th a bas s fo r th e l eft on an oth e k eyboa d

, r r .

r
Th e e n ow se em s t o h ave com e a fash i on fo r th i s ki nd
o fvol u n tary a n d col lecti on s o f C o n et pi eces we e
, r ”
r
r
p ubli sh e d Th ei ge n e ral s tyl e i s exh i bi ted i n a col
.

l ecti on o f S i x C o r n e t P i e ces p ubl i sh ed by

y
ur ne s r
,

g
’

D r B u n ey th e h i stori an i n h i s early days

.
, , .

P2?
3

32 Th ey a e al l i n two parts on ly t reble an d r ,

b ass Th e fi rs t Ope ns wi th a m otive rem i nd

.

r
i ng on e o f th e fi s t two bars of th e Me ss i ah bu t i n a ,

m i no r k ey an d th e two h an d s are m o e th an two

,
r
r
octave s apa t wi th n o i n te rven i ng harm ony th u s at
, ,

on ce e xh i bi ti n g th e p ove rty of th e styl e Th e fo m i s . r

s om eth i ng l i ke th at of th e al l eg o m ovem en ts O f r
r
H and el s o gan con ce tos bu t th e e i s n o ch ange of
’
r , r
r r
p owe n o va i ety n o ful ne ss o f h arm ony to cont ras t
, ,

w i th th e weakn es s o f th e Ope n i ng I t i s m e rely a .

“
sh ow 0 3 pi ec e fo th e igh t h an d equ i i ng n o
”
r r , r r
i ntell ectu al e fi o r t o r eve n m an ual ski l l fo r i ts pe rfo m
’

r
 Dr Bl o w .

an ce T h e s econ d Op en s wi th a rem i n is cen ce of th e

.

ai r “
r
R ej oi c e g e atly i n th e Mess i ah and l i k e th e ”
, ,

r
fi s t i t starts wi th th e h an ds m ore th an two o ctav e s
,

r r
apa t Th e th i d i s l i k e o n e o fH an del s o gan con ce rto
.
’
r
m oti ves an d th e fi fth m igh t do fo a p om p ou s an d
,
r
r
p edan ti c m a ch i f th e i n te rval between th e two h an d s
,

r
we e fi ll e d i n by s om e ki n d o f h a m ony Th e wh ol e r .

ef r
fect i s m os t dep ess i n g from i ts evi den t ap peal t o a
r r
v ulga and n a row taste ; an d th i s i s wh at E n gl i sh
r
o gan m u s i c cam e to b e i n th e eigh tee nth cen tu ry .

Y e t th at E n gl i sh o gani sts we e capabl e o f bette r r r

th ings i s s h own by th e fact th at th i s sam e volu m e of
’
B u r n e y s e n ds wi th a good d oubl e fu gu e i n wh ich t h e ,

c ryi n g n eed o fp edal s i s sh own by th e occas ion al us e of

octaves an d ful l ch ords i n th e bas s Th u s was th e .

v ol un ta ry k ill ed by th os e wh o cou l d d o b ette r b ut ,

r
p eferre d to gai n ch eap n otori ety at th e cos t o f l i ttl e
l abou r to th ems el ves .

J oh n B l ow Mu s D o c o n e of o u r b es t cath ed ral
, . .
,

r
com pos e rs was b o n i n 1 648 an d was o n e O f th e fi s t
, , r
se t O fch i l d ren of th e C h apel R oyal o n i ts r e
e stabl i sh m en t i n 1 660 H e was a p up i l o f
D B ow
.
r I .

r
C h i s toph e r Gi bbon s an d o fJo h n H i n ge s t o n o rgan i st to ,

r
C omwel l — fo r th e P otecto was a m an o fcul tu e an d r r r ,

r
l i ke d to h ear th e o gan pl ayed A t th e age o f twen ty .

o ne B low was m ad e o gan i st o f W es tm i n s te A bb ey r r .

r
E l eve n years l ate r h e esi gn e d th i s p lace i n favo u r Of h i s
, r
p up i l P urcel l an d esu m ed i t o n th e death o fth e l atte r ,

i n 1 695 H e was al s o o gani s t an d com pos e to th e

. r r
k i ng H e di e d i n 1 708
. D u i ng a l on g an d bu sy l i fe h e. r
2 05
 St o r y of O rgan Musi c
comp osed an i m m en s e n um be r of s e vi ce s anth em s r , ,

Ode s pi eces fo r vi ol s catch es l ess on s fo th e h ar p s i

, , , r
ch ord an d a few o gan p i ece s
, r
H e was i n advan ce o f .

h i s ti me an d w rote h a m oni c p rog essi on s th at B u rn ey

, r r ,

r “
r
f om th e D octo of Musi c p oi n t O f vi ew con demn s ”
, ,

th ough th ey h ave be com e com m on p roperty si n ce A dd . .

MS S .
, r
B i t Mu s con tai n s a n umbe r o fsu i tes by
. .
,

D r B l ow s om e Of wh i ch a e a good d eal ove l oaded wi th

.
,
r r
r
o rn am en t ; b ut wh e e th i s i s n ot th e cas e th ey sh ow a
strong h eal thy an d th o ough ly En gl i sh feel i ng wi th a
, , r ,

com pl ete com m an d o fton i c an d dom i n an t h arm ony an d

r
th e con t ast b etwe e n th e rel ative m aj or an d m i n or m odes .

r
Th e e are al so s eve ral vol un ta i es for t he dou bl e o gan r r
th e fi rst i s a can z o n a r an cese th ough n ot cal l e d s of It , .

r
i s ve y d i f
fi cul t an d h as toccata l i ke un s fo r both h an ds
,
-
r ,

w i th p assages i n th e th i ds for th e igh t h an d A n oth e r r r .

v ol u nta y i s fo r r ye s i ngl e o rgan Mos t o f th es e .

v ol un tari es begi n l i ke a fugue an d th e n go i nto p ass ages , .

Th e re i s a can z on a i n th e key o fA m aj o wi th all th ree r ,

r
sh a ps i n th e sign at u e wh i ch was u n us ual i n th ose r ,

,
“
days an d a Vol unta y for ye C o rn e t s top r
Th i s .
”

begi n s wi th a fugal i n t rod ucti on an d th e co m e t e n te s , r

at th e el even th ba r
I ts pa t i s ful l o f tu rn s an d th e e
. r , r
i s a two voi ce accompan i m en t fo th e le ft h an d Th e
- r .

r r “
co net al te n ates wi th th e s i ngl e o gan an d i s n ot i n r ,

th e v ul gar s tyl e th at afte rwa d s becam e ch a acte i sti c o f r r r

s uch com p osi ti on s .

“
Th e word s do ubl e an d si ngl e o gan wh i ch so r ,

r r
f eq ue ntly o cc u i n th ese MS S un dou btedly re fe r to th e .
,

u s e of th e d oubl e d iapas on s Of s i teen feet wh i ch we e x , r

2 06
 S t o r y of O r gan Musi c
oth e r r
I t va i es between si ngl e an d doubl e o rgan
.
“
.

NO 8 i n th i s b ook i s o n e o fth e o ld fan tas i as — th at i s to

.

s ay a combi n ati on o f th e e s h ort fugu es o n di f

, fe ren t r
s ubj ects b u t i n pl ace Of th e conventi on al t u n th at u s ed
, r
to s ep arate th e m th ere are toccata l i ke epi sodes No -
. .

1 0 i s a s ort o f fugu e fo r
“
upp e keys an d u nd e r ”
r
keys .
”
Th ere i s a rol l i cki ng j oll i ty about pa ts Of i t r ,

esp eci ally towa rd s th e e n d wh i ch rem i nds on e of th e ,

“
t une o f O ld Ki ng C ole A fte th i s com e seve al oth e r
.
”
r r
v ol un tari es o n e o f w h i ch h as al te n ati on s o f great
, r ,
”

d oubl e ” “
ch ai re an d s i ngl e o gan s
, ,
”
I t is a so t ”
r . r
o f reci tative wi th i m i tati on s and vi go ous i n te lu des
, r r ,

an d i t e nds w i th a “
co m e t s ol o wh i ch h oweve ,
”
,
r ,

r
al te rn ates wi th th e t um pet an d s esqu i al te ra Th e p i ece .

i s very l ong an d e nd s i n a m agn i ficen t cl i max for th e

,
“
doubl e o gan r
B l ow m us t h ave bee n a sp l endi d
.

o rgan i st .

W i ll i am C roft Mu s D o c b o n i n 1 677 o n e o f th e
, . .
, r ,

ch i ldre n of th e C h ap el Royal u n de r B l ow b ecam e , ,

O rgan i st Maste r o f th e C h i ld re n an d C o m
, ,
D r C r o ft ’
p os e r t o th e C hapel R oyal and afte r B l ow s , ,

death , o rgan i s t o f W estm i n ste r A bbey H e di e d i n .

1 72 7 .A dd MS S B ri t Mu s contai n s twelv e
. .
, . .
,

v ol un tari es by h i m NO 1 en ti tled S l ow
. h as som e.
, ,
”

ve ry fi n e m u si c i n i t th e b ass bei ng especi ally good I t

, .

rath e r rem i nd s o n e o f Pu cell s styl e NO 2 also

”
r ’
. .
,

S l ow h as good th em ati c work an d a fugato

, In , .

N o 3 s top s are i n di cated s u ch as di ap as on s an d t um

.
, , r
p e t th e latte r bei n g u se d al te nately wi th th e crem ona
, r ,

wh i ch form s a ki n d of ech o to i t Th e m u s i c i s m as .

2 08
 P u r c e ll

c ul i n e an d n ot too d ry Th e n ex t few vol un tari es ar e

, .

fug ues an d i n N o 1 0 th e com p os e r d es ce n ds t o a

,
.

co m e t s ol o th e O pen in g o f wh i ch i s l i ke a v ulgar j i g
,
.

N o 1 1 i s fo r “ “ ” ”
. s oft an d l o ud o rgan al te rn ately ,

an d NO 1 2 i s a do ubl e fugu e ; b u t i t i s n o t m u ch
.

r
wo ked o u t an d s o on goe s O f
,
f i n to ch ord s , wi th a
m ovi ng b ass .

P u rcel l i s th e n am e of a fam ily o fm us i ci an s of wh o m ,

th e m os t famo us was H en ry bo rn at W es tm i n ste r ,

ab o ut 1 65 8 H e was adm i tted as a ch ori ste r

.

i n th e C h ap el R oyal u n de r C ap tai n H en ry
He n ry
C ooke o n e o fth o se m us i ci an s wh o h ad fo ugh t
P u ce ll
,
r
,

for th e ki ng i n th e C i vi l W ar O n th e de ath of .

r
C ooke Pu cel l cam e u nde Pelh am H umph reys an d
, r ,

fi nal ly u n de r B l ow B egi n n i n g h i s c aree r as a c o m p o s e r

.

fo r th e th eatre h e was app oi n te d o gan i s t o f W es t

, r
m i nste r A bbey i n 1 68 0 an d o fth e C h ap el R oyal i n 1 68 2 , .

H e d ied i n 1 695 and as eve ry on e kn o ws d uri ng h i s

, , ,

sh ort l i fe p rod uce d an am az i ng q uan ti ty o f m usi c o f

every ki n d far i n advan ce of h i s E ngl i sh an d o fm ost o f
, ,

h i s foreign con temp o a i es

, rr
H e l eft so m e fou r p a t .
-
r
s on atas for th e o gan o r h arp s i ch o rd r an d s om e s ui tes , .

A m ongs t h i s p i eces i s a Toccata i n A , wh i ch i s n o t o n ly

re m arkab l e fo r i ts m usi cal excell en ce b u t ,
P u r cel l s '

als o b ecaus e i t h as b een cl ai m e d as an early

To ccata
work o f J S B ach an d was p ubl ish e d as
. .
,

s u ch i n th e forty secon d year o f th e B achgese llsch a t

-
f
edi ti on Th e r e are two cop i es of i t i n th e B ri tis h
.

Mus e u m : o n e i n A dd MS S wh e re i t i s . .
,

as cribed to Pu rcel l an d th e oth e r i n Add MS S , . .

