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AN ANALYSIS OF
THE FREE ORGAN COMPOSITIONS
OF ERNST PEPPING

By

Douglas Loren Brown

A DISSERTATION

Submitted to
Michigan State University
in partial fuifiilment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Music
1981

A? xxx. 9m“\\ 0

Copyright by
Dougias Loren Brown

1981

ABSTRACT

AN ANALYSIS OF
THE FREE ORGAN COMPOSITIONS
OF ERNST PEPPING

By

Douglas Loren Brown

The organ music of Ernst Pepping which is based on chorales has
been fully analyzed in previous dissertations. His free organ compo-
sitions, however, have received no such attention. It is the purpose
of this study to present a thorough analysis of his organ works which
are not based on chorales. In that category there are fifteen pieces
in five volumes, all composed during l94l, 1942, and 1943. The five
volumes are Vier Fugen in D, c, Es und f, Drei Fugen fiber B-A-C-H,

Zwei Eggen in cis, Concerto I, and Concerto II.

 

 

Each of Chapters II through VI gives an analysis of one volume
of music. Each volume is first discussed in general, then in much
greater detail. Elements of melody, harmony, rhythm, and form are
all analyzed in addition to the characteristics which contribute to
the general style of each work.

This dissertation is supplementary to three public organ recitals
given on October 25, 1976, March l, 1977, and July l9, l979, in which

‘ the following compositions were performed:

Jehan Alain

Johann Sebastian Bach

Francois Couperin

Marcel Dupré
Cesar Franck

Girolamo Frescobaldi
Giovanni Gabrieli
Paul Hindemith
Olivier Messiaen

Wolfgang Amadeus Mozart
Daniel Pinkham

Max Reger

John Stanley

Louis Vierne

Second Fantasy
Prelude and Fugue in A Minor
Toccata and Fugue in F Major
Trio Sonata VI

Messegpour les Convents

_Plein ‘eu
' Petitte fugue sur le Chromhorne

Basse de Trompette
Elevation: Tierce en Taille
Offertoire sur les grands jeux

Prelude and Fugue in B Minor
Fantasy in A Major

Toccata before the Mass of the
Apostles (Fiori Musicali)_

Canzona on the First Tone
Canzona on the Ninth Tone

Concerto for Organ and Chamber
'Orchestra,,Op.46, No. 2

Organ Book
Songs of the Birds

Eyes in the Wheels
Fantasy in-F Minor, K. 608
Concertante for Organ, Celesta
and Percussion .
When the Morning Stars Sang_
'Together (l97TTT

Introduction and Passacaglia
in D Minor

Voluntary VI, Op. 6

Westminster Carillon (Fantasy

Pieces)

ACKNOWLEDGEMENTS

Thanks are due to many people who have helped bring this disserta-
tion from concept to reality. My doctoral guidance committee was most
gracious in giving time and energy throughout my time at Michigan
State University. My major professor, Dr. Corliss Arnold, made many
patient suggestions after careful reading and re—reading of disserta-
tion revisions. The library staff of Baker University, Baldwin City,
Kansas efficiently obtained the most obscure of books needed on Inter-
Library loan. Robert Kahle translated correspondence to and from
Ernst Pepping quickly and elegantly. My wife, Joyce, gave emotional
support, excellent proofreading, a quiet spirit, and love.

With the exception of Example ll (reprinted here with the
permission of G. Schirmer, Inc.), all examples are used by the kind
permission of European American Music Distributors Corp., sole U. S.
agent for B. Schott's Sbhne, Mainz and London. Examples l-9 (:)

B. Schott's Sbhne, Mainz, 1949; Examples 10 and 12-19 © Schott & Co.
Ltd., London, 1949; Examples 20-26 Copyright 1949 Schott & Co. Ltd.,
London; Examples 27-34 (:) B. Schott's Sdhne, Mainz, 1942, (:) renewed
1970; Examples 35-43 «:3 B. Schott's Sbhne, Mainz, 1942, © renewed
l970.

ii

TABLE OF CONTENTS

CHAPTER I. INTRODUCTION .......... . . . . . ....... l
Biography . . . . . . . . . . . . ....... . ..... . . l
WOrks for Organ . . . . .................... 2
General Stylistic Characteristics ........ . . ..... 4

CHAPTER II. VIER FUGEN IN D, C, ES UND F . . . . . . . . . . . . . 8

 

 

 

 

 

 

 

 

 

 

Fugue in D Major ....................... 8
FUgue in C Minor .......... . . . . . . . . . . . . . l3
fugue in E-flat Major ......... .. . . . ....... . . l7
Fugue in F Minor ............. . . ........ 20
CHAPTER III. DREI FUGEN UBER B-A-C—H ..... . . . . . . . . . . 25
En ue I ............................ 25
Fu ue II ........................... 30
Fugue III ........................ . . . 34
CHAPTER IV. ZWEI FUGEN IN CIS ................... 38
Fugue I ..................... . . .‘. . . . 38
Fugue II ........................... 44
CHAPTER V. CONCERTO I ....................... 48
Intrada ............................ 48
Aria aila Passacaglia . . . .1 ................. 52
Fuga ............................. 55
CHAPTER VI. CONCERTO II ...................... 60
Praeludium .......................... 60
Kanzona . . . . . . . . . . . . . . . . . . . . . . . g . . . . 63
Chaconne ........................... 67
CHAPTER VII. SUMMARY ....................... 72
PRIMARY SOURCES .......................... 77
SECONDARY REFERENCES ............... . ........ 78
GENERAL REFERENCES ......................... 79

CHAPTER I
INTRODUCTION

There have been a number of studies in English of the Chorale-
related organ music of Ernst Pepping. Dissertations by William

Bailey Weeks1 and David L. Foster2

have thoroughly analyzed these
works. Victor Earl Gebauer3 has written an excellent survey of
Pepping's total output, style, musical philosophy, and milieu. There
has been, however, no thorough analysis of his free (non-Chorale
based) organ literature. The project presented here completes studies
in the analysis of Pepping's works for organ.

Ernst Pepping was born on September 12, 19014 in Duisburg,
Germany. He took his advanced musical training during the years 1922

through 1926 at the prestigious Hochschule fUr Musik in Berlin where

he studied composition under Walter Gmeindl. Paul Hindemith visited

 

1. William Bailey Weeks, "The Use of the Chorale in the Organ
Works of Ernst Pepping" (an unpublished Ph. D. thesis, University of
Arizona, 1970).

2. David L. Foster, "A Study of the Cantus Firmus Organ Com-
positions of Ernst Pepping" (an unpublished D. M. research project,
Northwestern University, 1971).

3. Victor Earl Gebauer, "Ernst Pepping: A Career in Context"
(an unpublished Ph. D. dissertation, University of Minnesota, 1976).

4. The Dictionary of Contemporary Music (New York: E. P. Dutton
and Co., 1974) edited by John Vinton gives his birthdate as December
9, 1901, but several other sources agree on September 12, 1901.

2

Berlin often during that time but did not begin teaching at the
Hochschule fUr Musik until 1927, the year after Pepping left.

In 1934 Pepping became a member of the faculty at the Kirchen-
musikschule in Berlin-Spandau. In the eight years between his formal
musical study and his appointment there, he composed many large
instrumental and vocal works. After 1934 he began creating the
smaller organ and choral pieces for which he is so well known today.

He taught at his alma mater, the Berlin Hochschule fUr Musik, in

 

1935 and 1936 but gave that up because of the political difficulty
of the times. The Hochschule was a state institution, and members
of the faculty were officials of the state. For Pepping, that was

5

an uncomertable and unwanted visibility. He returned to the

Hochschule in 1953, however, where he taught for many years. He died
in West Berlin on February 1, 1981.

Pepping's works for organ include the following Chorale-based
pieces that are outside the parameters of this study. The dates pro-
vided are fer the year in which the piece was written followed by the
year in which it was published.

Bdhmisches 0r elbuch, Vol. I, II (Barenreiter, 1953, 1954/
IP53. |§EZ§

F6nfundzwanzig_0r elchorale nach Satzen des Spandauer Chorbuches
(Schott, 196 71961)

Grosses Orgelbuch, Vol. I, II, III (Schott, 1939/1941)
Hymnen (Barenreiter, 1954/1954)

 

5. Gebauer, op. cit., pp. 157-158.

3

Kleines Orgelbuch (Schott, 1940/1941)

 

Partitas:

Ach wie flUchtig, ach wie nichtjgy(88renreiter, 1953/1953)

 

Mit Fried' und Freud' ich fahr' dahin (Barenreiter,
1953/1953)

Wer nur den lieben Gott lasst walten (Schott, 1932/1933)

 

 

Wer weiss, wie nahe mir mein Ende (Barenreiter, 1953/1953)

 

Wie schdn leuchtet der Morgenstern (Schott, 1933/1933)

 

Praeludia-Postludia, Vol. I, II (Schott, 1969/1969)

 

Sonate (Barenreiter, 1958/1958)
Toccata und Fuge "Mitten wir im Leben sind" (Schott, 1941/1942)

 

To Koralforspil (Hansen)

 

Vom Himmel hoch, in Musica Organi (Nordiska Musikfdrlaget)

 

 

Zwei Choralvorspiele (Hansen)

 

Zwblf Choralvorspiele fUr Orgel Manualiter (Barenreiter,
l 958/1 96? ~

 

This dissertation discusses the following music, all published

by Schott:

Concerto I (1941/1942)

 

Concerto 11 (1941/1942)
Drei Fugen Uber B-A-C-H (1943/1949)

 

 

 

Vier Fugen in 01 c, Es und f (1942/1949)
Zwei Fugen in cis (1943/1949) I

 

There are several other pieces that appear at first glance to fit

into the category of free organ works, but closer examination places

them outside this area. The Praeludia-Postludia noted above are based
on chorale tunes, as are the three movements of the Sonate. Pepping
says about the Sonate: “The funny thing, though, is that the chorale

theme is so obscure that it becomes invisible as though it were

covered by a magic cap [Tarnkappe is his German word here], as though
it did not exist. No listener, you can make a bet for ten dollars,

will recognize it. And since it does not exist, the Sonata theme

emerges."6
One further work is mentioned in two lists of his organ music.
Both Grove's Dictionary of Music and Musicians7 and Organ Literature:

A Comprehensive Survey8 by Corliss R. Arnold show Drei Sonaten (1945-

 

1946) for organ, but Pepping says "the Drei Sonaten do not exist.
Your source intended, perhaps, the piano sonatas published by Schott.”9
The New Grove Dictionary of Music and Musicians (1980)10 does not note
these sonatas.

These works all assume an organ of two or three manuals and pedal.

