‘V... M “w H..h .- ‘- “Hm .... {.5 ...M 7 «an .\.A. ‘N v I a .n . , .1 .7. Mr r... Q? "L: . RD .¢. _ , 2 3n « 5 ‘ . \ 7 ~.., 3 $LL35. \ “..a\ a x . A .- C14. 1;.- Wu: %\ WM ~ . ¢ _ u , unw .A.‘ _ , _ . “I L a m ”R ray a: int. 3 3 JV A. "J u}; 7? my LT: Michigan State ' thdvcnfiqy 1 l‘x‘yu‘fl - I . This is to certify that the thesis entitled THE KEYBOARD MUSIC OF GEORG ANDREAS SORGE (1703- 1778) presented by Franklin Sherwood Miller has been accepted towards fulfillment of the requirements for PhD degree in Mus i cology KM V\lox Vow Major professor Date_ltlamh_2£z,_192u 0-7639 . .. .;..s..h.!.li.ll Uh»... viral ABSTRACT m macaw) MUSIC OF cacao ANDREAS SORGE (1703-1778) By Franklin Sherwood Miller Georg Andreas Sorge is well-known today pri- marily as a theorist who wrote a number of treatises on various tuning and tempering systems. Because of the rel- ative emphasis accorded the theoretical writings, Sorge's considerable output as a composer has been almost totally neglected. Much of his music can be found in first editions and manuscript sources in European and at least one American library, and his music for keyboard is particularly well represented. The purpose of the present study has been to exam- inc the complete m of keyboard music of Sorge, with special consideration accorded its historical importance and placement in the general framework of eighteenth cen- tury keyboard style. A thorough stylistic study has been made of the music, and some comparisons have been drawn between it and the music being written by contemporaries, both in Germany and in other countries. During the course of the disser- tation, numerous references have also been made to the music {F5 Franklin Sherwood Miller 0 .\ f:_( 9 §\ of Johann Sebastian Bach, not only because of the obvious- ly important position which that composer has come to com- mand in the field of German music of the time, but also be- cause of stylistic similarities and geographical, social and biographical parallels and ties between the lives and careers of the two men. Since all the constituent elements of a style do not exhibit change and modification simultaneously, the dissertation treats mainly those which are most striking in their departure from the tractice of the generation or two immediately preceding Serge, namely: enlargement and development of formal structures, changes in texture from that of a contrapuntal and imitative one to homophonic, accompanied melody, and the character of melodic shapes employed. Sorge's harmonic language, for example, is not particularly noteworthy or exceptional, and has not been treated extensively. In assembling the necessary data for this study, the writer addressed inquiries to a total of fifty-nine li- braries and city and state archives, located in Europe and the United States. Of this number, nine responded in the affirmative, sending, in due course of time, microfilms or xerographic copies of the originals. In all, these comprise 181 individual movements or component parts of the larger collections (e.g., chorale preludes). Franklin Sherwood Miller Taking into consideration all the facts, the writer has sought (by rational procedures) to account for lacunae in the music and evidence of lost or destroyed works. In addition, there are several un____ica_ in the music, and at least one doubtful attribution. Additional works not listed in the standard bibliographical sources were located, and errors of various types--wrong publishers numbers, location of first editions, and incorrect transcriptions of previous- ly published works--have been corrected. A chapter of the dissertation discusses the over- all structures of the various collections of keyboard music by Serge, and reviews efforts to achieve unity by means of internal key arrangements in the music of earlier composers from the 17th and first half of the 18th centuries. In connection with these considerations, some attention is paid to the question of tuning and temperament as they are reflect- ed in Sorge's theoretical writings and keyboard music. Finally, nearly ninety separate examples of Sorge's music, some of them complete works or movements of larger works such as sonatas, sonatinas, preludes, fugues and chorale preludes, have been transcribed into modern clefs and reproduced throughout the body of the dissertation. THE KEYBOARD MUSIC OF GEORG ANDREAS SORGE (1703-1778) By Franklin Sherwood Miller A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1971; © Copyright by FRANKLIN SHERWOOD MILLER 197k ACKNOWLEDGMENTS I wish to acknowledge the kind assistance of the various libraries who supplied microfilms and xerographic copies of Sorge's keyboard music. One of the richest sources is the Staatsbibliothek der Stiftung Preussischer Kultur- besitz in Berlin, whose librarian Dr. Ramge, supplied me not only with microfilms and xerox copies, but also kindly suggested additional sources of Sorge's music. Dr. Riedel, secretary of w in Kassel, supplied me with the complete catalog cards of Scrge's music, and the librarian of the Bayerische Staatsbibliothek, Munich, Dr. Dorfmflller, was able to locate a large number of first editions. In ad- dition, permission to reproduce Sorge materials was grant- ed by the Deutsche Bfldherei, Leipzig; Deutsche Staatsbiblio- thek, Berlin: Freie Universitflt, Berlin; Gesellschaft der Husikfreunde in Vienna; Musikbiblicthek der Stadt Leipzig: Bacharchiv, Leipzig; Bibliotheque du Conservatoire Royal de Musique, Brussels; British Museum, London, and Yale Uni- versity Library, New Haven, Connecticut. I am.indebted, first of all, to my dissertation advisor, Dr. Hans Nathan, for countless suggestions and crit- icisms. In addition, I wish to express my thanks and apprec- iation to Professor Richard Klausli, chairman of my doctor- al committee, for his patience and understanding, and to ii Dr. Paul Harder for assistance in answering questions deal- ing with manuscript writing and reproduction problems. Dr. Russell Friedewald and Dr. Merrell Sherburn, the other mem- bers of the committee, each contributed many invaluable sug- gestions and criticisms to the final version. Finally, I wish to acknowledge a debt of gratitude to my wife, Cudrun, for her excellent and painstaking copy- ing of the my musical examples. She has also assisted in making many of the transcriptions from the C clefs common- ly seen in keyboard music of the 17th and 18th centuries, and, in addition, has checked the accuracy of the transla- tions from the German language. iii TABLE OF CONTENTS LIST OF ABBREVIATIONS CHAPTER I. II. III. IV. V. INTRODUCTION BIOGRAPHICAL ESSAY BIBLIOGRAPHY OF SORGE'S KEYBOARD MUSIC First Editions and Publishers Unpublished manuscripts, modern reprints, Unica and doubtful works FORMAL AND STYLISTIC ANALYSIS Formal and stylistic types: bi-partite and expanded bi-partite, sonata form, multi-sectional and monothematic types, the "Prelude and Fugue" Textural considerations: homophony, bass patterns and accompaniment, polyphonic, fugal and imitative elements ORGAN MUSIC Chorale Preludes of l7h9 and l75h(?) Organ Trios Organ Sonata VI. THE STRUCTURE OF THE MUSICAL COLIECTIONS AND THE QUESTION OF TUNING AND TEMPERAMENT VII. CONCLUSIONS BIBLIOGRAPHY iv 15 165 210 235 237 Ifilfi|§lfi|§le|g|2|§ as H m 1! § LIST OF ABBREVIATIONS Bulletin of the American Musicological Society Bach Jahrbuch Bach.Herke Verzeichnis Harvard Dictionary of Music JOurnal of the American Musicological Society Die Musikforschung Die Musik in Geschichte und Gegenwart The Musical Quarterly Eitner's Quellenlexikon Repértoire International des sources musicales Zeitschrift fur Musikwissenschaft Chapter 1 INTRODUCTION Musicological research of recent years has added much to our knowledge of medieval and renaissance music, in addition to a wealth of information about the baroque era. However, it is generally acknowledged that we have barely begun to investigate the fascinating aspects of change which mark the transition from baroque to classical style. Some writers have consented on the emeragence of a new, or at least different "sound" in the 20's and 30's of the 18th century, and further observed that this shift in style occurred first in the keyboard genres, in music by Martini, Platti, Paradisi and other Italians of the genera- tion. During the 1967 Intermtional Musicological Con- gress in'LJuleana, Yugoslavia, one of the interesting series of symposia dealt with stylistic changes occurring during so- called "critical years" of music history. Among the most pro- vocative, and of the greatest importance for the present study, is the twenty year period, l7IlO-l760, a time during which many cross currents in musical style were evident.:L In the ISusan Thiemann, ”Report from l’..;lubl;lana,'I Current Musicology, no. 6 (1968), pp. 75-78. 1 keyboard.music of a good.many German composers, these differing stylistic tratis are especially noticeable. Constant references to the term "Italienischen gusto" in.published.keyboard music by native German.composers makes crystal clear the primary source for these style changes, as evidenced by the name of Italian composers mentioned above. The combination of German and Italian elements in the keyboard music of George Andreas Sorge represents one of the most substantial stylistic traits of his music. Living as he did at a pivotal point in the his- tory of keyboard music, Sorge eXhibits, in.his style, ele- ‘ments of both baroque and pro-classical or "galant" writing. Thus, for example, although he stems from the same socio- logical and geographical milieu as Johann Sebastian Bach, and, in fact, dedicated a set of six sonatinas to ”the ex- cellent German virtuoso“, Sorge is included by William.S. Newman in his book The Sonata in the Classic Era.2 This interesting ambivalence of styles is one of the most fas- cinating aspects of our analytical studies and continuous reference will be made to this phenomenon. In examining this body of keyboard music, we will deal with its historical place in this period of change and with the various stylistic elements which contribute to this change. It is admitted that we are here dealing with a man, ZWilliam s. Newman, The Sonata in the Classic Era gggapel Hill: University of North CaroIIna Press, I565), p. of considerably less musical stature than his illustrious contemporary, Johann Sebastian Each (to whom.numerous re- ferences will be made in the course of this study), but it should be pointed out that it is, by and large, not the "great man" (with a few notable exceptions) who develops a style, but rather the innumerable smaller toilers in the musical vineyard, who sow the seeds which eventually result in a stylistic fruition. ' Indeed, until recent years, it has been fashion- able, in musical studies, to deride the efforts of the "Klein- meister", and to assume that little of aesthetic worth or historical value can be gained from a study of their music and place in the history of style. Such an attitude is not only unconscionable, but also historically inaccurate. Newman, speaking of Just this neglect of Sorge by previous writers, points out that Gerber found space only to list his composi- tions, while Eitner and some succeeding lexi- cographers went further to dismiss his compo- sitions as being of little significance. In- sofar as the three keyboard sonatas examined ‘here are representative, Serge has been.wronged: these are skillful, sincere, warm, telling works.3 The artistic merit of this music is not to be denied or at all slighted. A strong case for its presentation is 3Ib1d., p. 388. ‘made as Newman continues: These sonatas would, in fact, provide mat- erial of considerably more appeal and ar- tistic value for today's young student-- were they to be reintroduced in a modern edition--than many another piece from.the same period that has been disinterred ap- parently for no better reason than the no- tion that it must be good because it is old. Sorge's writing‘has the advantage of achiev- ing unusual melodic, expressive and textural interest for so few notes....The result is a surprising sureness of purpose and breadth of outline...The fugues, based on similarly at- tractive ideas, are well worke out in rela- tively unserried counterpoint. In what is to follow, the writer hopes to show the specific elements of style which contribute to "achiev- ing unusual melodic, expressive and textural interest for so few notes", not only in the three works examined by Newb ‘man, but also in all of the other keyboard works of Sorge. “Ibide, p. 390. Chapter II BI OGRAPHICAL ESSAY Georg Andreas Sorge, though spending all of his adult life in and around the city of Lobenstein, in the Frankish forest about forty miles directly north of Bay- reuth, was born on March 21, 1703 (the same date as J .8. Each, born eighteen years earlier) in the small town of Mellenbach in the Schwarza valley, a few miles southwest of Rudolstadt, where his father was a local government official.1 The area of Thuringia in which Sorge was born and grew up was already rich in musical tradition. In the year of his birth, the young Bach entered into his first musical position in Arnstadt, Just fifteen miles northwest of Mellenbach. Throughout the lives of both men, their paths were to cross frequently, culminating in the dedication 1For many of the details of Sorge's life, as re- counted here, the writer is indebted to the article by Man- fred Frisch in the Heinrich Albert Festschrift, "Georg An- dreas Sorge--ein grosser Lobensteiner des I8. Jahrhunderts," (Wcimr: 19514.). P- hit-~55- to Bach of a group of sonatinas by Sorge in 1715. One of Bach's other important positions was at Heimar, also in close proximity to Mellenbach. In Mellenbach, and the considerably more populous city of Rudolstadt, Serge studied under the cantor Nicolaus Walther and his assistant Kaspar Tischer.2 In addition, he studied violin with Johann Gottfried Holzhey there.3 when Tischer moved to Schney, located some 25 miles northeast of Bamberg, the fifteen-year-old Sorge accompanied his teacher, continuing to be his student for two additional years. After returning to Meuselbach, in the neighborhood of his hometown, he completed his formal academic studies in theology, mathe- matics, German literature, oratory and Latin. For a few months Sorge taught privately in Burgh, during which time the opportunity as court organist and teacher‘in the paro- chial schools of Lobenstein presented itself, and on June intner, Q; has misread the name as "Fischer", al- though all other sources give "Tischer'. Kaspar Tischer is almost certainly a younger brother of the well known Johann Nicolaus Tischer, both having been employed at courts in Ru- dolstadt and the Scharzburg area. A possible connection be- tween Sorge and Bach may be seen in J .N. Tischers studies in Arnstadt, although he was not a student of Bach as Rubsamen believes, who evidently picked up the error from Riemann. There is also a discrepancy between the year of Tischer's death, as given by Rubsamen, and that listed by Lilian Pruett Escher article on the composer. (See MGG, Vol. XIII, col. 3There is probably no connection with the well- known south German organ builder Johann Nepomuk Holzhey. S, 1721, at the age of eighteen, the composer entered the position the position which was to become his life work. The duties of the post may be taken as typical for countless numbers of German church musicians of the 17th and 18th centuries. Sorge saw his work as organist and.can- tor as entailing the largest number of obligations and ex- penditure of time, and the classroom instruction as of some- what less importance. The typical school day consisted of six hours of lectures and recitation from.seven to ten in the morning, and from one to four in the afternoon. On Tues- days and Saturdays classes were not held in the afternoon, at which time Sorge was avilable to provide instruction on the various instruments, including the organ and harpsichord, and in what we would term."theory", although it was called by the term "composition" at the time. This type of instruction was especially valuable to young men training to become can- tors, responsible for the writing of cantatas and other nec- essary music for the Lutheran Church services. Seven years before Sorge came to Lobenstein, the city had been severely damaged by a fire which destroyed ‘much of the church and an almost new organ, but within two years the church was being rebuilt, and.included a new tower, a set of four bells, and an excellent new organ constructed by Johann Nattaeus Obermliller of Meiningen. Thus did Serge not only find at his disposal a.new organ less than five years old, but also the faculty of the school, by virtue of various resignations and deaths, was almost completely new in the year of his appointment. The young musician now began a process of systems atic artistic growth, during which time he studied and ab- sorbed the theoretical works of writers such as Johann David Heinischen, Johann Mattheson, welfgang Kaspar Prints and Andreas werckmeister. Notable events of Sorge's first fifteen years in Lobmnstein included his marriage to Christiane Sechner on January 8, 1726, and, over the next ten years, the birth of seven children, two of whom died in infancy. In September of 1732, the city suffered a second disastrous fire, which destroyed over 150 houses, and reduced the entire church, parochial school, and city'hall to smoking rubble. Sorge was personally able to save some 6&2 tin case pipes from the organ before it, too, fell victim to the ravaging flames. The composer was to be deprived of an instrument for the next five years, although the school and church.rebuilding come 'menced almost immediately. With the construction of the new school, a large, three-story affair, provisions were also ‘made for the accommodation of the cantor's family in the building. (One may recall that similar arrangements were made in the case of Bach's appointment to the St. Thomas Church and school in Leipzig.) Four years after the loss of the church, a further tragedy, of a personal nature, befell Serge in May of 1736, when his wife died in giving birth to their seventh child, a stillborn son. Finally, in the 1737, Sorge's fortunes seem to have improved considerably. The 3h year old widower chose to marry again, and took, as his wife, the 23 year old daughter of a local city official, Wilhelmine Christiane Reinhardt. She became the mother of five additional child- ren. In the church, a new, three-manual organ of 36 stops, built by Johann Grlf and Son of Schwarzenberg, was installed and dedicated. The instrument, incorporating the tin. case pipes which Sorge had managed to save from the earlier in- strument, was unfortunately destroyed in yet a thrid fire in the middle of the 19th century. We may assume that its size and disposition is essentially the same as the instrument de- scribed by Sorge in his 1773 Publication dealing with organ design and construction!" This, we may conclude, represents what the author considered an ideal instrument for church services and playing the literature, and was very probably the organ which Sorge had helped design and over which he “Der in der Rechen- und Messkunst wohlerfahrene Or elbaumeister....HIt einer I Iication an? eIn Work von E; gtzmmcn un§ 3 Manna emu” ens :eIn: W the author, 10 presided from.l737 on. The disposition listed below is found in Chapter IV, pages 21 and 22, where Sorge is dis- cussing space requirements for the various ranks of pipes and divisions of the organ. I. HAUPTWERK II. BRUSTWERK 1. Principal 8 Fuse 1. Principal h Fuse 2. QuintatBna l6 Fuss 2. Viola di Gamba 8 F. 3. Gemshorn 8 Fuss 3. Gedackt 8 Fuss h. Salicional 8 Fuss h. QuintatBna 8 F. 5. Gedackt 8 Fuse 5. F18te k F. 6. Querlete k F. 6. Fistelquint 2-2/3 F. 7. Octav h F. 7. Octav 2 F. 8. Quinte 2-2/3 F. 8. Sesquialtera 2 fach 9. Superoctav 2 F. 9. detur 3 fach lO. Mixtur S fach lO. Vox humane 8 F. 11. Cymbel 2 fach III. OBERWERK IV. PEDAL 1. Principal h Fuss 1. Principal 16 Fuss 2. Angusta 8 Fuse 2. Subbass l6 Fuse 3. Stillgedaokt 8 F. 3. Violoncello 8 F. u. Rohrfldte h F. k. Dulcian 8 F. S. Spitzflate 2 Fuss 5. Quinte S-l/h F. 6. Quinta 1-1/3 F. 6. Octava h F. 7. Cymbal 2 fach 7. Posaune 16 F. Carl Bleyle, in.appaper presented at a Midwest Chapter meeting of the American Musicological Society on May 3, 1970, and in his doctoral dissertation, has also reproduced 11 this specification, omitting however the steps of the second manual (Brustwerk). In addition, he includes the specification of an organ identified only as "St. Michael's, Lobenstein", but unfortunately gives no source for his in- formation.5 From 1737 or early 1738, we may date the first ‘music of Sorge, works written not Just for his own students (hardly necessitating publication) but for a large and ever- grcwing group of amateur players who provided publishers with 6 a demand for music of modest dimensions. This music has been examined in detail in the following chapters, and forms the main focus of the present study. Biographical details of Sorge's life become in- creasingly sketchy after l7h0, and we are able to trace his activities, in large part, by the publication of his musical and theoretical works, which appeared almost yearly, from l7hl on. In the years after l75h, theoretical publications begin to take preference overrnusic in frequency, as Sorge became more involved in the problems of new tuning and tem- pering schemes. Although arrived at with no knowledge of Rameau's writings, Sorge's investigations in the field of 5Carl 0. Bleyle,"Georg Andreas Sorge's Influence on David Tannenberg and organ Construction in 18th Century America" (unpublished PhD dissertation, University of Minne- sota, 1969). 6Although Frisch, "G.A. Sorge," p. 50 restricts Sorge's publishing activities to a.period encompassing only eight years (1737-17h5), it is now possible to extend this at least another ten years-possibly even as late as 1760. 