,

2 09
 St o ry of O r gan Musi c
wh e re i t occu rs wi th o ut th e com pose s n am e am ongs t r ’

s om e toccatas by Mi ch el angel o R oss i Th e fo m e r . r

v ol u m e consi sts of toccatas by B l ow an d P urcel l fo th e r
s i ngl e an d do ubl e o gan r Th e Toccata i n A i s s o
.

i mp ortan t th at i t req ui res to b e n oti ced i n detai l Th e .

fi rs t two bars h ave a re m i n i scen ce o f th e O ld I tal i an

toccata wh i ch began wi th a su stai n ed ton i c ch o d ; b u t
, r
r
P u cel l b reaks u p th e ch ord i n th e fi s t bar an d s ustai n s r ,

i t i n th e s econ d Th e n th e m ove m en t s tarts O f

. f wi th
r r
great vivaci ty i n ch o ds b oke n i n to s em i q uave rs i n ,

th e N orth Ge rman s tyl e C om i ng to a ful l cl os e i n E

.

maj or i t com me nce s n ew i m i tati ve wo k an d th e s em i

, r ,

q u ave r m ovem en t i s kep t up i n ve y B ach l i k e m an n e r -

r
ti l l i t comes to a ful l cl os e o n th e ton i c Th en a fugue .
,

o f wh i ch th e s ubj ect i s very b i l l i an t b egi n sr an d goes , ,

r r
th rough five regula en t i es A fte r th e l as t en t y th e
. r
r
s em i q uavers con ti n u e i n a pe pe tual m oti on al tern ati ng ,

be twee n th e keys of A an d D to a ful l cl ose i n F sh arp

. r
m i n or H e re th e us u al i nte l ud e wi th ch ange o frhyth m
, ,

r
occ u s an d wi th a ti m e signatu re o f
,
eq uivalen t
to a n ew fl ow Of se mi q uave r t i p l ets begi n s l ead i ng r ,

to a l ong d om i n an t p edal p oi n t an d a e tu rn to th e
-
, r
op en i ng two bars o f th e pi ece wh i ch are h oweve , , r ,

q ui te m etam orph ose d by a n ew t eatme n t Th e m us i c r .

no w r
e n ti rely ch anges i ts ch a acter be com i ng m o e , r
con tem pl ative i n wh at i s p rac ti cally a slow m ove men t
,

i n F sh arp m i n o r Th i s h oweve r s oon gives way to a

.
, ,

re mi ni scen ce o f th e fu gu e s ubj ect i n th e o igi nal key r ,

and th e p i ece e n ds w i th s om e d em i se mi quave -

r
“
d ivi si ons r
as th ey we e th en call ed i n th e North
, ,

2 10
 S t ory of O rgan Musi c
st udi ed I tal i an an d Fre n ch m odels for h is con ce rted
, , r
m us i c h e p e h ap s un consci ou sly fel l i n to l i n e wi th ,

th e Ge rm an s i n h i s o gan p i ece s r H i s own vi ew o f .

E n gl i sh m usi c i s exp re ssed i n th e dedi cati on

o f D i oc le s i an to th e D uke o f S ome set : r
“
Musi ck i s b u t i n i ts n on age a forwa d , r
ch i l d wh i ch gives h O p e o f wh at i t m ay
,

r
b e h e eafte r i n E ngl an d wh en t h e m asters ,

o f i t sh al l fi n d m o re e n cou agem e n t r
Ti s n ow l ea n .
’
r
i n g I tal i an wh i ch i s i ts b est m aste r an d studyi ng
, ,

r
a l i ttl e o f th e Fren ch ai t o give i t s om ewh at m o e,
r
of gayety an d fash ion Th u s bei ng fu rth e r from th e
.
,

r
s un we a e o f l ate r growth th an o u r n eigh bou
, r
c o un tri es an d m u st b e con ten t to sh ak e o f
, f o u r bar
b ar i t y by d egrees Th e p resen t age s ee m s al ready
.

d i sp osed to b e refi n ed an d to di sti ngui sh b etween wi ld

,
”
fan cy an d a j us t n umerou s com p osi ti on .

P u rcell p uts th e wh ol e case i n to a n utsh el l I taly .

was th e fountai n h ead O f m usi c fo r seve al ce n tu i es :

-
r r
E ngl i sh m u si c was to l earn f om I taly u nti l i t was r
s trong en ough to stan d by i tsel f ; i ts p ofess o s we e r r r
r
i n ti m e to re cei ve m o e e ncou ragem ent an d a great ,

E ngl i sh s ch ool was to b e fo med As a matte r Of r .

r
fact i n th e n ext cen tu y a g eat E n gl i sh sch ool was
, r
foun d ed b ut i n a way total ly di f
,
feren t from th at wh i ch
Purc e l l m ean t ; i ts founde r an d greates t rep esen tati ve r
was a Ge rm an — H an del I f i t h ad been fou nded by a
.

n ati ve i t woul d u ndoubtedly h ave l eaned

,
Han de l
to th e Te uton i c ath e r th an t h e I tal i an r
r r r r r
ch a acte fo r we N o th e n e s h ave m ore a f
, fi n i ty to th e
 H and e l
Te uton i c th an to th e Lati n races Th e reason why .

we al l l ove d H an del wh e n h e cam e was th at h e gav e

u s exactly wh at we wan ted ready m ade ; h e exp ress e d ,
-

o u r o w n fe el i ngs i n m us i c i n th e sam e way th at Pu rcell ,

i f h e h ad l ived woul d h av e don e an d h i s p up i ls afte r

, ,

him . H an del h ad h osts o f con temp o rary i m i tato rs ,

b ut n o p u pi l s fo r th e p up i l s of a great teach e r do
,

,
r
n ot as a ul e sl av i sh ly i m i tat e h i s s tyl e b u t us e
, ,

wh ateve r gi fts th ey h ave i n furth e r d evel op in g t h e art

th ey h av e l earne d from h i m Fo r m ore th an a cen tu ry
.

E ngl i sh com p os e rs we re tongu e ti ed by th ei r n ati ve -

di ffi de n ce o f doi ng anyth i ng agai n s t conven ti onal ity .

r r
Th ey we e af ai d to lau n ch o u t an d exp res s wh ateve r
feel i ngs th ey m ay h av e h ad ; th ey we re i n b on dage to
p receden t an d rul e Th e D egre e i n Mus i c wi th i ts
“
.
,
”

d ry as dus t th eory s eem e d eve r b efore th em

- -
, If .

H andel Mo z art H ayd n an d oth e rs carri ed th e a t

, , , r
o f m u si c to a h igh e r degre e O f d e vel op m en t th an th ei r
“ ”
p redecessors by b reaki ng th e rul es th e E n gl i s h ,

r
we e n o t goi ng to fol l ow th ei r exam p l e ; th ey kn ew
th e rul es an d wo ul d s ti c k to th em
, E ngl i sh m u s i c .

i n th e eigh tee n th cen tu ry i s rep resen te d by H an del

an d a n umb e r o f excel len t cath ed ral o gan i sts wh o r , ,

wi th a few worthy ex cepti on s com pose d a vas t quanti ty ,

o fcorrect an d col ou l ess m usi c i n wh i ch an r “

u n us u al ,

ch ord or resol uti on Of an augm e n ted s i xth was l ooked

, ,

up on as a sign o fg eat o igi n al i ty r r .

B u rn ey rem arks o n th e early age at wh i ch th e th ee r

comp os e rs wh o mi gh t h av e fou n ded an E ngl i sh s ch ool
d ie d : Gi bbon s at forty fou r Pel h am H um p h eys at -
, r
2 1
3
 Story of O rgan Musi c
tw e n ty seven an d P urcel l at th i ty seven
-
, r
In s t r u -
.

“
”
m en tal m u si c th erefore s ays h e
, , h as n eve r gai ned ,

m uch by o u r o wn abi l i ti e s ; for th ough som e

B i m eY S
f
'
n ative s of E nglan d h ave h ad h an ds s u i ci e n t fl
V ‘ °W ° f
n lis h
to execute t h e p rodu cti ons o f th e g eates t r
E gt m aste rs o n th e C on ti nen t th ey h ave p ro ,

gen s; m uch esteem ed H an del s com posi ti on s for

du ce d b ut l i ttl e O f th ei r o w n that h as b een
’

Mu si c .

th e organ an d th e h a ps i ch o d wi th th os e r r ,

o f S carl atti and A l be rti we re o u r ch i ef p racti c e an d

,
”
d eligh t for m or e th an fi fty years .

’
H an del s comp osi ti on s fo r th e o rgan cons is t of si x
con ce rtos for o rgan an d s m al l o rch es tra O p 4 p ub , .
,

li s h e d i n 1 73 4 ; twelve gran d con ce rtos f o r

o rgan an d o rch es tra O p 6 s i x o gan

, . r
con certos two Of th em wi th orch estra o p 4
, , .

s i x con ce rtos wi th orch est a op 7 r , .

( 1 740 th re e con ce rtos wi th o rch estra fi rs t p ubl i sh ed ,

after h i s death i n 1 797 ; an d s i x l i ttl e fugues fo r o rgan

“
o r h arp si ch ord wri tte n i n 1 72 0
, P ubl i c pl aye rs o n .

” “
key e d i n strum en ts s ays B u rn ey , total ly s ubs i sted on
,

th es e con ce rt os for n early th i rty years 1 .

”

Th e con ce rtos were n ot i nten ded for ch u rch u se b ut ,

to b e played b e tween th e acts of th e orato i os H an del s r .

’

rep u tati on o n t h e o rgan es pecial ly i n extemp ore pl ay

,

i ng was s o great th at h e u sed i t as a m eans of att ract

,

i ng t h e p ubl i c to h ear h i s o rato i os as S t Ph i li p Ne i r , . r ,

i n a forme r age h ad u sed th e o ato i os of A n i m ucci a

, r r
t o attract th e peopl e to h ear h i s serm on s , an d t h e
Vo l i v . . p
.
42 9 .

2 1
4
 S t o r y of O rg an Musi c
m ovem en t i n a rel ate d key l ead i ng th rough a few bars
,

o f i n te rl u de
( as i n m any of B ach s p rel udes ) to a fugue
’

o fl ively ch aracte r .

Th e ab ove m us t b e taken as a gen eral descri pti on

on ly : each con certo i s a separate wo k o f a t an d as r r , ,

s uch i s n ot cas t i n e xactly th e s am e m oul d as i ts

,

p redecessors an d i n s eve ral th e two form s are com

,

b in e d . F i n e m us i c as th ey con tai n th ey can not b e ,

compared to th e o gan works of B ach r A p ictu r e .

frame h oweve r wel l d esign ed i s n ot o r sh oul d n ot b e

, , ,

o f m or e i mp ortan ce th an th e p i ctu re i ts elf : an d

’
H an del s con ce rto s were th e fram es i n wh i ch th e ,

s eve ral acts Of h i s oratori os we re se t .

Th e si x fugues com pose d i n 1 72 0 are of n o h i stori cal

i m portan ce .

Th e p osi ti on o f E ngl i sh organ m us i c d u ri n g th e

r
greate r pa t o f th e eigh teen th cen tury was th en that , ,

r r
th e e we re a l a ge n umbe r of n ative o rgan i s ts ful ly ,

comp eten t as executan ts an d accompan i sts o f th e

cath ed ral s e rv i ce an d abl e i f th ey woul d to wri te
, , ,

good fugues bu t b eh in d H an del i n ge neral p owe rs o f

,

comp osi ti on wh i ch d efect th ey s ough t t o cove r ( i n

,

resp ect to th e o rgan ) by di splays Of v ulgar clap trap .

Let u s d igres s for a m o m en t to s ee what was takin g

p lace i n th e s mall p arish ch u ch es We r .

g
ac an d

e s
h av e an am usi n g accoun t wi th p opos al s , r
i n P ar i s h
conn e cted wi th th e o gan th at wi l l bea r , r
M M u s ic k s Mo n u
’

C h u r c hes
quoting ace p ubl
. i sh ed h i s
m e n t i n 1 676 si xteen yea s afte r th e R e
,
r
s t o r at i o n . r
H e was an a den t advocate Of cong ega r
2 16
 M ac e and the O rgan
t io na l
s i ngi ng an d h i s book op ens wi th th i s s ubj ect
,
.

A fte r a ch ap te r o n th e vi rtu e of maki ng al l th i ngs i n

“
th e s ervi ce p lai n an d e as i e to th e cap aciti es o f th e
C om m on — Poo r— I gn o an t — Peopl e r
h e w i tes i n h i s ,
”
r ,

s econ d chap te r “
C o n ce rn i ng Paroch i al Mus i ck : v i z
, .
,
“
Th e S i ngi n g o fPsal ms i n C h u rch es ’

“
I sh al l n ot n ee d to bla z on i t ab road i n Pri n t , h o w
m i s erably th e Proph et D av i d s Psal m s are ( as I may ’

s ay ) torture d or torm en te d an d i n th e servi c e o f Go d

, ,

r
m ad e C ou s e o r ri di cul ou s th e reby : s eei n g th at th e
ge ne ral outcri es of m os t Paroch i al ch u rch es i n th e
n ati on are m or e th an s u f fi ci en t to d ecl are an d m ak e
m an i fes t th e sam e s o often as th ey atte m p t to s in g at
,

th os e Psal m s Th e refore I wi l l say n o m o e to th at

. r
parti cul ar n o r wi l l I r u b b th at s ore pl ace
,
O n ly th i s .

m u ch I wi l l p res u m e to say— v i z th at ( s u e ) i t were far .

, r
r
bette n eve r t o s i n g at al l i n th e ch urch es o r i n God s ,
’

s e rvi ce th an to s in g ou t o ftun e : th at i s n ot i n h a m on i
, ,
r
cal con cord o r agreem en t , N ow by wh at I h av e
.

sai d i t can n ot b ut app ear th at s i ngi n g o f Ps al m s i s

,

r ’
b oth a C h isti an m an s D uty an d i t ough t to b e h i s ,

great care to d o i t we l l an d n o ways sligh tly o r ,

n egl igen tly .