Registration indications include manual names only in Zwei Fugen in cis

in which he names them Hauptwerk, 1. Nebenwerk, and 2. Nebenwerk. In

 

6. In a letter from Ernst Pepping to this author dated
February 12, 1980.

7. K. W. Bartlett, "Ernst Pepping," Grove's Dictionary of Music
and Musicians (1954), VI, pp. 619-620.

8. Corliss Richard Arnold, Organ Literature: A Comprehensive
Survey (Metuchen: Scarecrow Press, Inc., 1973), p. 500.

 

9. Letter from Pepping, op. cit.

10. Klaus Kirchber , "Ernst Pepping," The New Grove Dictionary
of Music and Musicians I1980), XIV, pp. 356-357.

5

the rest of these works, only the manual number (I, II, or III) and the
dynamic level are given, and there are no requests for specific pitches
or tone colors. James Moeser, one of Pepping's students, believes

Pepping does not have strong convictions about registration. In 1962,

when Moeser performed several pieces of Pepping's music in Berlin on

a recital attended by Pepping, he took much liberty with dynamic

markings (even including the use of the swell pedal), made manual

changes not noted in the music, emphasized some voice lines as solos

which were not indicated for such treatment, and, in general, employed

somewhat "romantic" registrations. After the recital Moeser found

Pepping quite enthusiastic about this approach; he seemed to enjoy

it much more than other more conservative and austere performances

of his music. Moeser believes Pepping is very liberal about organ

registration and leaves much to the imagination and creativity of

the performer.‘]
All of the free organ works are at least nominally tonal, but

in spite of the key names given for many of the fugues, only a few

pieces can be easily analyzed in keys. The writing in each movement

is often chromatic and freely associated with several tonal centers.
This music is predominantly polyphonic with a few homophonic

passages. Some sections which are quite pianistic utilize large leaps

in both hands, block chords in five to seven voices, or arpeggiated

lines. Melodies tend to have much disjunct motion balanced by some

 

11. From a conversation with James Moeser on January 23, 1980,
at the University of Kansas, Lawrence, Kansas.

 

 

 

 

h‘

__ - _‘-~‘__-; -

 

1 .

6
scale lines. It is not unusual to see a one and one-half or two-
octave scale line in any voice. One feature of all this music except

Concerto I is the use of fast ascending scales (in sixteenth or thirty—

 

second notes) functioning as ornamental upbeats. Pepping's melodies

contain many written-out ornaments and a few trill symbols.

The one word that would best describe rhythm in Pepping's music
is "diversity." Jack Goode notes ". . .the almost quixotic rhythmic
character of the lines. Few composers today can give us such refresh-
ing rhythmic comment. . . ."12 Seldom does any one rhythmic pattern
continue for an extended period of time. Few pieces are without meter
and tempo changes. The rule appears to be one of variety, a constant
succession of new patterns and, all the while, great vitality and
forward drive.

The formal element is also strong in these works. The structure
of major sections in the movements is clear, and in most cases cadences,
rests, or obvious changes in the material signal the beginnings of new
formal divisions. These clear articulations divide most pieces into
two or three nearly equal parts. Ten of the fifteen pieces analyzed
are fugues. In general, Pepping's approach to the fugue is traditional:
each has an exposition, middle section, and closing section, and most

subjects and answers have the tonic-dominant relationship. In the

 

12. Jack C. Goode, "Warm Picture Drawn of Pepping--Man and
Composer," The Diapason, May 1, 1959, p. 18.

7

five remaining pieces, four (the first two movements of each concerto)
employ an A-B-A form in which the opening sections are recapitulated,
motives and not themes are the basis of the movements, and middle

sections develop those motives rather than state new themes.

Each of the following chapters contains general information about
one volume of music and a detailed analysis of each piece or movement
in the volume. The basic character of the work and the melodic,

harmonic, rhythmic, and structural elements are thoroughly discussed.

CHAPTER II

VIER FUGEN IN D, C, ES UND F

The Vier Fugen in D, c, Es und f (Four Fggues in D Major,AC
Minor, E-flat Major and F Minor) were written in 1942 and published

 

by Schott in 1949. They are the first of three sets of fugues written
for organ about this time. Although any one of these fugues could be
performed separately, they make an interesting group inasmuch as they
are in various styles? Fugue I is fairly vigorous; Fugue II, quieter;
Fugue III, a light march; and Fugue IV, serious. These four fugues
move toward more and more disjunct melodic intervals from the first
fugue to the last. The first of them is predominantly stepwise; the
second emphasizes the third; the next uses many fourths and fifths;
and the last features more sevenths and larger intervals than the
other fugues. Only two motives occur in all four fugues: one is a
descending diatonic-scale tetrachord, and the other is a fast ascending
scale, usually in the soprano, functioning as an ornamental upbeat to

an accented beat (see Examples 2 and 6, motive "a").

 

The Fugue in D major is a five-voice fugue with one countersubject,
a real answer, and an exposition launched first.irrthe alto, then second
soprano, first soprano, tenor, and bass. The duration is four and one-
half minutes. Most conventional sounding of the four, the subject of
Fugue I (Example 1) has broken chords, clear harmonic implications, and

steady rhythm.

Example 1. Vier Fugen: Fugue_l, mm. 1-4.

 

rato (J ; a as)

   

SdéSéct

Countersubject

The leaps in the subject constitute a large portion of the leaps in
the fugue, contrasted by much conjunct motion in the free material.
The only motives not in the subject or countersubject which recur
with any regularity are the two scale fragments found in all four
fugues.

The middle section of this fugue (mm. 18—51zz‘3) can be divided
into three parts. The first is a series of entries of the subject
starting on various scale degrees: the fourth, first (in stretto two
beats apart), third, sixth, and second. After an episode, the second
part consists of a number of overlapping entries of the countersubject.
The third part is a group of subject fragments in retrograde with some

14 The

diminution incorporated. Example 2 shows the entire passage.
first entry begins in the tenor voice in m. 42:4 and continues to
m. 45:1. In the meantime, the first soprano voice has begun a retro-

grade of the material from m. 2 in diminution (m. 44:2 beginning on F).

 

13. Numbers following colons, when associated with measure
numbers, indicate beats within the measure.

14. An "x" in the music indicates the beginning of a retrograde
entry.

10

Example 2. Vier'Fugen: Fugue I, 11m. 42-49.

 

 

_J
J

1
U

 

 

 

 

 

 

 

 

 

 

 

f———-————-F—-—- LE—i -

-1... ._I

 

 

 

 

 

 

 

1+9“
I

T

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

at
I E I... H"1
E
I‘ \
d
g 1..
N 1 .1
d I . .
. , ,.| .
i.” :1. :1. 1.
W

 

11

In m. 45, with the second-soprano voice, the next entry of this material
begins. The half notes in the original subject are ornamented and
incomplete here. They should be E (m. 45:3). 0. C. and B, but the B

is missing. The next retrograde entry begins in m; 46 with the tenor
voice. The last two half notes (first two in the original subject) are
missing. They should be G and F at m. 48:1-2. The bass has the last
retrograde entry beginning at m. 48, and again, the last two half notes
are missing (F and E at m. 50:1-2).

After a short episode, the closing section begins at m. 51:3 with
an entry of the subject in the bass and the countersubject in the first
saprano, its single appearance in the closing section. Measure 53:3
initiates a group of entries in stretto. The tenor has a subject entry
on the raised fifth scale degree (A-sharp), with only A and 0 being
raised from their nonmal position; the rest is a regular dominant entry
followed two beats later by an entry on the second scale degree in the
alto. The next stretto occurs in m. 56 between the bass on the fifth
scale degree (beat 2) and the first soprano on the first degree
(beat 3). After it the final stretto (in three voices) commences in
the second soprano at m. 58:1 on the first scale degree and continues
at m. 58:2 in the tenor on the fourth degree and m. 59:1, bass, in
augmentation on the fifth degree. Following this last entry, the
fugue ends with a flourish of fanfare figures in a short coda:

This piece is intended for two manuals, both of them marked fartg,
The writing for manual II includes pedal, and the texture tends to be
as thick as in areas marked for manual I. The material for the second
manual, however, is mostly marked staccato, suggesting a brighter

registratioh than on the primary manual.

12

The harmony in this fugue centers around clearly defined keys al-
though a restless feeling is suggested. There are several reasons for
this: (1) the composition modulates, on the average, every nine beats,
while nonharmonic tones often obscure the consonance of chords;

(2) twelve percent of the fugue cannot be analyzed functionally;

(3) well over half the dominant chords are not followed by tonic chords,
and many of the tonic chords are prevented from fulfilling their normal
stabilizing role by being in second inversion, having an unusual dou-
bling, or having dissonance added to them; (4) about two-fifths of the
root movement is by fourth or fifth. Therefore, even though this fugue
looks and can be analyzed somewhat as a tonal work, the above factors
put it into a different harmonic class from that of Bach or Mozart.

The real factors animating the harmony are Pepping's persistent use of
triads and his gravitation toward a tonal center while allowing the
linear needs to dictate the structure of chords. One of the best
examples of this is found in mm. 42-43 (Example 2) where melodies and
their interactions make harmonic analysis almost impossible. Other
points of harmonic interest involve a few chords with added augmented
fourths and the considerable amount of stepwise root movement.

The meter is g throughout with a moderato tempo marking. The half
note usually marks the rate of harmonic change with the greatest amount
of rhythmic activity lying in episodes and links. Exceptions occur in
m. 49 in the middle of a retrograde entry of the subject and in the
final statement of the subject. Independent rhythmic patterns in each
voice generate exéiting forward motion. As with the melodic motives,

there are practically no rhythmic structures used with any regularity

13

except in statements of the subject and countersubject.

 

Fugue II, a gentle fugue in moderate tempo, is written for one
manual and pedals with several degrees of volume from forte (only
seven measures at the beginning of the closing section) to piano, with

most of the piece played at mezzo piano or piano dynamic levels. There

 

are a number of elements that give this work its characteristic loveli—
ness. One is the section of stepwise, chromatic-mediant, and tritone
root movement found in mm. 47-49 (in Example 3) and repeated in the
coda. Another is the change from pentatonic natural minor mode to

the parallel major mode at m. 41 (Example 3) and m. 87.

The C-minor fugue subject (Example 4) contains leaps (a sixth, a
fourth, and several thirds) and arpeggiated triads. The countersubject
employs the tritone and the augmented second at its beginning and a
descending half-note diatonic scale (an inversion of the first four
notes of the subject of Fugue I, marked “x" in Example 4) at its end.
Although much conjunct motion appears in this composition, the inter-
vals of the third, fourth, and augmented second predominate-~all drawn
from the subject and countersubject. In contrast with the D-major
fugue, which rarely uses motives of the subject and countersubject
later in the piece, practically every measure in the C-minor fugue
contains motivically derived material. In the exposition, Pepping
simplifies the pedal entry of the fugue subject and gives only the
outline of the arpeggios. When the same subject returns in the closing
section in the pedal part, it is shortened by one measure, but the

arpeggio is present.

Example 3.

Vier Fugen:

 

 

 

 

 

 

 

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1-

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T 5 IL;- xo (hill
iH'I‘ iii. :3“

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L15.

l4

Fugue II, mm. 40-49.

 

natural minor

 

 

 

 

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15

Fugue II, mm. 1-9.

Vier'Fugen:

 

 

 

 

 

 

 

 

 

 

 

 

 

Example 4.

 

 

 

 

 

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1x 1x ”Ira w “u

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16
There are a number of long trills in this fugue, one of which (m. 20)

has a fascinating termination which sounds oriental because of the
augmented seconds found therein, seconds derived from the counter-
subject.

The four-voice exposition of this fugue (mm. 1-23) exhibits tra—
ditional tonic-dominant relationships, entries from highest voice to
lowest, and a real answer. The middle section (mm. 24-82:1) divides
into two parts, the first focusing on a group of episodes based on
motives from the subject or countersubject. The final episode of this
group, mm. 41-49 (Example 3) is derived from the perfect fourth in the
subject (m. 1:3) and returns as the coda to the piece at mm. 87-95 in
C major. The second portion of the middle section includes a group of
subject entries in inversion (all in the tenor voice) separated by
links and episodes. This group of entries is set apart from the rest
of the middle section by a pedal eighth-note and manual half-note
figure that precedes and follows it. The episode linking the middle
section to the closing section functions very much like a retransition
in the classical sonata form with continued emphasis on the dominant
note and chord. In the closing section (mm. 82:2-95) there is one
subject statement minus its last measure in the tonic key in the bass
line.