12 harmony, particularly regarding the principle of chord in- version, and the fundamental concept of the superimposition of thirds, became highly respected, and his work is cited land discussed by Hugo Riemann.7 Likewise, in the first part of the Vorgemach, Sorge discusses the phenomenon of "combi- ‘nation tones", the formulation of which he arrived at before Guiseppe Tartini, who, according to persistent legend, is credited with having described it as early as 1715.8 An intriguing aspect of Sorge's theoretical writ- ings deals with the invention of a device which was meant to illustrate the principles of equal temperament, a subJect which a large number of writers at the time discussed. Var- iously described as a type of monochord, or a "Klangmesser" [sound measure?], the instrument was highly regarded by theoreticians and writers, among them.Johann.Adam.Hiller. lAccording to Hiller, Sorge's interesting device appeared on the market for the first time at the Leipzig New Year's Fair 7Hugo Riemann, Geschichte der Musiktheorie im IX.- XIX. Jahrhundert. (Leipzig: I853.) 8Tartini's Tgattato di secondo la vera scienza dell' armonia, published at Padua in 1735, nine years after Sorge's Vor emach, is the earliest datable reference in that author's writings to the theory of combination tones. 13 of 1769. It is probable that Sorge himself may have travelled to the city to illustrate it.9 This is one of the last published records of Serge, and comes Just four years before his final pub» lication, cited here in connection with the organ spec- ifications listed above. (See footnote h.) We know that Sorge continued writing, corresponding with theorists and musicians. In l76h, the composer addressed a lengthy communication to “my dear friends of the Moravian Church in Bethlehem in America", in which he describes "the se- cretly received art of measuring [i.e., scaling] organ pipes.“ The manuscript of this treatise and letter is list- ed in OberdBrffer's 599 article (with a wrong date), but without any indication as to its present location. The only copies are housed in the archives of the Moravian ‘Music Foundation, Winston-Salem, North Carolina, where the writer has personally examined them.10 Although it has been asserted that Sorge suffered at the hands of theorists such as Marpurg and Quantz, his theoretical works contain much of value, particularly in the 93ee Johann Adam Hiller, wsenentiienen Nachrichten und Anmerkggg, die Musik betreffend. (Leipzig: 1766-69.) are is evidence that Sorge had already experimented with such an instrument as early as 17h8 or l7h9. His l7h9 pub- lication, Anweisgpg zu Rationalrechnung...und dergamit ver- knfipften Ausmessung und Abtheilun des Monochords, would in- dicate a more than passing acquaintance with it. 10 Die geheimegehalteneJKunst der Mensuratign der Orgel-Pfeif on. e manuscript forms the central part of Carl Bleyle's doctoral disseration cited in footnote 5. Sac also: William.H. Armstron Or ans for America The Life an Bung—tr Work of David Tannenber adelp a: University of Penna sylvania Press, 1937). P. 17. 1h field of harmonic analysis of the music of his time, and later theorists were nowhere as critical of him as his own contemporaries seem to have been.11 Certainly the inter- national nature of his extensive correspondence would indi- cate something of the nature of his position among other writers of the time. Sorge remained active in teaching, writing and in fulfilling‘his duties as cantor and organist'until almost the day of his death, at the ripe age of 75, on April h, 1778. He lies buried in the cometary adJoining St. Michael's Church in Lobenstein. 111m Marpurg's Epitische Briefg, no. u, p. 25, Quantz, in a letter to C.P.E. Bac , wr too: "You must con- sider, that Herr Sorge believes himself to be the only per- son in the world who knows that 2 X 2 does not equal 5, and that a third is not a fourth. On this basis, he considers himself alone authorized to write on music, and woe to‘him who stands in his way.” ("Sic mdssen bedenken, dass der Herr Sorge der cinzige Mann in der Welt zu sein glaubt, der weiss, dass 2 X 2 nicht 5, und eine Terz keine Quarte ist. Er hfilt sich aus diesem Grunde alleine berechtigt von der Musik zu schreiben, und wehe dem, der ihm auf dem‘Wege begegnet.”) In point of fact, Serge invited Marpurg to contribute a series of remarks to his 1760 publications, Anleitun zum.General- bass und Composition. Marpurg's name-i§_EFEE§HEEtIy_dI§SIayed on the title page of the work, and, in.his Beitrfl e, Vol. V, p. 100, he discusses the treatise at some lengt . In addition, the Anleitun of Sorge contains a listing of what Sorge him, self describes as “the famous musicians of Germany", 52 in all, including both Quantz and.C.P.E. Bach. Chapter III BIBLIOGRAPHY OF SORGE'S KEYBOARD MUSIC First Editions and Publidiers Sorge's compositions in all media were written during a relatively short period.ef“his life, namely the years between approximately 1735 and 1760. They include, in addition to the keyboard works which are the subJect of the present monograph, more than forty tries, sonatas and suites for several instruments, mostly strings and woodwinds: a set of cantatas for all the Sundays of the church year, scored for four-part choir, strings oboe and basso continue; and various marriage cantatas and‘mo- tets.1 Frisch has calculated that Serge wrote over three hundred individual gpggg_in all'media.2 Some of these have 1Part I of the Breitkopf Thematic Catalog of 1763 lists four sonatas for two flutes and basso continue, one for flute and violin with continue, and one for piccolo, vie- lin, oboe and continue. Another work from.the same year list- ed as a "Trio" for piccolo, violin, oboe and continue is identical to the "Sonata" bearing the same instrumentation. Breitkogf Thematic Catalog. The Six Parts and Sixteen Sup- loments 1 2-1 . E to with an introduction an in- exes Barry 8. Brook. (New York: Dover Publications, Inc., 1966), pp. 90, 1010 2Frisch, "G.A. Serge," p. 5h. 15 l6 undoubtedly been lost, although Frisch's claim that only a small part of Sorge's music was printed during his life- time needs seme qualification. While it is true that al- most all ef the sacred music mentioned above remains in manuscript, it is significant that the maJority of the keyboard music was published, reflecting no doubt, the changing tastes of a growing audience of music lovers, known by the collective appelatien "Kenner und Liebhaber", who were especially interested in playing keyboard music for their own pleasure. This music became widely dissemi- nated by the publishers Schmid and Haffner of Nfirnberg, and appeared regularly in the catalogs of Letter and.other music dealers. In fact, Serge, in the dedication to Each of six sonatinas comprising the third part of a group of eighteen, relates that his previous sonatinas had already gone through eight editions! The most reliable aids to the published works of Serge are to be found in the composers own listings, appear- ing as a part of his theoretical writings. Although not complete, they often serve to date fairly accurately the composition of certain works. In his most well-known theoretical work, 29:53: mach der Musicalischen Cgprposition,3 Serge takes pains to 3Vor emach der sicalischen Co sitien...1.2. 3. Theile, (fibenstein: 17%; to 17E7. 17 list not only all the music which had already been published, but also those works which were in manuscript and soon to be printed. We find, therefore, at the end of Part I as well as at the end of the second division of the second part, the following resume’ of his works. (300 PLATES I through IV.) It will be noticed that in the earlier of the two catalogs the "21:. Preludes for Children" ("XXIV Kurtze und leichte Praeludia vor Kinder") have been listed as a "clean manuscript” ("saubern Manuscript"), and in the latter catalog they appear among the works in print: "In copper-engraving and printed" ("In Kupferstich und Druck") . Since there was a difference of approximately two years in the publication of thw two parts, these are, in all proba- bility, the preludes referred to by Robert Either and other earlier sources to be discussed below.h Although Serge describes as item six "VI Suiten vors Clavier nach Frantz- 8sischen Styl" in both these listings, the published title page calls the works "Clavier-Partien", a common appella- tion for such works, especially among German composers.S An additional source of information, though some- what limited in scope, is the brief W which uRebert Either, Biegraphisch-bibliographisches Quellen-hxikon der Musiker und Musikge ehrten der c r st- 1 chen __ Zeitrechnun pig zur Mitte des 12. Jahrhundertg (Leip- zig: Breitkon dc H rtel, 190m, 10 Vols. 5These are the only works of Serge published by Johann Ulrich Haffner of Nlirnberg, and appeared in 17%.. PLATE I CATALOGUS m Eorgifcbm muficalifcbcn 98min 3n Rooficflicb uno army» bmtto beans gctom: XVIII. gonctiinbors Quintin. Sheik“. xxrv. Praeludia mitunmmttcbun Shoppebsugm cue elm 84.Mcdls, in 2. Qty. 1. Toccata per cmnem Circulum 24. Modems , to“ timid. xu. Thomas tote titanic: , CBtolin one: Flame Tm. it. thanks to: zfiramfm. . VI. Suiten tots Clock: and Stansofifcbm @ml, moblgmmtc mascara)“: gcncnm. 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Manual Muficum . over mas, Doe ole sepena be: urfprung ant: {Ditl'onam em (to, inmclcbm gcltbrctmirb, mo biefcooctimcfbiflonans, to in rooms: acidic in bank, out me man I‘m wrong mot-cutter use comma mu. - A Aroma: mufica. comm ‘lranat ocn beam to gmanmm Fslfis, morinmn gems g3 mitt, mic man folcbc an (9:ng Dr: su fucbm unb amubringcn babe. encnicnigm id): nash'd) , melee beam @enaabmfl'm m net: berauose iommcncn Telemannifcbcn Babrganges it): beboriges Sled): tbun molten. XVIII. llcinc unolcicbwélaoimetddsm so: Richer unb anfdngcr. XII. (bonanza to: WW“. 3” PLATE 2 3n faubcm Manufcript mm (:1 «mm Itiblicbm ‘ptcific . 3n befommm : XXIV. tum Ptzludia not: Elaoier. not sinbcr, {b and» him 0cm mi: duct Jbanl alangcn fbnnm. Iv. mum!) fum‘zoccatinm nor Drgel unb 6mm. x11. Trio Wt Manna! uno Pedal , but bicjcnigm , [o anfangen M auf Dem Pedal auf obligate an n: (then. XII. targeting": not 0th nub 62mm. XII.?ltim oor Drgcl nub Elaoicr. xx1v.¢30tfpi¢l¢ DO! omen am mciflcn sembbnlicbm Sirécmmgm , momma Die mciflm mi: cimm obligatm Pedal. Qafliicbcn‘: 60mm: mitcimm oblisamt mm. a. mum :. vac}. up vs... once 0. VI. Txio mi: 2.3“me unb fiafi. VLTfio mi: LTnv. 1.93M"! unb W5. VI. Trio mi: 2. cBiolinm unb Wfi. VI. Tfio mi: I. Oboe , x . CBiolin an!) $19. VL Trio mi: 1.0!»): de amore . LCBiolin MID fiafi. V1. Tfio mit 2.. Flat. done. ,unb Wfi. v1. 60mm: mi: I. Flauto trav. um: QSafi. VI. Suithnacb stanbbfifcbct 331 boy. 1 . Traverfi unb 5&6. Gin some: 33%)ng mi! 4~ emgrnmmm 1. Oboe. a. 93mm x. Viola mm 3., ma t . ~ wafcwamc 004mm Emma 2c. 2:. use: bicfcpractifcbcemm finb and) compmbibfc Monochmd om man W, auf meld): Die gldcbfcbmbmbc gunman“ aufs accurate“! atafmttagen i3: um and) mclcbcn mammc Drgcl, Elmer maufs lune unb genaucfle aimmm fan, in Eobcnflcm (m). Dem Elmore bcrfclbcn 3n babe". the: (5mm in 1 6. 9:. Di ' fi ' ° 9 an: ckfpmfic m fimfiggmcgfitgffifmgm Drgaumm 64mm: 45 ) 0( SI! 0 O x PLATE 3 . CATALOGUS be: Gorgifrbm mufimlifcbm “made: 3:: Rupffcrmd) an: 20:11:: finbbmtto beam: 9:foms mm: XVIII. gonatincn ms Glam: In 3. Wm. 3cm: WMGQI‘. XXIV. Praeludia mIt untamtfibtm SDovvcbfigm an: allm :4. Modis, III ‘ 1.93%“: 15.69:. I. Toccata per omnem Circulum :4. Modorum , no“ 6mm: 3.39% XII. 9329mm: ms Qlavln, C3W1“ 00:: Flauto Trav. 3. 659:. ' ll. imrttcnvorz.‘imverfcn. 3. 639:; ' VI. (’mitm vow QIaoie: and) Smngofifcbm 6m, moblgcmumc mama”: fen genannt. IO. (‘59:. 8. ‘Df. XXIV. siurgc unb Icidm Praeludia)»: fi‘inbcr. a 8. 659:. Genealogia allegorica, 00:: aprqumxcs Q3:fd)l¢d)t:9§¢9ifl¢t be: SnteroaIIm, mi: fie bic ‘Ewmvc: unb Cifialzflnn‘n nan'srlid) 9icbt. 2. 659:. 250mm: 3m: grimmung unb Immatur be: Orgdwcwc x. In drum 6:: {9:6 : amifcbcn cincm Mufico cheorctico unb {tinny Gmlarcn. 2.69:. Demented) berlnuflcalifdgen {ompofitiom 00:: aus’fubfli corbcmfld): , IIIID borbcutigel’raxin binIanglideInmcifungwm 6mm: 9. I. ‘31). to. 99!. 8. ‘Df. ll. ‘Zbfll’ 69!. am modmn [mans fommm: 3mm (Befprdtb swifcbcn cincm Canonico Imb tincm ScudIoIb mufices out: be: wratorianifcbm , ‘Dringifdnn, QBcrcfmciflerIfcbm , mdbbawflfwm unb ®IIbcrmannIf¢¢n (temperatun Arcanum Muficum , 00¢: Sbenvcifi, 0:16 MC Septima be: “”3an GM fibm’onan: gen (co. to meld)“: gelclmt mirb; mo our; one: I'm: Qiffonane, 1‘qu :cbcn, :I: 9:11“ch It: Ioaufe, unb mic man fie beborig 9cbtaucb¢n Imb anmmbcn Io‘nnc. ‘IBIw im Manufcr. mlaufit a I. ‘35:. 8. 69:. Aromata mufica, 00min thrtatoon bgnmro genanntcn Falfis, morinncn 9:: gage: mirb, _ ml: man Md): 9:: beboriscn 0:: In fucbcn unb .anaubringm babe. mementgm (cl): wand), meld): beam @cnaap‘l’mfl'en bee mu berausgelommcnm ‘zclmmnnifcbcn 395mm“: Ib: Mot-Isa 9w than mollm. im Manufcr. 20. t. . XVIII. fleme my: leichte 6min: ’d'gcn mfinbe: Imb mm“. 8. 639:. xu. Quantum Mum ' 3 . II PLATE 1: 3:: faubcm Manurcripc fin: In :Incm Iciblidm Iptcifs {: 3:: bctommcn: ‘ “’2 SWIMMcrocatincnvowrgelmb 6mm. 3:028 93:9an :2. 99:. XII. Trio 90: Mann-I unb Pedal, no: bicjcnigm , fo anfangcn fit!) auf Dem Pc- daI «of ain99:: 21:: an ébcn. 12. 69:. x". has: 8119a: no: 0:9:1 nub 6mm. 12. 69:. x"- firm: :0: 0:92! unb 92mm. to. (259:. XXIV- ‘30I'fvidworbencn am meiflcn 9cmélynucben Riwcbenugcfingenmowntt: bi: mciftcn mithacm obligaten Pedal. :6. (39:. ‘Bcrfcbiebcne Eonccrte mi: einem oblisaun 6mm, 2. QIIoIIm x. Viola an) VIOIOHCCHOo ICDCS ‘60 69'. x}. gqncerti a Ca; Violini e Egoé I . no m” 2. 0 a . VI. Trio mg 1. 133:? eggsium on: $43. l . VI. Trio mi: 2. miounm nub 6239:. WWW- “9591" VI. Trio mIt I. Oboc , I. (Biolin :IIIb ‘Bafio I a V1. Trio mit I.Oboe dc amorc, I. mlinunbfl‘afi. VI. Trio mi: 2. Hut. douc. Imb ‘Bflfio 5 VI. 60mm: mi: 1. Flauto trav. unb “2396. :6. (559:. VI. Sumo nad) staméfimermrtoo: :. Travcrfl nub ‘Bafi. 16. Q9?- GIngangcrfiaIwgang mit4.@ingftimmcn I, Oboe, 2.9BI0IIII. LVIOIa unb 90 ncralflbafi. In: mbfcbtu’ft a 331:2. SBnflbicbme 930:!th Qantaumc. :c. M: 8. 659:. c - p Motsetcen 5 4.. Voc. RD: 6. 659:. 18 was published in 1753 by the Augsburg printer Jahann Jacob Letter.6 In it, Letter lists five collections of keyboard music of Serge which were at the time on the 'market, and available in Augsburg, at least through his establishment. The "III Sonaten vor die Orgel und Glavier, l.ster Tail", appears, in the absence of any evidence to the contrary, to be a duplication of the second item.in the list, the "Erste Lieferung von XII Sonaten vor die Orgel und das Clavier", published between 17M? and 17h9, and consisting of but three sonatas. Eitner's Qgellenlexikon (which we shall occa- sionally designate with the siglum "93”, provides us with the first extensive listings of Sorge's oeuwres, both theoretical and practical, including works still in manu- script (to be taken up in the next part of this chapter.) In examining these listings, one must constantly bear in ‘mind a fact of musical scholarship known for years. Eitner often had only Second or thirdAhand knowledge of the sources which he cites, having not personally examined all the ma- terial which.he listed. This results, in Sorge's case at least, in several factual errors and some omissions which 6Johann Jacob Letter, Catalo s aller Musicalischen Bficher. (Augsburg, 1753). fasc. ed. by Idolf EEyer IKassel: renreiter-Druck, l96h). 19 can be corrected here. In the case of a manuscript which Eitner identifies as "Me 110 (17858) hochfol. 6 Sonaten...”. we find the music to be identical to a portion of Part I of Sorge's Clavierubung.7 There is, in fact, an error on the title page of the manuscript itself, where the works are listed as "Sonaten". The first page of the music cor; rectly calls the music a "Sonatina", as can be seen in examining the first published edition. (It is the third part of this group of eighteen one movemait sonatinas which bears the oft-cited dedication to Johann Sebastian Bach.) Eitner was also unaware of the presence of three additional works in America. They are a first edition of some organ music, and two copies of the manuscript dealing with organ pipe measurement cited in the previous chapter.8 Unfortunately, Eitner's errors with rem ect to the existence of either first editions or manuscripts have been repeated in OberdBrffer's article on the composer in M§Q_cited in the previous chapter. Finally, a particularly fruitful and, for the most part, reliable source of information concerning pub- lished music comes from publishers and printers plate num- bers, advertisements and newspaper listings. To the best 7Eitner, guellenlexikgn, IX, p. 209. 8See supra, footnotes S and 10, Chapter 2. 20 of our knowledge, only two firms published keyboard music by, Serge: Balthasar Schmid and Johann Ulrich Haffner. Al- though Sorge published his theoretical works under his own aegis, either in Lobenstein or the nearby city of Hof, his music was brought out almost exclusively by comercial pub- lishers. This, of course, assured it of wide circulation among a large and diversified group of music lovers. Balthasar Schmid, the man responsible for print- ing the bulk of Sorge's keyboard music, was one of the best- Imown German music publishers of the mid-century period. He was born in 1705 in the city of Albrecht Dflrer and Hans Sachsnflfirnberg. Fully 87 percent of Schmid's entire out- put was devoted to keyboard music, according to Heussner's 9 compilation, and he was responsible for having introduced to the public music by the current German masters Georg Philipp Telemann, C. P. E. Bach, Johann Ludwig Krebs, Fried- rich Wilhelm Marpurg and Johann Sebastian Bachl0 as well as a host of lesser composers. 9Horst Heussner, "Der Musikdrucker Balthasar Schmid in Rdrnberg', Die Musikforschung, XVI (1963), p. 3&8-362. 10The "Glavier fibung bestehend in einer Aria mit ver- schiedenen Veraenderungen" of J. S. Bach, appeared in the Schmid catalog as number 16, but without date. Kinsky, David and Mendel believe it to be 171I-2. which would place it in the same year as Sorge's Clavierfibun , Parts III and IV. (See David and Mendel, The Bach Reader, p. 171; Georg Kinsky, 2;; Originalausgaben der Werke J. S. Bachs (Vienna: 1937). Po 53- 21 Schmid began work in 1729, together with Adam Jonathan Felssecker as his partner, and his activity as an independent publisher dates from March 31, 1738. He normally announced the appearance of new volumes of music in the pages of a local Ndrnberg newspaper, the Friedens- und Kriegs- Currier. This publication, although no long- er completely extant, often affords us a convenient dating device for the majority of Sorge's keyboard music. Thus, in the case of the works to be listed presently, we can verify their year of composition rather precisely by means of their announcement in the Friedgns- _u_nd Kriegs- Currier. We list below all the keyboard music of Serge published by Schmid, except for the six partitas in the French style, which are the product of the other important NBrnberg pub- lisher, Johann Ulrich Haffner.u 1:l'lu'or a discussion of Haffner's work, and a com- plete listing of music published by his: see: Lothar Hoffman- Erbrecht, "Der Ndrnberger Musikverleger Johann Ulrich Haff- ner,u Acta Musicolo ica, XXVI (1961:), p. 1111-126; XXVII (1955), p. 1141-1123 William S. Newman and Lothar Hofhnann-Erbrecht, Further on the Ndrnberg Music Publisher Johann Ulrich Haff- ner,‘ DIXIV (1962), p. l9h-195. 1738 - 1739 - 17cc 01' 17h1 17h2 - 08. 17th ' can 17u5 ' 171:6 - betwemn 17k? and 17h9 between 17h9 and - 1751 1751 - 22 Clayierfibung/ bestehend.in/ seohs naoh Italiaenischen Gusto gesetzten/ Sonatinan Olavierflbung/ in sioh haltend/ das I. und Ilagzlbe Dutzend/ .../ .../ gesetzten/ Pre- lu a Zweytes halbes Dutzend/ Sonatinen/ zur fibung im Olavier naoh Italiaenischen Gusto gesetzet Clavierfibung/ in sich haltend/ das III. u. IVte halbe Dutzend/ ...l .../ Preludiis wohl-gewfirtzte Klang-Speissen/ vcr musika- lisohe Gemflther,/ bestehend in/ Sechs naoh frantzBsicher Art gesetzten/ Clavier-Partien Drittes halbes Dutzend/ Sonatinen/ vare Cla- vier/ naoh Italiaenischen Gusto/ gesetzet Vier und swantzig kurtze/ Praeludia! su- nfitzlichen Gebrauoh/ kleiner Clavier sohfiler Erste Ldeferung/ von/ XII Sonaten/ vor die Orgel und das Clavier/ im.neuern Styl ge- zetzet Erster Theil/ der Vorspiele/ vor/ bekannter Choral-Gesfingen/ in 3 stimmiger reiner Har- monie gesest Sonatinen Fantasien Toccatinen/ und/ Sin- fonien/ vors Clavier/ im neuern Styl gesetzet 23 In the case of the second listing, the pub- lication of the first part of a Clavierdbggg consisting of an Preludes in all keys, an incorrect date of 1730 ‘has been given by both Hans David and Manfred Bukofzer.12 Regarding the M W m }_{_‘._[_2_[_ Sonaten, no actual date of publication is to be found on the title page of the first edition, although Kinsky assigns the sonatas to a period "between 17h5 and 171:9”.13 However, he failed to take into account two important pieces of evidence. First, we know that the music was already ad- vertised for a sale at a Leipzig industrial fair in 17h8, and secondly, Serge includes, for the first time in these works, a phrase not seen before in his music, when he writes, on the title page of these works: "and corresponding meme ber of the Society of Musical Science in Germany." ("und correspondirenden Secietfit der Musikalischen Wiesenschaften in.Deutsch1and mitglied.") This is, of course, the organ- ization founded by Lorenz Mizler which numbered among its members Telemann, Handel, Carl Heinrich Graun and J.S. Bach. Serge was accepted into this society as member number fifteen 12See Hans David, “The Structure of musical Collec- tions up to 1750," BANS, no. 3, p. 3, and Manfred Bukefzer, Music ig,the Barogue Era (New York: W.W. Norton and Co.,l9h7). Do. 381... 13Kinsk'y, wcrkc J.S.Bachs, p. 69. 2h in.July, l7u7, one month after J.S. Bach, who is listed as member number fourteen.1h The title E3332 Liefegggg 322.3II Sonaten ("First Installment [delivery] of XII Sonatas") undoubt- edly reflects Sorge's plans to publish a set of twelve such works (a popular number for collections, and a phenomenon which we shall discuss in detail in ChapterVI), but that he only completed the first three. Concerning the collection of chorale preludes for organ ("Erster Theil der Verspiele ver bekannter Choral— Gesflngen“) some confusion exists. Heussner, in his listings of Schmid's publications, gives, under plate number xxx, the title: "Hn Sorgens Choral Fugen erster Theil”, with the statement that the music has not been "ascertained" ("nicht ermittelt").15 Oberddrffer, in his Egg,article, gives the title as simply "Choralfugen f. die Orgel". Eitner does not list the music for reasons which will become momentarily lhBaoh's variations on "Vom.Himmel hech’ and the fine portrait by Elias Gettlieb Haussman are visible evidence of his induction into the society. The variations were pub- lished by Schmid with a.plate number of XXVIII, Sorge's ‘Erste Liefegggg carries plate number XXVII. (See David and R n e , eader p. 177; also HGG IX, col. 391 for information relating to the Mizler Societ. On the problem of dating the Baoh work, see Karl Geiringer, Johgpg Sebastian Bach The Culmination of an Era (New York: Oxford University ass, 19 p. footnote 1. See also the review of the book by Arthur Mendel, JAMS XXI, p. 396, and‘Dr. Geiringer's reply, nus, xxn, p. 1537:“ 15Heussner, ”Schmid in Ndrnberg,‘ p. 357. 