B u t becaus e th i s du ty i s gen e rally n egle cted i n most

r
Paroch i al C ong egati on s i n th i s n ati on an d th at th ey ,

ar e als o at a l oss h ow to h ave i t wel l p e fo m ed ( an d I r r

do constan tly a f f r ’
i m th at ti s absol utely i m possibl e eve r
t o h ave th e Psal m s righ tly an d wel l p e fo rm ed accord r
i n g to t h e com mon way us e d th ough o ut th e n ati on ) I r
r
wi ll ( h e e fol l owi ng ) p opos e an A bs ol ute ce rtai n r -

2 17
 St o r y of O r gan Musi c
an d i n fal l i bl e way h ow to h ave th em wel l and righ tly
,

perfo m edr N ow as to th i s th ere i s n o bette r th an to

.

r
s i ng to s om e ce tai n i ns t u m en t n or i s th e re any r ,

’
r
I n s t um en t s o p rope r for a ch u rch as an organ .

Ti s s ad to h ear wh at wh i n i n g toti ng yell i ng o r s creek , , ,

i n g th ere i s i n m any cou n t ry congregati ons as i f th e ,

p eopl e we e a f r r
f igh ted o r d i s tracted A n d al l i s fo . r
wan t o f s uch a way an d remedy as th i s i s An d .

n ow m eth i n ks I h ear y o u c r y al ou d an d say th at truly ,

i f we kn ew h o w to rai s e an O gan we wo ul d h ave i t r

r
ve y s uddenly ( H e re h e .
”
arran ges al l th e detai l s fo r a

p ubl i c s ubs cri p ti on ) .

B ut n ow as t o an organi st Th at i s s u ch a di f f
i cul t .

’
b us i n ess as I b el i eve you l l th i n k ab sol u tely i m possi bl e
,

eve r to b e Obtai n ed a con stan t c h a ge a te i bl e b us i r rr

!
,

n ess N ow for you r comfo t k n ow th at th i s i s te n r

ti m es m ore e as i e an d feas i bl e th an th at oth e r o f th e
organ : an d th at afte r ye a e once gotten i n th e w ay r
you wi l l h ave o rgan i s ts grow u p am ongs t y o u as your
r
c orn g ows i n you r fi eld s w i th o u t m uch o fyo u r cos t , ,

an d l ess o fyou r care .

”

“
C h apte r V I d eals wi th . H ow to p rocure an
”
O rgan i s t .

“
Th e certai n way I wi l l p ropos e s h al l be th is — v i z .
,

r
Fi s t I w il l s upp os e y o u to h ave a Pa i sh C la k an d r r ,

s u ch an o n e as i s abl e to set an d l ead a Psal m alth ough ,

i t m ay b e eve r s o i ndi ffe en tly r .

“
N ow th i s b ei ng gran ted I m ay say th at I wi ll o r , ,

any Musi ck m aste r wi ll o r m any m ore I n fe r i o u r s ( as

-
,

,
r
Vi rgi nal p laye rs o m any O rgan make rs or th e li ke ) I
- -
, ,

2 1 8
 S t o ry of O r g an Musi c
I s uppos e n o pare n t wi l l grutch i t h i m b u t rath e r ,

r ej
”
o y ce i n i t .

B u t th e p uri tan ical h atre d o f organ s was n ot ye t

d ead an d i n th e n ext ch ap te r Mace p ovi des an oth e r
, r
“ ”
i n fal li bl e way to ge t th e Psal m s wel l sung by th os e
”
wh o take B oggl e at th e ve ry n am e of th e o rgan by ,
“
r
su ggestin g th at th e pa e nts s h oul d s o i n den t wi th th e
m aste r o f th e G ramm ar S ch ool th at th e ch il d re n sh al l
”
b e taugh t to si ng .

H e re we m us t l eav e th e q uai n t ol d m us i cian .

W h eth e r any coun try ch u rch e s p ut h i s s uggesti on s to

th e tes t of p racti ce we kn ow n ot b u t th e wan t of an
, ,

i n s tru m e n t Of s om e k i n d s oo n b ecam e s o m uch fel t th at

th e m e di mv al c us tom o f em pl oyi ng a b an d was r e
i n trod uced an d th e v i llage ca p ente r th e m i ll er th e
,
r , ,

bl acksm i th pl aye d th e fl ute th e i ol on cell o an d oth e r

, ,
V ,

i n strum en ts b oth wi n d an d s tri n g

, Th e vil lage .

ch u rch m usi c th u s becam e a s ou ce o f comm on r

i n te res t an d good fell owsh i p th ough i t was p robably ,

r
in tol e rably coa s e to refi ne d ea s Th e custom was r .

con ti n u ed ti l l th e th i rd q uarte o f th e n i neteenth r

c entury wh e n th e h a m on i um grad ually ousted th e
,
r
bands and i s n ow i tsel f be i ng d is carded i n favou r Of th e
,

r
o gan wh i ch h oweve r Ofte n i t i s abus ed condemn ed
, , , ,

an d destroyed always ri se s agai n an d reasse ts i ts

,
r
su p remacy .

2 20
 C H A PT E R XIV .

I E TA L O RGA MU I C I C E 75
C O NT N N N S S N 1 0 .

I tal i an rgan si c —
o mu ant cc i C ap cc i
V allo tt i S u o Te r r ab ugi o
B ssi—Ger an rgan i c—W F Bach—P p i ls J Bach
o m o mus u of S
R i nck — —V gl er— S ch n ei d ers—M
. . . .

A lb re ch tsb e r ge r o Th e e n de lss o hn
H es e ch ann— F
s S um — —Thiel e R i tter
Th e i s ch e r s Fai sst
Merk e l —R ei nberger—h —R eger—Fre nch rgan
F ah r m an n si mu
'

o c
— B en i t o s Nisard Le eb re W l y Franck
L am b i llo t te f u -
e
B o e llm an n S i nt ae n s D b is S —Wi d r D tch Gu ilm an t
’

a -
u o o -
u

o rgan i t —Van j
s s Lange
E i ken -
De .

W h av e n ow t raced th e s to r y f organ m us i c fr om i ts
E o

ea r l i es t record s i n each cou ntry d own to th e m i ddl e f o

th e eigh teen th cen tu ry— th at i s to th e d e ath o fB ach i n ,

G e rm any H an de l i n E ngl and Marti n i i n I taly an d

, , ,

Ram eau i n F an ce r r
I t em ai n s to ex am i n e wh at h as
.

b ee n d on e i n th e l as t centu y an d a h al f r .

I taly h as l agged b eh i n d th e es t o f E u rop e both i n r ,

o rgan m usi c an d th e i n st u men t i ts el f r

U n ti l t h e .

las t decades o f t h e n i n eteen th ce n tu y I tali an r

r r
o gan s we e n ot m uch i n advan ce o f th os e
o f th e r
days Of F es cobal di ; n o r di d I tal i an ,

o rgan i sts m ake m u ch ep utati on b eyon d r

r r
th ei o wn coun t y F o r I taly was far m o e Occ up i e d
. r
wi th th e attracti on s an d clai m s of ival op e rati c si nge s r r
22 1
 Sto r y of O rgan Musi c
th an Wi th s e ri ou s m usi c ; an d n ot only th e organ bu t ,

th e wh ol e o fI t al i an ch u rch m us i c wi th few excepti ons

, ,

grad ual ly san k to th e depl orabl e con di ti on com m en ted

o n by Men del ssoh n an d by m any s i n ce h i s day o u t of ,

wh i ch th e p res en t Pop e i s m aki ng s uch l audabl e e f fo rts

to rai se i t .

A m ongs t th e I tal i an organ i sts wh o attai ned a certai n

am ou n t o f rep utati on was Padre F ran cesco A n ton i o
V allo t t i th e m as te r o f th e m ore fam ou s
,
V allo tt i
A b bé Vogle r H e was born i n 1 697 an d
.
,

from 1 72 8 to h i s d eath i n 1 78 0 was m ae s t r o o f th e

C h u rch o f S an A n ton i o at Padu a B u n ey wh o s aw
. r ,

ev e ryth i ng I tal i an th rough m agn i fyi ng gl ass es w ri tin g ,

in says o fth i s ch urch : I t i s a l a ge o ld Goth i c r

b ui ldi ng . A t th e e n tran ce i n to th e ch oi th e r ,

m aj esti c appearan ce o f fou r i m m ens e o gan s i s ve ry r

s tri ki ng of wh i ch th e fron t p i pes are s o h igh ly p ol ish ed
,

as to h av e th e ap p earan ce o f b urn i sh ed s i lve r ; t h e

fram es t o o , a re ri ch ly carve d an d gi l t
,
Th es e fou r .

o rgan s are al l al i ke ; th e re a re n o pan els to t h e

fram e s b ut th e pi p e s are s een o n th ree s ides of a
,

s q uare .

r
Th e o gan s are sti ll th e re Th ey are s uspe nded o n
.

r
th e fo u m assive col um n s wh i ch s upp ort th e cen tral
r
dom e an d th e i r l ofts a e each spaci ous e n ough to
,

r
ac com m odate a ch oi r B u n ey h eard Mass p e fo med
. r r
r r
i n th i s ch u ch by tw o ch oi s an d two o fth e organ s an d ,

r
th e p resen t w i te r h eard th e sam e com b i nati on i n 1 892 .

P r esent S t at e fMu si c i n
o F r an ce and I t aly p . 1 35 .

2 22
 St o r y o f O rgan Musi c
r
fi n e o gani s t an d i s th e j oi n t au th o with T e b aldi n i
, r , ,

of a sch ool o f m odern o rgan pl ayi ng H e h as c o m

-
.

p osed an organ s on ata an d a con ce rto for o rgan and

,
“ ” “
orch estra Th e . C ecil i a edi ti on contai n s an I nno
Tri on fal e d edi cated to W T B est wri tten i n good . .
,

cl assi cal styl e an d th e sam e col lecti on con t ai ns wo ks

,
r
by oth e r l ivi ng I tal i an o rgan i sts wh i ch sh ow th at th ey ,

are fully up to d ate i n th e m ode n art o f o gan pl ayi ng r r -

an d com pos i ti on fo r th e i n strum en t .

r
Th e h eigh t to wh i ch Ge m an organ m usi c h ad s oared
i n th e h and s o f B ach coul d n ot be m ai n tai ned B ach .

l eft m any p upi l s an d s eve ral son s b u t th ey

, ,
Ge r m an d id n o t app roach h i m i n gen i us th ough h i s
g
O r an
e ldes t so n Fri e dem an n was th e fin es t organ i st
,

Mu si c ’
i n Germ any afte r h i s fath e r s d eath B u t th e .

atten ti on o f th e m us i cal worl d o f G e rmany was n ow

al m os t en ti rely d ra wn away from th e o gan t o th e r
symph ony th e Op era an d th e o ratori o ; and H aydn
, , ,

Moz art B eeth oven S ch u be rt W ebe r al th ough s eve ral

, , , ,

Of th em pl ayed th e o rgan i n th ei r you nge days s eeme d r ,

to forge t i ts exi sten ce excep t as a useful i n strumen t for

,

accom pan i men t W h en th ey wrote for keyed i n s t r u

.

r
m e nts i t was fo r th e h a psi ch ord and th e rap i dly
,

devel opi ng pi an oforte wh os e s up eri o i ty ove r th e o gan

, r r
i n th e m atte r of rhyth m e xp ressi on an d esp onsiven ess
, ,
r
o f tou ch soon began to b e evi den t I t i s t u e th at t wo . r
r r
o f o u r m ost b i ll i an t o gan con ce rt p i eces e manated

from th e p e n of Mo z art ; b ut th ese two great fantasias

r
we re w i tten n ot for th e organ b ut for a m ech an i cal
!
, ,

cl ockwork i n stru m en t Th ere conti n ued to b e great

2 24
 ’
Bac h s Pu p i l s

r
pl aye rs o f th e o gan i n Germ any j us t as th e e we e ,
r r
i n E nglan d an d F ran ce ; b ut th e i n strum e n t took a
s econ dary ran k t o th e p i an ofo t e i n p ubl i c esti m ati on r ,

an d wh i l e s on atas were p o ured forth i n th o usands fo r

th e latte r t h e com pos i ti on s fo r th e Ol de r i n strum en t
,

we re cou n ted by s co re s only u n ti l th e i m p rove m en ts i n ,

i ts con st ructi on o f th e l atte r h al f o f th e n i n eteen th

r
century b ough t i t up to m odern requ i rem e nts an d l e d ,

t o i ts i ncreasi ng u s e i n l arge con cert h al l s -

.

Th e re was o f co u s e n o fal l i n g O f
, r f i n th e n u m b er s
,

r r
of th e o gan i sts fo r eve y c h u rch equ i red o n e o r m ore
, r ,

r
as b efo e ; an d th e o f fi ci al s u p on wh om th e d uty o f

sel ecti on fel l took care th at th e s tan da d O fp erform an ce

, r
was as h igh as co ul d b e attai n e d O f th e se o rgan i s ts .

w e h ave only space to m n t i on a few o f th e

e
more p rom i n en t O fB ach 5 s on s t h e el dest
.
W F B ach
, ,
. .

r
W il h el m F i edem an n b orn i n 1 71 0 was o gan i s t o fth e
, , r
r
Ma i enki rch e at H al l e an d d i e d i n 1 78 0 , H i s s tyl e .
,
”

s ays F o r k e l was el evated s ol em n an d i mb ue d wi th

, , ,

rel igi ous feel i n g ”

H e p re fe re d extem pori si ng to
. r
wri ti ng an d h e n ce h e o nly l eft a few c o m
,
Bad ”
?
’
p osi ti on s .O f B ach s p up i l s J G Vogl e r , . .
,
PW ”
r
H o m i li u s K eb s G ol dbe rg A lt n i k o l K i ttel
, , , , ,

r
J oh an n S ch n e i de S ch uba t Z eigl e r Mti t h e l an d h i s
, r , , ,

r
cou si n E n s t B ach we re al l m o e o r l es s fam ous
, , r
r r
o gani sts i n th ei day th ough n ow fo gotte n ; i n fact
, r
th e fam e Of B ach h i m sel f was fo r n early a ce ntu y r
afte r h i s d eath a m e re t radi ti on : h e was s o m uch i n
advan ce O f h i s ti m e th at only o f l ate years h as th e
gene ral p ubl i c begun to ecogn i s e h i s g eatn e ss r He r .