Key changes in this fugue occur about every seven measures--much
less frequently than in the first fugue, which modulated approximately,
every two and one-quarter measures. A harmonic technique not encoun-

tered elsewhere in Vier Fggen is a progression in mm. 33-36 moving

 

partway around the circle of fifths. It begins on a dominant seventh

l7

chord in G major and progresses to a dominant seventh chord in A-flat
major. Almost a quarter of the harmony in this piece moves by chro-
matic progressions.

In the C-minor fugue there is more diversity in the number of
types of rhythmic activity than in any of the other fugues in this
group, and changes in the amount of activity come more often and are
more striking. The slowest rhythmic activity (half and quarter notes)
occurs with subject entries in the exposition, the episode that begins
in m. 41 (Example 3), and the material derived from it. The most
excited rhythmic activity (sixteenth notes) appears, in general, in
episodes. The fugue subject shows considerable rhythmic integration
since the motive in m. 2, 81:] , is a diminution of LII" L3?
in m. l, and both of these rhythmic motives are used a great deal in
this piece. Dotted rhythms are also employed often, occurring about

twenty percent of the time.

 

After the frequent modulations found in the first two fugues, the
unity of one tonal center throughout Fugue III is a new element. The
entire movement is in E-flat with the exposition and closing section
in major mode and the middle section in minor. Adding further tonal
unity, all subject and answer statements are on either the first or
fifth scale degrees and almost half of the beats in the exposition
have some tonic harmony in them. The chromaticism and non-tonal areas
that comprise about one-fifth of the composition give some harmonic
variety. Articulating nearly every measure of this one-manual march-

like movement, staccatos, non legatos, rests or repeated notes create

18

clarity. A forte marks the exposition and the closing section while

mezzo piano regulates subject entries in the middle section.

 

The subject of this four-voice fugue contains a number of leaps
by fourth and fifth while the tonal answer turns many of the fourths
into fifths and the fifths into fourths. Both subject and answer are
shown in Example 5. Material taken from the subject and answer ani—
mate about three-fifths of this movement in which no countersubject

and no other important motives exist.

Example 5. Vier Fugen: Fugue III, mm. 1-5.

 

   
 

 

 

 

 

 

 

Allegro aostcnutotJenm Ow A. . . . .

1 ' ’ - " - 2 ' '——JIZ3_IEJ:::f::5355.J555:E!L
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4 5 /—-
. ’K ’5 .

_._ 5-- _-‘-:-:=_i_§-‘=_.!.___--‘ *1 l! °
' n. I'vnh .1 ——-r —-9'—‘ he 2 .1

 

The middle section (mm. 11:4-33) begins with an episode that
features the rhythm I‘m which occurs during almost forty per-
cent of the fugue, and thus is very important as a unifying device.
The second part of the middle section is like a counter exposition.
There are four entries of the fugue subject in E-flat minor, but this
time with keys in reverse order--dominant, tonic, dominant, tonic.
Two other features of this section are the stretto between the third

and fourth entries one measure apart and the augmentation of the fourth

19

entry. The last part of the middle section contains an episode which

 

 

 

uses the. important I ‘ q 71 rhythmic motive.

The closing section of the E-flat fugue has one statement of the
subject in the bass in the dominant key. It repeats the last exposi-
tion statement of the subject, but it starts on the first beat of the
measure instead of the third beat. The fugue ends with a short codetta
on the quartal motive sounded just before.

While the rhythmic element is very important, there is less diver-
sity of rhythmic activity in this fugue than in the preceding fugues.
The harmonic rhythm throughout this fugue moves by quarter note. The
entire piece is in 2 time except for m. 28 in g . The time values
of the subject are all eighth notes except for the opening dotted quar-
ter. Measure 1 is rhythmically compressed in m. 2 in which Pepping
wrote almost the same melody but replaced the dotted-quarter note with
an eighth note. Example 6 presents a passage typical of the wide
variety of rhythms which characterize Pepping's writing. For two and

one-half measures, almost all the accents are placed on weak beats or

off-beats.

Example 6. ngr Fugen: Fugue III, mm. 11-15.

 

 

20

 

 

The head of the first subject of the Fugue in F minor can be found

in the last three measures of the preceding fugue (Example 7).

Example 7. Vier Fugen: Fugue III, mm. 46-48.

47 48

    

 

There, it is in the key of E-flat in the alto and bass (E-flat, D-flat,
B-flat, and E-flat). The fourth fugue is a four-voice double fugue,
seven minutes long, with real answers and no countersubject. The
extremely disjunct subject (Example 8) includes three leaps of minor
ninths, two diminished tenths, a major ninth, a major tenth, a perfect
eleventh, and a minor tenth and employs ten of the possible twelve

tones.

21

Example 8, Vier Fugen: Fugue IV, nnn 1-4.

 

1 Lento macstoso «J: a 52)

    

yocoflll

There is little use of motivic material from the subject in passages
other than those containing the subject and answer. The only other
motives employed often are the quick ascending scales that are a
feature of all four fugues.

The exposition presents the subjects and answers in tonic and
dominant keys and in the order: sOprano, alto, tenor, and bass. The

major formal divisions of the piece are:

mm. 1-18 Exposition
mm. 19-75 Middle section
mm. 76—89 Closing section

Two strong cadences divide this fugue into three parts; the first is
a plagal cadence in the dominant key--C major--in m. 33; the other is
a half cadence in m. 58 in C minor. Both are situated in the middle
section, and each precedes a new subdivision. The first cadence comes
before an exposition of the inverted subject; the other introduces the
second fugue subject.

The middle section, like those in the rest of Pepping's fugues,

uses a variety of treatments of motivic material, but there are very

22

few episodes such as those in Bach's fugues--sequential, modulatory
passages, based on one motive. There are, indeed, areas in which the
subject is not present, and these have been labeled as episodes, but
in Pepping's fugues these episodes usually present new material
between subject entries. The middle section of this fugue has three
large divisions. The first occupies mm. 19-33 and contains three
entries of the fugue subject starting on the second, fourth, and first
degrees of the scale. In the second part (mm. 34-58) there is a com-
plete exposition of the inverted subject, with a real answer and no
countersubject, in tonic-dominant order in the relative major key of
A-flat. It is followed by a short episode and then simultaneous state-
ments of the original subject on its fifth scale degree (C) and the
inversion on its first scale degree (A-flat). A short codetta on a

G pedal point ends this section. The third section (mm. 59-75) pre-

sents the second subject (Example 9) in a pseudo-exposition.

Example 9. Vier Fugen: Fugue IV, mm. 59-60.

59fin Cfl.- , km.

a“. -———-.'_—

   

It enters on these scale degrees and in these voices:

m. 59:3 5 Tenor

m. 61 l Soprano

m. 62:4 1 Tenor

m. 66 1 Bass

m. 69:3 5 Tenor

m. 71 7 Tenor, in inversion

23

The closing section contains several subject entries beginning
at m. 76 with subjects 1 and 2 simultaneously in the tonic key.
Stretto is featured in the third entry at m. 83 where the soprano
voice leads in the tonic key and the alto voice follows one beat later
in the subdominant key. In the last two measures of the coda, the
head of subject 1 enters twice and the head of subject 2 enters three
times. Pepping clearly understands how to build contrapuntal excite-
ment in a long composition as he incorporates inversion, puts the
original and inversion together, adds a second subject, combines the
two subjects, and creates a coda in which both the original and

inverted forms of both subjects are found.

Manual 1 begins this fugue poco forte, to which stops are added

 

in two places. At the beginning of the exposition of the inverted sub-

 

ject (m. 34) the hands move to manual II, mezzopiano, growing to fpppg
by the return to manual I at the beginning of subject 2 (m. 59). Addi-
tions to that fpppg are indicated at three places. The two-manual
registration scheme, therefore, is used to reinforce the three-section
form which the cadences imply. The texture is almost entirely poly-
phonic, with little chordal writing.

This fugue is freely tonal and written in tertian harmonies with
much dissonance and chromaticism. Even the beginning does not estab-
lish F-minor or any other tonality. The most obvious key centers are
found at the cadences which divide the piece into three parts (mm. 33
and 58) and in the last two measures. Even in these last measures,
however, tonality is slightly obscured by two borrowed dominant chords

and two subtonic chords (major triads built on the note which is a

24

whole step below the tonic). Harmonically there are a number of inter-
esting places, such as mm. 19-20, where triads and seventh chords pro-
gress stepwise and by thirds, and m. 65:2-4, where a series of chromat-
ically ascending fully-diminished seventh chords appears. Measure 66
is bitonal, with the pedal in F minor and the manual part in C minor.
Thus, one of the passages in which the tonalities can be most readily
identified is one which exploits two keys at the same time.

Several scales occasionally surface: fragments of chromatic
scales in mm. 23 and 32, a whole tone scale in m. 31, and long diatonic
scales in m. 52 (two and one-third octaves), m. 58 (one and one-half
octaves), and mm. 83-84 (an octave and a sixth in the pedal). The
melodic climax of this fugue, and the highest note in all four fugues,
is on the last chord of the piece. Subsidiary climaxes are seen near
the beginning of the middle entries (m. 19) and at the combination of
the subject and the inversion (m. 54).

This movement is mostly in 3 time with a few 3 and 3
measures. Harmonies change regularly on the half note. Two rhythmic
.motives which are seen occasionally are: 7 m ‘J , which is
derived from subject 1, and from subject 2. Rhythmic acti-
vity is more consistent in this fugue than in the three preceding
fugues, and transitions from one rhythmic pattern to another are
smooth. The greatest degree of rhythmic activity comes in m. 53
which builds to the entries of the subject and countersubject sounded

together.

CHAPTER III

DREI FUGEN UBER B-A-C-H

The Drei Fugen Ober B-A-C-H (Three Fugues on B-A-C-H) were written
in 1943 and published by Schott in 1949. Like the Vier Fugen studied

 

in Chapter II, they form a unit, the parts of which may be performed
separately or in a series. These works are broadly conceived, the
total duration for all three of them being nineteen minutes. Two are
in five voices, one in six voices. Two are double fugues: Fugue II,
in which both subjects are present at the beginning; and Fugue III, in
which the second subject enters half-way through the piece. All the
fugue subjects begin with the untransposed B-A-C-H (B-flat, A, C,
B-natural in German notation) motive, each employing a different

rhythm, and then continue with other material.

 

In Fugue I, Pepping‘s tempo markings indicate an accelerando from

the beginning to the end. It starts allegro sostenuto with the half

 

note equal to M.M. 72, moves to M.M. 104 for the half note at the
exposition of the inverted subject and concludes with a con brio (half
note at 120) at the coda. That last indication contributes to a strong
sense of rhythmic drive through the coda to the conclusion of the
piece. Rhythmic elements build great excitement; first there are
eighth notes in the right hand with the B-A-C-H motive below them, then
crashing half- and quarter-note chords followed by a consistent J” U
motion, and finally the J. J) J- yrhytlm which drives to the end.