25 evident. The fact of the matter is that Schnid himself assigned an incorrect title to the collection, thus con- fusing both Heussner and Oberddrffer. Plate number xxx belongs, in fact, to this group of eight chorale preludes (not to a set of "Choral Fugen", as Heussner and Oberddrffer believe.) The sole surviving copy of this music is found in the Yal e University Library, and was purchased for that institution in 1852 by the well-known American music educa- tor Lowell Hasen, from the library which had been owned by the nineteenth century German organist md composer, Johann Christian Heinrich Rinck (1770-18h6), court organist at the city of Darmstadt. Rinck was a student of Johann Christian Kittel, who is remembered as one of J.S. Bach's last pupils. Rinck was presented with much music, both in manuscript and first editions, including many works of Bach, by his teacher in Erfurt.16 This is obviously the source of the eight chorale preludes in question. The fact that these works were no longer in Europe after the middle of the century ex- plains, of course, why there is no mention of them in Eit- ner's Quellenlexikon, also why Heussner was not aware 16s» Reinhold Sietz, "Johann Christian Heinrich Rinck," Die Musik in Geschichte und Ge enwar 11:. vols., ed. Friedric ume Kassel: enreiter, 19 9- . XI. 001- 538- (Hereafter referred to by the siglum "mg".) 26 of the music's whereabouts. A final curious note is that what was obviously meant to be the second part of the col- lection, listed by Eitner as "Zweyter Theil der Vorspiele” and supposed to have been published by Serge himself in 17Sh, does not appear to have survived, although Eitner states that they were in the Royal Library in Brussels.17 On the other hand, we shall explore, in the next section, the possible existence of at least a large portion of these chorale preludes in a single manuscript copy found in the Bach archives in.Ieipzig. Unpublished manuscripts, modern reprints, 33125, spurious and doubtful attributions, and works no longer in existence. In addition to the first editions discussed above, numbering 123 individual items or movements, there are a considerable number of manuscripts and other pub- lished editions gathered by the writer, which fall into one of four general classifications. The works, listed below, according to these categories, have all been thor- oughly examined in the course of the present study, with the obvious exceptions of works listed under category "B". 17Eitner, Qgellenlexikon, x, p. 209. 27 A. @pgblished manuscripts 1. Eleven trios for organ 2. Organ sonata 3. "Vorspiele zu Choral-Liedern mit 2 Clavieren" 14.. Fugue in B flat major [for organ ?] B. Manuscripts with printed concordanoes l. "Sonaten' 2. "Sonatinen, Fantasien, Toccatinen"...1751 3. ditto [another copyist] u. Clavierflbung, part III [171.2] 5. Three fugues on B-A-C-H 6. ditto [another copyist] 7. Toccata per omnem Circulum 0. Nipeteenth cgppupy ablications out of print 1. F‘ughetta in G minor 2. Fugue on B-A-C-H 3. Fugue in G minor 1;. "Fuga chromatica duplex" 5. Moderate 6. Fughetta in G minor 1). Music assumed to be lost or destroyed 1. Six "Sinfonias fflrs Clavier" 2. ”Choral Fugen ffir die Orgel" 3. Six "Sonatinen per Cemb. solo, opera prima'I 1;. Six "Sonatinen per Cemb. solo, cpera secunda" 5. 12 short fugues ['vcr Orgel und Glavier"] 28 6. Zweyter Theil der Vorspiele vor bekannten Choral-Gesang in 3 stimmiger reiner Harmonie gesezt...l75h 7. 2h Vorspiele vor bekannten Choralgesang in 3 stimmiger Harmonie...l75h 8. 18 kleine und leichte Clavier-Stflckgen vor Kinder und Anffinger. 9. h.Dutzend kurtze Toccatinen vor Clavier und Orgel 10. 12 Trios vor Manual und Pedal ll. 12 Arien vor Orgel und Clavier 12. 2h Vorspiele vor denen am.meisten gew8hnlichen Kirchen-Gesflngen, worunter die moisten mit einem obligaten Pedal. 13. 12 Menuets for Clavier 1h. 12 long fugues for clavier 15. MDJChorale preludes with obligato pedal The manuscripts of three organ works listed in the first category are to be found, respectively, in the li- braries of the Royal Library of Belgium in Brussels, the Society of the Friends of Music in Vienna, and the Bach ar- chive in Leipzig. The eleven trios, comprising part of the extensive Nachlass of the Belgian musicologist and composer Frangois-Joseph Fétis (178h-1871) were evidently examined personally by Eitner, who pronounced them "not insignificant, often rather skilled contrapuntally and sounding well, even 18 if without more profound feeling." They are part of a 18"...nicht unbedentend und kontrapunktisch 8f- ter recht geschikt und wohlklingend gearbeitet, wenn auch ohne tiefere Empfindung.' Eitner, Qpellenlexikon, X, p. 209. 29 collection of organ music by various composers, the Serge trios beginning on the rectp of a page whose verso contains what appears to be the final variations of a chaconne or passacaglia in the style of Johann Pachelbel. (Fétia was an accomplished organist, who held several important church posts in the course of a very long life.) The copyist of the music is different for the two sides of the page, al- though the notational layout is identical: two clefs only are used, with the pedal parts written in the bass clef, while the manual parts employ, as usual, the soprano clef. It is quite possible that Fétis himself is the cOpyist of at least one page, although this has not been determined. Since there is no evidence that these works were ever pub- lished, they seam to be ppipg. Inexplicably, too, they fail to appear among the filég listings. The organ sonata is mentioned by Eitner as exist— ing in manuscript. On all other counts, however, it is of little significance, and appears nowhere among available lists. Musically, too, it is of peripheral value, and lacks any distinguishing marks of idiomatic organ writing. (The common appellation "for the organ and clavier" indicates that the composer himself fails to give any preference to the organ.) For these reasons, more details of which are to be discussed in Chapter V, the writer seriously questions 30 Sorge's szthership of the music. In one of the listings of Schmid's publications cited by Heussner, mention is made of three sonatas "vor die Orgel und Clavier von guter Melo- die...", and carrying plate number IX.19 The present work might possibly be from this set, although since it is a manuscript, and yields no further information aside from the inscription "Orgel Sonate/ von/ Georg Andr: Sorge./ Hof u Stadt Organist zu Lobenstein", positive identifica- tion remains problematic. The most extensive of the existing unpublished manuscripts in the present category is the group of 12:: spiele zu Choral-liedern consisting of twenty chorale pre- ludes for organ on well-known Lutheran tunes of the time. .Although the Egg! catalog cards indicate that there were originally twenty-four such settings, the title page of the manuscript gives no hint of this fact.20 Neatly copied on three staves, and employing a saprano clef and two bass clefs, thernanuscript is the work of a certain Johann Michael Streidt, who copied it in 1793. from whence it became a part of the collection amassed by the Bach.Archive 19Heussner, "Schmid in Nfirnberg,' p. 35h. 20The information on the catalog cards also states that numbers twenty through twenty-four are mussi , although number twenty (a prelude on "O Herre Gott, dein [g ttlich wertj”), is complete in all respects. However, number 18, "Freu' dich sehr" is incomplete. (See Chapter V.) 31 in Leipzig. The music, to be discussed in a later chapter, is the most fully develOped organ music by Sorge, and re- presents a musical achievement of consistently high calibre. Us shall also have occasion to return to this collection momentarily. The final work in category "A", a fugue in B flat major, represents another unicum, and forms item number sixty in a collection of eighteenth century music for organ which was copied out by the organist Martin Fischer. It is written on two staves only, with the pedal part being indicated by "Ped.”, and is the only manuscript in this category which uses the newer G clef, rather than the older 0 clef. This would seem to indicate that the copy was made in the nine- teenth century. It is highly probable that this fugue, as well as several of those listed in category "0", may be the remains of item ten ("XII kurtzte [sicl] Fugen vor Orgel und Clavier") from category "D“, to be taken up in a moment. The music represented under category "B" ("Manu- scripts with printed concordances") is largely self-explana- tory. The existence of multiple copies of the three fugues on "B-A-Cs-H", and the l7§l publication of "Sonatinen Fanta- sien Toccatinen und Sinfonien" may indicate that, of all Sorge's keyboard music, these exarnples had proven to be the best known and most often reproduced. The three fugues on "B-A-c-H" are preserved in the British Museum, as well 32 as the Deutsche Staatsbibliothek, East Berlin, Germany. (The British Museum copy carries the m ”Add. MSS 31307. ff. 78-81".) In view of the widespread dispersion of these fugues in both manuscript copies and a.nineteenth century published edition, it is strange that Eitner makes no men- tion of them at all in his 9; listings. Oberd8rffer's app article includes the fugues, and gives an additional ref- erence to Schmieder's thematic catalog of J.S. Bach's works, where the three fugues are listed under doubtful works as- cribed to that composer.21 (Regarding item.number one in this category, see pppgg, footnote 7.) 'The "Toccata per omnem.Circulum..." is the single work by Sorge in print today, and was published in the United States by C.F. Peters in 191:2.22 The copyist of the Toccata, Johann Christoph Kunts, writing in,a florid Latin hand, says that the work is "Sumptibus Balthasaris Schmidii, Organcedi ct Sculptoris/ ararii Norimb.". (See PLATE V)23 There is, however, no evidence of this work ever having been published, nor does the Augsburg music dealer Johann Jacob Lotter, whose __ 21wen-gm; Schmieder, Thematisch-s stematisches Verzeichnis der Werke Johann Sebastian Bachs (Leipzig: BFeItEopf und Bartel MusikverIag, 19§85 p. 629. 22 Published in the s ielbuch fflr K e e , ed. Wolfgang Auler (New York: 5.F. Peters Corp. 1983;, p. 62. 23Schmid was himself an accomplished organist and composer, who often published his own works. 33 . ‘79 PLATE v 0/168. 075 c c a, i a (at afloat) a per cm W «219.5% qmttwr C/“Zoclolmwnr ihm/m ma talents flail}: d (7005.. goofyalcfnbm Cforgce W5... Gem e flame; LE 512M, @fibtfzfleim Kyla/12L Matti a" Own/2563i. CW“ sizzéafinv 0.23.222 of... m); cWaa e. ‘ e in: r14 gyms/796’. :- 3h 1753 catalog has already been examined above, list it. Another unexplained fact is that Sorge had already listed the work in Part one of his WM Eggpgpipipp,of l7hS-h7, as being in "Kupferstich und.Druck" ("Copper engraving and Print"). (See pppgg PLATE 1.) Eit- ner's pp, on the other hand, lists it as existing only in the present manuscript copy, and Oberd8rffer, apparently unaware of the modern edition of Auler, simply repeats Sorge's listing.2u The name of the work, as seen reproduced here as PLATE 5, is inexplicably changed on the first page of the music where it appears as "Toccata per omnes‘modos", and Auler gives it an Italian title: "Toccata per ogni modi". We might best translate it as "Toccata through all the keys". Most of the notational differences in Auler's edition deal with precautionary accidentals not appearing in the manu- script, though there are other not completely Justifiable changes of a more serious nature. These include such things as an octave change (EX. 1), rewriting two rhythmic patterns (EXAMPLES 2 and 3), the addition of a tie where none is found 2,"’Oberd8rffer, "Sorge," MGG, XII, 001. 930- 35 Example 1: "Toccata per ogni modi", measure 5', Auler edition, followed variant manuscript reading. Example 2: "Toccata per ogni modi', meamre 115, Auler edition, followed by variant manuscript reading. 36 Example 3: "Toccata per ogni modi", measures 116 and 117, Auler edition, followed by variant manuscript reading. Example 14: uToccata per ogni modi", measure in manuscript lacking in the Auler edition. 37 in the original, and an entire measure which does not even appear in the manuscript version. (EX. h) It is, of course, possible that Auler had access to either a first edition-- if such even existed--or another manuscript ccpy notfllisted in available sources oited.here. Unfortunately, he does not identify most of the sources for this modern edition, so one can only assume that he knew only the sources generally pro- curable. This is especially plausible, since the Auler edition was published in 19h2, at the height of World War II, when research in European libraries was in a chaotic state. An examination of the works under category "0" reveals that, without exception, they are written for the organ--or at least organ.performance is to be assumed in these editions by the use of either a three stave notation, or the word "Pedal" (or its abbreviation "Ped.") at certain thematic entries. The first five items appear in three dif- ferent collections of organ music published in 18h5 and 18h6 by the well-known German organist and editor, o.w. K8rner (1809-1865). KBrner is remembered chiefly for his new edi- tions of the complete organ music of Bach, Buxtehude, Pachel- bel and other German baroque keyboard masters, many of which were brought out together with A.G. Ritter, the author of the highly respected Zur Geschichte des Orgelspiels.25 The first three items were brought out by the Leipzig publisher 2|.5See Thomas M. Langner, MGG, VII, col. 1387-1389. the article "Gotthilf Wilhelm.K8rner . 38 schuberth in a three volume collection with the title 'Der peue Organist. Item four is from.K8rner's Eggplpgigpr ‘ppgp, a four volume set of organ music published in 18hS, and item.five comes from another collection.with the title Orgel-Album, in three volumes, edited Jointly with Ritter. The final item is found in a collection of organ works edited by Otto Gauss (1877. ), and published in Zurich in 1913 as gagglkompositionen alter und neuer Zeit. The presence of Sorge's organ music in new 19th century editions gives rise to the speculation that editors and publiShers considered works in these genres to be of greater utility as Gebrauchsmusik within the church service, than the large amount of his other keyboardnmusic. The vogue of technically simple but musically attractive works written in the last half of the 18th century began to be more and more in eclipse as the 19th century dawned, with the atten- dant rise of virtuosity and technically mpre difficult (but often more musically questionable!) works for the piano, written and played by personalities such as Carl Czerny (a pupil of Beethoven), Ignaz Moscheles, and Sigismund Thalberg (for a time considered superior to Liszt). The consequent decline of much private music making for pleasure (fur Kenner und Liebhaber) led to a decreased interest on the part of publishers to republish music for which a market no longer existed. Then, too, the invention of the modern piano obviously encouraged a different kind of writing for 39 the keyboard than that which was effective on the harp- sichord, whereas the organ underwent much less change, at least in its mechanical components, during the analogous period. The remainder of Sorge's keyboard music, that falling into category "D", is comprised of listings appear- ing in Sorge's Vorgemach der Musicalischen Copposition and Compendium.harmonicum26; Eitner, Quellpnlpxikon: Fetis, Bioggaphie universelle27; and Oberd8rffer, Egg, and includes those works not accounted for in any existing first editions er manuscript copies. Although the list of lost and astroyed works at first appears to be extensive, there is a distinct possi- bility that some of them, at least, are duplications of works from other categories. We'have already identified item.number two ("Choralfugen far die Orgel") in section one of this chapter. Those works cited here as items six and seven are probably a duplication of the same music, particularly since the year of publication is the same. In addition, the writer submits that the incomplete copy 26 G. A. Serge, Co endium.harmonioum...(Loben- stein: published by the author, 1765). 27Francois-Joseph Fetis, Bieggapp§g ppiversellg g9; musicigns pt pibliograghip generalg g a pps gug, vols. Brussels: 1 33 to 1 , V, p. . he of twenty-four chorale preludes appearing in a manuscript found in the Leipzig Bach archives, and appearing as item number three of category "A", is probably the same music as these two items. This supposition is strengthened by the phrase "in 3 Stimmiger reiner Harmonie" ("in three voice pure Harmony..."). While ”in...pure harmony" is exact Eng- lish rendering, the use of the phrase "reiner Harmonie" or "reiner Sets" at this time actually had the meaning of "strict counterpoint", and so should be'understeod in tnis sense.28 In examining the chorale preludes in question, it will be immediately apparent that these works are not only highly contrapuntal, but also exhibit a strict three-part texture at all times. (Their musical characteristics are discussed in detail in Chapter V.) Finally, the descriptive title used by Serge to describe the "Erster Theil" (see gpppg, Section 1, listings of first editions), is word for word the same as that employed for item.six here. The con- clusion seems obvious enough: item six in category "D" (and perhaps also item seven) is identical to our manuscript of 28Cf. for example: Johann Philipp Kirnberger, Die Kunst der reinen Satzes in der Musik..., published rst n , w th subsequent add t one in 177k. 1776, 1777 and 1779. The book is probably the most important counterpoint text of the high baroque. In contrast to the Gradus ad Parnassum.of Fux (1725), with its artificial and abstract rEIes, Kirnberger's book is eminently practical. category "A". It only remains to say that, because Serge published the second part of his chorale preludeslnimself, they fail to appear in any listings by his Narnberg pub- lishers, and the manuscript is copied from the now lost publication of 175k. This still leaves us with the problem of identi- fying the music of item twelve ("XXIV. Vorspiele ven denen am moisten gew8hnlichen Kirehen-oeeangon...”). This title appears in Sorge's Vorgemach (as do several other items in the present category) dating from between l7h5 and 17h7. and are thus not identical to items six and seven (published some eight or nine years later). In addition, Serge lists this title as a manuscript only, and the later works are listed by Eitner, as having been published in 175k by the composer. As to whether our manuscript might possibly be that of the lost chorale preludes listed as item twelve, is rather unlikely in view of Sorge's description of them as "die moisten mit einem obligaten Pedal'.29 The implication is that some (even only a few) are without pedal. In the manuscript all the preludes, without exception, are pro- vided with pedal parts. The most plausible conclusion, therefore, to be drawn from this rather involved investi- gation is 1) that items six and seven are duplications of 29The meaning of the word "obli ate" here is to be understood in the sense of "obligatory , i.e., necessary. h2 the same music, a large portion of which is preserved in manuscript (listed as item three of category 'A") and 2) that item twelve is a work now presumed to be lost. Item three is more than likely a duplication of the first part of the Clavierflbung of 1738, which contains six sonatinas, and is the first published work of the com- poser ("Opera prima"). Item four perhaps refers to the sec- ond group of six sonatinas published by Schmid for Serge in 1739. If so, however, the appellation "opera seclmda" is incorrect, since the chronological order of publication would place a group of twelve preludes ahead of these. Neither Eitner's gpellgnlexiken nor Fetis‘ W 39;- versellg list either title, and it is more than likely that both items are accounted for as duplications of al- ready existing works. Among the fugues of item five, there are undoubt- edly many of the works listed under category "C" (numbers 1, 3, h and 6) [and "A" (number h). Likewise, the long fugues under item fourteen would include, on the basis of length alone, the three built on the "B-A-C-H" subject. Item number ten ("12 Tries ver Manual und Pedal") must be assumed to be identical to the tries listed under category "A“ (number one), in manuscript in the Royal Li- brary in Brussels. This supposition is fortified by the observation that there appears to be some kind of structural order dictated by the choice of keys, the details of which 1&3 are discussed in Chapter VI. Suffice it to say here that the order of the tries, in groups of three similar keys is once violated within the course of the music. There are three groups of three tries bound together, and follow- ing one another, all in the same key: three in C major, three in G-major, three in A minor, but only two in E minor. It is the writer's belief that a trio in E minor is missing, thus making a total of twelve tries. Finally, one can express the hope that more of Sorge's music, either in manuscript or first editions, will eventually come to light. Given the ravages of time, war- timp destruction and neglect, one can be grateful that there is preserved as much music as we have found here. A group of forty-four missing chorale preludes (Item.15) sounds in- trigulng, and they are not accounted for in any other sources. These works, as well as the many others listed in category "D" continue to whet the appetite, but, for the present, we must satisfy ourselves that all possible sources of Sorge's music have been examined with a view toward recovering these works. It is entirely probable that his music has also been falsely ascribed to other com- posers, as