2 25
 Stor y of O r gan Musi c
com pose d fo r th e n i n ete en th an d twen ti eth cen tu i es r ,

n ot for t h e eigh teen th .

J C H R i n ck th e s on of an o rgan i s t was born

. . .
, ,

i n Th u ri ngi a i n 1 770 an d was a p up il Of seve ral

,

Ri n ck
r
Th uringi an o gan i s ts and fi n ally o f Ki ttel , .

H e h el d s eve ral i m portan t p os ts an d gav e

r r
o gan con ce ts i n va i ou s p arts o f Germ any r He .

r
d i ed i n 1 8 46 afte r h avi n g p od uced m ore for th e o gan
, r
th an any o f h i s contem p o a i es rr
H i s styl e i s digni fie d
.

an d s im pl e ; h e wrote few fugue s an d h i s m usi c ,

p res ents few d i f fi cul ti es t o th e e xe cu tan t yet i t i s al l ,

p u re an d attractive organ m us i c H i s reason fo r .

avoi di ng fugu e i s m u ch to th e p oi n t an d sh ows th at ,

“ ”
h e app reci ate d h i s p osi ti on i n h i sto ry B ach s ai d .
,
“
h e to Fé t i s i s a col oss us wh o d om i nates th e m us i cal
, ,

worl d : o n e can n ot h op e to foll ow i n h i s footsteps for ,

h e h as exh au sted eve ry th i ng i n h i s own dom ai n I .

h av e al ways con s i de re d th at i f I am to s u cceed i n com

p osi n g anyth i n g worthy o f ap p oval i t m us t b e on r ,

dif r
fe e n t l i nes from h i s An d th e j usti ce o f h i s vi ew
.

r
i s b o n e o u t by t h e fact th at h i s works are sti l l pl ayed ,

wh i l e th os e o f m ost o f h i s contem pora i e s are fo r r

gotten H e i s wel l k nown i n E nglan d by h i s O rgan
.

S ch o o l .

J G
. . th e maste r of B eeth ove n was
A lb r e ch t s b e r ge r , ,

born i n 1 73 6 an d d ie d as C apell mei ste r of

,
A lb r e ch ts
S t S teph e n s Vi enn a i n 1 8 09
’
.
,
A m ongst , .

b e r ge r
r
h l S n u m e ou s com pos i t i on s are el even sets
of F ugu es an d th re e of Prel udes fo r th e o rgan , .

A r
em arkabl e caree r was th at of Ge o g J oseph r
2 26
 St o r y of O rgan Musi c
wh e re h e gai n ed fam e as a teach e r an d m o e as a , r
r
c ondu ctor o f p ovi n ci al festivals H is ch i ef c o n t r i b u .

ti on to th e li teratu re o f th e o gan i s a H an dbuc h de s r

, r
O rg an i st e n t eati ng o f com pos i ti on o f ch oral es e tc , .

H e d i ed i n 1 8 5 3 .

S til l m ore fam ous was h i s b oth e J ohan n Gottl ob r r , ,

on e of th e greates t o f th e Ge m an n i ne teen th cen tu ry r -

r
o gan i sts . r
H e was b o n i n 1 78 9 an d was al s o a p upi l ,

o f h i s fath e r an d afte rward s o f U nge

, I n 18 1 1 he r
.

r
b ec am e o gan i s t o f th e u n i ve rs ity ch u ch at Leip si c r ,

r
a n d m ade a great ep utati on by h i s o gan con ce ts i n r r
th at town an d many oth e r p a ts of Germ any His r .

fugu es fan tasi as an d p el u des for th e organ a e o f

, , r r
e xcell en t q u al i ty .

Men delssoh n ( born 1 8 09 d i ed 1 8 47) was as g eat , r

r
a v i tu oso o n th e o gan as o n th e pi an o r H e com posed .

Me n dels
and d edi cated to A ttwood o gan i s t o f S t , r .

so h n
’
Pau l s th re e P el ude s an d Fugues o p 3 7 ;
,
r , .

an d l ate r o n h e p ubl i sh e d s i x o gan S onatas r .

r
Th es e fi n e wo ks a e too well known to E ngli sh r
r
o gan i sts to n eed detai l ed de scri pti on Th e sonatas .

h av e bee n c ri ti ci s e d by Old fash i oned G e m an o gan -

"
r r
i s t s as too K lav i e r m as s ig too m u ch l i ke
p i ano m usi c Th at th ey a e i n th e gen e al s tyl e of th e
. r r
p i an o m u si c of th ei r day i s t ue b ut al l th e bes t o gan r , r
r
m usi c of any p e i od h as e flected m o e o l ess the r r r
gen e ral k eyboard s tyl e i n vogue ; an d th e emark about r
Me ndelssoh n s s onatas only sh o ws th at th e o gan was
’
r
b egi n n i ng to keep p ace wi th th e p ian o Th e son atas .

are n ot at all i n th e s am e fo m s as pian o son at as ; o n t h er

2 28
 G e r m an O rgan is t s
con trary fo u r o f th em are p racti cally ch o ral e arrange
,

m e nts o n a l arge s cal e an d th e oth e t w o a e fo rm s ,

r r
r
i n wh i ch th e fugu e p edom i nates and a e parti cu la ly , r r
wel l s ui te d t o th e gen i u s o fth e o gan r .

r
A dol f F ri ed i ch H es se born at B resl au i n th e sam e ,

year as Men del ssoh n an d di e d th e re i n 1 8 63 a vi rtuos o

, ,

o f h igh rep utati on h as l eft a l arge q uan ti ty

,
li ess e
o f m usi c wh i ch i s p op ul ar m ore o n acco un t

o f i ts s mooth n es s o f m el ody an d eas e o f e e cu ti o n x

t h an b ecau s e of any d ep th o fm usi cal e p ress i on
’
x .

R obe rt S ch u m an n s ske tch es can on s an d fugues , , ,

th ough fai ly e fr fectiv e on th e organ we re n ot origi nal ly ,

i n ten ded fo r th at i n st u m en t b u t fo r th e r
S c h u m an n
,

pe dal p i ano Th e can on s an d s ketch es a e

. r
b e auti ful l i ttl e p i eces bu t th e fugu es ar e rath e r h eavy
,

an d d ull .

’
R i em an n s Le x i con m en ti on s fi fteen m us i ci ans n am e d
Fi sch e r
. Mi ch ael Gotth ard Fi sch e r ( 1 773 1 8 2 9) was -

a p up i l o f Ki ttel o rgan i s t o f E fu t an d
,
M G
r r ,
.

a ve ry d i s t i ngu i sh ed playe r an d com pose r

.

Fisch er
.

r
Ka l A ugus t F i sch e r b o n i n 1 8 2 8 was , r ,

r
o gan i s t o f th e E ngl is h ch u rch an d afterward s o f ,

r
th at o f th e Th e e Ki ngs at D resden He , .

d i ed i n 1 892 H e was wel l k n own as a fi n e

.

r
o gan i s t an d compose r fo r h i s i n s trum en t
, .

A mon gs t h i s com posi ti on s are fou r sym ph on i es f o r

r
o gan wi th orch estra th ree con ce t o s an d d uets fo r , r ,

o rgan an d vi ol i n o gan an d i ol oncel lo

, r V .

I m m an uel G F F ai s s t was b orn i n 1 8 2 3 an d studi ed

. .
,

th eol ogy , b u t gave th i s u p for m usi c , givin g organ

2 29
 St o r y of O rgan Musi c
concerts i n vari ou s p arts o f Ge many H e fi n al ly r .

r
s ettled at S tuttgart wh e e h e j oi ne d wi th oth e rs i n
,

Fai sst
fou ndi ng a cons ervato i um of wh i ch h e was r ,

r
p rofesso r o f th e o gan an d com posi tion an d ,

afterwards di rector H e di e d i n 1 8 94 H e p ubl i sh ed

. .

s eve ral organ p i ece s .

Fri edri ch Lu dwi g Th i el e ( born 1 8 1 6 di ed 1 8 48 ) co m ,

r
posed conc e tos an d oth e r wo ks fo r th e o rgan r .

A m ongs t th e n um e rou s R i tte rs wh ose n am e s occu r

i n Ge rm an Lexi con s th e m os t e mi n en t i n conn ecti on
,

wi th th e o r an i s A u us t Gottf i ed R i tte r r
5 f
,
A G R i tter
born i n 1 8 1 a p up i l o M G Fi sch e r H e
' '

. . .

was organ i s t s u cces sively o f E rfu t Me seb u g and r , r r ,

the C athed ral o f Magdeb u rg H e di ed i n 1 88 5 . .

H i s K u n st de s O rge lsp i e ls an i nstr ucti on b ook , ,

Ge sch i ch te de s O rge lsp i e ls O r ge lf

r enn d
, a col lecti on o f ,

r
pi eces by va i o us composers an d O rge lar ch i v are val u
, ,

abl e con tri b uti on s to th e h i story an d l i te rat u re o f t h e

i nstrumen t ; an d h e com posed o gan S on atas C h oral r ,

vorspi ele F ugues an d Vari ati on s

, , H i s fi s t S onata . r ,

i n D m i n or i s i n real i ty a parti cul arly vigorous fugue

, ,

wh os e ch romati c s ubj ect i s foresh adowe d i n an i n t r o du c

ti on o r p rel ude ; an d b etwee n th e p rel ude an d th e fugue
th e re i s a beauti ful a n dan te i n fou r voi ces accompani ed
, ,

by a soft basso o s t i n ato o n th e pedal H i s S onata i n A .

,

No 4 h as a totally di f
.
,
fe ren t fo m r
B egin n ing wi th a .

som ewhat l engthy m ode rato i n ron do fo m i t ends r ,

r
wi th vari ati on s o n a b ois te ou s fol ksong wh ose ma ch , r
l i ke ch aracte r seems al m os t m ore s ui tabl e to a m il i ta ry
ban d than th e o rgan .

2 30
 St o ry of O rgan Musi c
b erge r seem s to h ave d i scou nte nan ced th e i dea o f
r r
t eati ng th e o gan i n o ch estral style eve n to th e r ,

l i mi ted exte n t p ossibl e on th e G erm an o gan s of h i s r

day ; on th e contrary h e m ake s us e of bol d an d tell in g
,

co un terpoi n t o r fi n e mascul i n e m el ody th rough th e

, ,

m ed i u m o f massiv e o gan ton e r

Li ke Bach h e fr e .
,

r
qu en tly w i tes m any pages i n s u ccessi on fo r ful l o gan r ,

wi th ou t any ch ange of powe r ; bu t h e al so kn ows h ow

r
to p odu ce th e m os t del i cate con t asts o f ton e wi th r
th e soft s tops wh en h e equi re s to d o s o
,
r
H i s sonatas .

r
d o n o t tak e th e fo m o f pi an o son atas Th ey are for .
,

r
th e m ost pa t i n th ree m ovem en ts th e fi st an d l as t
, , r
o f wh i ch r r
a e gen e al ly a p rel u de an d fugu e d i vi ded
r
from on e anoth e by an i nte me z z o con st u cted i n two r , r
r
cont asti ng secti ons o n th e sam e p i ncipl e as th e m i n ue t r
r
an d t i o b u t wi th m o e f ee dom of fo m Th ey a e
, r r r . r
r
th e refo e s om eth i n g s i m i la i n fo rm to B ach s great r ’

C m aj o r Toccata an d Fugue w i th i ts beau ti fu l soft i nte r ,

r
m e z z o i n A m i n o ; but th e Rh ei nbe rge r sonata h as th e
r
m ode n feature o f a cl ose con necti on betwee n th e fi s t r
an d las t m ove men ts by th e u se o f th e s am e m otives
i n b oth . r
I n th e e arl i e wo ks h e someti m es u ses frag r
m e nts o fpl ai n song i n comb i nati on wi th th e fugu es but ,

r r r
h e afte wa ds di sca ds th i s d evi ce and t usts enti ely r r
r r
t o o i gi nal wo k wh il e h i s m aste y ove r th e i n st um ent
, r r
r
s eem s to g ow wi th each n ew sonata O n e of th e fin est .

o fth e l ate r s onatas Op 1 4 2 dedi cate d to M G u i lm an t

, .
, .
,

has as i ts last m ovem en t a Fan tasi a i n reci tati ve form ,

r
fol lowed by a g eat fugu e b uil t on a m otive ( wh eth e r
r
acci dental o r n o t ) f om th e C amb i dge C h i m es r .

232
 F r e nc h O rgan C o m p os e r s
A m ongs t th e you nge r com p os e s a e E rn s t H an s r r
F ah r m an n an d Max Rege r T h e fi s t was b orn i n . r
1 8 60 an d i s n ow can to r an d o rgan i s t at th e J oh an n es
,

ki rch e at D es den r
H e h as com p ose d fo u r great o rgan
.

s on atas a con ce to an d oth e wo ks

,
r , r r .