25

26

After the opening B-A-C-H motive, this fugue subject (Example 10)

15

continues, as is pointed out by Robert Rudd, very much like the

subject of Bach's Fugue in A Minor from the Well-Tempered Clavier,

 

 

Book I (Example 11).

Example 10. Drei Fugen: Fugue I, mm. 1-5.

 

Allegro sostenuto (J : ca 72) 2

1.1 C
l

mm legato

 

Example 11. Well-Tempered Clavier, Book I by J. S. Bach:
Epgue in A Minor, mm. 1-2.

 

 

 

 

 

In Pepping's subject, the last three eighth notes of m. 3 and the
first three eighth notes of m. 4 form the B-A-C-H motive again, but

 

15. Robert M. Rudd, Stylistic Trends in Contemporary Organ Music
(unpublished Ph. D. dissertation, Louisiana State University and
Agricultural and Mechanical College, 1967), p. 186.

27

transposed up a minor sixth wmth the ascending minor third becoming a
descending major sixth. The subject also outlines a German sixth
chord, a diminished triad, and a minor triad and contains eleven of the
twelve possible tones. Pedal entries inconsistently employ the subject
with the exposition pedal entry of the original subject being complete
On. 24) but that of the inversion only outlining the leaps at the end
(mm. 81-82). Perhaps the faster tempo (half note = M.M. 104 as opposed
to an earlier M.M. 72) makes Pepping, a non-organist, reluctant to ask
too much of the feet. Two motives from the subject are used later in
the fugue. The head (B-flat, A, C, B-natural) sounds through nearly
one-third of this fugue and is especially prominent in the coda where
the second measure of the subject is also a strong factor in the
rhythmic excitement. In Example 12, taken from the coda, both these

fragments are present at once.

Example 12. Drei Fggen: Fugue 1, mm. 142-144.

 

4
1142 ritpocofipoco- - th- - A - c.

    

     

 

28

The second measure of the subject is in the bass in lllll. 142 and 144
(in inversion the second time), and the B-A-C-H motive is in the first
SOprano in mm. 142 and 143 (carrying over to m. 144) and also in the
tenor and alto (it reads E-flat, D, F. E-natural) in mm. 142-144.
Pepping continues to use long scales (a descending scale of two and
one-half octaves is found at mm. 44-45) and fast ascending upbeat
scales.

The exposition of this five-voice fugue employs one counter-
subject, a real answer, and the tonic-dominant order of entries. The
middle section (mm. 30-97:2) begins with four subject entries and
associated episodes. The second part contains an exposition of the
inverted subject, beginning on A, and a real answer imitating at the
fourth rather than the fifth. The entry order is alto, first soprano,
second soprano, tenor, bass. A new countersubject is present with the
inverted subject except at the first and last entries. This section
ends with a short codetta which sounds much like the codetta in

mm. 45-49 of Fugue II from Vier Fugen (Chapter II, p. 14, Example 3).

 

Measure 97:3 begins the closing section in which there are no state-
ments of the original subject nor any entries beginning on the original
tonic note of B-flat. Rather, there are three inverted subject en-
tries. One begins on the fifth scale degree, and two are on the first
degree which is A for the inverted subject. It is interesting that
the first entry in the closing section is on the fifth scale degree
after all the inverted answers were on the fourth rather than the
fifth. Measures 117-127 are taken up with episodes using the B-A-C-H
motive, and mm. 128 to the end provide the rhythmically dramatic coda.

29

Pepping indicates that this fugue is to be played on two manuals.
Manual I is used for the first third of the piece until the exposition
of the inverted subject, but manual and dynamic changes come on the
average of every seven measures from there to the end. In twelve
measures of the closing section they appear every two to four measures,
adding to the forward rhythmic drive. This movement has the largest
proportion of chordal writing of the three--a little over one-sixth of

the length. Pepping marks the beginning of the fugue non legato, but

 

at the subject inversions (m. 55 ff.) he writes in specific articula-

tions. With these and several poco pesante markings the articulations

 

in this fugue are quite precise.

Much of the harmonic progression in this work is chromatic, which
might be expected considering the chromatic nature of the fugue sub-
ject. The harmonic rhythm usually moves with the half note, but there
also is a fair amount of harmonic change on the quarter note. A little
over a third of this piece can be analyzed in keys or tonal regions.
Most chord structures are triads or seventh chords; the remainder are
polychords or chords that cannot be easily analyzed because of unusual
dissonances.

There are few rhythmic motives used extensively (except .1 D ,
which is derived from the two countersubjects). Most entries of the
fugue subject and its inversion appear on beats one and three, but
one entry begins on the second beat and two enter on the fourth beat.

At mm. 92-94 (Example 13)16 the rhythm takes a refreshing turn.

 

l6. X's between treble and bass clefs indicate the rhythmic
features being discussed.

30

Measures 92-93:l sound like three measures of 2 time, and m. 93 (in

the context of the implied 2 of m. 92) like a hemiola with an extra
quarter note on the last beat. Standard 2 meter returns in m. 94.

Example 13. Drei Fugen: Fugue I, mm. 92-94.

92; _J'_- J

 

 

93 \ pace puam

  

 

Fugue II is in a playful spirit with off-beat chords and a "saucy"
7 m H J motive (coming from subject 1 and used about forty per-
cent of the time). It is to be played on one rather soft registration
and makes a lovely digression from the intensity of the other two.
fugues in this volume.

The passage in Example 14 demonstrates one aspect of the diversity

of Pepping's chord progressions.

31

Example 14. Drei Eggen: Fugue II, mm. 43-44.

 

 

Measure 43 contains a series of chords moving partway around the circle
of fifths while m. 44 uses a non-tonal progression in which the root
movement is by second and third. The harmonies at the cadence in m. 36
show the same creativity; there are two dominant-tonic progressions but
in keys a tritone apart. This fugue, however, has the most clearly
defined tonal center of the three, with about two-thirds in B-flat
major. It is the only composition of the set fitting Rudd's conclusion
that the chord progressions of these pieces are, in general, tradi-
tional.17 Since no more than one-third of Fugues I and III.can be
functionally analyzed, it would be difficult to call their chord

 

32

progressions conventional. The root movement of the chords approach-
ing a new key is often by step or third which makes modulations
abrupt and without preparation.

Both subjects of this six-voice double fugue are sounded together
from the very beginning and in only two entries does subject 1 appear
without subject 2. Three entries of the subjects and answers come in
the exposition--on the first, fifth, and first scale degrees. Subject
one enters in the first tenor, second tenor, and bass; subject 2, in
the alto, second soprano, and first soprano. Example 15 shows sub-

jects 1 (lower voice) and 2 (upper voice).

Example 15. Drei Fugen: Fugue II, mm. 1-3.

 

Anldante (J : co co) 2

    

S ct
”PE/Subject 1

 

These subjects move in a small range with no large leaps, and they
employ minimal pitch resources. Neither subject encompasses more than
a sixth or contains more than six pitches. The B-A-C-H motive that
begins subject 1 is used few times outside subject statements, but the
end of subject 1 (Example 15, first-tenor voice, m. 3) appears fre-
quently. One of the most appealing appearances of these motives comes

in the bass line at mm. 37-39 (Example 16).

33

Example 16. Drei Fugen: Fugue II, mm. 37-39, bass line.

 

 

 

 

 

 

 

 

 

 

 

.. 27 _. __ A l ¢ 1 38
eaei‘gséesfimwe _ I —— *ggar-“Wfl
7 L____J ' 1 j J L 1 J
a a a, a 1) ‘b
g 39 r 1 I i
-':tzM52:21:3Fi::::t;%;3:::1r- éeggj
L'__J U .W | ijib‘i
C C C C

In m. 37 the transposed B-A-C-H motive (labeled "a") is employed four
times, in m. 38 the motive from m. 3 (labeled "b") is used twice, and
m. 39 contains the outline of that motive ("c"). Throughout the work
the mild character of the subjects is reflected in the melodic lines,
which usually move smoothly, without much leaping or quick motion from
low to high parts of the range.

One of the principal factors which determines the fugue's lei-
surely pace is the gentle flow, by half and whole note, of the harmonic
rhythm. Most of it is in 2 time and the duration is about four and
one-half minutes. The amount of rhythmic activity in this fugue rises
slowly to a high point just before the last subject entry (m. 57) and
then falls quickly to the end.

The line dividing the exposition from the middle section is not
absolutely clear, but it is probable that the exposition ends in m. 11.
The middle section begins with eleven measures of episodes and a state-
ment of both subjects on the first scale degree. It continues with
three entries of both subjects on the seventh, third, and, in
diminution, seventh scale degrees. Ending the middle section is a

statement of subject 1 on the first scale degree in an inner voice

34

with the pitches and rhythm modified. Its appearance on the first
scale degree might indicate that this is the beginning of the closing
section; however, it is better to analyze this entry as part of the
middle section because it is altered, and subject 2 is not present.

The closing section begins at m. 46 and contains two entries of
both subjects--one on the fifth degree of the scale in m. 46 and one
on the first degree in m. 49--and one entry of subject 1 (m. 57:3) on
the first degree in the bass voice. This is followed by a coda

(mm. 60-65) which emphasizes motives from subject 1.

 

Subjects 1 and 2 of Fugue III (Examples 17 and 18) are strikingly
contrasting. In subject 1 the largest leaps are fifths, approximately
half of the melodic intervals move stepwise and the other half by
leap, and there is no key center. Subject 2, on the other hand, does
have a tonal center, and there are several octave leaps, but the

melodic movement is mostly stepwise.

Example 17. Drei Fugen: Fugue III, mm. 1-4.

 

 

 

 

 

1 pocofuou legato 2
41 1 a? g —i
g 1 E— ~P~—+—~-—§——S

 

 

 

 

 

35

 

Example 18. Drei Fugen: Fugue III, mm. 77-80.

77 - - animalodzeam) E

 

 
 

 

 

 

 

 

fim in. 9.51 4 Ie-Eéf; __
1" a} “”7 v- \-

 

The B-A-C-H motive is used a number of times, but little use is made
of other motives from either of the subjects or the countersubject
other than in the subject entries. Pepping shows his preference for
scalar passages again in this work with several chromatic scales,
extended scale passages, and fast ornamental upbeat scales. A section
of this fugue written in the Lydian mode with E as the tonal center is
found in 11m. 63-64.

While rhythmic figures in this fugue vary less than in the other
fugues of this set, and most measures have predominantly eighth notes
with a few sixteenth notes, the designated tempos vary considerably.

Pepping begins with the indication maestoso passionato, the quarter

 

note equaling M.M. 76. The metronome marking changes ten times

after that, varying from 60 to 120 for the quarter note. In the
closing section the tempo changes approximately every three and three-
quarters measures. The beginning of subject 1 exhibits a rhythmic
diminution involving progressively shorter note durations starting
with half notes, moving to quarter notes, and then to eighth notes,

all on pairs of descending half steps. Subject 2 is rhythmically vital

with eighth notes on strong beats and sixteenth notes on weak beats.