has been seen in the case of J.S. Bach on inp numerable occasions. Chapter IV FORMAL AND STYLISTIC ANALYSIS Formal and stylistic types Fritz OberdBrffer, in his article on Serge which appeared some years ago in MQQ, observes that the composer is one "of the many transition figures of the eighteenth century..."1 This element of "transition" is most obvious in the formal types represented in the majority of Sorge's keyboard music, where traits of baroque style, such as con- trapuntal textures and roughly symptrical bi-partite struc- tures, exist side by side with a homophonic, accompanimental texture, slow harmonic rhythm, and formal aspects typical of pro-classical and classical music. The keyboard music thus ‘mixes, in an original and yet completely convincing manner, the elements of both styles. A few works of Serge fall wholly within the scope of accepted baroque practice, of which the two groups of organ chorale preludes are prime examples. Because of the presence of a cantus ppgpp_factus, the form of these works is generally predictable. They will be discussed in detail, and some examples will be cited, in Chapter V. 1eri inal: "...eine der vielen fibergangsfiguren 6.08 18o Jheeee , “GO, 0010 9300 uh 1&5 A detailed formal analysis of all the existing key- board works has been made and the results can be summarized in a series of rather categorical observations. A bi-partite arrangement, presenting a thematic idea in two divisions of approximately equal length, is seen in eleven samples. In works in a major key, the second section ("l1"). a rewrite of the first part ("a"), always begins in the dominant. In the case of pieces in a minor mode, Serge mews a preference for placing the material of "a1" in the 51321; dominant rather than the relative major key. Examples 1 and 2 will illustrate the way in which the two sections are related, showing how' "a1" is simply a rewrite of "a". (Example 2, however, does not exhibit the use of the minor dominant, but the relative major. An example of the former will be seen presently.) This rather neat formal arrangement of two equal sections proves, however, upon further examination, to be much less prominent than a structure whi ch we may term."ex- panded bi-partite", of which there are h3 samples out of a total of 12h individual movements. The presence of these different formal structures, that is: bi-partite, and expanded bi-partite having a great- ly enlarged second section twice or three times as long as the first section, will finally lead to a new form.which adds a clear reprise now in the tonic key and represents a series '16 Example 1: Sonatina 2 (1738), measures l-li and 29-32 a Example 2: Sonatina 5 (1738), measures l-h. and 35-38 u all! h? of metamorphoses which causes many of these works to be considered clearly ternary in character. From here it is but a step to a rudimentary, but complete sonata form structure, several clear examplestaf which will be examined. In examining examples of expanded bi-partite form, we find that Serge employs one of two different methods for enlaring the second section. The first type, represented by twenty-seven samples, is by far the most common of all formal structures to be found in the keyboard music. In this type, the second section begins with an exact or nearly exact restatement of the material heard in the first section, but with the adjustments noted above--deminant or relative ‘major as the case may be. However, as this second section proceeds, new, unrelated material is introduced, in most instances after the seventh or eighth measure. This mate- rial bears no relationship to anything to be found in the first part ("a"). Such a procedure is illustrated by Sona- tina 3 of 1738. (EX. 3) This new material will occasionally encompass as much as twelve or sixteen measures, but is nor- mally confined in appearance to a space of approximately eight measures, after which material from the first section, sounding in keys other than the tonic, most notably the domi- nant, relative minor or sub-dominant, will be heard. The second procedure is of particular significance, as it forms the essential elements leading to a consideration of many of these works as tending toward a ternary division. 13.8 Ex ample 3 : Sonatina 3 ( 1738) 1L9 Example 3 (cont. ) So Exemp 1. 3 (Dante) 51 Example 3 (cont.) 52 In seventeen examples of the keyboard music, we observe the restatement, mostly in a literal fashion, of material with which the movement began, occurring somewhere close to the end of the expanded bi-partite form. With the ex- ception of two cases, the reprise occurs either fourteen or sixteen measures from the end of the movement, thus effectively dividing the second section into two roughly equal portions. In the first exception, the Sonatina 1, from the 17hO-hl set of six which forms the second half- dozen of such works inaugurated with the publication of 1738, the reprise appears shortly after the repeat, thus forming an atypical example of the procedure. It then continues, however, for another twmty-four measures to the end of the movement. Thus the third section (if we conceive of the form as ternary) becomes lop-sided. The ”a" section contains 18 measures, and the section from here to the end has 2h measures. In the other exception, Pre- 1ude VII of 1739, the reprise is heard a scant seven mea- sures from.the end. These two instances, where the reprise appears at an unusual place, are exceptional, however, and the essential threefold division, basically symmetrical in length, is the norm in this group of seventeen movements. It must not be thought from the foregoing, that the employment of bi-partite form or an expanded bi-partite form.with or without reprise, represents either a stylistic 53 development or a phenomenon which marks off earlier works from later ones. Within a time span of little more than fifteen years, it is obviously difficult to detect a pre- valence of one formal structure over another, let alone to speak of a stylistic development. We may, however, make several assertions at this point, based on a close scrutiny of these pieces, which can serve in a general way to delimit our studies. First, the use of those formal structures outlined above can be observed from the earliest to theilatest works. Thus, for example, the Sonatina l of 1738, the first work of Serge in print, exhibits an expanded bi-partite form con- taining new material and.no reprise, the Sonatina 2 of the same set, however, is virtually bi-partite, with equal sec- tions, and the Sonatina h is an expanded bi-partite form with a complete reprise of the opening measures. Thus, within the confines of one pppg, Serge employs both older baroque forms as well as newer structures. As late as 1751: this same flexibility is seen in the set of twelve "Sona- tinen, Fantasien, Toccatinen/ und Sinfonien", in which we find two works exhibiting bi-partite structure, four having expanded bi-partite forms with nemeaterial, and four in which the length of the reprises cause us to consider them as being in three part form, and two which are multi-section- a1 with no discernible single theme predominating. St A second observation to be made of the works as a whole is that, generally, the use of the term "Sonatina”, as seen in the publications 1738- l7hO-hl, 1714-5 and 1751, and the title "Prelude" used in works dated 1739, l7h2 and l7h6, provides scarcely any clue regarding the kind of structure employed. (There are, on the'other hand, four vitally important exceptions to this assertion which will be discussed presently.) A com- parison between works titled "Sonatina" and "Prelude” yields only the superficial information that the "Sonatinas” all contain repeat signs and the "Preludes" do not. How- ever, a closer examination of the works marked "Prelude" or "Preludium’ will reveal that the composer, in effect, has simply elided the double bar, but retained the essential tonal and time relationships between the opening bars and the appearance of the thematic material in the dominant (or relative minor) in precisely the same location at which a double bar would normally have appeared. An excellent example of just such a procedure is seen in the Prelude of the Partita 3, where a casual perusal of the music reveals what appears to be a multi-sectional form. However, closer study shows the opening thematic material appearing, in the relative major, at measure 32, thinly disguised by an open- ended cadence. (EX. h) It must naturally be remembered that 55 Manuals (1., "Prelude", Partita 3 (17M) 56 Example h (cont . ) ll (cont.) 58 in the sonatinas where double bars are always present, the form will be considerably lengthened over that of the preludes, if one interprets the repeat signs literally. A further assertion deals with the type of ma- terial to be found in those expanded bi-partite structures which evidence a reprise and those which do not. Generally speaking, Serge omits the introduction of new thematic ma- terial in the majority of those pieces containing a reprise, preferring rather to develop, in a motivic fashion,lnaterial found already in the opening bars. (EX. 5) Conversely, those works in expanded bi-partite form are more than likely to contain unrelated material in the "a1” section when no reprise is present. (See EX. 3) Bi-partite structures, either in a symmetrical arrangement, or in the expanded form just discussed, account for approximately half of Sorge's total keyboard music, and represent the continuation of a formal structural plan which may be traced back to sixteenth century dance pieces and other instrumental works down through the entire baroque period, and even into the time of the Viennese classicists. Seventy out of a total of 1&8 individual movements by Serge fall into some type of bi-partite formal structure, but, as we have seen, when material heard at the beginning is again quoted at the end, the balance inherent in bi-partite 59 Example 5, Sonatina l (1711,0441) Vivace 60 Example 5 (cont.) 61 Example 5 (cont.) 62 hmle 5 (cont.) 63 5 (cont.) 61: form.is upset, and.we must consider the possibility that the formal scheme is exhibiting elemmnts of ternary structure. That this is not necessarily employed by other composers of the time, is evident from reading Ralph Kirk- patrick‘s remarks about the formal structure of the Scar- latti sonatas. He says: The Scarlatti sonata is a.pieoe in binary form, divided into two halves by a double bar....A1theugh the material announced in the tonic at the opening of a Scarlatti sonata may determine the character and suggest or even state the principal the- matic elements of the piece it is not pecessarily subject t9 recaéitulat on or even to star a us on.... e car a sonata prdInarIIz mikes no recapitulation. t mainta ns a one ng or complemen ary relationship between the halves, even when they are not of the same length... (Uhder- lining mine)2 Thus it will be seen that the concept of a re- capitulation, and by implication, of three part structure, is generally lacking in at least one well-known Italian composer of the time. The keyboard sonatas of Padre Mar- tini, Platti and Paridisi, are similar in form to those described above by Kirkpatrick. 2Ralph Kirkpatrick, Domenic Scarlatti (Prince- ton: Princeton University Press, I953), p. 252. For an opin- ion somewhat at variance with Kirkpatrick's see Rita Benton, "Form in the sonatas of Domenico Scarlatti,“ Musip Revigg HI: (1952), '9. 26h. 65 The principle of sonata form structure, as it is seen in Sorge's music (and other German and Italian composers of the time), is a gradual evolution, and, as such, is considerably freer and more flexible than some writers on musical form would have one believe. Paul Henry Long, in a recent monograph, has perhaps stated more suc- cintly than any previous writer, those characteristics which may serve as an irreductible minimum in appraising a movement in sonata form, and at the same time has at- tempted to correct several mistaken notions surrounding the use of the term itself. A good deal of misconception is attached to this constructional scheme, and one fre- quently encounters the remark that such-and- such a movement is composed in "strict" se- nata form. But there is nothing ”strict" about the sonata form. In fact, the eigh- teenth century composer had not even heard the term, which was coined in the nineteenth century: he followed certain rinci les not a pattern....Within these genera! prficiples the composer was absolutely free:...on1y t1: principles of thematic develo%ent and ten :1 118 stress and resolution were . (Under- :1 ng ne. Although Lang is essentially correct in observing that "sonata form" was a term which came into vogue in the nine- teenth century, descriptions of its essential features are found as early as 1789 in J.G. Portmann's Leicptes 3Paul Re Long, The ho (New York: w.w. Norton and Co., 1969 , Preface, pp. x -xii. 66 ggppbuoh der Harmonie.“ The writings of Heinrich Christoph Koch, particularly his Versucp einer Anleitung zur Kggpo- sitien, also contain detailed discussions of sonata form, although admittedly not labeling the structure by such a term.5 In addition, Galeazzi, in 1796, described sonata form.in volume two of his E e e ti t orice- ractio di E38z01e6 a case for the "discovery" of sonata form.can be made for Depending upon the national bias of the author, Giovanni Platti,7 or Johann Stamitz.8 In the keyboard works under discussion, we dis- cover in four movements, unmistakable evidence of an arrange- ment of thematic and key schemes which represents examples of sonata form as described above by Lang. They appear in “Johann Gottlieb Portmann, Leichtes Lshrbuch der Harmonie (Darmstadt, 1789). ‘ 5Heinrich Christoph Koch, Versuch einer Anleit zur Kpppesition, 3 vols. (Leipzig: Adam.FrIsd§Ich BBhne, f 17 and 1793e 6Francesco Galeazzi, Elamenti teorico-practici di Musica...(Rome: Cracas, 1 91; Vol. II Roms: Puccinelli, 1796). so see Bathia Churgin, 'Francesco Galeazzi's Description (1796) of Sonata Form," JAMS, XXI, p. 181. 7See Fausto Torrefranca, Le Origini italiane del romanticismo musicals: i rimitivi della sonata moderna (Torine: Fratelli Becca, E930). 88cc Hugo Riemann, Geschichte der Musiktheorie im 2.-12. Jhs. (1898 67 the group of six sonatinas from 1715, and in the three sonatas which appeared between 1714.7 and 17h9. The group of six from 1716 are those which Serge dedicated to J.S. Bach. (See the title page reproduced as PLATE VI of this study.) In the Sonatina 1 of 1715, we find, as in many other examples from even a later period of the century, that there is not a great deal of difference between the material presented as the first "theme" and the second. The modulation to the dominant is accomplished at measure five, and what we have designated the second theme occurs at meas- ure nine. On reaching the double bar, the composer repeats the first two bars of the exposition, new heard, of course, in the dominant, but then continues with but a fragment of the main theme, of just three notes, which he thm subjects to a series of sequential passages. This breaking up of the- matic material into small motivic units is seen as a con- stituent element in the development sections of many later sonata form movements. It is, in fact, rather common for Haydn or Mozart to prune a lengthy theme of several measures down to perhaps four or five notes, and, by means of sequen- tial treatment, quick key changes, canonic and other contra— puntal devices, such as augmentation and stretto, simply extract the essence of the material. Oftentimes Haydn will raise some insignificant notes in the middle of a theme to dramatic importance by building his entire development on. PLATE VI 0 \I \n I . ... ..a v. r J- u use: a a. magnesia; scram .v «\th {VV Fe ix rams: no not? . SeRtfieN. .FN Reflects. mace - cassava mess. ..\oww\.o EQHFQNDWQQQ mud .Mwmwtfixumvs“ - v .\ tools 9% to mameafifimflaemfi . J than Show . s has.» s eases use tweets. ms Spartans mfig Mindanao . as efiefiamehaaaeob ”\Quodmw §N~%~w%w% fifibww We (Ramkomwemo am SENnBWQE fiQfiNamwhkhA ENRK o . . mfixwfi tasks“ .353 s a a. . _ . we a has ashamsammwng gasfiw p.83 annotated. seems me mgmflwfig p§ pmfifita 68 them.9 In a rudimentary state, then, we find the same technique in the Serge development section which is under discussion. At the recapitulation, an examination shows that no key change occurs and the material heard at measure nine in the exposition and desigiated as the second theme, is now heard, in a literal restatement, but clearly in the tonic. Its repetition also brings the movement to a close. Example 6 reproduces the entire movement. (An obvious error of "g" in the bass of measure four has been corrected to read "g sharp”, to conform to the analogous place in the recapitulation.) Although the Sonatinas of 17MB Provide what are probably the earliest examples, in Sorge's music, of a sonata form structure, it is in the group of three Sonatas, published between 1711.7 and 1711.9, that we find the best and most highly developed examples of the fbrm.1° The three works are the only ones known to the writer which the com- poser calls "sonata", as distinct from "sonatina", a term 9For a supreme example of this procedure, we cite the development section of the first movement of the Symphony no. 1011. in D major. 1°William A. Newman, Classic Era, p. 389, reports that he examined the three sonatas except for the first move- ment of Sonata 2, which movement appears to be missing from what may be the only surviving copy of this set, at the British Museum". Newman is in error on We counts. The British Museum not only has the three sonatas in complete first editions, but, in addition, there is another copy in the Bavarian State Library in Munich. 69 #5) 6: Sonatina 1 (17 1e Examp 70 Example 6 (cont.) Ex ample 6 (cont. ) 71 72 Examp le 6 (cont.) V’ 73 Example 6 (concluded) 7h previously employed, and they are the only works which are obviously in several movements. In Chapter VI we shall exam- ine several other works whose internal order very possibly suggests a pairing into several movements. Additionally, since the title of the publication refers to these three sonatas as "Erste Lieferung von XII Sonaten“ ("First del- ivery [i.e., installment] of XII Sonatas"), there is good reason to believe that there were originally nine more so- natas either projected or perhaps even published, and that 11 they are no longer extant. The presence of main and sub- ordinate themes, a small developmmt in which motives are worked over, the interesting use of tonal relationships, and the lengthy repetition of thematic material from the begin- ning toward the end, resolving the different keys into the tonic, mark these movements as early examples of sonata form. The first sonata has been chosen as showing most clearly these procedures. llThe appellation "Erste Lieferung" was very cosmon- plaoe, being applied by composers to designate a first install- ment of a collection. British Museum Add. 32095, for example, is entitled "Zweyte Lieferung der Choral Rigen von Johann Ludwig Krebs"; this is a Schmid publication of 1753 (Plate Number )DOWI), the "Erste Lieferung" of which mrpeared in 1752, with, inexplicably, the identical plate number. (See Heussner, "Schmid in Nurnberg,", p. 357.) 75 The movement, marked "Moderate”, begins with.a theme which is characterized by slow harmonic rhythm, a re- peated bass figure in the accompaniment, and a constantly changing rhythmic contour, all of them features of classical style. At measure six, a strong cadence introduces a second thematic area. Aside from the second sonata, where the ini- tial theme is not heard again, the two themes will reappear together toward the end of the movement, both now being in' the tonic. In Examples 7 and 8 we quote the first and second "themes" as they appear first in the exposition, and then as they reappear in the recapitulation, now both in the tonic. Although the development section of these sonata form movements is generally of a rather elementary nature, several ingredients generally associated with such sections are clearly present. Rapid.key changes and some thematic fragmentation are to be seen, but by far the most noteworthy element is that the development, aside from stating the first theme in the dominant, is concerned almost exclusively with a reworking of the second set of thematic materials. (Once more, Haydn comes to mind, and the development sections of the 96th and 99th Symphonies are fine specimens of this pro- cedure.) From the key of F major (the dominant), Sorge touches on first the key of G minor and then on D minor. There are three measures of unrelated material in the development which.may be said to constitute a third "thematic" area (measures 30 to 33), and a hint of the second theme in 76 1 h )’ 1/ Ex ample 8 : Son measuresata 1 ‘ 1_3 17h? , h3-h :u9), first move ment ("M oderato" ). 77 inversion is seen at measure 29. The recapitulation, at measure 38, is an exact rewrite of'all the thematic‘mate- rial of the exposition, now in the tonic. A short coda, corresponding to material (in the dominant) found in the exposition at measure 11, completes the movement. (EX. 9) while these samples of sonata form.do not repre- sent a particularly sophisticated or highly imaginative use of the form, and by their nature are merely incipient ex- amples of what was to be later more highly refined and pol- ished in the works of later composers, they do show the irrevocable direction which such formal structures were taking in the middle of the century. Finally, it must not be thought that Sorge was alone in sensing the possibilities inherent in the formal order of sonata structure. As early as 1720, according to Apel, Francesco Maria Veraoini (1690-1768) had employed sonata form, and he goes on to say that "K.P.E. Bach con- sistently used [it] for the fast movements of his piano «12 sonatas. However, it is probably true that in this 12Willi Apel, Masters of the Kc board (Cambridge: Harvard University Press, and 9 , p. 90. So far as this writer can ascertain, this statement is open to some question. Although K.P.E. Bach did employ a reprise at the end of his sonatas (as did, incidentally Mathel, Martini and Platti) the absence of any dharacteristic key scheme mdlitates against one calling them true sonata forms. There 18 a180 some question about Veracini's dates. The dates given above are from the Paumgartner's Egg article. 