Max R ege r b orn i n 1 8 73 a h igh ly gi fte d an d p rol i fi c

, ,

r
comp ose h as p ubl i sh ed n o l es s th an ei gh tee n com p osi
,

r
ti on s fo r th e o gan m any o fwh i ch ar e o n a l arge s cal e
,
.

A m ongs t th e m are fi f t y two C h o r alv o r s p i e le two -

,

,
r
S on atas s eve al Fan tasi as an d Va i ati on s H e i s m uch , r .

u n de r th e i nfl ue n ce o f B ach an d dedi cates a s u i t e ,

D e n Man en J S B ach s
”
. . .

F ran coi s B en oi s t b o n i n 1 794 d i e d i n 1 8 78 gai n e d

,
r , ,

r
th e P i x d e R om e at th e Pa i s C ons e vatoi re and on r r , ,

r
h i s retu rn f om I taly b ecam e C o u rt O gan i s t , r
at Pa i s r H i s colle cted works a e con tai n e d
. r ’
i n twe lve vol um es en ti tl e d B i b li o th é gn e ae ,
’
l o rg an i s te Th re e of h i s p i eces p ubl i sh e d
.

i n C e c i lia P i ere an d two “

r
March e s rel igi e uses”
,

are ve ry s enti m en tal .

Lo ui s L am b i llo t t e wh o was b orn i n 1 797 an d di e d i n

, ,

1 8 5 7 organ is t o fC h arl e o i an d D i n an t was an em i ne n t

, r ,

wri te r o n m us i c an d com p ose fo r th e

L am b i llo tt e
r
r
ch u ch H e en te e d th e O de r of J esu s i n
. r r
1 8 25 ,an d was on e of th e e a l i es t of th e ban d o f r
r eform ers o f pl ai n s ong wh o p repa e d th e grou n d fo r r
“
wh at i s n ow kn own as t h e S ol esm es S ys tem in ,

wh i ch th e e n deavou r i s made t o p erfo m p lai n song as r

i t was i n th e n i n th cen tu ry b efo e i t cam e u nde t h e , r r
i nfl uen ce o fm easu red m usi c Th i s i s th e system wh i ch .

2
33
 St o r y of O rgan Mu s i c
th e p resen t Pop e wi sh es to establ i sh as th e o rth odox
m eth od of th e R om an C h u rch L am b i llo t t e p ubl i sh ed
.

i n 1 8 4 2 44 a col lecti on o f organ m usi c under t h e

-
,

ti tl e Mu se e ( le s O rgan i s te s
'

Th eodo re Ni s ar d th e ps eudonym o f A bbé X avi e r

,

N orm and b orn i n 1 8 1 2 was anoth e of th e band o f

, , r
arde n t stud ents an d reform e rs of pl ai nsong .

N i s ar d
r
A fte r act i ng as o gan i s t an d m us m d i rector
r
fo s om e years h e gav e u p p acti cal wo k an d devoted
, r r
h i ms el f to l i te at u e r r I n 1 8 40 h e p ubl i sh ed a M an ue l
.

de s o rg an i s te s de la c ampagn e treati ng o f th e a e com ,

p an i m e n t o f pl ai ns ong ; i n 1 8 60 L A ccmnpagne me n t da
’
,

P lai n ch a n t su r l o rg u e an d L e s t i r ai s P r i nc ipe s de l acco m

’ ’

n t du P lai n ch a n t s u r l o r g u e d ap r es le s Mai t r e s
’ ’

p a g n e m e ,

du X V e t X VI S iec le s
. . Th e t eatm en t o f th e organ i n
. r
pl ai n song was at th i s ti m e occupyi ng th e attenti on of
m any Fren ch m u si ci ans as part o f th e re formati on o f
,

th e wh ol e subj ect o fG rego i an m us i c r .

Loui s J ames A l fred Lefebu re W ely born i n 1 8 1 7 -

, ,

di e d i n 1 8 69 was a s on o f th e organ i st o f S t R och e

, .

at Pari s H e s ucceeded h i s fath e r i n th i s

.

Le fe b u r e
p os i t i on at t h e age O f fou rteen and i n 1 8 47
Wel y becam e o rgan i st of th e Madel e i n e ; b ut i n
.
,

th e fol l owi ng year h e gave th i s u p an d d evote d h i m sel f ,

r
e n ti ely to comp os i ti on H e was an excell en t i m pr o
.

r
v i se r on th e o gan and h a mon i u m an d h e p ubli sh ed r ,

m us i c fo r both i nst rum e nts wh i ch at o n e ti me was

exceedi ngly p opular th ough of n o great a ti sti c val ue
, r .

H e was al so a fash i on abl e pi an ofo te com pose r r .

r
C é sar A uguste F an ck wh o was b orn i n 1 8 2 2 and ,

234
 St o ry of O rgan Musi c
l argely depen d on d el i cate m ani pulati on o f th e s tops as ,

i n m os t F ren ch m usi c Th e e P el udes an d Fugu es . r r ,

d ed i cated re sp ectively to MM W i d o r G u i lm an t an d .
, ,

Gigou t a re ve ry i nte esti ng Prel ude N o 1 consi sts o f

, r . .

a h arm oni c b as i s e mb oi de ed wi th a peggi os i n wh i ch r r r ,

a s ingl e m otive p redom i nates fo esh adowi ng th e fugu e , r .

r
P el ud e No 2 h as a p i anoforte figu re o n th e righ t h an d
.

accom panyi ng a duet b etween th e l eft h an d an d pedal

i n q u as i can on fo m
-
r .

r
D ub oi s w o n th e P i x d e Rom e i n 1 8 61 an d becam e ,

organ i s t of t h e Mad el ei n e i n 1 8 7 1 H e h as com posed .

Du b o i s
r
eve y k i n d of m usi c H i s D o u z e p i eces po u r .

arg u e o n p i an o pe dali e r ar e m el od i ou s ly i cal r

p i eces d epen di n g o n c areful regi ste i ng for th ei r d u e
, r
ef fect wh en played o n th e organ I n N o 9 March e . .
,

d es Roi s Mages th e h igh est B o fa fou r an d a t w o fee t

,
”
-

stop o n th e S wel l i s to b e h el d down by a weigh t

th rough out th e p i ece to rep esen t th e star i n t h e east
, r ,

wh il e th e m arch i s pl ayed o n th e G eat an d C h oi r r .

r
Gu ilm an t was b o n at B ou l ogn e s u r Me r wh e re at - -
, ,

th e age of si xteen h e becam e o gan i st of S t Ni ch o las s

, r .
’

Gu i lm an t
C hu rch wh i ch h e l eft i n 1 8 71 f
, o r S t e T i ni té . r
i n Pa i s r
H e h as b ecom e wel l kn own i n
.

E ngl and R ussi a an d I taly by h i s con ce rt tou rs i n

, , , ,

wh i ch h i s i ntel lectual an d spi ri te d ren de i ng o f th e r

r
fi n es t o gan m usi c fo m a great attraction N ot only i s r .

h e a p rol i fi c com pose r of m ost i nte resti ng o rgan m usi c ,

r
an d a m aste ly e x t e m p o r i s e r b u t h e h as edi ted a quanti ty ,

o fan ci en t m u si c u nde r th e ti tl es of A r ch i v e s des M ai t r e s

,

de l o rgu e an d Eco le c lass i qu e d o : g u e

’
H i s o gan wo ks ’
. r r
2 36
 L i v i ng F r e nc h O rgan is t s
i n cl u d e s eve n S on atas s eve n S ym p h on i es an d a vas t
, ,

n um b e r o f s mall e r p i eces b es i d e s arrangem en ts fo r t h e

,

organ an d h arm on i um H e i s a m aste r o ffugu e wh i ch

.
,

h e u se s i n comb i n ati o n wi th th e m arch an d oth e r lyri cal

form s wi th th e h app i es t r e s ults H i s s on ata s ar e .

r r
gen e ally i n regul ar b i na y form as t o t h e fi rs t and l as t ,

m ove m en ts ; b u t h e al s o w ri tes th e m i n th e m o e u s ual r

r
m ode rn o gan form o f p el ude i nterm e z z o an d fugu e r , , .

r
Li ke h i s com pat i ots h e dep en ds o n th e regi steri n g
, ,

r
wh i ch i s ca eful ly i n di cate d for a great n um be r o f h i s ,

e ffects .Th e cod a of h i s F un eral March con si sts o f

a m el ody pl aye d by th e righ t foot accom p an i ed by t h e ,

r
l eft foot wi th rap i d a p eggi os i n b oth h an ds on th e v o i x
,

ce le s t e s v o i x h u m ai n e
’

,
an d t r e m u lan t
,
.

r r
W i do becam e o gan i s t o f S t S ul p i ce at Pa i s i n . r
1 8 70
. H e h as comp ose d eigh t S ymph on i es fo r t h e
r
o gan al on e an d o n e fo th e o ch estra an d
, r
Wi do r
r
r
o gan . Th ey are o n a l a ge s cal e co n r ,

s i sti ng o f fou r o r fiv e m ovem en ts i n stead o f t h e ,

o rth od ox th re e u sual i n o gan sonatas Th e th i d

, r . r
sym ph ony i s a ki n d of s u i te con s i sti ng of p rel ud e , ,

m i n u et m arch can on fugu e an d a b i ll i an t fi n al e

, , , , r .

r
U n l i ke Gu i lm an t h e ra ely ch anges th e stops d u ri ng a
,

p i ece con ten ti ng h i ms el f wi th i nd i cati ng t h e combi n a

,

ti on s to b e us ed o n each clavi e r at th e com m en cem en t .

A m ongst fam ou s B el gi an o gan i sts i s N i col as J acqu e s r

Le m m en s wh o was b o n i n 1 8 2 3 an d d i ed i n 1 8 8 1
, r , .

r
H e was P ofesso r of th e O rgan at th e
Le m m e n s
r r
B u ssel s C on se vatoi e an d i n 1 8 79 h e r ,

r r
op e ne d a sch ool fo o gan i sts an d ch oi rm aste rs at
2 37
 St o ry of O rgan Musi c
Mal i n e s H e was th e h usban d o f th e fam ou s E ngl i sh
.

r
s i n ge Madam e Lem m en s S h erri n gton
, H e com posed
-
.

r
a qu an ti ty of excell en t o gan m u s i c an d p ubl i sh ed an ,

o rgan s ch ool bes i des wh i ch h e was th e auth o r of a

,

m eth od o f accom panyi ng Pl ai n song I n Engl an d h e i s .

wel l kn own by h i s Fantasi a i n E m i n or call e d th e ,

“
S torm ,
”
r
a s e t o f va i ati ons on a slow m arch l i k e ,
-

th em e givi ng way to rapi d ch rom ati c passages i n th e

,

l owes t octaves of th e si xteen feet stop s wh i ch g ad ually -

, r
r i s e i n a c r esce n do to th e top o f th e m an ual wh en th e ,

ful l organ b u rsts i n wi th a s to my i n terch ange of r

arpeggi os an d en orm ou s ch ords ; th en com es a
“
p raye r o n th e v o i x ce le s te s an ag i tat o on th e Open
” ’

d iapas on s a n ew m elody an d th e p i ece cl ose s wi th a

, ,

recapi tul ati on o f pa t o f th e p aye r“

r E xcept i n th e r .
”

c r e sce n do th e stops are n ot ch anged d u i ng th e c ou rs e

,
r
o f th e d i f fe ren t m ovem en ts ; i n th i s respect Lem m en s
l ean s rath e r to th e Ge rm an th an th e F ren ch t eatmen t r
o fth e organ wh i l e th e com p os i tion i s Fren ch i n styl e
, .

r
A m ongs t cel eb ate d D utch organ i sts S i m on v an
E ij k e n takes a h igh ran k H e was b orn i n 1 8 2 2 an d
.
,

di ed i n 1 8 68 Th e son o f an o rgani st h e
V an R i k e n j .

was t ra i n ed at Le i ps i c C onse rv ato ri um

.
,

r
wh e e h e cam e un de r th e favo u rabl e n oti ce o fMen del s
r
s oh n wh o e com men de d h i m t o com pl et e h i s st ud ies
,

u nd e r J oh an n S ch n ei de r at D resden H e b ecam e .

r
o gan i st of two ch u rche s i n s uccessi on at A m ste dam r ,

r
a n d afte ward s o f th e R efo rm ed ch u rch at E lbe rfel d .

H e c om pos ed th re e S on atas 1 5 0 C h o r alv o r s p i e le , ,

- r
twenty fi v e P el ud es a Toccato an d Fu gu e o n th e n otes
,

2 38
 C H A PTE R XV .

TH E PR O GR E I E GL D
SS OF O RGA N M US C IN N AN .

— rn e S tanley Nares C k e D p is— Beckw i t

R o se i n gr ave A oo u u h
Th e Wesl eys — C lark e W R s ell Cr tch N vell -
h i tf
e ld u s o o o

A da s— m Wes l ey — S rt — t irl i ng— park —

S S — Be t ma S S O u se le y s

prese nt ngl i h sch l

. .

-
Th e E s oo .