36

Fugue III is a five-voice double fugue with subject 1 beginning
at m. 1 and subject 2 at m. 77. Subject 1 has a real answer and
unusual key order (tonic, dominant, tonic, dominant, dominant) with
entries led by the tenor, then the alto, second soprano, bass, and
first soprano. The countersubject is used only in the exposition and
first half of the middle section. Subject 2 has a real answer, stan-
dard tonic-dominant relationships, the entry order alto, second sop-
rano, first soprano, tenor, bass, and no countersubject. The middle
section breaks down into four subdivisions and is a major portion of
this movement. In the first part (mm. 23:3-48:2) there are four sub-
ject entries including two in stretto and an episode which ends this
part. The next division (mm. 48:3-77:2) has three inverted subject
entries, two of which are in stretto at the rhythmic interval of two
beats, and one original subject entry. It is closed by an episode
which cadences at m. 77 (the fugue's midpoint). ‘The last portion of
the middle section (mm. 106-138) includes a development of subject 2
with five subject statements (the last in free augmentation). An
episode before and after this group of entries tends to "round" this
part of the form. The closing section (mm. 139-150) incorporates
three entries with both subjects sounding together followed by a
short coda that reiterates the B-A-C-H motive several times.

Fugue III is not centered in a tonality, but it does end with
dominant seventh to tonic chords in A minor. Most of the chords are
triads or seventh chords with a few quartal structures, polychords,
and sonorities too blurred by nonharmonic tones to be analyzed by

conventional means. Nonchordal tones provide considerable dissonance.

37

0f the many cross relations found here, two of the strongest are in
m. 103:3-4 (Example 19) between the first soprano and bass and in

m. 152 (last sixteenth note) between the first tenor and second soprano.

Example 19. Drei Fugen: Fugue III,.flflL 102:3-103.

102 103

    

Although Pepping indicates only one manual for the third fugue

with dynamics between mezzo forte and fortissimo, it would be much

 

easier for one to play it on two manuals. Quick dynamic changes are
needed in mm. 107-120, and dynamic marks overlap at mm. 57-58 where

the right hand is marked forte two and one-half beats before the

left hand.

CHAPTER IV

ZWEI FUGEN IN CIS

Zwei Fugen in cis (Two Fugyesvin C-sharp Minor) make an excellent

 

pair of fugues by which to compare characteristics in Pepping's writ-
ing. The first of them is a complex double fugue lasting a little over
eight minutes with eleven entries of subject 1 and four of subject 2

in the middle section. It has no tonal center for most of its dura-
tion. The second fugue is much smaller--only two and one-half minutes
long--with two subject entries in the middle section. It is key cen-
tered but with almost no writing in the C-sharp tonality. Both fugues
have countersubjects and are in four voices which conform to the stan-
dard tonic-dominant relationships in the expositions; the first has

tonal answers, the second, real.

 

Fugue I is written to be perfonned on three manuals, manual I

beginning forte, manual II mezzo piano, and manual III mezzo forte.

 

 

The entire exposition and middle entries of subject 1 are on manual I;
the entries of subject 2 and the following episodes are on manuals II

and III. The closing section begins on manual I, fortissimo alter-

 

nating with slightly softer sounds on manual II. Thus, the manual

changes reinforce some of the large formal subdivisions of the work.

38

Fu ue 1, mm. 256-267.

Zwei Fugen:

Example 20.

261 :

-fl- .

 

 

 

 

 

 

 

 

 

 

 

-262-

 

: €69...

. '1'"; 265'. '. '.

263

262

39

 

 

 

1-6.

Fu ue I, mm.

Zwei Fugen:

Example 21.

 

I no» legato

40

They are also used for echo effects at mm. 225-228 and mm. 256-259
(the latter are included in Example 20) where the first two measures
of the subject are stated in six- to eight-voice block chords fpppig-
pimp and repeated softer on manual 11. The texture of two-thirds of
this fugue is contrapuntal in four voices; the remainder is homo-
rhythmic, some of that quite pianistic, in chords of up to nine
pitches.

The entries of subject 1 (Example 21) in the exposition start in
the bass and move upward voice by voice to the soprano with no links
between them. They are accompanied by a countersubject which is
found only in the exposition.

In the first part of the middle section (mm. 25-102), subject 1
enters on every diatonic scale degree except the third. Subject
entries and episodes are grouped in the following order: four
entries, episode, three entries, episode, two entries, episode, two
entries, episode, one entry, episode. Among the middle entries are
four in stretto, one of the inverted subject and one of an orna-
mented subject. One motive which recurs several times in episodes
features an eighth note, sixteenth rest, and Sixteenth note on the
same pitch followed by a leap up to a longer note. In the second
portion of the middle section (mm. 103-198) there are four entries
of subject 2 (Example 22) which fonn an irregular four-voice exposi-
tion entering on the first, fifth, first, and first scale degrees.
The first scale degree for this subject is B. The dominant answer is
real, and the countersubject (Example 23) is derived, in part, from
the first countersubject. Motive "x“ in Example 23 will be discussed

later.

41

Example 22. Zwei Fugen: Fugue I, mm. 102-109.

102,060 fl". -

Subject

 

Example 23. Zwei Fugen: Fugue I, mm. 113-119.
4

   
   

115 116

_to subject 2

117 118 119

 

42

The closing section begins at m. 199 where both subjects sound
together over a C-sharp pedal point at the return to tempo I on the
Hauptwerk. Within, there are three entries of both subjects together,
one entry of subject 1 alone, and several episodes, some of which
employ the head of subject 1. The closing section is unusual, from a
traditional point of view, because neither subject appears in the key
in which it originated. All statements are on the second or fifth
scale degrees. In the original entries, subject 1 centers on C-sharp,
and subject 2 on B. At the end of the piece (Example 20, mm. 260-265:
subject 1 is slightly modified, in the tenor voice and marked with x's;
subject 2 is circled in the SOprano voice) they are a step higher, as
they are through the entire closing section.

Although the title of this composition causes one to assume that
it is in C-sharp minor, only one-fifth of it can be analyzed in keys,
most of those keys come and go rather quickly, and C-sharp minor is not
among them until the last ten measures. Of the four tonal cadences in
this movement, three are in E minor and one is in 8 minor. This fugue,
however, does follow Pepping's usual harmonic procedures in that chords
tend to be triads which are arranged with many root progressions by
second and third. There are a number of quartal chords in this fugue,
some polychords, a few cross relations and some alternation of major
and minor mode. In Example 20, for instance, mm. 256-257 are in
C-sharp major, mm. 258-259 are in C-sharp minor, and 11m. 260 ff. use
both modalities. Also in mm. 256-260 there are several chords without
thirds. About six percent of the chords in this fugue (not including

quartal chords) have no thirds--not Pepping's usual practice.

43

In a range of an octave and a third, most of subject 1 moves con-
junctly. Assuming the tonal center to be C-sharp, the subject is in
Locrian mode and is completely diatonic--there is no chromaticism at
all. Subject 2 and much of both countersubjects also move by step
which sets the stage for a diatonic and stepwise piece (with some nota-
ble exceptions, as in the octave displacement in the alto at the entry
of subject 2 shown in Example 22). The text "Kyrie Eleison" is associ-
ated with subject 2 at the last entry (Example 20). This Kyrie is
freely composed; it is not based on any pre-existent melody. Pepping
says of it, "No source exists for the 'Kyrie E1eison.’ It might be
taken as an impression of one of the first great air raid bomb attacks

"18 The countersubject associated with subject 2 (Example

in the war.
23) is key centered and is somewhat independent of its subject,
appearing three times without it. A highly chromatic motive ("x" in
Example 23, mm. 118-119) is used several times--including once with

an entry in diminution in m. 205--after the introduction of subject 2.
A few motives are employed throughout the piece: the head of subject 1
is sounded frequently in the last quarter of the fugue; the counter-
subject to subject 2 and motive "x" interweave in mm. 163-170 (Exam-
ple 24). Subject 2 is in the soprano throughout the example. The
countersubject is seen in the bass in quarter notes beginning in m. 163
and in the tenor voice in eighth notes (circled) beginning in m. 165.

Motive "x" enters in the bass overlapping the countersubject. Pepping

constantly finds imaginative ways to combine his melodic materials.

 

18. Letter from Pepping, op. cit.

44

Example 24. Zwei Fugen: Fugue 1, mm. 163-170.

16 64 . ' 165 166

    

   

Su ject , bject

 

tersubject

167 168 169 70 ,

 

Uncommon for Pepping's music, the entire piece is in one meter,
however, the tempo changes at important formal divisions of the fugue.
The quarter note moves at M.M. 84 at the beginning, accelerates to 144

at the entry of subject 2, and returns to 84 in the closing section.

 

Pepping refers to Fugue II as a "tender" fugue following the hints

‘9 It is a calm work of small dimension

of war in the first fugue.
written for one manual at mezzo piano and piano dynamic levels. Most

of it is legato which contrasts with the non legato articulation of

 

the first fugue. The texture of the second fugue is almost completely

contrapuntal with only two measures of chordal writing.

 

45

Most of this fugue centers around E and closely related keys with
a standard distribution (for Pepping) of root progressions by second
and third, polychords and quartal structures. The only area that is
clearly in C-sharp minor is the final three-measure passage (Example
25) in which C-sharps are repeated on every after beat for two measures
to make the key center obvious. Neither of these two fugues focuses
on C-sharp minor until near the conclusion.

This fugue has almost unceasing sixteenth-note motion until the
closing section where the rhythmic patterns use many eighth notes.
Considering Pepping's normal rhythmic diversity, such steadiness is

uncommon. The tempo is marked andante cantabile with the quarter note

 

equal to M.M. 69 until the closing section where it is at M.M. 63.
Harmonic rhythm moves mostly with the quarter note. All this makes
for a calm, relaxed composition--almost like a small coda to the first
fugue, albeit that no melodic relationships exist between the two.

The subject of this fugue (Example 26) contains stepwise movement,
melodic thirds, and a few other leaps. The use of the third in the
subject permeates the work. The countersubject is heard throughout
the fugue, beginning with the second entry, in all but two entries.
The beginnings of the subject and countersubject show Pepping's strong
feeling for melodic unity. The first two eighth notes of the counter-
subject (Example 26, m. 4:3 in the soprano) tonally imitate, in
diminution, the first two notes of the subject, and the next three
notes of the countersubject (O-sharp with a trill and turn, E, and
C-sharp) are derived from the next three notes of the subject (the

trill is not present in the subject, but the turn is).

Example 25. Zwei Fugen: Fugue II, mm. 36-39.

. ’t

O\
I

 

1
‘1
1

I
'.H

. 1|.
: 111
" ~11

 

1‘1 1 ;
|

46

. Zwei Fugen:

Example 26
Fugue II, mm. l-5.

 

I: ‘6
L .4)
1| 1'0
Jr é
' I..
1 ‘3
.11 g
.1. o
‘i:bl l
a
.a “;i
I

 

 

r'
@

u I l
l w .1

11m p

 

 

 

 

:J

 

 

 

 

 

 

47

It sounds, when the subject and countersubject are played together, as
though the subject is imitating the countersubject. There are three
subject fragments in the last four measures of the fugue (Example 25).
The third, fourth, and fifth quarter-note beats of the tenor voice in
m. 36 are derived from m. 2; beats one through three of the bass voice
in m. 37 imitate the first three notes of the subject; and the first
three bass notes of m. 38 are an augmentation of mm. l:4—2:l.

The exposition subject entries are in reverse order from those of
Eggug_l, beginning with the soprano and proceeding to the bass, voice
by voice. The middle section (mm. 16:2;32) has two subject entries,
one in the bass voice in m. 21 and one in the tenor in m. 24. There
is an episode before these entries and two episodes after them. The
closing section (mm. 33-39) incorporates one subject entry, which
begins in the bass and moves to completion in the tenor. A four—

measure coda based on subject fragments brings this fugue to a close.