78 kampl e 9: Sona ta 1 (1 7h?- 1L9 first movement (" Moderat " o ). 79 Example 9 (cont.) 80 Example 9 (cont.) 81 Example 9 (cont.) 82 music we have seen the clearest examples of the form, at least in Germany, before the mid-century mark. Another point of interest is the overall sequence of movements in the 17147 sonatas. Generally, they exhibit the order fast - slow - "aria" - fugue (or "fughetta") ex- cept that the third sonata begins with "Andante”, but pre- serves the general order by having a second movement which is even slower, a "Largheto" (sign). The third sonata also omits the "aria". This general arrangement of fast - slow - fast is in obvious contrast to many sonatas of the time which often exhibit no set sequence or even number of movements. Even later Haydn sonatas lack any standardized order of move- ments. Number 37 of his sonatas consists of an Allegro - Menuet and Trio - Allegro, and number LLO, of 1773, has two movements only, an Allegro and a Menuet and Trio. Number 36 (1776) comprises a fast first movement and a theme and var- iations. Very few of the sonatas by Sorge's contemporaries conclude, as do all three of the sonatas under consideration, with a fugue. The use of such a procedure is clearly a throwback to baroque practices, once again reinforcing the impression one receives from Sorge's keyboard music: he is a true "transition" figure, able to write in either the dying baroque style, i.e., fugues, or to compose in the new style of pre-olassicism, with a first (or other movement) in a true sonata form. 83 The remainder of the keyboard music of Sorge falls into various formal structures which will be taken up new. Somewhat different from those forms which.we labeled bi-par- tite or expanded bi-partite, is one which may be called two- part or 'a-b", to show that there is no ostensible thematic relationship between the opening of the movement and the ma- terial following the repeat sign, such as we found to be the case in those movements Just discussed. Of these latter structures, there are fifteen examples, and interestingly enough, they are confined, with but two exceptions, to two sets of works only. Seven examples are found in the Clavier- Z§£2$22,0f l7hh, and six are seen in.the organ trios found by the writer in manuscript in the Bibliotheque Nationals in Brussels. Briefly, this form comprises two sections, either approximately equal in size, or, more often than not, with an expanded second part, neither of which may be construed as having any connection to the other. In addition, there is, with two exceptions, no reprise at the end of these movements. To illustrate this type of structure, we have chosen the prelude to the first Partita, in C major. (EX. 10) It will be observed that a conscious effort seems to have seen made to contrast the two sections rhythmically and melodically. The "b" part is considerably longer than "a", but nowhere in the second section is there any hint of the rather striking, upward-leaping figure with its simple imi- tation, that is found at the beginning of the "a" section. 3h Example 10: Partita 1 (171m), "Prelude“ 35 nt.) 10 (co 1e Examp 86 Example 10 (cont.) 3" 87 There are, however, a few hints of earlier material as seen, for instance, at measures 5 and h6. Another example, in which Sorge skillfully devel- ops new material in the "b" section, linking it, however, by means of similar rhythmic figures, melodic contours or patterns of accompaniment, to material which has already been heard, is seen in two interesting cases, taken again from the Partitas built on French models. In the "Pour- lesca" (gigj) (read: "Burlesca") of Partita number six in B flat major, the retention of a simple broken octave bass pattern in the material following the double bar serves to connect the two parts. (EX. 11) .A somewhat more subtle illustration of this technique is found in another "Pour- lesca", this time from the fifth partita in F major. The links between the sections is preserved by means of repeat- ed notes and descending thirds in the "a" section as con- trasted with ascending motion in the "b" section. (EX. 12) Works eXhibiting a multi-secticnal character con- stitute a good percentage of Sorge's works. Analysis shows a variety of thematic areas, none of which can be thought of as being of more importance than any other. Such examples are found, not surprisingly, exclusively in works with the titles "Prelude" or "Fantasia", and are never seen in any of the dance sets, sonatas or sonatinas. Whereas the term "Fantasie" in the sixteenth century denoted a mono- or poly-thematic work with imitative textures, which had evolved out of the 88 Example 11: Partita no. 6, "Pourlesca", measures 1-12 r Example 12: Partita no. 5, "Pourlesca", measures 1-23 r 89 canzone (see especially ensemble works by Purcell and key- board works by Sweelinck with this title), the eighteenth century Fantasia pursued a course which led in two main directions. Mattheson, in Der vollkommene Capellmeister des- cribes the Fantasia in the following terms: ...without particularly observing the mea- sure and tones, [or] considering the place £331.23???“ th" ”£31522: fifii’bm 13 g now somew . This is the Fantasia as seen in the works of C.P.E. Bach, and as described very carefully in his Versuch fiber die wahre Art das Clavj.’i_:¢;gl;jz_ru_spielen.11+ Of his father's Fan- tasies, the so-called "Chromatic Fantasie and Fugue" is the outstanding example of the type. The characteristics of this Fantasia type include quick alterations of tempi, a large abundance of flashing, arpeggiated chords, many dynamic changes, in short, a thor- oughly kaleidoscopic musical representation. The highly sectionalized character of the music exhibits one mood or affect followed immediately by another. This is basically in contrast to the typically late baroque idea of a single 1'3"...ohne eigentliche ..Beachtung des Takts und Tons, unangesehen dieselben auf dem Papier Platz nehmen... bald lustig, bald ngernd...bald auch eine kurze Zeit nach dem Takt." Johann Mattheson, Der vollkommene Capellmeister (Hamburg: Harold, 1739). JJ"'C.P.E. Bach, Versuch fiber die wahre Art das Clavier zu s ielen (1753-1762), transIated and edited by WITH—am 3. htche 1 (New York: w.w. Norton, 19m), p. h39. 90 ”affect" remaining valid for the duration of a piece or movement. Thus it will be seen that the Fantasies of C. P.E. Bach, and also his father are, in effect, a fore- shadowing of the emerging style of the latter eighteenth century, in which a movement came to represent a variety of "affects" in the contrasting character of thematic material found in late eighteenth century forms and genres. On the other hand, when we turn to the Fantasies of Telemann, as prime examples of this genre, we find an en- tirely different principle at work.15 There are thirty-six of them, grouped together in the typical pairing of sixes or twelves. In fact, taken as a whole, the Fantasies are in three contrasted movemalts, in which each movanent, whether slow or fast, moves in a uniform metrical scheme. In the first dozen, Telemann groups a Fantasia in D major, in a quick tempo, together with a contrasting movement in B minor, with the direction that the player return to the quick D major movement. This produces a three movement suite in an overall ternary structure. There are exceptions, as for ex- ample in number six, which is entitled "Tempo di Minueto" (£133). The second dozen are in the pattern slow-fast-slow-fast, many 15Georg Philipp Telemann, Fantasies our 1e Claves- sini 3 Douzaines, Verdffentlichungen der Musik-Bibliothek (a Hirsch. Frankfurt am Main. Johannes Wolf, Ed., Vol. h 1923 . 91 times starting with a French overture. These Fantasies, then, are more in the style of the Prelude-like movements, where the idea of the single "affect" is seen almost ex- clusively. Summing up, we see two main types of Fantasies emerging from the foregoin. In the Fantasies of C.P.E. Bach, we have multi-sectional structures, alternating "affects", quick changes of tempi and many dynamic markings. In the Telemann type, we find, in contrast, uni-sectional structures, a single affect for each movement, one tempo, and a uniform dynamic marking--either piano or forte, for the entire movement. Certain traits, on the other hand, are held in common between the two types, such as a defi- nitely non-imitative texture, an emphasis on the top voice and a slow harmonic rhythm. In those works by Serge marked "Fantasia" or "Pre- lude", we find a generally conservative, that is to say, _baroque approach. There are no examples of’rapid tempo fluctuation, or many dynamic markings, as is to be found so often in C.P.E. Bach. However, multi-aactional writing is abundant, wherein a variety of thematic materials is seen. Although we encounter multi-sactional structures in four in- stances in the Preludes of 1739, it is in the set of twenty- four Preludes from l7h6 that the most extensive use is made of this procedure. Not quite half of these works can be so 92 described, and it is interesting to observe that the idea of phrase periodization and rhythmic differentiation, often cited as a characteristic of pro-classical and classical music, becomes, in these examples an important element in 16 the overall style. Prelude XIX illustrates this quality well, the changes in texture, rhythm and melodic individ- uality occurring precisely every two measures. (EX. 13) Quite often, however, the change occurs every four measures, as in Prelude XVIII in G minor. (EX. 1h) At times we encounter a kind of hybrid fOrm which contains elements of two different procedures. Thus in three of these Preludes, a generally multi-aectional piece contains a hint of a reprise which lifts the initial theme slightly in importance above the other material by a tiny restatement of no more than four measures. Such a procedure is best seen in the first Prelude from the l7h6 publication. (EX. 15) The employment of a monothematic form, that is to say, a form which is the opposite of the multi-sectional type described above, is found in only six examples of the keyboard music, and they are all works called "Prelude". (Two of them come from the Partitas, the remainder from the set of twenty-four Preludes from 1711.6.) In every case, the 16See F. Blume, Classic and Romantic Music, trans. by M.D. Herter Norton (New York: WM. Norton and (30., Inc., 197°)s PP. 31’370 93 Example 13: Prelude 19 (1711.6) 9h anruple 1h: Prelude 18 (l7h6) 95 Examlc 1).). (cont .) Ex 0 h ) 97 characteristic baroque trait of a striking rhythmic or mel— odic figure is worked out in rather sterotyped fashion, being subjected to sequential treatment, inversion or octave dis- placement, but maintaining a motoric forward movement typi- cal of the technique used in countless works labeled "Tocc- ata", "Prelude", or "Fantasia" by German composers of the seventeenth and eighteenth centuries, but without the multi- sectional character which gradually began to replace this technique as we reach the fourth decade of the eighteenth century. (See keyboard works with such titles by Johann Pachelbel, Buxtahude, J.K.F..Fischer, Kuhnau.and J.S. Bach.) Another kind of monothematic structure typical of much baroque keyboard.music, but exhibited in only three move- ments by Sorge, is the "perpetual motion" prelude or toccata using a single figural motive reiterated in eachlneasure with changing harmonies, as in the Prelude to the fifth Partita. (EX. 16). This style of writing is seen more often in organ music, where the reverberant interiors of the large churches enhanced the rather simple series of broken chords and chains of arpeggios, thereby producing a shimmering, scintilating impression. It may suffice to mpntion, in this connection, nine dance suites for clavier by Johann Kasper Ferdinand Fischer, all of which begin with a perpetual motion type movement. The works, entitled Musicalisher Parnassus, are hampl e 16: Partita no 98 . 5, first moveme nt ("Pr elude") 99 Example 16 (cent .) 100 Example 16 (cont.) r 101 said to personify the nine muses, and each suits or partita begins with a "Toccata", "Toccatina" or "Prelude“ conforming to the type described above. The first suite opens with a 'Preludium‘harpeggiato" consisting of a constantly repeated series of arpeggios divided between the two hands, and resembles the first Prelude from Bach's figllDngpered Keyboard, even to retaining many of the same harmonies. Of all the non-dance type movements, however, it was the "Prelude and Fugue" which enjoyed the most popular- ity among clavier and organ composers of the Germanic countries in the seventeenth and eighteenth centuries. Neither the French character pieces, suggested by programatic titles which described moods, emotions, and even, in at least one instance, colors, nor the Italian.organ music based on Greg- orian chant and designed to be played during Mass in the Cath- olic Church, found much.1asting popularity in the northern countries. The German.composers preferred rather to utilize the severe contrapuntal idimms of the fugue, combining them with contrasting movements in the "unbuttoned" style of the "Prelude", "Fantasia" or "Toccata”, such as we have seen in the examples cited above. The most common practice was simply to title such works "Toccata" or "Prelude", and to include a fugue at the conclusion of the first part, with perhaps a return to this section again at the conclusion of the fugue. In the "Pre- ludia” and "Toccatas" by Buxtahude, the contrapuntal sections 102 alternate with the rhapsodic, the result being two or three separate fugues, often thematically related, interspersed with free movements, the whole falling into five or six in- dividual entities, but with the single title "Toccata" or "Prelude". In the organ and clavier music by Bach, we find ample evidence of this approach, particularly in his earlier works. Thus the "Toccata in C major" (BW 561:) is a three movement work, containing a Toccata, a slow movement, and con- cluding with a fugue of considerable dimensions. Even the famous "Toccata and Fugue in D minor" (BWV 565) is called by Bach simply "Toccata", and the fugue begins directly in the middle of measure 30, at the conclusion of the Toccata. To- ward the end, the fugue disintegratea into a series of ar- peggios related to the previous Toccata. In addition to these examples, one may recall the various "Toccatas" for clavier by Bach, all of which are in several movements, and all of which include fugues. In what manner, now, does Serge employ this time- proven keyboard idiom, the "Prelude and Fugue"? It is prob- ably symptomatic of Sorge's historical position that, amorg all of his keyboard music, there are but nine examples of a genuine Prelude and Fugue, and two of these can hardly be thought of as particularly important illustrations of the genre. Examples of short fughetti conclude Preludes number five and seventeen of the group of twwty-four from the year 103 l7h6. In the fifth prelude there is merely a six measure ex- position of a three part fugue, followed by a perfunctory ‘ cadential formula. (EX. 17). Prelude number seventeen is not much more important, but the fugue subject is raised to considerably greater distinction by its use of one of the most popular motive patterns employed in the writing of a fugue subject during the latter baroque era--the expressive drop of the sixth (usually major but occasionally augmented.) The figure was immensely popular and Seiffert lists nine composers who made use of this melodic profile in the writing of a fugue theme.17 (EX. 18). Sorge's subject also bears a striking resemblence to the sixteenth fugue, in the same key, from Part I of Bach's Well-Tempered Keyboard. (EX. 19). In addition to these examples, there are seven longer and more involved Preludes, each with an appended fugue, starting, in the manner of’north and central German clavier and.organ music, in the middle of the measure. With the exception of a single example (Prelude XI of 1739) these Preludes ("con fuga") occur 17nd: Seiffiert Ges h do K a e ik (Leip- zig: Breitkopf und H rtei, 99 , p. . e or contends that the "Drthema" utilizing this melodic figure was the spec- ific contribution of Johann Pachelbel. It is, however, more likely a stock pattern which is another example of a ”coin of the realm" common in.many stylistic eras. In addition to Pachelbel, Seiffert cites themes by Buttstett, Wittc, Buxte- hude, Lflbeck, Kuhnau, J.S. Bach, Handel and Mozart. Another example evidently not known to Seiffert is the fourth fugue from Gottlieb Muffat's first Toccata from the 1726 collection of 72 versets and 12 Toccatas published in Vienna. (Reprint, Brand. BrOSe, 1968)e 1011 Example 1?: Prelude 5 (l7h6), measures 9 through 18 r 105 Example 18: Prelude 17 (1714.6) 106 Example 19: J.S. Bach, HTC 1, Prelude 16 in G minor, measures 1 through . 107 in one publication, the group of twelve Preludes published in l7h2. Three of the Preludes from this collection (numbers 1%, l7 and 2h) contain double fugues, which Sorge marks "Fuga du- P103"3 two (numbers 19 and 21) have a single subject, and one (number 20) combines the fugue subject with that of the Pre- lude in the final half-dozen measures. This latter work, in- cidentally, also contains the single example of a designated tempo change among this group of seven Preludes-~from a pre- vious "Moderato" to a "Presto" at the beginning of the fugue. Once again, the fugue subject provides an example of the drop- ping sixth interval. (EX. 20). In general, these seven fugues eXhibit a higher degree of technical mastery, denser, more involved contra- puntal working out and attractive musical materials than those examples seen in the small works of 17h6. There are several instances of invertible counterpoint, and, in two cases, the subjects are highly chromatic in character. Since fugue is, properly speaking, a technique or procedure, rather than a form, discussion of these textures belongs properly in the next section of this chapter, where they will be taken up in detail. 108 Example 20: Prelude 20 (1711.2) 109 mample 20 (cont.) Textural Considerations Just as the variety of formal structures en- countered in the foregoing section are indicative of Sorge's transitional position in the mid-eighteenth cen- tury, so too we will see in what follows, an ambivalence in the matter of homophonic and polyphonic textures, bass lines and melodic characteristics, which look in both di- rections: back to the polyphonic structures of German key- board music of the seventeenth and early eighteenth cen- turies, and forward to the simpler homOphonic textures of the latter part of the century, particularly those ihowing inclinations toward the "Italian taste", and influenced strongly by opera and vocal music of that country. It has been shown, on at least one occasion, that fine pre-classical spirit is found first in the realm of keyboard music, and that chamber and church music were slower to make file change. Geminiani was still publishing concerti grossi after l7h6, 188cc Paul Henry Lang, "Stylistic Elements in the Classic Era", Kon essbericht Internationale Gesellschaft E f I t I ase : en- ffir Musikwissansc a t v or or (on ess [1959; (E I BE; reiter-Verlag, 19§1), p. 22, and Hans Engel, Die Quellan des klassischen Stiles," International Musicolo ical Societ Re- port of the 8th Congress; New York; l§§1. (Kassel, 196*), vo ume , p. . ‘ 110 18 111 and Bach's immediate successor at St. Thomas in Leipzig, Johann Gottlob Harrer, still wrote cantatas and motets in the accepted style of German baroque polyphony, al- though at the same time admitting that. fugue was an out- moded technique. At much the same time, however, Graup- ner and Kirnbergar, as well as C.P.E. Bach were writing keyboard sonatas and suites exhibiting new stylistic traits. Two basic textures are to be found in the extant keyboard music of Sorge, and they occasionally occur with- in different sections of the same movement. The first we may term "accompanied melody”, in which a chordal texture of some type supports a melody line in the soprano. Type two is a more contrapuntally oriented texture, often em- ploying well-wrought imitative passages of considerable skillfulness. In examining the first type of texture--the "accompanied melody"--we find that the number of voice parts will not remain constant, and the openings of move- ments or sections, as well as strong cadences, will ex- hibit a slightly thicker texture than internal cadences. This practice of Freistimmiggeit is of course natural to the keyboard style, and is seen often, even in contra- _ puntal textures. Of the "accompanied melody" type, there are fifty-seven samples, or a little more than one-third of the total keyboard music preserved. This represents the 112 largest percentage of one type, and may be seen as the in- fluence of a simple melodic style of Italian vocal music upon the more severe German contrapuntal tradition. In ex- amining the entire corpus of Sa'ge's keyboard music, this writer has found that, although a mixture of both up homo- phonic, "accompanied melody" type, and the contrapuntal, imitative type quite often may be discerned within a single movement, there is a definite tendency toward a more ex- clusively homophonic style in Sorge's later keyboard works, particularly after 1711.5. Bass patterns, acting as harmonic "filler", tab the form of "Murky bass" configurations (EX. 21), arpeggiated , triads (ax. 22), and a type of Alberti bass (ax. 23), and are generally static or neutral in melodic interest. The origin of the term "Murky" bass can be traced to a distinct class of keybon works called "Morqui" (plural: "Morquien"). Typical examples are to be found in the six "Morquien" of Johann Foltmar, a transplanted German composer active in Copenhagen, which display the device from the be- ginning to the and of each piece. The collection was brought out by Sorge's Nurnberg publisher Balthasar Schmid and given the plate number XXXI, which would place them at the precise 113 time of Sorge's most intense publishing activities.” (See Chapter II, Part II.) Plate number m belongs to Sorge's eight chorale preludes, and plate number XXXII to his 1751 group of "Sonatinen, Fantasien, Toccatinen und Sinfonien", at least one of which makes use of a Murky bass pattern. hurkies also turn up frequently in that famous collection of popular airs and dense tunes published by Johann Sigis- mund Scholze in Leipzig in 1736, entitled Die Singende Muse g do: Plgisse. The song "Ich bin nun wie ich bin", number thirty-three in the collection, built on a Murky bass, and bearing the superscription "Murki", may have been written by J.S. Bach. (See wAnh. 11.0, p. 619.) (EXAMPLE 2);) me Murky bass is definitely of popular origin, perhaps even suggesting the coarse vulgarisms of peasant music with its imitation of bagpipes, musettes and other instruments capable of producing a drone bass. The German term "Brillenbass" has occasionally been used as synonomous with Murky. On the other hand, Apel's definition of "Bril- lenbass" as denoting an Alberti bass, is rather unconvinc- ing.20 He explains it as having a connection with eye l9Johann Foltmar, VI Mor uien z neu und aus- erlesen nach dem jezigen (sic!) beaten Itahenlscfien Gousto-- s n ass a n or c to . urnberg: fiItEasar Sofia seeI. ttib' no 0 ZOSee Harvard Dic tio of Music, Second Edition, p. 112e 11h Example 21: A' "Murky Bass" pattern. hauls 22: An arpeggiated triad pattern. Example 23: Variation of the ”Alberti Bass" pattern. Example 214.: "Ich bin nun wie ich bin", no. 33 from Sper- ontes' ("Scholze") Die Singende Muse an der Pleisse. measures 143.. 