LET us n ow retu rn to th e p r ogress f organ m us i c i n o

E nglan d O versh adowed by th e gen i us o fH an del an d

.
,

h avi ng i nstrumen ts o f good ton e as far as th ey wen t ,

b u t i nadeq u ate fo r th e m ass ive e f fects of s oun d s o

r
p ecul ia ly th e p roperty o f th e organ o u r cath ed al , r
r r
o gan i sts con t i b uted l i ttl e o f i mportan ce to th e l i te ra
r
t u re o f th e i n st um en t beyon d a n umb e r o f excel len t
fugu es for m any o f th e oth e r m ove men ts o f th ei
, r
v ol un tari es can s carcely b e ran ked as fi r s t cl ass c o m -

p osi ti on s .

Th om as R o s e i n gr ave o rgan i s t o f S t G eorge s , .

’
,
’
H anove r S q uare an d compose r to th e Ki ng s Th eatre
, ,

p ubl i sh ed Vo lu n ta r i e s a n d F ug u es m ade o n ,
Ro sei n
u r po s e f th e O rg an o r H ar ps i ch o r d i n
p or ,
gr av e
1 73 0 an d S i x D o u ble F ugu es fo r th e O rgan
,

or H arps ich o r i n 1 75 0 Th es e are good sol id .

,

r r
wo ks Th ey a e n o t u n de r th e i nfl uen ce of H an del
.
,

r
b u t are t ue n ative E ngl is h p rod ucti on s .

2 40
 E ngl ish O rgan Musi c
Th e fam ous com pos e r D r A rn e ( 1 71 0 ,
p ub .

r
li s h e d s om e con ce tos of great m e i t D r Pearce has r . .

arrange d a fi n e toccata by h i m for th e

Dr A r n e .

m od ern organ i n wh i ch a p e rpetual m ove

,

m e n t i s kep t u p by o n e or th e oth e r h an d wh i l e a good ,

d eal of th e l eft h an d work i s give n by th e edi to r to th e

-

p e daL
A re markabl e o rgan i s t was J oh n S tan ley Mu s B ac , . .

( 1 71 3 A t th e age o f two h e b ecam e b l i n d by an

acci d en t ye t s uch was h i s fo rce o f ch aracte r
,

th at h e d isti ngu i sh ed h i m sel f n ot only as an

S tan le
,
y
exe cutan t b ut as a com pose o f o ato i os a teach e r
,
r r r , ,

an d an e n t r ep r e n e u r o r as we s h oul d say a con ce t

, , , r
r
age n t F o r th e o gan h e wrote th ree se ts o f V o lu n
.

r
ta i es from wh i ch D r Pe a ce h as ar ange d an adagi o
, . r r
an d allegr o ugato f f
Th e ug at o i s e xcell en t and th e
.
,

adagi o i s l es s com m on place th an m any s i m i lar c o n

tem p orary c o m posi ti on s o fth i s cl ass .

r
J am es Na es Mu s D o c ( 1 71 5 , . o gan i s t an d
. r
comp os e r t o th e C h ap el R oyal p ubl is h ed I t P r i nc i pi o ; ,

or , a r egu lar I n t r o du ct i o n to P lay i ng t h e O rgan

D Nm
an d H ar p s i c h o r d, sai d to b e th e fi s t o f i ts r s

ki n d an d
, S i x F ugu e s , wi t h I n t r o du ct o ry Vo lu n t ar i e s fo r
th e O rg an o r H ar s ic h o r d p I n th e p eface to
. r It
P r i nc i io p
th e auth o r says : I t h as l o ng b ee n a m atte r
r
o f won de r to l ove s o f m us i c th at n o egular i n t r o du c r
r r
ti on to th e a t of h a ps i ch o d playi n g h as eve r bee n r -

of fere d to th e p ubl i c Th e auth o h as n ot th e

. r
van i ty to i m agi n e th at th i s attem p t i s p e rfe ct i n i ts
ki n d , b ut bein g convi n ced th at i t may b e u seful an d ,

241
 St o r y of O r gan Musi c
th at a regular i n troducti on i s m uch n eeded h e wi l l ,

ven ture to recom m en d th i s wo k exec uted as i t i s til l r , ,

s om eth i ng m ore p erfect o n a si mi l ar pla n sh al l be p ro

du c e d .
”
I n st ructi on s a e given i n th e cl efs notesr , ,

ti m e e tc scal es an d sh akes ; th e n com e l i ttl e m i nuets

, .
,

and gavottes i n t w o o r th ree p a ts followed by easy r ,

l esson s an d m ore d i f
”
fi cul t on es N oth i n g wh ateve r i s .

s ai d about th e m an agem en t o fstops keyb oards o r any , ,

oth er part of th e organ ; i n fact th e i n st um en t s ee ms r

r
to b e fo gotten as i t i s n ot m en ti oned afte r th e ti tl e
,

p age Th e S i x F ugu es a e as a rul e good fugal

. r , ,

wri ti ng wi th occasi onal relaps es i n to p oor ep i sodes

, .

S om e o f th e Vo lu n t ar ie s o n th e oth e r h and a re m i ser

, ,

ably com m on p lace .

B enj am i n C ook e Mu s D o c ( 1 73 4, organi s t of

. .

W es tmi n ste r A bbey a fam ous glee w i te r s eem s t o

,
-
r ,

h av e p ubl i sh ed n o organ m usi c i n h i s l i fe

Dr C o o k e
.

t i m e b ut afte r h i s d eath h i s s on p ubl i sh ed

,

two coll ecti ons of h i s fugues an d oth e p i eces Th e r .

r
fugue s a e H an deli an i n cha acte r an d to gi ve ful ne ss r , , ,

p orti on s o fth em are played i n b ig ch ord s wi th un n i ng , r

coun te rp oi n t i n th e bass I n oth e r place s th ey a e i n
. r
r
two p a ts only wi th th e h ands a t opp os i te e n ds o f th e
,

r r
keyboard n ea ly fou octaves apa t a we i rd ki n d of
,
r ,

con tras t to th e ful l ch ords A n occas i on al p edal e nte rs .

,

i ts l owes t n ote b ei ng GG G Many of th e i n t odu cti on s

. r
r
are i n t ri pl e ti m e i n th ee parts o n th e d iapason s a ,

r
favo uri te fo m o f movem en t an d th ey a e someti mes , r
fol l owed by corn e t sol os I n th e second vol um e the e
. r
r
i s a egul ar toccata wel l worked ou t an d in o n e o fth e
, ,
 S t o r y of O rgan Musi c
C harl es W esl ey ( 1 75 6 a n ati ve o f B i stol an d r ,

a n eph ew o f th e fam ou s Meth odi st l eade r ,

C h ar les
Wesle
O rgan i st i n O di nary to George I V
y -
an d -
r ’
.
,

organ i s t o f S t Geo rge s H an ove r S quare .

, ,

com posed a s et o f s i x C on certos fo r th e organ o r

r
h a psi ch o d r .

S am uel W esl ey ( 1 766 a b roth e r o fC h arl es w as ,

r
a great com p ose a vi ol i ni s t and th e g eates t organ i st
, , r
i n E nglan d of h i s day I n 1 8 00 h e becam e .

S am u el
Wesley
an en th usi asti c adm i e r of t h e wo k s of J oh n r r
S ebasti an B ach to th e p ropagati on o f wh i ch ,

h e devote d a cons i derabl e p orti on o f h i s caree r pl ayi ng ,

th e vi ol i n work s at con certs an d th e o rgan wo ks i n ,

r
ch u rch es I n 1 8 1 0 h e p ubl i sh ed i n conj un cti on wi th
.
,

. . r
C F H o n th e fi s t E ngl i sh ed i ti on o f th e Wo h ltem
, r
p e r i r te C lav i e r H e was a p owe . ful e xtem pore playe r r ,

an d was sp e ci ally great i n th e fugu es o fB ach an d H an del .

Fo r t h e o rgan h e comp osed el ev en C on certos wh i ch ,

re mai n i n MS at th e B i ti sh Museu m ( Add MS S

. r . .
,

two D uets a great n um be r of Vol u ntari es , ,

Prel udes F ugu es I n te l ude s an d a C on ce rt o fo r th e

, , r ,

o rgan an d vi ol i n A good deal o f h i s m us i c h as b een

.

p ubl i sh ed o f l ate yea s by th e fi rm s o f N ovel l o an d r

A u ge n e r Th e organ con ce rtos dated 1 775 a e scored
.
, , r
for o rgan two h orn s two ob oes two vi ol i n s i ol on cell o
, , , , V ,

an d bass Th ey are e vi d ently m ore or l es s i nspi red by

.

H and el b u t use i s m ad e o f th e A l be rti bass wh ich i s

, ,

n ot i n H an del s styl e ’
S eve al fugues are p ubl ish ed i n . r
Mess rs Au ge n e r s C ec i li a e di ti on Th ey are al l ve ry
.
’
.

, r
l ong an d th e e i s m uch e xcel len t m usi c i n th em In .

2 44
 S A MU E L W L E Y ES

( F ro m Oil P t
ai n i ng b y Jo
Rev
hJ hJ J
n ac k so n , R A
. .

ac k so n , n e p
O
h r ig n a

ew o
i l
ft h e
tt
p ai n i ng i n po sse ss io n o ft h e
. o n ar t i s .
)
 St o ry o f O rgan Musi c
r
H an del th e q ua te ts of Pl eyel H aydn Mo z art etc
, , , , .

B ut i t was exten ded to vocal com posi ti on s of al l

ki n ds to th e sym ph on i e s o f B eeth oven S ch uman n
, , ,

an d oth ers i n wh i ch e p essi on ton e con tras t an d

, x r , ,

r
accen t a e th e s oul o f th e m us i c rath e r th an con t a , r
pu n tal work wh i ch i s m o e especi al ly th e p ovi n c e of
,
r r
th e o rgan .

W i l l iam R ussel l Mu s B ac ( 1 777 , o rgan i s t o f

. .

th e Fo un dl i ng H ospi tal p ubl i sh ed abou t 1 8 0 7 a book o f

,

Twe lve Vo lu n tar ie s f o r t h e O rgan o r P i a n o

W i lli am
Ru sse ll
o r te f an d a s econ d book i n 1 8 1 2 Th es e
, .

coll ecti on s are i n te re sti ng n ot S O m uch on ,

accoun t o f th e i r i n tri ns i c m usi cal val ue as that th ey ,

s h ow th e i n fl ue nces at wo k at th e ti m e th ey were r
composed Th e regul ati on fo m o f th e vol u ntary i s
. r
gen e rally adh ered to — n am ely a sl ow m ove men t fo th e , r
diap as on s fol lowed by a co m et o trumpe t s ol o an d r ,

e ndi ng wi th a fugue th e last b ei ng as wi th al l E ngl ish

, ,

organ i sts by far th e m os t i n te resti ng m ovem en t of t h e

,

th re e
. Pedal s are occas i on al ly u s ed to d upl i cate th e
l eft h an d an d th e p edal p art goes dow n to GGG
, .

Th e i n fl uen ce o f H andel Mo z art an d H aydn i s ve ry , ,

ev i de nt . Th e “
trum pet m ovem en t of th e fi s t r
v ol u ntary i s i n th e s tyl e of H andel bu t b ombas ti c ,

r
an d t iv ial I t i s foll owe d by a slow i n te rm e z z o con
.
,

s i sti ng of a m el ody i n th e igh t h and accompan i ed by r ,

r
ch ord s i n th e l eft emi nding o n e of a Mo z a t pi anofo te
,
r r
sl ow m ovem e n t .

No 2 h as a m i n uet evi den tly i n sp i ed by Mo z art

.
, r ,

an d an allegr e tto li ke H an del Th e corn et s ol o of N o 3 . .

2 46
 E ngl is h O rgan Musi c
i s a Pol acca : as us ual i t i s i n two p a ts only t rebl e
,
r ,

an d bass Th e adagi o of No 4 e m i n d s u s o f H aydn

. . r ,

an d i s su cc eeded by a l ively d an ce cal le d a S ic ili a n o fo , , r

s ol o h autboy o n t h e swel l an d s ol o cre m on a o n th e
r
ch oi r S eve al of th e lo ud m ovem en ts h av e th e con
.

v e n t i o n al d otted r
hyth m Th e fugu es n ee d n o detai l ed
.

r r
desc i p ti on th ey a e al l e xcel l en t Th e e are s eve al
, . r r
r
com m on pl ace m a ch es foresh adowi n g th e m od e n
, r
r
rage fo r th i s fo m o f dan ce m us i c wh i ch tak es th e ,

r
sam e p lace i n m ode n o rgan m us i c o f th e p op ul ar
r r
o de r as th e co m e t an d t um p e t s ol os of o n e h un d e d r
years ago .