CHAPTER V

CONCERTO I

Concerto I is written for organ alone, without orchestra. The

 

opposing bodies of sound inherent in the concept of a concerto are.
provided by two or three divisions of the organ. All three movements--
Intrada, Aria alla Passacaglia, and fugar—are in the same key which

is somewhat unusual because most concertos would have their middle
movement in a related tonality rather than the tonic key. These move-
ments have the fast-slow-fast relationship often found in the concerto.

For all three movements the quarter note provides the basic pulse.

 

The first movement, Intrada, employs two manuals and is in the
style of a festive fanfare with only a few deviations from the initial

tempo of poco allegro. There are ten manual changes, on the average

 

of one every nine and one-third measures. The opening eighth notes
of the Intrada are marked staccato as are most of the eighth notes
in the movement, and for the sixteenth notes in the opening motive

a non legato articulation is indicated. The resulting separation of

 

notes creates a clear and incisive sound. This movement does not
appear to be so strictly polyphonic as were the fugues analyzed in
previous chapters inasmuch as the individual lines are not confined to
a specific range, the number of voices sounding at once changes often,

and absent voices are not represented by rests. About one-tenth of

48

49

the Intrada is homophonic, one-tenth has a one- or twosvoice texture,
and four-fifths is polyphonic in three or four voices with constant
changes in voice range.

The Intrada has three sections which are nearly equal in length.
It has some characteristics of rondo forms and some characteristics of
motivically generated forms such as the baroque toccata or prelude.
The opening section (mm. l-29) announces the three motives upon which
this movement is based. They are labeled "a", "b", and "c" in
Examples 27 and 28. Motive "d" is derived from "a" and will be dis-

cussed later.

Example 27. Concerto I: Intrada, mm. l—3zl.

 

Pooo Allegro (J . ~00, ”a...“ J. u)

  

 

Example 28. Cancerto I: Intrada, um. 7—9.

 

8 9

  

50

After the statements of these motives, the opening section continues

in the manner of a baroque prelude by applying developmental devices

to the motives. This portion ends with a gjtarg_and a perfect authen-
tic cadence in C minor. The middle section begins with a manual change
and a return to the original tempo. In the middle section (mm. 30-60)
the development process is continued with the occasional creation of a
new motive or the derivation of one from "a", "b", or "c". In all
essential aspects, mm. 61—88z3 are a return of mm. l¢27 with four small
changes: (l) a pedal line is introduced in mm. 62-63 that was not pre-
sent in mm. l—Z, (2) a few staccato notes are added or deleted in the
return, (3) the manual bass part in mm. 3-5 is played on the pedal-
board in mm. 64—66, and (4) the bass—line Q.in m. 3:4 is omitted in

the pedal part of m. 64:4. A short coda (m. 88:4-94) based on motives
"a" and "c" brings this movement to a close.

Although it incorporates several elements of each, the Intrada
cannot be defined as a rondo or a sonata form. It features a return
of the opening material as a rondo form would have, but the middle
section does not contain new themes or contrasting treatments of
existing themes. This movement uses developmental devices and has a
whole section devoted to development as a sonata would have, but all
developed motives are in the same tonality, and the middle section
is in the same key as the Opening section. Such tonal unity would
be unusual in a sonata form. Furthermore, the material being de-
veloped could not be thought of as contrasting "themes" as would be
standard in a sonata form; at most they are small three— to five-note

motives.

51

Solidly in C minor, eighty—seven percent of the Intrada is har-
monically traditional with most of that portion in one of the modes
centering around C. Contrary to Pepping's harmonic practice in the
fugues, much of this writing involves dominant-tonic progressions
which are easily analyzed. An increase in direct dominant—to-tonic
progressions, less dissonance obscuring the progressions, and more
standard harmonic motion induces clarity. The middle section, how-
ever, is a good example of the harmonic contrasts in the writing of
Pepping, the first half changing keys every one or two measures, the
last half remaining in C modalities. There are a few quartal chords,
and some progressions are by root movement of seconds and thirds.

In addition to the three basic motives in the Intrada, other
motives are used a few times. They are developed throughout this
movement by such devices as repetition, sequence, imitation, modula-
tion, and interval expansion and contraction. Motive ”a" is especial-
ly important in generating new related motives. Example 27, m. 2
shows a motive labeled "d", the last two beats of which are derived
from motive "a". Motive "d" is used several times and is then modi—
fied. Example 29 contains a motive labeled "e" (created by the
filling in of the first octave leap in motive "a") and a modification
of motive "e" which leads short canonic entries that include

motive "c" in mm. 53:4«55:l.

Example 29. Concerto I: Intrada, mn. 30-32.

 

 

 

 

 

 

52

Motives "b" and "c" are heard in about one-third of this movement.
Pepping continues to employ scalar patterns often as is shown in the
octave-long scales in mm. 15 and 43 and the two—octave scale in m. 21.
In this concerto, however, he does not use the fast ascending scales
which were so common in the fugues.

Driving rhythm propels the Intrada with nearly half the piece in
consistent sixteenth note motion and another fifth of it in a m
rhythm. Motive "b" generates much use of the 7 m“ rhythmic
pattern. Common meter dominates this movement with the quarter note

marking the rate of harmonic change.

 

The Aria alla Passacaglia is a slow and gentle movement in 3

 

time marked lento (beginning with the quarter note at M.M. 56).
Mostly in the bass, the theme appears in two forms: the original
form is a descending natural minor scale on C, and the inverted form
is an ascending C Mixolydian scale. Each note of the scale is a
dotted whole note and thus fills one measure.

Despite its hovering in the C tonal area by virtue of the scales
that serve as the passacaglia theme, there are almost no standard har-
monic progressions. Harmonies tend to be loosely related to the bass
note in each measure. The many nonchordal and chromatic tones do not
permit analysis using standard harmonic progressions. There are only
two cadences in the piece--a half cadence in C minor in m. 21 and a
perfect authentic cadence at the end. Measures 22-27 display pan-
diatonicism in C: i.e., there are no sharps or flats in these

measures, but there is also no sense of functional harmonic progression.

53

Rather, there is a free association of triads within the tonality.
Planing is found in mm. 15:4-l6:5 in which triads in first and second
inversions are written in parallel motion.

In three sections, the piece may be outlined thus:

mm. lv2l Theme in the bass (descending)

mm. 22—42 Theme in the bass in
melodic inversion (ascending)

mm. 43-63 Theme in the bass and tenor
(descending; partially
recapitulating mm. l-2l)

mm. 64-67 Codetta

It begins on manual I mezzogpiano, moves to manual II forte for the

 

middle section and returns to manual I mezzogpiano at the recapitula-

 

tion. Thus, dynamic markings and manual changes reinforce the three-
part outline (before the codetta). Three statements of the theme
appear in each section, the ending and beginning of which is elided
each time. At most points the beginning of the theme and new material
above it coincide, but at three entries the new material comes a
measure either before or after the beginning of the theme.

Two melodic elements are present besides the scalewise passacaglia
theme. The upper voices frequently have conjunct movement within a
fifth--sometimes diatonic and sometimes chromatic. In this piece there
is also a large amount of disjunct motion in some melodic lines with
few melodies that follow chordal outlines. Two-thirds of the varia-
tions have motives which are associated with that one variation and

not with any other. Examples 30 and 3l show some of these motives.

54

Example 30. "anggrto I: Aria Valla‘Passwac'aglja, nm. l—3.

 

 

Lointo (J- u) f f f

    

'1’ poco legato

'P

Example 31. ConCErto I: ‘Aria alla Passacaglia, mm. 22—23.

 

 

 

There is a high degree of rhythmic diversity in this movement.
Each variation has its own predominant rhythmic motion. The basic

rhythm of each variation is:

55

mm. 22-29

D
Q?
’37
H

mm. 30-36 Fifi
(177
n
5“
F31]

 

 

mm. 37-42
mm. 43—49
mm. 50-56

mm. 57-63

mm. 64-67 D

A palindrome is formed on either side of mm. 30-42, those thirteen
measures having the most rhythmic activity in the movement. Tempo is
often modified, with metronome indications changing ten times (from

M.M. 55 to 69 for the quarter note).

 

The final movement of this concerto, a four-voice double fugue,
was written to be played on three manuals with dynamic levels between
mezzojpiano and fortissimo. Several manual changes are accomplished

one hand at a time--an unusual indication in these organ works. As

56
one would expect, the texture of this fugue is polyphonic with the
exposition and middle entries of subject 2 lightened by the omission
of the pedal line leaving those sections mostly in three-voice counter-
point.

After the four normal subject and answer entries in the exposiv
tion, that portion of the fugue closes with an extra entry on the first
scale degree in the bass voice followed by an episode. The middle sec—
tion (mm.28—78) begins with three entries of subject 1, the last of
which is inverted and modified, followed by an episode which employs
portions of subject l. The next part of the middle section-contains
the exposition of subject 2 which begins in m. 45, almost exactly half-
way through the eighty-nine measures of this work. The final portion
contains entries of subject 2 on the fifth, seventh, and first scale
degrees and then an entry of subjects 1 and 2 together on the fifth
scale degree. The closing section (mm. 79-89) has an entry of sub-
jects l and 2 together on the first scale degree at m. 79 and a final
entry of both subjects on the fourth degree at m. 83. A coda
(mm. 85:2-89) which uses motives from both subjects closes the move-
ment.

The melody of subject 1 (Example 32) is quite disjunct.

Example 32. Concerto I: Fuga, mm. l-4.

 

(J-CO)

    

u ject 1

 

57

It contains leaps of minor ninths, perfect fifths, perfect fourths,
major thirds, and minor thirds within a range of an octave and a
sixth, and it outlines a dominant ninth chord in C minor in the

first two measures (excluding the first note). The triplets at the
end are slightly modified in the answers, and they are used only in
the first four entries. Little use is made of motives from this sub-
ject except for a few appearances of material based on the second
measure. One of the most interesting is found in m. 76 (Example 33)
where the motives of m. 2 are raised or lowered one octave and written
in hocket technique--pairs of notes being played in alternation--in

the soprano and bass lines.

Example 33. Concerto I: Fuga, mm. 75-77.

 

fiJ.

 

  

 

76

Three-fourths of subject 2 (Example 34) moves stepwise, but there are
a few leaps of thirds and fourths in it, also. It is entirely dia—

tonic in C minor and lies within the range of an octave and a fifth.

Example 34. Concerto I: uoa, mm. 45-47.
47

 

f 46

      

45

    
 

m [qua

58

There is almost no use of motives from subject 2 outside subject and
answer statements except at the last two measures of the piece where
the head of the subject appears in the alto voice. A few other
motives which are not derived from either subject are used occasional-
ly in this movement. Other points of melodic interest are a few
chromatic scale fragments (mm. 23, 24, 38—39, and 52-53), a short
ostinato at mm. 57-58, and a sequence (a technique not found often in
these pieces by Pepping) in mm. 58—59.

About a third of the fuga_employs traditional progressions with
the remainder consisting of root movement by chromatic motion, seconds,
and thirds. Except for the entries at rrm. 68:4 and 83, all the en-
tries of both subjects are on the first or fifth scale degrees in
C major or minor. There are two strong cadences in this movement.

The first is a half cadence in C minor at m. 44 (the midpoint of the
piece, just before the beginning of subject 2). The other is a per-
fect authentic cadence in G minor; it is two-thirds of the way through
the work. It can be seen here and in many of his other works that
Pepping does much of his writing in symmetrical sections. Other har-
monic points of interest include several cross relations (mm. 27, 59,
66, 70, and 7l), polychords (mm. lO, 57, 58, and 75), and quartal
chords (m. 36).