115 glasses, in German "Brillen", because of the look of the figure, thus : Example 25: Alberti bass figure ("Brillenbass") It is more than likely that the Murky figure of broken oc- tavss is meant by the term, which can be thus explained as a corruption of the German work "briillen", meaning to rumble or roar. Marpurg's highly fanciful account of the origins of the MUrky, reported in number 36 of his Xritsche Briefs of 1759, belongs, in all probability, to the realm of fic- tion, and has no substantiation in mist.21 Serge employs Murky bass patterns in a sporadic fashion throughout most of his active composing years, and in the sonatinas dedicated to J .S. Bach uses it effectively in the first and third sonatinas, which, as will be deter- mined in a later chapter, are most likely the first and last movements of a three movement work. Several modifications of the broken octaves of the Murky bass are seen in the accompaniment figures reproduced 218“ Walter H. Rubsamsn, article "Murky" in MGG, V01. IX, 001e 937s 116 in the following illustrations: Example 26: Prelude 2 (1739), measures 27 and 28, bass part.22 Example 21: Partita 5, "Prelude" (c. 17hh), measure 6, bass par. Example 28* Prelude 12 (1739), measure 1 and 2, bass part. Example 29: Sonatina.h (l7h5), measures 36-h0, bass part. Example 30: Sonata in B flat major (17h7-h9), measure h and 20, bass part. 22For no apparent reason, Eitner 9; quotes this passagelfin his discussion of Sorge's publications. See Vol. Ix: P0 0 117 A typical employment of the second most comon bass configuration, that of the broken chord or arpeggiat- ed pattern, is seen in the sonatina no. 1|. of 17115, and in the Sonata in B flat major from the collection of three sonatas of 17117-119. (ax. 29 and EX. 30). Alberti basses, the particular cliche’ of the key- board and even orchestral basses of the Viennese clasai cists, are found rather infrequently in Sorge's keyboard works, and when they do appear, they undergo certain modifications in patterns which tend to make it difficult to ascribe the term "Alberti bass" to the samples. The most extensive employ- ment of this bass type is seen in a single work, the Prelude 22 from 1714.2. Here the bass pattern appears in the follow- ing form: Example 31: Prelude 22 (17112), measures 21; through 27 It is also seen in the first movement of the Sonata in D minor from 171i7-1i9, where the pattern remains essentially unchanged . Exmle 32: Sonata in D minor (17h7-h9), measure 5 aid 6 ..L 118 With slight modifications , these bass patterns may also be found occasionally in the top voice, in which case their purpose remains essentially similar: they function as har- monic "fillers" serving to keep the music moving. Nmerous examples of this procedure abound, with the following samples being most typical.) Example 33: Sonata 3, 1st movement (17117-119), measure 13 Example 3h: Sonatina 6 (lmO-hl), measures 17-22 Example 35: Prelude 20 (171(6), measures 9-10 ' 119 In general, there appears to be a slight in- crease in the use of these bass figures in those works marked "Prelude" over those titled "Sonatina". A more cogent discovery is that these figures, whether in the bass or treble do exhibit a higher incidence of appear- ance in later works, than in Sorge's initial publications. A most important consideration regarding these stereo- typed bass patterns enumerated above is that they tend to reduce the speed of the harmonic rhythm of the passages in which they are incorporated, producing a less learned, more popular tone. The writer suggests that here, in fact, may well be the most striking difference between baroque style and the music of the latter half of the eighteenth century, and that perhaps this is the key to what Sorgs, and other writers of the time, mean by the words "neuern Styl" ("new style") and "naoh Italienisohen gusto" ("in the Italian taste"). The use of stereotyped bass patterns, easily grasped and mechanically repeated by "Liebhaber" dilettante performers--perhaps the eighteenth century equivalent of the notorious "vamp 'til ready” directions in certain kinds of jazz and commercial musi cumight almost be said to characterize a large part of the textures of late eighteenth century keyboard music and may serve to demarcate it from the imitative and contrapuntal textures of works composed before about 1730. 120 This gradual shift in the character of file bass lines in much mid-century keyboard music is a fascinating phenomenon which has been but slightly investigated in the scholarly literature, and may almost seem to symbolize the change from a figured bass orientation, with a fast har- monic rhythm, to the accompanimsntal structure evident in slow harmonic rhythm and relatively unobtrusive, even some- what dull bass lines. If we compare the following bass lines, typical of baroque keyboard and, to a large extmt, instrumental writing, with those of the examples quoted above, this difference will become strikingly clear. Example 36: J .S. Bach, Cantata 78, "Jesu, der du meine Seele“, lst chorus, measures 17-21 of the bass part. A LE1 - Example 37: Arcangelo Corelli, Opus 3, no. 2, 1st movement (Grave), measures 1 through 8 of the bass part. 121 Example 38: J.K.F. Fischer, Chaconne in G major, measures 33-36 of the bass part. Example 39: J .S. Bach, Prelude 211., Well-Tom ered Ks board Book I, measures 1-1|. of the bass part. It is to be noted that these types of basses con- tain within themselves a substantial amount of independent melodic life, and as such are a constituent element in a contrapuntal web. Investigation reveals that this character- istic polyphonic texture is also employed by Serge to a con- siderable extent, and represents that second most common texture seen in his keyboard music. A detailed examination of these procedures will be taken up momentarily. Likewise, Sorge's basses are often similar to those just quoted in main-93 36s 37s 38 3116 39s 122 Two observations regarding these stock bass pat- terns may be made. First, they neither become clich‘s in the music, nor do they function as distinguishing features of Sorge's style. Indeed, the co-existsncs of both the ”accompanied melody" texture, using bass patterns which been enumerated above, and the more imitative, contrapuntal textures, within the confines of one work, is probably the most consistent stylistic phenomenon to be found in all of -Sorge's music. Even in these works clearly in a contrapuntal texture, e.g., a "fugue", there are often lengthy passages in a homophonic texture, though the "accompanied melody" type is not always present. This ever-increasing invasion of contrapuntal tex- ture by the simpler homophonic, or "accompanied melody“ style of writing, with its consequent avoidance of too much "activ- ity" in the parts at any given time, may be behind Sorge's peculiar dedication of the third part of his set of eighteen sonatinas, published in 17h5, and inscribed to J.S. Bach. He writes: ...I should like only to deliver into the hands of those [music lovers] , the eighth edition of my keyboard works, something for their pleasure, which they may be a£§e to. play without particular difficulty. 23"...ich habe nur denen Liebhabern meiner nun zum achten mahle edirten Clavier Arbeit etwas zu.ihren Vergn en in die Hlnde liefarn wollen, welches sie chne besondere e warden weg spielen annen.” The passage, of some significance for an understanding of Bach's compositional procedures, has been omitted from David and Mendel's translation of the dedica- tion in The Bach Reader, p. 235. 123 Serge, by a somewhat veiled insinuation, seems to be saying that, whereas the elder Bach wrote in a rather learned, convoluted contrapuntal style which was rapidly declining in favor, he (Serge) was writing for a public which could play these pieces "zu.ihren Vergndgen ... ohne besondere Mflhe...'. Slightly less than one-quarter of Sorge's extant keyboard works (a total of 32 separate works or movements of works) exhibit a mixture of contrapuntal and homophonic tex- tures, even, as stated above, in works titled "fugue", where numerous instances of quasi polyphony abound. It should, of course, be remembered that the tonal orientation of baroque polyphony, together with the all-pervasive principle of figured harmony as a structural determinant, will show many instances of chordal textures, even among acknowledged.mas- ters of counterpoint, such as J.S. Bach. Upon reflection, it will be understood that sixteenth century polyphony is based upon a different musical style, in which the linear quality of independent lines is governed by scales organized ‘modally. In fact, when a baroque composer does indulge in this ancient practice ("stile antico"), it is seen as an anomaly and will be pointed out, discussed and written about 2h extensively. 2|"For a particularly thorough study of this phenomp enon, see Christoph.Wolff,'Der Stile antic in der Musik J.S Bachs Band VI, Beihefte zum."I§chiv ffir‘MusIkwIssenscEEft,' esbaden: Franz Steiner Verlag, 1968.) 12h It is significant that Sorge's works based on chorale tunes, and written for the organ, make the most con- sistent use of contrapuntal textures and imitation, and show that the composer had indeed learned his lessons well as an organist and able improviscr on chorale melodies--a skill which was highly developed among German keyboard players of the 17th and 18th centuries. A detailed study of these works will be undertaken in Chapter V. In those works by Serge which are wholly or in large part contrapuntal in texture, we see the patterns of baroque polyphonic practice, such as running basses, fast harmonic rhythm and imitative entries. Serge has also made good use of such basses in works which are firmly anchored in baroque instrumental style, though not really of a contra- puntal cast. The running bass of Prelude 10 (1739) in E major (EX. 14.0) or Sonatina 2 (l7h5) (from the set dedicated to J .S. Bach) (EX. 14.1), or the movement "Andante" from the 1751 set of "Sonatinen, Fantasien, Toccatinen und Sinfonien“ (EX. 152), should serve to dispel any lingering doubts as to the composer's ability to write in this style quite effective- ly. In Prelude 214. (17116), the running bass pattern is com- bined with the familiar sound of "chains of suspensions" fig- ures which could have come from the pen of Corelli himself. (ax. 1:3) 125 Example 11.0: Prelude 10 (1739), measures 1-8 of the bass part. Example kl: Sonatina 2 (1715), measures 1-8 of the bass part. Example h2: "Andante" (1751), measure 5 of the bass part. Example 11,3: Prelude 214 (1711.6), measures 12-16. 1: 126 Some writers have coined the term "invention" style, or, when three parts are consistently employed, "trio" style. "Trio" style, however, introduces an ad- ditional voice, and hence another, but typically baroque writing texture, which will be examined shortly. Fifty- five of all the individual movements exhibit such textures exclusively, and although there seems to be a slight de- crease in such writing in the later works, examples are to be found scattered through all of Sorge's keyboard music from the earliest to the latest publications. The first movements of both the second and third sonatas of the set from 17117 (identified by the 91.3139, uh'ste Lieferung") and the slow movement of the latter, are excellent examples of this type of writing. (xx. 1:14. us and 1.6.) Although the use of the “invention" texture would seem to imply a contrapuntal, imitative texture, as exempli- fied, for example, by the two and three-part inventions of Bach, there is, in fact, a significant difference between the two styles. Bach's music (and that of many of the better- known central and north-German keyboard composers) exhibits a genuine polyphony in which all parts enter into the contra- puntal web, a procedure dubbed by some writers as "cartwheel technique". This consists of letting one voice proceed in even sixteenth notes, the counterpoint being seen in the other voice as eighth notes. Then the procedure is exchanged. Often 127 Example ml: Sonata in F major ("Erste Lisferung") (17117- 17119), first movement, measures 1-21. 128 Example 1:11 (cont.) 129 Exampl s tiDmi "Ert Lifrung" (17- 1711.3). gigs: mgvemengoi”:nda:t:"),.m:asurs3 14?: ml 63 taiDmi "Ert fr “)(17117— 17119), aggond govsmmrllgrélaarghztfiisic‘fii meaalrss 130 in the best examples of the species, the reversal of parts produces invertible counterpoint.25 .Although the present movements appear to show an "invention” style, it will be seen, upon closer examination, that the bass lacks contra- puntal participation, and the ”cartwheel technique" described above, is seem rather sparingly. To illustrate this point more forcefully, we refer again to Example h5. In Example h? (below), we have rewritten the passage in question, as it would.perhaps have been conceived by a baroque composer. In the second version, the first measure of the music is followed by an imitative entry in the second measure in invertible counterpoint, a procedure which one might, and often does find in the Bach Inventions. (A few extra notes have been added to keep the counterpoint moving.) Example h7: Sonata no. 3 in‘D minor from the "Erste Lieferung“ (17h7-h9), measures 1 and 2, rewritten by the author. 25The term."voice exchange" is employed by Rose? Kamien. This seems to suggest the presence of "Stimmtauschfl as in 12th and 13th century Parisian and insular polyphony: however, many examples of 'cartwheel“ writing do not exhibit the literal exchange of parts, as implied by this term. See Roger Kamien, "The opening Sonata-Allegro Movements in a Ran- domly Selected Sam le of Sole Keyboard Sonatas Published in . the years 17112-177 (Inclusive)", (unpublished PhD. thesis, Princeton University, 196h), p. 38. 131 When Serge does write genuine imitative tex- tures, they will occur almost exclusively at the begin- ning of movements or sections, and will be‘maintained for two or three measures only, as in Examples hh.and h6. Example h8, the Prelude 15 from 17h6, is typical of the rather unserried contrapuntal procedure of Serge. It is also a good example of Sorge's Freistimmiggeit, even when writing in a contrapuntal texture generally. There are several simple, but effective instances of invertible counterpoint (of. measures 3 and h, 11 and 12, and 25 and 26.) From.a pedagogical viewpoint, the music might well serve as a preparation for and an introduction to the two part Inventions of Bach, which are generally too techni- cally difficult and musically sophisticated for children to master readily. In fact, Serge himself, in the title _page of the work, specifically says: "for practical use [by] young keyboard students."26 When Serge writes in the so-called "invention” style, the counterpoint tends to be of a simple, unpretentious type and the ”cartwhsel" tech- nique is employed in a rudimentary manner. .As we have noted here before, Serge often come bines both the invention or contrapuntal textures with basically more homophonic or accompanied melody styles, M 26original: ”zum.ndtzlichsn Gebrauch kleiner Kla- vier Schtler." 132 Example 1|.8: Prelude 15 (171(6) 133 alternating them at the distance of a few measures. In the epcning movements of the French partitas of l7hh, we find several clear instances of this. Thus, in the epon- ing Prelude, a generally imitative texture gives way, after the distance of either four or eight measures, to a consid- erably less polyphonic, more homophonic texture, and then returns to a reiteration of the striking motive with which the movement opened. The series of octave passages in the final two measures are unique in Sorge's keyboard music, and foreshadows a trait often seen in the succeeding generation of composers. (EX. h9) In this sample, the "cartwheel" tech- nique is much in evidence, and.the movement is in two voices ahmost exclusively. The Preludes of these 17hh publications, and, indeed several of the many other dance movements which follow them, are written in a comparatively light, transpar- ent texture, so that the existence of the two textures side by side is not really so differentiated as one might at first be led to assume. The chains of thirds and sixths in paral- lel motion provide a welcome change from the prevailingly contrapuntal, imitative epcnings of the movements. A slightly more involved polyphonic practice is found in sections of works where the composer uses a three voice texture, and which.has been dubbed as "trio style" above. In this style, which could almost be called a Serge 13h. "Prelude" Partita 2 (171414), ls h9: Examp 135 Example 11.9 (cont.) 136 clichc were it not for its existence in a host of other keyboard works of the time, one voice acts as a rhythmic marking device, proceeding in even eighth or quarter notes, and the other two weave contrapuntal'parts employing the ”cartwheel“ technique. The highly satisfying nature of the texture, the idiomatic sound on the keyboard, and the manner in which it illustrates the well-known baroque concept of trio sonata texture, make such passages among the most at- tractive in all Sorge's keyboard music. In citing here some of the more prominent exuples of this type of writing, we may'maks several observations which will remain valid, for the most part, for all of them. In the largest number of instances, the passages occur in the context of non-modulating sequences which rarely exceed four measures in length. In addition, instances of this writing show a marked decrease in frequency in later works, most of the examples occurring in the 1739 Preludes, l7h0-hl sonatinas and l7h2 Preludes, with but three other similar examples of this tYPO from 17h2. In the group of eleven organ tries in manuscript, we find several prominent examples of the tax- ture. Since no date has been establiched.fbr these works, we may postulate, on the basis of frequency of occurrence, that the works belong to Sorge's music written before l7h2. Similarly the well-known "Toccata per ogni modi” contains four instances of well-known "trio" style writing, the first 137 sample of which is a note for note quotation from the Pre- lude 3 of 1739. (See EXAMPLE 50). 0f the 1739 Preludes, half exhibit this technique rather prominently, and of these, the third is a particularly well-wrought example. (EXAMPLE 50). It has the additional virtue of illustrating the interesting mixture of contra- puntal and homophonic textures so common in Sorge's music. Finally, it shows the idea of "phrase periodization" clearly, wherein shifts in textures, motivic and thematic treatment, and rhythmic change occur at the distance of two measures in virtually every instance. Measures one and two exhibit an "accompanied melody" texture with a somewhat Haydnasque sound, followed in the next two measures by slightly more active con- trapuntally oriented trio part writing in the bass. Finally, two measures of a typically contrapuntally cast are heard, the two too voices engaging in a bit of typical "cartwheél" technique. The sixteenth note rhythms of the next two bars culminate in a strong cadence in D major, after which a mo- tive, obviously derived from.the Opening measure, is devel- oped sequentially. Basically, this is the thematic "stuff" of the entire prelude, textures in a three-part "trio" set- ting alternating constantly with "accompaniad melody" passages. A further example of trio style, in this instance with.a very common bass pattern, occurs in number 5 of the same set of 1739 Preludes. As usual, a.nondmodulating set 138 Example 50: Prelude 3 (1739) . 139 Example 50 (cent. ) 114.0 Ex ample 50 (cont.) Example 50 (cont.) 1&2 of sequences forms the harmonic basis for the passage. (mm 51). Although of rather short duration, the final example of this type of contrapuntal writing in trio form, exhibits one of the few examples, in Sorge's music, of three different rhythms occurring together. It is seen in Sonatina 5 from 17h0-hl. (EXAMPLE 52). The bass, in even eighth notes, is contrasted with the two upper parts: the alto moves in eighths and sixteenths, while the soprano de- scends by a series of held and tied eighth and half notes. As in other places, the textures seen in the foregoing samples are maintained for only short stretches, usually no more than four measures, before and after which a switch to accompaniedtnalody, homophonic textures, or even, in one instance, a series of arpeggiated chords, is seen. .Although we are dealing with a basic three part tex- ture in these works, there are numerous instances where Serge, in sections not in contrapuntal (i.e., "trio" style) thickens the texture considerably by adding octave doublings and filling up chord members. A case in point are the measures hmmediately following the attractive three-part trio writing of Ex- ample 51. For four measures, Serge writes the following 1143 Example 51: Prelude 5 (1739).‘measures 7-17. ./ r Example 52: Sonatina 5 (l7hO-h1). measures h3-h6. 