Th e fi rs t vol un tary o fB ook I I h as th e fol l owi ng quai n t .

rem a k : r A S th e swel l i n th i s an d th e th i d v ol un tary r

r
i s i n ten ded as an e ch o t o th e t um pe t i t i s equ es te d th at
”
, r
th e p edal m ay n o t be u sed Th i s s h ows th at th e p edal
.

was an ad li b i tu m add i ti on to th e bass to b e em pl oye d o r ,

r
n ot acco d i ng to th e i n cl i n ati on o r com p ete n ce o f th e
,

pl aye r B u t i t was ess en ti al ly an age o f ad Ii b i t u m

.

accom pan i m en ts o f al l ki n ds : s on atas were wri tte n for

th e p i ano with accomp an i m en ts fo r th e fl u te o r v i oli n
, , ,

o r Vi ol on cell o or harp o r al l fou r ad li bi t um ; th ey we re

, ,

by n o m ean s n ecessary to th e com p os i tion b ut coul d b e ,

u se d i f d es i re d
Th e s econ d vol un tary of th i s b ook h as a s eparate
s tave for th e p ed al s th e only i ns tan ce i n th e two c o lle c
,

r
ti on s W e sh al l l ate m e et wi th an oth e r exam pl e o f
.

th i s d i ffi den ce i n th ei r e m pl oym en t I n th e co m e t sol o .

“
o f No 4 .th e swel l p edal i s n ot to b e u se d i n th i s
m ove m en t No 5 h as a s ol o fo th e crem on a l i ke a
. . r
2
47
 St o r y of O rgan Musi c
H aydn ron do an d th e last fugu e i n th e b ook i s on a
,

s ubj ect from H aydn .

W i lli am C rotch Mu s D o c ( 1 775

, . organ i s t o f
.

C h ri s t C h u rch an d S t Joh n s C ol l ege O xford an d

’
.
, ,

D r C r o tch
r
Profess o o f Musi c i n th e u n ive rsi ty c o m ,

posed C on ce rtos fo r th e o rgan wi th i n s t r u

m en tal accom pan i m en ts F ugu es fo r th e organ al on e
, ,
’
an d adap ted p orti on s o fH an del s o ratori os for th e organ
o r pi an oforte . H e was on e o fth e fi rs t to u s e m ech an i cal
m eans for i n di cating th e exact tem po b e requ i red and i t ,

i s i nte resting to n oti ce h ow h e d i d i t A n i ntrod ucti on .

an d fugu e on a th em e by Mu f fat comp os ed i n 1 8 06 h as , ,

“
th e foll owi ng footnote : A pe n dul u m o ftwo fe e t le n gt h
”
wi l l give th e ti m e of th e crotch et Th e i n troducti on i s .

i n sl ow ti m e i n th e key o fF m i n o r an d h as b old m od u
, ,

lat i o n s
. Th e s ubj ect o fth e fugue i s ca efu lly ph rased r ,

an u nu s ual featu re at th i s ti m e ; i n th e es t o fth e p i ece r

r
th e e i s n o ph ras ing I n a C on certo fo r th e o gan wi th
. r ,

accom pan i m en t fo r a ful l ban d th e l ength o f th e p en ,

d ul u m i s to be n i n e i nch es for th e c otch et Th i s work r .

i s S i mi l ar i n styl e to th e pi an o concertos o fD u s s e k Th e .

r r
en tri es o fth e ban d pa ts a e i nd i cated by sm all typ e as ,

i n m od e rn p ubl i cati on s of th e ki n d .

r
I n 1 8 3 5 C otch p ubl i sh ed s om e Fugues p receded by ,

C an ons th e s ubj ects bei ng taken f om wel l known

,
r -

s ingl e an d d oubl e ch ants Th ey a e ath e dep ressi ng

. r r r
com posi ti on s . By th i s t im e Mae lz e l s m etron om e was ’

begi n n ing to b e kn own i n E nglan d fo r th ese p i eces a e ,

r
r
p eceded by n otes s uch as C rotch et equal s a p e n du lu m
of si xteen i n ch es ; Mae lz e l s m e tron om e ’
,

2 48
 Story o f O rgan Musi c
p ri nted o n two s taves on ly , an d t h e fi ll i ng i n o fch ord s ,

t h e us e o foctave s i n th e l eft h and an d oth e r featu res , ,

are th e m odern equ ival en ts o f th e co lo r atu r of th e

G e rm an s th e di m i n u t i o n o fth e I tali an s an d th e glo s as
, ,

o f th e S pan i ards o f th e ti m e o f E l i z ab eth wh en v ocal ,

“
works were p ut i nto tablatu re .

A p rol ifi c com p ose r was Th omas A dam s ( 1 78 5

organ i s t o fs eve ral Lon don ch urch es i n s uccessi on and ,

famou s for h i s rem arkabl e powe rs o fe x t e m

Th o m as
p ore playi n g H e p ubl ish ed si x Fugu es and
.

A dam s
s i x Vol un tari es i n 1 8 2 0 a G ran d O rgan Pi ece,

an d th ree Vol un tari es i n 1 8 2 4 s i x O gan Pi eces i n 1 8 2 5

, r ,

Fan tasi as I n terl udes an d Tran scri pti on s Th e fi rs t o f

, , .

h i s si x O rgan Pi e ces begi n s w i th a fugue th ough i t i s ,

n ot cal le d s o ; th i s i s foll owe d by an an dan te on th e

swel l wi th th e bass o n th e ch oi r for th e w etch ed h al f
, ,
r
k eyb oard was s til l i n u se for th e s wel l organ Th e re .

r
a e n o i ndi cati on s o fstops bu t m any ch anges o f key
,

board Th e m usi c s o un ds o ld fash i on ed bu t i t was

.
-
,

d oub tl ess h igh ly ap p reci ate d i n i ts day Th e fi nal e o f .

th i s p i ece i s a fugu e i n C m i n or on a s om ewh at c u t and -

d ri ed s ubj ect I t m us t h ave s ounded th i n wh e re th e bass

.

e n te rs i n th e l eft h and for i t seem s to c r y o u t for p ed al s

,
.

Th e s econ d p i ece begin s wi th a pasto ral e for th e great

d iapason s al te rn ati ng wi th th e swel l ; i t i s ove rl oaded
,

wi th o ld fash i on ed orn am en ts
-
A s eparate stave i s
.

us ed o n th e secon d page for th e p edal s wi th n otes i n ,

s m al le r typ e th an th e res t ; b u t th e pedals h ave l i ttl e to

d o b eyon d a few h ol di ng n otes an d th e com pos er seem s
,

r
t o h ave been f igh ten ed at h i s o w n tem e ri ty fo r th e re i s ,

2 50
 E ngl ish O rgan Musi c
r
n o fu th e r u s e o f t h e p edal s i n th e res t of th e wo k r .

Th e fi n al e o fth i s p i ece i s a good vi gorou s fugu e Th e .

adag i o o fN o 4 i s a s ol o i n th e l eft h an d f
. o r th e bass oon ,

r
b u t th e e i s a n ote to th e e f fect th at i t m ay b e pl aye d o n
th e di apason i n th e ab se n c e of a good reed s top Th e -
.

r
fugues are th e m os t i n te esti ng p orti on s i n th e col l ecti on .

r
N o 6 i s a ve y lea n ed pi ece o ffugal wri ti ng
. r .

A m ongs t A dam s s com p os iti on s a e n i n ety I n te l udes

’
r r ,
”
s ui te d to Psal m tu n es i n com m on an d tri pl e ti m e .

Th ey are sh ort p i eces o ff om ei gh t to s i xtee n ba s to b e r r ,

u sed b efore th e l as t ve rs e o fa hymn a p acti ce form e rly ,

r
com m on i n p a i sh ch urch es r .

O rgan i sts n ow b egan to be d i ssati sfi ed wi th th e

c ram p i ng con d iti on s u n de r wh i ch th ey h ad to wo k r .

r r
Large and m o e com pl ete i n s trum en ts g ad ually b egan r
t o b e b u i l t th ough as ye t th e p edal was c om parati vely
,

rare th e tun i n g was th at o f th e obs ol ete u n eq ual

,

temp e ramen t an d th at abom i n ati on th e swel l to ten or

,
”
G th e h al f keyb oard conti n ued t o v e x th e comp ose r
,
-
, .

I t i s to th e credi t of o u r o gan i sts th at th ey accom pl i sh e dr

wh at th ey d i d wi th su ch i n ad equ ate m ean s an d th at ,

th ey eve n tually force d th e h an d o f b ui lde s by m aki n g r

d e man ds o n th e m th at g adual ly l ed to th e m agn i fi cen t r
an d com pl ete i nst um en ts o fto day r -
.

S am u el S ebasti an W esley M u s Do c a s on o f , . .
,

, r
S am uel b o n i n 1 8 1 0 j oi n ed h i s fath e r as ,

o n e o f th e l eaders o f th e n ew m ovem en t .

H e was s u ccess ively o gan i s t of th e cath e r

dr als o f H erefo d r
E xete r W i n ch este r , , ,

an d Glouces te r wh e re h e di ed i n 1 8 76 H e was a
, .

2 51
 St o ry of O rgan Musi c
’
fi n e organi st a d evoted adh e ren t of B ach s m usi c l i ke
, ,

h i s fath e r an d an e m i n en t comp ose

, Fo r h i s i ns t r u r .

m en t h e p ubl i sh e d A S t ud i o for th e O rgan exempl i fied ,

r “
r
i n a s e i es o fexe ci ses an A i r com po sed for H ol s , ,
“
w orthy C h u rch B el ls A n dan tes S i x Pi ece s for a,
”
,
“
C h am be r O rgan
” ”
an I n troducti on an d Fugue th e
, ,

Nati on al A n th e m wi th Va i ati on s besi des c o n t r i b u

’
r ,
”

ti on s to th e O rgan is ts Qu ar te r ly jo u r n al and oth e r

coll ecti on s .

H en ry S m art ( 1 8 1 3 a n eph ew o f S i r George

S m art was o rgan i s t o f vari ou s London ch u rch e s
, .

He n ry H i s com p os i ti on s for th e o gan are v e y r r

n ume rous con si sti ng of fi fty Prel udes an d,
S m ar t
I n te l u des r
1 8 62 ; A ndantes ,
Pos tludes , ,

March es Vari ati on s etc

, bes i des a rangem en ts o f , .
,
r
’
H and el s ch ambe r d ue ts an d t i os O n e o f th e m os t r .

r
f eq uen tly p ub l ish ed o f h i s pi e ces i s an A n d an te i n A
r
m aj o i n th e s tyl e o fMe k el s andan tes con si sting o fa
, r ’
,

fi rs t s ubj ect i n th e ton i c a se con d i n a el ated key and ,

r ,

a retu rn to th e fi rs t Th i s i s th e s o cal led fi rs t ron d o.

-

form o f Marx an d oth e r Ge rm an th eo i sts ; i t i s th e r

r
fo rm o f h u nd ed s o f s l ow m ove me n ts fo r th e organ by
m ode rn E ngl i sh an d Ge rman com pos e s r .

r
E l i z abeth S ti l in g a em a kabl e l ady o rgan i st and ,
r r
com p ose r ( 1 8 1 9 was o gan is t of A ll S ai n ts r ’
,

E li z ab et h
Popl a r
an d afte wa ds o f S t A nd ew s
,
r r . r ’
,

t
S i r li n g
U n de sh aft r
S h e was on e o f th e fi s t . r
E n gl i sh o gan i sts afte r th e W esl eys to play r
B ach s fugue s w h i ch sh e began d oi ng at th e ag e o f
’
,

eigh teen only S h e i s kn own as a com pose r for th e

.
 St o r y of O r gan Musi c
r
h ad a rema kabl e faci l i ty i n e xtem po i si n g fugues He r .

p ubl ish ed e igh teen Prel udes an d F ugues a S onata A n , ,

Si r F A G
d an tes P el u des Fugu es etc , r H i s fugu es , , .

O u s e le y
.

l r
a e good s o i d wo k b ut h i s p el udes i n
.

r , r
th e s e t o f e i gh tee n are fo t h e m os t pa t r r
l i ke M endel ssoh n s “
S ongs w i th ou t W o ds
’
both i n r ,
”

form and feel in g Th e s o calle d Li ed fo m con si sti ng

.
-
r ,

o f an accomp an i e d m el ody d ivi ded by cl oses i n to ,

defi n i te secti on s o f fou ba s answe i ng to th e l i nes o f r r , r

r
p oet y th ough e m i n en tly s u i ted to al l oth e r i n strum en ts
, ,

fo r s om e re ason rarely seem s i n pl ace o n th e o gan r .

r
Th e o gan i s s o desp oti c th at i t app ears to resen t
b ei ng t reate d l i ke oth e r i n stru men ts an d demands a ,

s tyl e of i ts own th e ess en ce o f wh i ch i s al l th at i s

,

i m pl i ed by th e wo d con t ap un tal r
Fo r th i s reason r .

’
r
O u s e le y s p elude N o 6 s oun ds bette r th an i ts n eigh
, .
,

b ou rs si n ce i t i s i n s ol i d con trap untal w i ti n g wi th ou t

, r ,

th e fo u r bar s ecti on s ; an d th e s am e m ay be sai d of

-

N o 7 o n a b asso o s t i n at o an d N o 1 4 wh i ch i s a
.
, , .
,

canon .

O n e o f th e greates t vi rtuos os of th e cen tu ry was

W i ll i am Th omas B es t ( 1 8 2 6 o rgani s t for fi fty
W T Best
years o f S t Geo ge s H all Live rpool . He r ’
,
.