The time signature changes eleven times in the E293, and the
metronome indication is modified three times. Harmonic rhythm is
governed by the speed of the quarter note. The rhythm of subject l is
diverse: it contains groups of quarter notes, eighth notes, triplets,
and m patterns. Subject 2, on the other hand, is much more

rhythmically consistent employing mostly sixteenth notes but including

59

two dotted quarter notes and two eighth notes. Most of the rhythmic
patterns in the piece are generated by these groups of eighth notes,

sixteenth notes, or ,I I 3 rhythms found in the two subjects.

CHAPTER VI

CONCERTO II

Concerto II, like Concerto I, is composed for organ alone.

 

Praeludium, first of three movements in Concerto II, is based on

 

four motives. One other motive (the fast ascending scales found in
the fugues analyzed in Chapters II, III, and IV) is heard a few times;
however, inasmuch as this fifth motive is a decorative one, it does
not contribute to the primary structure of this movement. The four
motives employed are labeled "a", "b", "c", and "d" in Examples 35,

36, and 37.

Example 35. Concerto II: Praeludium, mm. l-2.

 

Pour“ (J - so) 2

    
  

poco 3.

Example 36. Concerto II: Praeludium, mm. lO-ll.

 

 

’0" GM 0-“)
C

1 11

 

chi

60

6l

Example 37. Concerto II: Praeludium, mm. 31—33:l and 34—35:l.

 

 

31 32 33

   
    

 

Motive "a" outlines a quintal sonority and is first heard in m. 1.

It is employed in one-fifth of the movement and is used beginning on
D, A, and C in both the original form and in diminution. Motive “b“
is first seen in m. 2 and in fifteen percent of the piece thereafter.
In the original form it outlines the dominant, tonic, dominant
seventh, and tonic chords. In later manifestations it outlines
several cnord patterns: the dominant of the supertonic, supertonic,
dominant, and tonic (mm. 16-17); dominant, tonic, dominant seventh
of dominant (m. 19); and dominant seventh, tonic, dominant of
dominant, dominant (m. 23). Motive "c“ is the opening motive of the
middle section and appears only four times (at m. 10 in augmentation,
m. 11 twice, and m. 15). Motive "d" contains leaps by third, fourth,
fifth and octave as well as some conjunct motion. It is heard four
times: twice in the original form as seen in m. 32 of Example 37

and twice in the tonal form in m. 34 of the same example. Although

62

uncommon in Pepping's other free organ works, sequences are used in
about a quarter of this movement, and imitation is employed twice.

As in many other works by Pepping, scale passages abound.

The formal outline of this movement is:

mm. l—lO:l Opening section

mm. 10:2-40 Middle section

mm. 41-48 Return of the opening section
mm. 49-52 Codetta

The compositional process here is one of continual development, begin-
ning at the statements of the motives and moving to the end. The
Opening section presents motives "a" and "b" and begins the develop-
mental process by transposing and fragmenting them. The middle sec-
tion, separated from the opening section by a perfect authentic

cadence in D minor (with a tierce de Picardie), begins by using mo-

 

tives "a", "b", and "c” to continue development. contains four state-
ments of motive "d", and concludes with further development of mo-
tive "a". A small twist in the formal outline of this movement occurs
at m. 40. It might be expected that m. 9, the last measure of the
opening section, would be brought back at the end of the recapitula-
tion (about m. 49). Instead it comes back as the last measure of the
middle section (m. 40) just before the return. This movement closes
with a codetta based on motive "a".

The Praeludium is a movement for two manuals marked poco forte

 

 

and mezzo forte. There are only five manual or volume changes through-

63

out the movement, but one of the surprises of this piece is the change

to fortissimo at the codetta followed by poco forte for the closing

 

 

cadence. The indicated character and tempo is pesante with the half
note equaling M.M. 50. Except for two homophonic measures, the tex-
ture is three- to five-voice polyphony which does not always follow
standard, strict voice leading practices.

The tonal center of D minor is obvious in this work with eighty-
five percent of the movement clearly analyzed in that key. Four
cadences in D minor and a D pedal point which underlies a quarter of

the Praeludium contribute to tonal stability. Two measures of pan-

 

diatonicism occur at.nnL 1444-1622, the Neapolitan Sixth chord at
mm. 1, 11 (Example 36), 21, 25, 27, 30, 41, and 49, and the French
Sixth chord at mm. 22, 49, and 50.

The harmonic rhythm in the Praeludium moves at the rate of the

 

half note. Only two measures deviate from the 2 time signature
established at the beginning: m. 9 and 31, which are in g time.
The tempo indications reinforce the form of the movement. The half
note is given a metronome marking of 50 at the Opening and return
sections, 56 at the middle section, and 46 at the codetta. These

tempos are modified seven times by ritardandos. A little of this

 

piece moves in sixteenth notes while over three-fourths of it uses
either eighth notes or triplets. Nearly one-third of the measures

use both eighth notes and triplets.

 

The predominant impressions given by the Kanzone are that it is

chromatic and sectional. It contains eleven sections, and chromatic

64

melodic lines are seen in over one—third of it. The dynamics are

relatively soft (two manuals at mezzo piano and mezzo forte), and the

 

 

tempo slow (larghetto at the beginning, M.M. 58 for the quarter note).
Pepping indicates the use of one manual; two manuals are necessitated,

however, by the dynamic change to mezzo forte which occurs in the

 

right hand in m. 33 and in the left hand in m. 34. Most of the move-
ment is in strict four-voice counterpoint.

The formal outline of the Kanzone is:

mm. 1-33 Opening section
mm. 34—41 Middle section
mm. 42—74 Return

Appropriate to this movement is one of the possible definitions of a
canzona as an instrumental piece of the sixteenth and seventeenth
centuries which is characterized by formal balance (perhaps A—B-A)
and sectional writing.20 The three sections noted above are broken
into subdivisions by cadences, tempo changes or new rhythmic patterns

which define beginnings and endings of sections. The opening section

is subdivided as follows:

mm. l-7 Subdivision 1 ended by a dominant to tonic pro-
gression in D minor elided with the
beginning of the next subdivision.

 

20. Eunice Crocker, "Canzona," Harvard Dictionary of Music (1961),
pp. 118-120.

 

65

mm. 7-11 Subdivision 2 begun by the tonic chord that ends
Subdivision 1 and by a change from
eighth- to sixteenth-note motion.

mm. 12-18 Subdivision 3 begun by a resolution to A minor
and a change from sixteenth- to
eighth-note motion; ended by a
reduction in pace of movement.

mm. 19-26 Subdivision 4 begun by a return to tempo I and
featuring varied rhythms.

nnL 27-33 Subdivision 5 begun by a resolution to F minor
and a change from varied rhythm

patterns to a steady eighth note
motion.

The middle section (mm. 34-41) has only one part which contains
material not found elsewhere. It employs the most consistently small
rhythmic units in the piece: sixteenth notes, sixteenth-note trip-
lets, and thirty-second notes. The third section is broken into five

subdivisions:

mm. 42-48 Subdivision 1 return of mm. l-7.

. 48-52 Subdivision 2 return of mm. 7-11.

3

mm. 53-56 Subdivision 3 begun by a change from sixteenth-
to eighth-note motion; mm. 53-55:2
are freely based on mm. 12-13;
mm. 55:3-56 bring back mm. 17:3-18.

mm. 57-65 Subdivision 4 return of mm. 19-26 with a measure
of new material added between
mm. 24:1 and 25:2.

mm. 66-74 Subdivision 5 return of mm. 27-33 with a two-
measure extension.

Harmonically, most of the movement is similar to previously men-
tioned works. Triads and seventh chords are used but outside tradi-

tional relationships. Tonalities fleetingly come and go, and a

66

majority of them involve isolated dominant—toutonic progressions.
There are two longer tonicizations in C major and one in D minor and
only one cadence (supertonic seventh to tonic at the end of the piece).
Two sections of the Kanzone are pandiatonic: mm. 14:3—19 and
52:2-58zl.

Several motives are employed in this movement. Three of them are
shown in Example 38 where they are labeled "e", "f", and "g", and a

fourth motive, labeled "h", is shown in Example 39.

Example 38. Concerto II: Kanzone, mm. 1-3.

(J- n) e

    

"P

Example 39. Concerto II: Kanzone, m. 39.

h

 

Motives "e" and "f" are employed throughout the movement, whereas
motives "g" and “h" are used in a much more limited area. Motive "e"
appears six times and moves stepwise except for the leap Of a minor

third. Motive "f" is entirely disjunct, having leaps of the perfect

67

fifth, minor sixth, major sixth, and major seventh; it occurs eight
times. The twice—seen motive "9" consists entirely of stepwise move-
ment within the range of a fourth. Motive "h" has an equal proportion
of leaps and steps and is modified each of the four times it is used.
The feature that binds different versions of motive "h" together is
the half-step motion in the same direction as the leaps which precede
it. There are several points of repetition, imitation, or sequence
which happen within a measure or two.

The Kanzone is in 2 time except in m. 40, where triple meter is
used. Metronome indications change six times after the beginning.
For the most part, one time value prevails in each subdivision of
this piece. The rhythmic climax comes in m. 38, which is one measure

beyond the midpoint of the movement.

 

The Chaconne is a majestic work in quadruple meter with a four-
measure theme which moves from the bass to other voices, and is some-
times used in diminution, but is always present. Two manuals are

indicated, with dynamics from mezzo forte to fortissimo. Most of this

 

 

movement is written in four-voice polyphony, but exceptions include
the beginning where the theme is stated alone, the cadenza (in one
and two voices), and the two final statements of the theme (in five
to eight voices).

This movement is kept freely in the D tonality by virtue of the
Chaconne theme which remains in D minor throughout and by the six
cadences, all of which are in D minor. The first five are half

cadences, and the last is a perfect authentic cadence at the end Of

68

the work. In relation to the other music analyzed in this paper, this
piece is exceedingly dissonant and can be functionally analyzed in
only nine isolated measures. Nearly one—half of the chords on quarter-
note beats contain either a second, a seventh, or both. Only one-
fourth of the chords are simple root position triads. A number of
other factors add even more instability: (l) nearly two«thirds of the
on-the-beat dissonances do not resolve; (2) of those dissonances which
resolve, many do so irregularly; (3) there are many nonharmonic tones
between the beats; (4) the harmony is almost entirely non-functional;
and (5) there are a few cross relations, polychords, and quartal for-
mations. The chord structures which Pepping employs most often in the
Chaconne are triads which include seconds or ninths. These take the
shape of ninth chords, inverted seventh chords, or added-note chords.
Thirteen percent of the chords have both seconds and sevenths added.

The Chaconne theme is shown in Example 40.

Example 40. Concerto II: Chaconne, mm. 1—6.

 

(J- 06-“)

       

It uses six tones of the chromatic scale, is within the range of an
octave, and is heard in the pedal line for the opening thirtyueight
measures. At m. 39 the theme moves to the manual bass line, then at

m. 51 back to the pedals. In mm. 55 and 63 the basic melody is given

69

to the soprano and tenor lines, and then from m. 72 to the end it
returns to the pedals. This Chaconne is based on a melodic theme,

not a harmonic progression as is true for sane chaconnes. Thirteen
other motives, besides the theme, are employed in this movement. Four
of those motives are used throughout the piece, and the others are
found only in a variation or two. Motive "n" shown in Example 40,

and motive "p" in Example 41 are two of the melodic ideas used most
often. Motive "n" is found later in the movement in a number of

guises. Examples 42 and 43 show three of the other entries.