114.11. passage: Example 53: Prelude 5 (1739). measures 18-21. This is followed immediately by another four‘measure phrase, which.conc1udes with a two measure cadential figure. Eitner quotes the complete six measure passage, prefacing it with the remark: "That Serge was an able‘harmonist is demonstrated by the following passage."27 Taken as a whole, the passage is not particularly attractive, representing less than the best writing of which Serge is capable. The reader is referred to the music of Example 50 for a more characteristic and sub- stantial example of the composer's workmanship. Example 5h: Prelude 5 (1739), measures 22-26. 27original: "Dass Serge sin tachtiger Harmoniksr war, bewcisst folgende Stelle.‘ (Eitner IX, p. 209.) The final F sharp in the bass is incorrect y printed as G sharp. 1115 In considering examples of fugal procedures in the'music of Serge, it is best to remember that even though the works are, in many instances, titled "Fuga" or “Fughetta', they contain considerable stretches of pseudo-polyphony or outright homophonic writing, similar in texture to the fugues of Domenico Scarlatti, Antonio Caldara, Johann Pachelbel, and even J.S. Bach. Although it may represent an artifical separation, the fugues for organ are going to be considered here along with the other keyboard fugues. It should be recalled, of course, that, almost without exception, the music represented.in the var- ious collections now under discussion includes in the titles such phrases as "...which can, with pleasure, be heard on either the organ as well as the harpsichord and clavichord".28 Insofar as the intrinsic style is concerned, no really idio- matic style of writing which would argue for organ.performance is discernible. That this is generally true throughout the period, and in a number of different countries, can be seen in the sonatas of Giovanni Battista Martini, for one, whose six keyboard sonatas, comprising the first set of twelve, have been edited by Lothar Hoffmann-Erbrecht. The editor comments, in his forward to the volume: 'The first, third and fifth sonatas carry the direction 'per il cembalo', the 28original: ”...welche sich so wchl auf der Orgel als auch auf dem Clavizymbel u. Claviccrdio mit Vergndgen h8ren lassen." 1A6 other three 'per l'organo'. A stylistic difference is, however, impossible to detect.”29 Even though the pre- sence, in manuscript or first editions, of an independent pedal part forces us to assume the organ as the proper per- forming medium, the converse is not necessarily true. There- fore, the eight chorale preludes of around 1750, though written on two staves, are most effective as organmusic.30 There are only thirteen fugues in all of Sorge's music, and of these, two are marked specifically "Fuga du- plex" by the composer. These two double fugues occur in the 17h? Prelude collection as numbers 15 and 17. It is also certainly not coincidental that this same collection contains numerous other instances of good fugal writing, as in Preludes 19, 21 and 2h. In Sonatina 6 of the l7h5 collection dedica- ted tc J.S. Bach, Serge has written a four voice fugue, in bi-partite form, somewhat in thelnanner of the "gigue" fugues which conclude the Bach Partitas and the French and English suites. The second half begins with a strict inversion, not 29original: "Die Sonaten I, III und V tragen die Bezeichnung 'per il cembalo', die anderen drei 'per l'organo.' Ein stilistischer Unterschied ist jedoch nicht zu bemerken." Reihe l, Mitteldeutsches Musikarchiv (Leipzig: Breitkopf und Hartel Mus erlag, l9 30Sorge's remark that they can be played on either the “clavier or the organ reflects merely an attempt to avoid restricting the scone of potential buyers for the‘music," and is similar to the phrase pour le Clavecin cu Pianoforte" over most of Beethoven's early sonatas. (On this point see further, Newman, Classic Era, p. 510.) 1&7 only of the fugue subject, but also the counter-subject as well, a clever bit of contrapuntal juggling rare in Sorge's music, perhaps intended as an homage by the composer to the master contrapuntist. Example 55: Sonatina 6 (17h5), measures 1-13 and 65-76 1&8 Each of the multi-movement sonatas of the "Erste Lieferung" of 17h? concludes with an extended three part fugue. Sorge calls the first example a ”F‘ugetta" (£1.33), and it is indeed the shortest of the three. At least three of the fugues are preserved in collections for the use of church organists which were pub- lished during the late 19th and early 20th centuries. Some of the fugues are found neither in available first editions nor in manuscripts. All have been previously discussed, in a general way, in Chapter III, to which the reader is referred for specific publication data. Although published as organ music, there is no evidence which would bind them in that instrument, all the parts being readily playable by two hands. Without a doubt, the three fugues on the name of B-A-c-H are the most consistently high-level writing which we have by Sorge, and they also represent the most extended movements of the type.31 In addition, there are two works marked "F‘ughetta", both double fugues, and two other miscel- laneous fugues which exhibit highly chromatic subjects. The second of this latter group, marked "Fuga chromatica duplex", 31Schmieder, BW, has listed the fugues among the doubtful works, assigning them the numbers 107- 108 and 110 in the second appendix ( Anhang II"), but curiously makes no attempt to identify the composer, although the information has been commonly available for half a century. (See also Paul Miss, _B_{ (1922), p. 9. . 1H9 is closely related in spirit to the "Toccata per omnes modes" in the use of enharmenic passages and double spellings. This aspect is discussed in Chapter VI of the present work. The preference for three voice writing is apparent in most of the fugues, although the presence of a redundant fourth entry sometimes seems to give the impression of four real parts. However, only two of the three fugues on Baa-C-H, the "Fuga chromatica duplex" and the bi-partite fugue of the sixth sonatina of l7h5 are four voice fugues. In the majority of instances, Serge expresses a.predilection for the Baggy spinnggg type of subject of four or more measures length, often with phrase repetition and sequential treatment, as in the fugue from the Sonata 3 of the "Erste Lieferung", as well as the previous examples. Note, too, the asymmetrical phrase structure of four plus six measures in the present work. Example 6: Sonata 3, third movement (Fuga). ”Erste Ldeferung" (l7 7-h9), measures l-lO 150 Ricercare-like subjects, consisting of even half- note values, either in the shape of triads or step-wise configurations, and harking back to 16th century motet mod- els, or the more sprightly canzona subjects with their characteristic rhythmic anapests and repeated notes, are wholly lacking in the fugue subjects examined. In two fugues, Sorge has written strongly chromatic subjects, one a wide-ranging theme ascending and descending an entire oc- tave, the other a tightly-knit theme with the range of a sixth. Examples 57 and 58 reproduce these themes. Example 57: Fugue in C minor, measures l-h. +1. Example 58: "Fuga.chromatica duplex", measures 1-3. 2 Other examples indicate that the composer is particularly adept at writing well when working in a chromatic idiom. Although not a fugue, the following "fugal" passage, from the second section of the last prelude from l7h2 illustrates the especially felicitous nature of his chromatic writing, and includes extended passages in invertible counterpoint. 151 Example 59: Prelude 214. (17142), measures 51-138 1'52 hample 59 (cont. ) 153 Example 59 (cont . ) 15h With regard to the works marked by Sorge as "Fuga duplex", and found most notably in the 17142 collec- tion of Preludes (numbers 15 and 17), it should be pointed out that what we are dealing with here are examples, not of double fugues as such, but single fugues with double subjects, in which the subject and countersubject occur together at each appearance. As might be expected, we also find in the works numerous instances of invertible counter- point, in which the exchange of parts between soprano and bass produces workable intervalic combinations. A work en- titled "Fuga chromatica duplex" (quoted above as Example 58) found in Gauss' Orgeloogpositionen alter und neuer Zeit, is evidently a misnomer, since there is no hint of any double subject, and it is, in fact, a simple fugue. Of the many traditional devices often associated with fuguesupedal points, augmentation and diminution-«we discover only isolated instances. The first and third of the B-A-C-H fugues con- tain short pedal points just before the penultimate mea- sure, in addition to those works exhibiting invertible counterpoint cited above. In Prelude 21 (17142) an attract- ive sequential stretto occurs some seven measures from the end. Again, the subject, sequential in nature, is lengthy and rambling, a trait found rather commonly in Sorge's fugue subjects. (See Example 56 for another typical ex- ample.) (EX. 60) 155 Example 60: Prelude 21 (l7h2), measures 52-58 We turn now to a more detailed discussion of the three fugues on B-A-C-H. Not only are the works available in a number of attractive manuscript copies from the last half of the 18th century, and in first editions from the 19th cen- tury, but they also represent the most imaginative and musi- cally adroit of all Sorge's keyboard music.32 Because of the general excellence of the writing, and the working out of the material, these three fugues, together with the otherwise un- datable "Fuga chromatica duplex" (Ex. 58) may safely be dated sometime after 1750, perhaps as late as 1756 or 1758. (The use of enharmonic spellings in the latter work points espec- ially to a time when Sorge had firmly embraced a form of well- or equal-temperament. This aspect is discussed in Chapter VI.) 32One of the fugues, in 12 time, bearing the siglum "No. 3", appears in KBrner's Der nEZ. Organist lacking the fourth measure. Since the last beat consists of the opening note of the fugue answer, it can hardly be considered a var- iant reading. There are also other minor emendations. 156 The nature of the BqA-C-H theme has fascinated composers, of whom Bach‘himself‘may not have been.the first. The subject is by definition--or implication--chromatic at the least, and tonally unstable at the most, with its waver- ing B flat--B natural dichotomy coloring all contrapuntal treatment. (This quality is, of course, tailormade for the musical style and‘harmenic vocabulary of late 19th cen- tury organ composers such as Liszt, Max Roger and Siegfried Karg-Elert, who wrote extremely involved chromatic fugues on the subject.) Sorge, in these fugues, uses a key signa- ture of C major for the first and third fugues, and C minor for the second, producing a page studded with accidentals. All of the fugues are lengthy, running to almost seventy ‘measures in the case of the first two fugues, and 51 mea- sures for the third one. The subjects themselves,'unlike the settings by Bach, Schumann and others, all begin with an upbeat pattern. Curiously, the answer in the first and second fugues commences on the second beat, rather than the last, in succeeding en- trances of the theme. In general, cumulative rhythms occur in each fugue. As the contrapuntal fabric develops, the use of ever-increas- ing rhythmic sub-divisions, particularly in episodical sec- tions in the middle of the fugue, and involving a good deal of unrelated scale-wise passages, often sequential in nature, 157 is seen. There is every reason to believe that all three fugues were written at approximately the same time. The manuscript copy in the writer's possession is the work of the same scribe and the general style and care in part- writing attest to a close similarity. Finally, a special “Spielfigur” permeates the three fugues almost in the manner of a "Leitmotiv", and links them together musically. The most interesting and technically adroit of the three fugues is number two, and it is the longest. It is characterized by the most- extreme chromaticism, cross relations, and double spellings and is unique in other re- spects as well. The subject and newer alternate between entrances on the upbeat, and the second beat 3 the third en- try of the theme is varied, and the countersubject, in both the original form and its inversion actually becomes more pervasive than the subject itself. Finally, there is a rhap- sodic middle section of several measures thematically unre- lated to previous material. Though the fugues are written on two staves, organ performance seems implied by the word "Pedal" which appears at the recurrence of the fugue theme at the end of the rhap- sodic middle section (measure 314.), and also by a few awkward (but not impossible) stretches at measures 65 and 67. There is a good deal of Freistimigggeit present, with the textures thickening markedly in the final measures. 158 This writer has taken the liberty of correcting what seam to be two errors in the part writing, which.may be noted here. In measure 33, soprano part, last beat, the last sixteenth note, the original has an E flat, which should probably read P in order to maintain the melodic pattern and avoid a minor second at this point. In addition, the last two beats of measure 31 appear to be unduly crude, and are certainly out of style with the rest of the work. The original reads as follows: Example 61: Fugue on B«A-c-H, measure 31. In all probability this is a copyist's error, and we have adjusted a few notes at this point to accord.mere accurately with the harmonic language seen in fine remainder of the fugue. Since it has never been published, and exists here in manu- script only, we reproduce it complete below. (Ex. 62) Even though these fugues probably represent the most mature contrapuntal writing of Sorge, the unmistakable trend toward a more homophonic texture, evidenced in stretch! as of quasi-polyphony involving chains of thirds and sixths (of. measures 21-27 and 62-63), points to trends leading to a 159 Example 62: Fugue no. 2 on "B-A-C-H" 160 Example 62 (cont.) 161 Example 62 (cont. ) 162 hample 62 (cont .) 163 practical abandonment of polyphony in the succeeding gen- eration. Even J .S. Bach, during the last ten or fifteen years of his life, came under increasing attacks by writers such as scheibe (a former pupill), who complained that This great man would be the admiration of whole nations if he had more amenity, if he did not take away the natural elemmt in his pieces by giving them a turgid and confused style, and if he did not darken their beauty by an excess of art....All the voices must work with each other and be of equal difficulty, and none of them can be recognized as the principal voice.33 In addition, C.P.E. Bach, who was known to have had a less than favorable attitude toward strict contrapuntal practice, was probably speaking specifically of his father's predi- lections in this respect when, in a surprising lack of filial reverence, refers to him.as "die alte Perficke" (literally "the old wig", but perhaps more accurately, and idiomatically as "the old fuddy-duddy"). Finally, it should rightfully be pointed out that the inclination toward simple homophonic writing, aimed at "Liebhaber" mentalities, was generally short-lived, and, par- ticularly in the hands of the major composers, examples of fugues and fugal writing begin to reappear in the 1770's-- almost precisely one generation after Bach's death, and still within the lifetime of Sorge. Three of the quartets from 33JohannHAdolp‘hscheibe, Critischer Musicus, May 1h, 1737. Trans. by Hans‘David and.Irthur Handel in The Bach Reader, p. 238. 16!: Haydn's Opus 20, from.l772, exhibit final movements which are fugues, even containing learned devices such as crab canon and inversion. hAlmost at the same time, in 1773s the music of the seventeen year old Mozart begins to show significant increases in contrapuntal writing. Of the six quartets of August and September of that year, two (K. 168 and K. 173) conclude with fugues (perhaps even modelled on the Haydn quartets mentioned above), and one (K. 171) be- gins with a fugal exposition.3h Even lesser composers tried their hand at fugue writing, of which the six quartets of Leopold Gassmann, each containing two fugues, are typical. Thus once again we discover another manifestation of Sorge's interesting position in the history of musical style, a position from which he looks backward to baroque practices, and forward, both toward the immediate future and to the generation which is to follow: truly the "fiber- gangsfigur" alluded to in the opening sentence of this chapter. 3""Needless to say, fugues and fugal writing are found abundantly in Mozart's church music, e.g., "Missa in honorem SSmae Trinitatis" (K. 167), "Missa Brevis" (K. 115) and the Psalm."In te Domino speravi" (K. 166a) though these may be better understood as manifestations of the prescribed manner of writing such types of music. Chapter V THE ORGAN MUSIC In surveying the keyboard music of Sorge, we find that works for the organ occupy a rather peripheral position. This is particularly paradoxical when one remembers that the composer, like countless other German musicians of the era, spent his entire adult life as a church organist and gantgg. This anomaly can perhaps best be explained as a consequence of social forces at work in Germany at the time, relating to the gradual decline in importance accorded the position of cantor and those connected with the production and per- formance of church music. The mid-eighteenth century was increasingly feeling the impact of a rationalistic, basi- cally secular philosophy which promulgated the view that "science" and "reason" were now able to answer man's ques- tions and solve his problems, and that the church and re- ligion in general as the axis of man's existence were in eclipse. Certainly the instruments which Sorge had at his disposal, as noted in the biographical essmP (Chapter II) were adequate and able to perform rather complex polyphonic 165 166 compositions too, so, for whatever reasons, the relative paucity of Sorge's organ'music can only be regretted. None- theless, those works that he did leave are of considerable interest, and rather substantial musical worth. They con- sist of two groups of chorale preludes, the first set com- prising eight works and dating from the period l7h9-51, and another, larger group of twenty, dated, according to the re- search.recounted in Chapter III, fromvthe year l75h. .Ad- ditionally, there are a set of eleven organ "trios", and, finally, an organ sonata, of doubtful authorship. Although there is some question as to the medium of the three fugues on "BnA-C-HF, they have been included among the keyboard, i.e., harpsichord works, rather than-the organ music. (See Chapter IV, Part 2.) The first group of chorale preludes is written on two staves and, like countless other similar collections, can be executed with equal facility on the harpsichord as well as on the organ. These publications of manualiter settings of chorale preludes were most probably meant for performance in the privacy of the home, outside of regular church ser- vices, and thus represented a kind of uprivat Gebet", a musical counterpart of the many devotional manuals, con- taining religious poetry and commentaries on scripture which became so popular in German Pietist circles in the first half of the 18th century. 167 Structurally, the m 312119.: in every in- stance, appears in the soprano voice of these chorale pre- ludes. The music is written in three-part harmony (Sorge uses the term "reiner Harmonie", which, as we have commented earlier, is bound up with the art of contrapuntal writing-- see Chapter III, page ’40). The composer has appended an illuminating preface to these chorale preludes, in which he explains his purpose in writing the music, and, in addition, makes an interesting and rather insinuating reference to some chorale-based organ works of J.S. Bach. Preface In addition to the science [i.e., craft, skill] of figured bass, in which connection In Intro- duction to Musical Composition gives sufficient and thorough instruction, there is nothing more necessary than for an organist to be able to praeludiren well upon the chorale tunes, so that the congregation may be encouraged to sing the chorale which follows with attentive wor- ship. Of this type of keyboard art, are the preludes on the Catechism hymns by Herr Capell- meister Bach in Leipzig, which have eraned for him great renown. Since, however, these works are too difficult for beginners and others who have not yet at- tained great mastery, and are almost unusable, I have taken the occasion here to publish eight easy chorale preludes for good friends, as well as my own students, playable on two manuals. 168 Should they, as one hopes, find sales, amateurs can wait with the easy as well as the difficult and longer preludes, especially those with.an obligato Pedal... 1 It will be noticed that Sorge recommends the use of pedals, at least by the more experienced player. It is possible that Sorge may also be referring to a future collection of chorale preludes when he describes some as "difficult and longer" and having an "obligato pedal". None of the present works‘has what can be called "obligato" (that is, necessary) pedal part, although the next collection does, so perhaps he is making a reference to it here. The works of Bach to which Sorge refers are, of course, the Clavierflbung, Part III, also called the "German Organ Mass", or the Catechism 1Original: “Vorrede./ Nebst der Wiesenschafft des General Basses, wozu mein Vorgemach der musicalischen Compo- sition hinlflngliche und ausfflhrliohe Anweisung gibt, ist ei- ‘ nem Organisten wohl nichts nothwendiger, als dass er auf die Choral-Lieder naoh Beschaffenheit ihres mancherley Inhalts geschicklich praeludiren k8nne, damit eine Kirch-Versammlung aufgemuntert werde, das folgende Lied mit beh8riger Andacht zusingen. Von solcher Art Clavier-Stucke sind des Herrn Capellmeister Bachs in Leipzig Vorspiele fiber die Catechis- mus-Gesflnge, welche ihren grossen Ruhm.verdienen. Da solche aber jungen Anfangern und andern, welchen die dazu gehfirige grosse Fertigkeit noch abgehet, allzuschwer und fasst un- brauchbar sind, als habe auf Veranlassung ter Freunde wie auch meiner eigene Scholaren nachstehende . leicht, und nur mit dem.Manual zuspielende Vorspiele der Lehr begierigen musicalischen Jugend wie auch andern Liebhabern dergleichen Spiel-Art verfertiget, und 8ffentlich heraus gegeben. 