. .

p ubl i sh e d a large n u mbe r of a angem en ts rr ,

an i mportan t A r t of O rga n p lay i ng an d as a c o m -

,

r
p ose h e i s kn own by s i x books o f o rigi n al pi eces s i x ,

r
C once t Pi eces a S on ata th ee P el udes a nd F ugues
, ,
r r ,

an d a n umbe r o f p i e ce s i n C e ci li a of wh i ch h e was ,

th e edi to r A fantasi a and a b i ll i an t fugue o n an

. r
E ngl i sh Psal m m el ody o f th e si xteen th ce ntu ry a e r
2 54
 E ngl ish O rgan Mu si c
i nte res ti ng Twel ve sh ort Prel u des o n E ngl i sh Psal m
.

“
r
t un es a e C h o r alv o r s p i e le i n th e styl e o f B ach A ,
”
.

S on ata i n D m i n or open i ng wi th an i n trod u cti on of

,

ch ords o n th e t rom bon e h as s om e ve y fi n e w i ti ng , r r .

r
Th e fi s t m ov em en t en d s wi th a “
H ym n us T r i u m
i on th e ful l s w e ll fo r t is s i m o accom p an i ed by a
”

p h al s , ,

t ru m pe t sol o o n th e g eat Th e sl ow m ove m en t i s r .

r r
a om an ce fo v o i x ce le s tes th e op e n i n g of wh i ch
’

,
’
rem i n ds o n e o f t h e sl ow m ove men t o f B eeth ove n s
r
fo u th v i ol i n s onata ; th e con t rastin g se ctio n i s a
r
cl a i on e t s ol o Th e fi n al e i s parti cul a ly vi gorou s an d
. r ,

e n ds w i th a Hym n u s Pop ul a i s on th e p edal r .

H i s Fantas i a o n a C h o al e from th e S co tch P s alte r r ,

1 61 5 ,
i s s om eth i ng i n th e s tyl e o f th e ch o al fugu e fo m r -
r
i nve nte d by Pach elbel i n wh i ch t h e m el ody i s fi s t
, r
worked u p i n to a fugu e an d fi nal ly app ea s i n l ong , r
n otes as an augm e ntati on of th e fugu e s ubj ect
,
In .

B est s Fan tas i a t h e fi nal ap pearan ce o f th e m el ody

’
,

i s on th e pe dal s wi th a fre e accom pan i m en t o n th e

,

m an u al .

D u ri ng th e l as t th i rty years o r s o th e re h as bee n an

e n o rm ous o utpu t of b oth arrange m en ts an d o igi n al r
r
m us i c fo r th e o gan Th e ge n eral u s e o fth e p n eum ati c
.

acti on th e add i ti o n of a resp ectabl e p e dal o gan th e

,
r ,

adopti on o f eq ual tem pe am en t an d n u mbe s o f oth e r , r r

i m p rove m ents b oth i n th e m e ch an i s m an d a ti sti c r
r
featu res o f th e i n st u m en t h av e l ed to p ossi bi l i ti es u m
r r
dream e d o f by ou fo efath e s ; an d th e m o e o r l es s r r
s uccessful i m i tati on o fth e ton e of th e va i ou s o rch est al r r
i n stru m en t s h as give n th e i dea th at th e o gan coul d b e r
2
55
 S t o ry of O rgan Musi c
em ploye d i n place o fth e o rch estra U n ti l com pa atively . r
r ecently o rch estral concerts we re few an d far between ,

r
an d m usi c l ove s h ad to be con ten t wi th an i m i tati on of
th e real th i n g B ut n ow th at we are al l becom ing m o e
. r
-
r
fam i l iar wi th fi r s t class o ch estral pl ayin g i ts i m i tati on -
,

r
on th e o gan pl eases l ess an d th e atte n ti on o fo gan ,
r
r r
i s t s i s m o e t u n e d towards m us i c S p eci al ly w itte n r
for th ei r i n strum e n t an d ori gi nal com pos i ti ons a e
, r
r
p ouri ng fo th as fas t as th ey c an b e p ubl i sh ed All
’
.

h onou r to su ch p ubl i cati on s as Th e O rgan is ts Q u ar te r ly

jou r n al N ovel lo s S e r i e s of O r igi n al C o mpo s i ti o n s
’
, ,

’
A u ge n e r s C e c i li a an d si mi lar u n de rtaki ngs wh i ch
, ,

en cou rage th e comp osi ti on o ftrue o rgan m usi c .

Th e ave rage l isten e r un doubtedly re qu i res som eth i n g

“ ”
t o take h ol d o f befo re h e can app eci ate s o s ubtl e r
a th i n g as p urely i n s trum en tal m us i c I n v i ol i n p ian o .
, ,

r
o r o ch es t al m u s i cr a p erson al el em en t o f i n te res t i s
,

al ways p resen t b e caus e th e pe rforme rs are i n ful l v i ew

,

o f th e aud i en ce ; b ut wi th th e o gan th i s i s n ot th e r
case an d any ki n d o f n am e attach e d to a com pos i ti on
,

i s wel com ed th at th e l i sten e s m ay h ave s om eth i ng

, r
e xte rn al to th e m usi c wi th wh i ch to as soci ate i t W e .

r
wi l l all ow o u selves to i l l ust ate o u r m ean i ng by two r
an e cdotes Th e l at e S i r J oh n S tai n e r u sed to tel l a
.

s to ry o fh ow wh en h e was fi rs t ap poi n te d to S t Paul s

, .
’
,

r
h e i nvi ted som e f i en ds to h ear th e o gan an d afte r r ,

h e h ad p l aye d gen ui n e o gan m usi c for h alf an h ou r r - -

o r so , r
h i s e nth usi as m eceived a s u dd en sh ock by a
request ,
“
A n d n ow D r S tai n e wi l l y o u pl ease play
, . r ,

O h rest i n th e
,
 S t o r y of O rgan Musi c
r r
l i te ratu r e an d p i cto i al a t to s ui t every taste s o th e re ,
“
m us t always b e m usi c p rovi ded fo r all s orts an d
cond i ti on s o fm en .
”

H en ce a vas t amo un t of wh at m us i cal ly cul ti vated

peopl e l ook u pon as rubbi sh i s p u t forward every year
u nde r th e nam es o f March es El evati on s Medi tati on s , , ,

R om an ces P i e es O f , r r r r
fe toi es an d a n u mbe r o f oth e
, , r
titl es wh i ch takes th e sam e place as th e th ou sand s of
,
-

Mo r ce au x de S alo n bel ove d o f amateu vi ol i n i s ts an d r

p i ani sts i n th e d rawi ng oom r
I t i s a m i stake to l ook
-
.

d own u pon th i s cl ass of m usi c ; i t h as i ts place an d ,

th at a n ot u n i m p ortan t on e fo i t gives tem po a y , r rr

pl eas u re t o th ousan ds wh o h ave n ot th e tem p e amen t r ,

r
o r Oppo tun ity o r th e trai n i ng to enj oy wo ks of a
, r
r r
h igh e cal i b e Th ere i s al ways th i s con s ol ati on too
.
,

i t wi l l d i e o u t as th e fash i onabl e m usi c o f pas t ages

,

h as d on e .

B ut Engli sh compose rs o fth e fi s t ran k a e p rod uci ng r r

r
wo ks th at are am ongs t th e bes t o f th e day an d th e e ,
r
i s reason to h op e th at a sch ool o f E n gl i sh organ m usi c
r
i s a i si ng wh ich wi l l tak e i ts pl ace as pa t o f th e r
r
great mode n sch ool o f E ngl i sh com posi tio n th at i s s o
rapi dly d evel opi ng I n l ooki ng th ough p ubl ish e s
. r r ’

catal ogues o n e i s bewi lde red by th e vas t a ray o f

,
r
n ame s o f E ngl i sh me n wh o a e occupyi ng th em selves r
r
m o e o r less wi th th e o gan W e can n ot m ak e a sele c r .

ti on from th es e n am es and m us t conten t ou selves wi th

, r
taki ng i t for granted th at th ey a e wel l kn own to r
r
o gan i s ts an d th rough th e m to th e publ i c A n d th e e
,
. r
i s s cope for th ese works for l a ge organs a e n ow , r r
2 58
 an d as th er e i s ce rtai nly n o d ea rth o f co m
r
o f o gan re ci tal s t h e organ i s
,

at p r e sen t th an
at any form e r p e ri od i n i ts h i story.

259
 App e nd i x A
Mu si cal I ll us tr at io n s .

l .

ME R U L O . T t
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26
3
Story o f O rgan Musi c

2 64
 Sto r y o f O rgan Musi c
3 .

G I OVAN N I G A BR 1 E 1 1 R i cercare Fr om WASI E L E W SK I

p
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G . G aE R i E Li . Ne w S u bj e t
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Se e p .
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266
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r
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as afi e ct i ng o n ly t h e n o t e i m m e di ate ly s u cce e di ng i t , and n o t s ab s e
'

u e n t n o t e s oft h e s am e n am e i n t h e s am e b ar
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26
7
St o r y of O rgan Musi c

268
St o r y of O rgan Musi c

2 70
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 S t o r y of O rgan Musi c
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om

RI E p . . .
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O r igi n al Me lo dy .

2 72
 S t or y of Or gan Musi c

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2 74
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L t
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2 75
Story o f O rgan Musi c

2 76
Story of O rgan Musi c

2 78
App e nd i x A

C r o mh o r e n .

2 79
S t o ry of O rgan Musi c

2 80
 Story o f O rgan Mu s i c

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A nt n y F J G eschi c h tl iche D a rs t e ll u g de r E n t s t ehu g
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o d n n un
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2 86
 App e nd i x C

C ab e n An
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r— d 578 , , .
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S an 797 o z 1 1 al 1
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— 8 57
on o o no 1

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o o i a o o o
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67 1 2

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.

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eru o , d g o 597 o n t av o lat ur a or an o . 1 .

28
7
 Stor y o f O rgan Musi c
Mu f
fa t G eo g — A r
pparat us M sic O i i 69 u o r gan s t c us 1 0
N ar es J Princi p i a Re gu lar I ntr duc t i n Play
ame s —l l
.
,
.

o, o r o o to
in g H arp sich— rd O rgan 77
,

o n th e o or 1 0

n t h y v an T b l B ec k v an P sal men en
. .

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F A ms t e rdam 659
.

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.
,

o o o g o o o or t e
E n gl ish c m p se rs ft he prese t da y )
.

o o o n
— O ld E gl ish O rg an Music
.

n
P aix Jac b —B i sch n nu t u nd g b h li h O rge l
.

o us n o z u e r au c c
t ab u l at r 58—3
,

u 1
C n rad Fundamen t m O g i di 45
. .

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au an n , o u r an s an 1 2
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.

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, . c en
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au n, . 1 0 .

2 88
 I nd e x .

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.
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,

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1 2 9 1 40 ;
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-
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lc l
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5 o 1 2 9 1 42 ;
and Pachelbe l and
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46, 1
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1
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5
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64
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.
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l
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,

, 1 07, 1 9 , 2 2 4, 2 2 6
1 52
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-
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2 91
 St o r y of O rgan Musi c
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1 o 20 211
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h u , 1 67, 1 8 2
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, ,

1 1 , 1 52
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.
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,

1 89
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. . .

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53 C h o r alfu e,
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s 2 33 b e l, 1 1 2 , 1
,

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,

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, 9

i n fle nce
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,

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.
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hu i C l i rd s C llect i n
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1 90, 1 9 20 1
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.
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expressi n 3 o C pass rgan — 19
,

n o te o m
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see O
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l 5o or C an t o llano , 1 9, 1 o r o i o f
C n na France e 3 5 56 3 rage ngland
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5 68 75
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,

138
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C rne t P erre 5 o
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i 1 74 , 1 7
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,

o
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0, 2 0 ; 2 04 ,
Ca si d r s
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Virgi nal B k
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o , De, 1 C 166 o sy n oo 187
C w t n 85
a s o
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Celle s, 56 5 7 D e, 1
,

C nterp i nt 7 Bac stery 1 ou o 1

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Ge l is , 24 3
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n te o f
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o , 181
 Story of O rgan Musi c
GAB R i E L i , A and G 3 5 889 HH eesse
.

xach rd v ri t i ns
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1 09. 1 1 0. ” 3 . 73 1 1 9. 1 . 1 9. o ,
u se o f or a a o ,

I 94

C ardan o 30 H i span i cs
Pedrell
S ch o la Mu si ca see

Ga pari ni 6
,
,

7
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n,
,

de n , 1 75 , 1 76 Ho f
h ai m e r , 74
G i bb n C o s, .
, 1 97, 20 5 Ho m ili us 2 2 5
H phreys Pel h
um
,

am , 2 01 , 2 09,
E , 1 96 . ,

O , 1 96, 20 1 , 2 1 3 3 21

G igault , 1 46
.

H s C n i n hy n o m mu o m 98
scal es
u s,

GGl t n Gl an s d 6
,

o f
i us i i i , 65 y dr au lu’s, 2; 3
o sa, 3 o a o , 1 2, 16 no t e, re pr d ct i n
Galpi n s
Hy ns 7 9 8 3
m .4 .
o u o

16
, 4, 5
,

6
1 9 7. 9
GG rlldbi t erg rg n5 sed w i th v i es at
.

o , 22
o a o c
z o u ,
I M I TAT IO vi o li s t i ca, 97
In n
,

IOI No m i e , 1 90, 1 91 , 1 92
Grac es 96
Grand j 5 ,
1
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TH E E ND .

T HE W ALTE R S TT B LI S IN
CO PU H G CO .
, LTD .
. F E LLIN G-O N TY NF o
'