Example 41. Concerto II: Chaconne, m. 25.

 

Example 42. Concerto II: Chaconne, m. 33.

 

 

70

Example 43. Conterto II: Chaconne, m. 47.

n ornamented

47¢.

    

Although most chaconnes employ triple meter, the time signature
throughout is 2 . There are eleven tempo changes indicated after the
Opening maestoso, M.M. 66-69 for the quarter note. The original theme
is in four measures, and it appears in that form for three—fourths of
the piece. For the remainder, it is in diminution, compressed into
two measures. Measures 1-24 use the original form, mm. 25-38 the
diminution, mm. 39-71 the original, mm. 72-75 the diminution, mm. 76-
83 the original, and mm. 84-88 the diminution. Sixteen statements
employ the original fonm and eleven statements the diminution.

The chart below outlines the places in this movement that most

clearly articulate the form.

 

 

Voice in which the Shape
Measurg. Cadence theme is found of the theme
1 bass, pedal original
24-25 imperfect half diminution
38-39 imperfect half bass, manual original
46 imperfect half
51 bass, pedal
55 soprano

63 tenor

71

71-72 imperfect half bass, pedal diminution
76 original
83-84 imperfect half diminution
88 perfect authentic

This movement does not adhere to the three-part form seen in the first

two movements of this concerto, for there is no return of opening

material. From the chart above, however, it can be seen that the

points of strongest change at mm. 38-39 and mm. 71-72 divide the piece

into three sections.

At those two places the location and length of

the theme changes, and there is a cadence. The three sections of the

movement can be outlined thus:

mm. 1-38

mm. 39-71

mm. 72-88

theme entirely in the pedal;
original length and diminution

theme in various voices;
always in original length

theme entirely in the pedal;
original length and diminution

The dimensions of the three sections are established by the location

and length of the theme, not by material being repeated above it.

CHAPTER VII

SUMMARY

Patterns of both unity and diversity appear in nearly all aspects
of the free organ works of Ernst Pepping. These patterns define a
coherent musical style that encompasses these pieces.

Only the barest outline for organ registration is given, with no
more than manual and dynamic indications being shown. There are no
tone color or pitch indications of organ stops. Thus, it is clear
that Pepping intends these pieces to be projected to the listener by
their structure, not by reliance on volume changes or colorful sounds.

Harmonically, all five volumes have several points in common:

(1) each volume contains one piece that can be clearly analyzed by
traditional means, one movement that is quite dissonant, and (except

for Zwei Fugen in cis) one or two works between these extremes;

 

(2) there are no key signatures; (3) the majority of chord structures
are triads or seventh chords; (4) most of the harmony is generated by
intersections of melodic lines; and (5) all Of this music is rather
freely tonal. Whether or not these compositions can be placed in
keys, Pepping's harmonic style is consistent, as can be seen by these

figures from representative pieces:

Root movement by: 2nd and 7th 3rd and 6th 4th and 5th

 

 

 

Fu ue I from 29% 21% 43%
Vier Fugen

Fugue 111 from 26% 19%. 42%
Drei Fugen

 

72

73

Eugue I from Vier Fugengjnfp, c,;Es und f follows traditional progres-
sion patterns for a majority of its duration, and Fague III from Drei

Fugen Dber B-A-C-H seldom focuses in keys, yet both have similar root

 

movement. Two volumes show interesting variance from what would be

expected tonally. Neither of the Zwei Fugen in cis is in C—sharp minor

 

until the last few measures. Each concerto, rather than having some
change of key center from movement to movenent, remains in the same

tonality throughout: Concerto I in C, Concerto II in D.

 

Rhythmic energy is a Pepping hallmark, and he uses it with much
imagination. It is one of the most diverse-and vital elements in his
writing with many different rhythmic patterns in some pieces, and more

rhythmic unity in others. Once underway, movements often establish

a rhythmic flow which is repeatedly interrupted and changed. Amidst
all this diversity, Pepping gives considerable attention to rhythmic
control. Graduated metronome markings from beginning to end create
a long accelerando in Fugue I of Drei Fggen Dber B-A-C-H, and the

Aria alla Passacaglia of Concerto I employs a palindrome as its

 

rhythmic outline. As well as concern for large rhythmic organization,
Pepping gives heed to rhythmic details with articulation marks of
various kinds in many pieces.

There is much difference between these works in both the kinds
of melodies used and their relationships to each other. Some pieces
employ mostly conjunct lines, while disjunct lines prevail in others.
Long scales, both chromatic and diatonic, abound, and a few triadic
and quartal melodies occur. One volume, Vier Fugen in D, c, Es und f,
utilizes a progression from stepwise to increasingly disjunct lines

from beginning to end. There is considerable dissimilarity in the way

74

melodies are used. Some movements sparsely employ motives from sub-
jects and themes in the development process; others are almost entire-
1y based on those motives. Even in these latter works, however, few

sequences, imitations, or repetitions appear. Except for Concerto I,

 

the quick ascending scales leading to a strong beat are used in all

these works. Vier Fugen in D, c, Es und f is the only volume that

 

exhibits any thematic unity between the movements.

In their fOrm, these works show the greatest reliance on tradi-
tion. Pepping tends to follow established practice in his use of the
contrapuntal forms (fugue, ground bass, canzona), and many of his non-
fugal movements are written in rondo form. In these tightly structured
pieces (many of them constructed in symmetrical sections), formal
‘divisions are Often clearly marked by rests or cadences and a change
of manual or registration. Pepping occasionally gives the time—
honored forms an unusual twist. For example, Fugue I of Drei Fugen

Ober B-A-C-H has no closing statements of the original subject, only

 

statements of the inverted subject, and in the closing section of

Fugue I from Zwei Fugen in cis, neither of the fugue subjects appears

 

in the original key.

Pepping's music is often thought of as similar to that of two
other composers: Paul Hindemith and Hugo Distler. However, important
differences exist in approach and philosophy if not always in the end
result. Hindemith was the giant of his era who embraced tonality
(opposing the atonality of Schbnberg), and while Pepping followed
the tonal path, unlike Hindemith, he accepted nothing as "given"

within his tonal system. All was open to the human will rather than

75

2] Distler, also a tonal

based on natural acoustical principles.
writer, was much more lean and economical in his writing than Pepping.
Pepping wrote a rhythm or melody, and it was gone; another then
followed. Distler nursed his motives, developed them, used and reused
them. These two composers were also philosophically a distance apart.
Pepping accepted the principles of the German church music movements
but was not as closely associated with them as was Distler. Pepping
spoke of himself as "an artist who happens to write music useful for

the church,"22

but not as a church composer.
These pieces by Pepping comprise a small but significant portion

of his creations for organ. With the exception of the Toccata und

 

Fuge "Mitten wir im Leben sind" (1941), these are his only organ

 

works from the years 1941 to 1943, and he wrote no other organ music
until 1953. They fit into the larger patterns of Pepping's music from
this era in which he espoused the views of the neo—Baroque and church

music reform movements.23

These movements encouraged composition in
pre-classical forms (chorale variation, fugue, passacaglia, etc.),
polyphony as the ideal texture, and chords built by intertwining lines
rather than by relationships to a tonic chord. The ethos of the times
required music based less on individual subjective experience and more

on intellectual objectivity. Therefore this music contains few

crescendo or aiminuendo indications, graded tempo changes, effects

 

 

21. Gebauer, op. cit., pp. 122«124.
22. Ibid., p. 129.
23. Ibid., pp. 235—236.

76

based on colorful sounds, strong climaxes, or other stylistic elements
of the romantic period. Inasmuch as they do not have the benefit of
prewexisting chorale tunes and their texts as a point Of reference,
the free works tend to be the most "academic" of his organ music.
This paper aims to serve the needs of perfonner, theorist, and
scholar. For the performer, a broad stylistic overview of a work is
helpful. Locations of themes, relations of motives, and clear fonnal
outlines enhance the learning process. The theorist and scholar now
have, with this dissertation and those by William Weeks and
David Foster, a thorough analysis of all of Pepping's organ music.
These works deserve to be studied and performed more often, for in
them Pepping has demonstrated creative molding of tonal musical

elements and much skill in working with large keyboard forms.

BIBLIOGRAPHY

PRIMARY SOURCES

Pepping, Ernst. Concerto I. Mainz: B. Schott's Sdhne, 1942.
------ . Concerto II. Mainz: B. Schott's Sdhne, 1942.
------ . Drei Fugen dber B-A-C-H. London: Schott & Co. Ltd., 1949.

 

------ . A letter to Douglas Brown dated at Berlin-Spandau,
February 12, 1980.

------ . Vier Fugen in D, c, Es und f. Mainz: B. Schott's Sdhne, 1949.

 

------ . Zwei Fugen in cis. London: Schott & Co. Ltd., 1949.

77

SECONDARY REFERENCES

Arnold, Corliss Richard. Organ Literature: A Comprehensive Survey.
Metuchen: Scarecrow Press, 1973, p. 500.

 

Bartlett, K. W. "Ernst Pepping." Grove's Dictionary of Music and
Musicians, ed. Eric Blom. London: Macmillan and Co., 1954,
VI. Pp. 619-620.

Crocker, Eunice. "Canzona." Harvard Dictionaryiof Music, by Willi
Apel. Cambridge: Harvard University Press,‘1961, pp. 118-120.

 

Foster, David L. "A Study of the Cantus Firmus Organ Compositions
of Ernst Pepping." An unpublished D. M. research project,
Northwestern University, 1971.

Gebauer, Victor Earl. "Ernst Pepping: A Career in Context." An
unpublished Ph. D: dissertation, University of Minnesota, 1976.

Goode, Jack C. "Warm Picture Drawn of Pepping--Man and Composer."
The Diapason, May 1, 1959, p. 18.

 

Kirchberg, Klaus. "Ernst Pepping." The New Grove Dictionary of Music

 

and Musicians, ed. Stanley Sadie. London: Macmillan Publishers
Eimited, 1986, XIV, pp. 356-357.

Moeser, James. A conversation with James Moeser on January 23, 1980
at the University of Kansas, Lawrence, Kansas.

Rudd, Robert M. "Stylistic Trends in Contemporary Organ Music." An
unpublished Ph. D. dissertation, Louisiana State University and
Agricultural and Mechanical College, 1967.

Vinton, John (ed.). "Ernst Pepping." Dictionar of Contemporary
Music. New York: E. P. Dutton and Co., 1974, p. 561.

Weeks, William Bailey. "The Use of the Chorale in the Organ Works

of Ernst Pepping." An unpublished Ph. D. thesis, University of
Arizona, 1970.

78

GENERAL REFERENCES

DeLone, Richard P., et. a1. Aspects of Twentieth Century Music.
Englewood Cliffs: Prentice-Hall, 1975.

Kennan, Kent. Counterpoint: Based on Eighteenth Century Practice.
Englewood Cliffs: Prentice-Hall, 1959.

LaRue, Jan. Guidelines for Style Analysis. New York: W. W. Norton
and COO, 1970. '

Persichetti, Vincent. Twentieth Century Harmony. New York: W. W.
Norton and Co., 1961:

79

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