8011- ten sie, wie man hoffet, Abgang finden, so kan den Liebhabern so wohl mit dergleichen als auch schwerern und llngern Vor- spielen, sonderlich auch solchen zu welchen ein obligates Pedal geharet, amartene e e II 169 chorales, a collection of preludes based on chorale tunes whose texts reflect the main tenets of orthodox Lutheran theology. Sorge's modest collection of preludes employs the following eight tunes: 1. Vater unser 2. Auf) Christen Mensch 3. W0 Gott der Herr u, Herr Jesu Christ du h8chtes Gut S. Freu' dich sehr du meine Scale2 6. Auf der Tiefen 7. Auf! ihr Christen 8. In allen meinen Taten He sets the chorale tune, for the most part, in a straight- forward manner, with only rare instances of vorimitation or fugal and canonic devices. The most frequently encountered embellishment to the chorale tune occurs in the filling in of intervals of a third or fourth by passing tones, or by slight rhythmical alteration of the melody, a typical ex- ample of which is seen in the setting of the "vater unser", with which the collection begins. The initial phrases of 2This tune is the only one also set by Sorge in the second, larger set of chorale preludes from 17Sh. 170 the tune appear as follows in the original:3 Example 1: Chorale melody, "Vater unser im.Himmelreich”, measures 1-7. Sorge embellishes it in this manner, which clearly illus- trates the typical procedure: Example 2: Chorale melody, "Vater unser...', Serge arrange- ment, measures 1-8. The music of these chorale preludes leans heavily on the style of central German organ composers such as Georg BUHm (possibly one of J.S. Bach's teachers) and Johann Gott- fried Walther (a distant cousin to Bach), but with less of the highly melismatic cantus firmug treatment employed by the former composer. - 3Valentin Schumann Geistliche Lieder auffs neu ebessert (Leipzig: 1539). The original as well as Sorge's setting, is notated without key signature, suggesting a Dor- ian modality. Of interest is Sorge's shifting of accents so that all the phrases begin on an anacrusis rather than a down- beat as in the original form. The former process is some- times said to be typically baroque. ~ 171 Generally, each of the chorale preludes uses a particular figure in the accompaning voices throughout to achieve unity, as in "Aus der Tiefen", where the use of a sigh motive, and the expressive interval of the augmented second serve to underline the meaning of the text. How- ever, the employment of the "doctrine of affects", in which certain cliche patterns and rhythms are used to convey a specific thought in the chorale text (e.g., chromaticism to represent death, dactylic rhythms for joy, etc.) is not normally seen in these works, hence the present example is atypical from this standpoint. One is reminded of the final measures from Bach's prelude on "Nun kolmn, der Hei- den Heiland" from the Orgelbfichlein in this work. The in- ternal pedal point in the soprano, over a long cadential ex- tension in the other voices, is seen in every one of these chorale preludes, and may be said to constitute a stylistic clich‘. (EX. 3) Each chorale prelude begins with an immediate atatement of the first phrase of the gantug _f_i_r_n_n_1_s_, al- ways in the soprano voice, over a tightly-knit contra- puntal fabric exhibiting a particular scalic configura- tion which remains constant throughout the writing. Thus, for example, in the setting of "F‘reu' dich sehr", the bass patterns, characterized by octave jumps, and melodic thirds, 172 Exampll: )3 Chorale prelude on "Aus der Tiefen", no. 6 (171(7- 9 . 173 tends to predominate and tie the texture together. In- variably, each interior phrase of the chorale tune will be separated by a measure or two of "filler", maintaining the prevailing rhythm of the accompaniment and keeping the music moving until the next entry of the tune. The present ex- ample is typical in this respect. (Ex. )4.) Although as a general statement we may classify these works, and also the larger group of twenty-four chorale preludes and the eleven trios, as the most consistently baroque in style and spirit, there are a few isolated places where an unmistakable hint at a shift in emphasis occurs. In the last of the eight short chorale preludes, a setting of "In allen meinen Thaten", Sorge employs what we have already seen to be so typical: a sudden mixing of styles. Observe the interesting textures of measures three (last beat), mea- sure four (last two beats) and measure eight, where the slow- er harmonic rhythm generally less dissonant and less contra- puntal movement has the sound of M style writing seen often in Sorge's keyboard (i.e., harpsichord) music. (EX. 5) When we turn to the more lengthy and elaborate chorale settings represented by the 17514. collection, we dis- cover a considerable advance in technique and compositional sophistication over the earlier works discussed. Sorge evi- dently had had an opportunity not only to develop his own style, but also to examine models of the best examples of 171!- Exampllelglt: Chorale prelude on "Freu' dich sehr", no. 5 (17h?- 1 II no e Thaten , on 175on I‘In allen mein relude : Chorale p ”wimp-m . 176 Example 5 (cont.) 177 the genres, for these works are close in technical maturity to those of Bach and other masters of the time. The chorale tunes represented here are as follows, in order of their appearance in the manuscript: Vorspiele/ zu/ ChoralsLiedern/ mit/ 2. Claviren/ und/ obligaten Pedal/ gesetzt/ von/ G. A. Sorge 1. 2. 3. LL. 5. 6. 7. 8. Gottes Sohn ist kommen Lob sei dem allmlchtigen Gott Von Adam her Wir Christen Leut' FrBlich soll mein Herze springen Helft mir Gottes 'Gflte preisen Nun lasst uns gehen Ein lelein geht Herr Jesu Christ meins Lebens Jesu meines Lebens [Leben] Ist dieser nicht? Wenn meins Sfind mich krfinken Heut' triumphiert Gottes Sohn Erstanden ist der [heilige Christ] Jesus: lieb ich ewiglich Jesu meine Zuversicht Zeuch ein zu deinen Thron Freu' dich sehr, o meins Seele 178 19 . Seelen Brlutigam 20. c Herre Gott, dein [gSttliche Wort] In looking through the twenty chorale tunes listed above, it will be found that Sorge has adopted an order which reflects the Church Year, as in Bach's Qrgelbfighlein. Thus, the first work is based on the well-known Advent hymn, "God's son is coming", and is followed by settings of chorales for the seasons of Christmas (numbers two, four and five), New Year's (numbers six and seven), Lent (numbers eight, nine, ten, eleven and Twelve), Easter ( numbers thirteen and four- teen), and Pentecost (number seventeen), with several inter- spersed settings of a general nature (numbers three, fifteen and sixteen). Numbers eighteen and nineteen employ texts usually associated with death, and.number twenty is proper for a Saint's Day. Several observations are applicable, in a general way, to all of these works. Even though ostensibly still in a basic three-part harmony, there are many places where the texture thickens to four real parts. In addition, the music, at least in the hand-written ccpy which has come down to us, uses three staves: the pedal on the lowermost, the accompanying voices next, and the cantug independently on the top staff. This indicates the unmistakably organistic cast of the music, and also sets the music apart from.the 179 earlier collection, insofar as registrational demands are concerned. Whereas we have observed that the 1719 group, written on two staves, and with a minimal differentiation in character between cantus and accompanying parts, can be easily realized on a harpsichord, or a single manual organ without pedals, the present collection demands that the mel- ody be lined out on a separate manual from the generally faster moving and more elaborate accompanying parts, often resulting in a true trio texture. Well constructed contrapuntal devices abound in these works, often taking the form of canonic entries be- Ween the melody and pedal, as in the setting of "Jesum lieb' ich ewiglich" (measures seven through nineteen). In this same excerpt, we see an instance of an added fourth part, also treated canonically (measures ten and eleven) (EX. 6). Without exception, all of the 17514. collection begins with a passage of running scale figures, often cmtaining ex- cellent examples either of vorimitation or a melodic structure in which the initial phrase of the chorale tune is unmistak- ably outlined. As an excellent example of the former pro- cedure, we reproduce here the opening of "O Herre Gott, dein gBttlich Wort“, where the chorale beginning is subjected to fugal entries which anticipate the chorale melody itself in measure nine . 180 Example 6: "Jesum lieb' ich ewiglich", Chorale prelude no. 15 (1791?), measures 7-19. 181 Example 6 (cont.) 182 Two further observations may be made here. An examination of the arrangement of manual parts in the pre- sent example should show convincingly the awkwardness which would result in attempting to play the works on one manual. The range of the parts, numerous voice crossings between the cantus and accompanying parts, and the clever way in which the composer has caused the fourth part (found as a third voice in the accompaniment) to drop out at the Moment the chorale tune is heard (thus releasing the right hand to play it) all show the complete necessity of playing these works on an organ containing, at the least, two independent manuals and pedal. The other observation is that, in "O Herre Gott...". Scrge has set only a portion of the complete melody, a prac- tice seen in several other preludes of this collection. This, of course, is not unusual, and results in a kind of "chorale intonation“, which betrays the didactic purpose of much of this music: to introduce the chorale to the congregation, who will follow this by singing the complete tune. (EX. 7)“ The use of a scalic profile which suggests the con- tours of the chorale melody is cleverly seen in a number of chorale preludes. A particularly felicitous example of this l('The copyist of the Sorge chorale preludes has fail- ed to include the proper key signature. It is notated with no sharps or flats, but should be read in the key of A major to make any musical sense. (The original key is G major, and the tune is closely related to the Louis Bourgeois tune of 1551, although it predates the French Psalter by some 2!; years.) 183 Example 7: “o Herre Gott dein [GBttlich Wort'l, from the collection of l75h (?), measures 1-20. 18h. procedure, cast in the form of a miniature fugal exposition, appears in Sorge's setting of "Zeuch ein zu.deinen ThoremF‘.5 We have indicated the outlines of the chorale melody in the excerpt given in Example 8. Again, the composer writes in three parts for the accompanying voices until the chorale tune is heard, and then transfers the right hand to the sol: manual (measures seven and ten). (EX. 8) An instructive comparative illustration of Sorge's compositional procedures in the two chorale prelude collec- tions is afforded by an examination of the single chorale setting which is common to both, "Freu' dich sehr, o meine Seele". It might be observed here that Sorge, like the large majority of 18th.century composers who set or rehar- monized older chorale melodies, has literally "steam-rolled" the original rhythms out of the tune, resulting in a square- cut duple meter which completely obscures the swinging triple meter with its delightful'hemiolas. Even the great Bach did not escape this habit, and a comparison of chorale melodies set by him with the rhythmic contours of the original show much the same process. After all, it is the harmonization of these chorale melodies which is studied, not their rhythmic complexity, which often borders on the dull and pedestrian. 5It is questionable whether the Johann.Crfiger tune of 1653 is the basis for the work. A comparison with the orig- inal and Sorge's setting shows so many divergencies that it is difficult to identify it. Only the key and a few isolated melodic progressions are similar. 185 Example 8: Chorale relude on ”Zeuch ein zu deinen Thron’, no. 17 (175k? , measures 1-12. 186 Example 8 (cont. ) 187 Here is the tune with its original rhythm, and then in the version usually seen today. (EX. 9)6 41‘: IL! ] lér gr @2111 it; 3,111 1 11' i Y La P I l IJIF_I {— I I l A A A I 11.11 F] I . I I] l r g, 6The tune was probably written by Louis Bour eois, and first appeared, with a French paraphrase of Psalm , in 15h2. It was published, with the German text of "Freu' dich sehr“, and retaining the same rhythm, in Christopher Deman- tius's Threnodiae, Das ist: Ausserlesene Trostreiche Be lb- niss Goslige (Freiberg: 1620). Recent firman Ge____s;s_n_g‘ri)__ HcLer revert to the earlier, freer rhythms. This is espec ally true with tunes like the present one, which are derived from French Psalter settings of composers such as Claude 1e Jeune, Claude Goudimel and Louis Bourgeois, with their suggestion of vers measure speech rhythms, although the majority of Amer- ican hymnals still use the less interesting and perhaps less demanding) versions in one meter. However, the tune appears in the 191w EpiscOpal hymnal in the original rhythms. (Cf. hymn 125). 7Transposed to G major. 188 We refer the reader to Example h of this chapter for a pc- rusal of the earlier setting of the chorale. As in all ex- amples, the second setting is considerably more extensive than.that found in the 17h9 collection. Unfortunately, due either to a copyist's error or an omission on the part of the photographer who produced the microfilm.of the original, a portion of the l75h setting toward the end is missing. Although the pagination appears to be correct (as seen in the photography, where a comparison of the binding between the pages can be made), there is no correlation between the music of the first page, and whatiis assumed to be the sec- ond page. The first page is in %%'timo, and contains an in- complete final measure, while the second page is in 11;. time and bears no relation at all to the previous‘music, except that both are in G major. Intensive examination of the en- tire collection, and attempts to correlate the pages have been.unsuccessful, and we must therefore conclude that the second page of this chorale prelude has been lost. In spite of these difficulties, the first half of the work gives us a'more than adequate idea of the composi- tional technique involved. As we have already discovered in similar works from this collection, the large setting of "Freu' dich sehr" begins with an extended series of scale passages in trio texture, in which the melodic outline of the chorale tune is easily recognizable in the opening 189 measure and a half. However, unlike some of the other set- tings, the satisfying practice of a series of fugal entries (as seen, for example, in number 20, "0 Herre Gott, dein g8ttlich Wort , number 17, "Zeuch ein zu deinem Thron", and several others), is here abandoned in favor of a free- voiced treatment of the lines, employing chains of sixths. (ex. 10) The setting of 1719 is more compact, its texture more tightly-knit, and its overall structure probably more consistent--in short, more "baroque” than the somewhat more "airy" and generally thinner sound of the 17514. setting. There is also a tendency toward a somewhat slower harmonic rhythm in the latter setting, perhaps produced by the gener- ally augmented nature of the chorale tune itself, none of which need be construed as implying a hierarchy of values. It is simply a different approach to the setting of a cantus prius fac tus . 8 The third set of organ works is a group of eleven trios (originally twelve in number), found in a manuscript containing other organ music which became a part of the Royal Library, Brussels. Eitner knew of them (see m Chapter III, part II, p. 28, fn. 18). Frotscher briefly described them as 8Both sets are eminently suitable fbr church use by an organist of even modest accomplishments, and the writer intends to make them available in a modern edition in the future. 190 Example 10: Chorale prelude on ”Freu' dich sehr", no. 18 (17514.7), measures 1-13. Example 10 (cont . ) 192 follows: Also the trios of Sorge...are restrict- ed in essence to parallel motion and supporting bass (patterns), when dis- posed in an imitative manner, the in- clination toward vocal style is mani- fested.9 While it is true that some of the trios exhibit a somewhat vocally oriented style, the majority of them are undeniably instrumentally conceived, and this is particularly true in imitative ones, contrary to Frotscher's belief here. We will discuss the internal order of these trios in the next chapter, but it can be pointed out that a grouping into threes seems to be inherent or implied. The first and third trios are in an unmistakable imitative texture, while the middle trio of each group of three is in a generally more homophonic, simple style. The eleven trios were, in fact, the first works which the writer examined. The.well-wrought contrapuntal workmanship evident in many of them, plus the modest teche nical demands of the pedal parts, seem to mark them as ex- cellent models for teaching independence of the hands and 9Gotthold Frotscher, Geschichte des Or els iels und der 0r elko osition (Berlin: Verlag Herseburger, 193 . Second unchanged edition, 19 9), p. 1099. Original: "Auch die Trios von Sorge...beschr en sich.im.wesentlichen auf Parallelfflhrung und Bassstfltze: wenn imitative oder komple- mentare Anlage zur Geltung kommt, offenbart sich trotzdem der Hang zu liedhafter Geschlossenheit." 193 feet to beginning organists. There can be no doubt that, although written on two staves, this is idiomatic organ music. In the first place, they appear in a.manuscript volume containing exclusively organ compositions. The immediately preceding work, the final variation of a cha- conne, also written on two staves, has the abbreviation "Ped." plainly marked. More persuasive evidence for or- gan performance is to be seen in the obvious impossibility of playing both manual parts with one hand. (See Examples eleven and twelve.) Intervals of a tenth, twelth and a fifteenth are common (measures two, and twelve through fif- teen) and can only be executed by two hands, with the feet taking the simpler pedal parts, which often include stereo- typed "Spielfiguren" lying easily under the feet. (See meas- ures eight, nine and twenty.) In Example eleven below, we have reproduced the original manuscript of the fourth trio (including the use of the soprano clef) and then, in Examp ple twelve, we have made a transcription and arrangement into modern clefs which also reflects the essential trio format. (The low F sharp in the bass three measures from the end can probably be replaced by the F sharp an octave higher, in order to maintain the sequence and to avoid an awkward leap of a seventh.) (EX. 11) Several instructive observations may be made regarding this work, which apply with equal force to the others in the same general style. 19h Example 11: Trio in G major 195 Example 12: Trio in G major, transcription for organ: two manuals and pedal 196 Example 12 (cont. ) 197 The whole look and effect of the G major trio, and the others which are similar to it, exhibit typically baroque characteristics: an opening "repercussion" theme, so beloved of Italian canzona writers of over one hundred years earlier, and taken over by German composers of both instrumental and vocal music; two fugal entries and a small bit of invertible counterpoint (of. measures sixteen and seventeen), and use of the "cartwheel" technique discussed in an earlier chapter (measures three to six). (EXAMPLE 12) Trio nine is somewhat unusual with regard to key relationships. Most of the trios, bi-partite in form, affect a natural modulation to the dominant (as in Example 12 above) or, if in a minor key, to thejmiggg_dominant. However, the ninth trio, in an unmistakably contrapuntal texture, with attractive imitative entries, makes the expected modulation to the minor dominant at the double bar, and modulates once more, but this time to the unexpected key of G major. Quite obviously, the work, as it stands, is incomplete. (There are two lines of empty ruled staves at the bottom.of the page. (EXAMPLE 13) Another type of trio writing is seen in numbers two, three, five, six seven and eleven. Their most con- spicuous features consist of long passages of parallel thirds and sixths, supported by a simple bass pattern in the pedal, and are obviously the models to which Frotscher refers above. However, even here there are occasional examples of imitative 198 Example 13: Trio in A minor 199 writing. Quite often, Sorge begins one of these trios homophonically and then introduces some modest contra- puntal movement later in the piece, as in trio eleven. The four Opening measures, homophonically conceived, are followed by eight measures in a somewhat more contra- puntally oriented texture, although the bass does not participate at all in the movement. (Incidentally, this is another example of the concept of "phrase periodiza- tion" into four measures, or multiples of fourwmeasures, seen before in Sorge's music.) Again, it should be noted that the extreme stretches of the two parts in the upper clef demand performance by two separate hands and pedal. Without exception, the trios are cast in bi- partite form, are monothematic, and only occasionally introduce elements of a reprise at the end. The music is written exclusively in three parts, and there are no instances of freistimmigkeit. An additional observation which further underlines the dichotomy of styles is that all the trios in a prevailingly contrapuntal style, begin with an anacrusis, and those homophonically conceived al- ways start on a downbeat. The idea of baroque music hav- ing basically an "upbeatness" is here given considerable credence. We turn finally to an examination of a manu- script of an organ sonata in the library of the Gesell- schaft der Musikfreunde in Vienna, (Siglum: VII. 21626) 200 which is ascribed to Sorge. We have already discussed the possible identification of this work among the lists of published and manuscript music of the composer. (See Chap- ter III.) The work, in D major, is cast in a three movement form.with a fast-slow-fast scheme, although the marking of the first movement is actually "Andnate", with the added qualifying "Fantasie". The second movement, in the paral- lel key of D minor, and marked simply "Cantabile", is fol- lowed by a three voice "Fugetta" (gig!) whose asymmetrical subject is characterized by sequences and excessive phrase repetitions, somewhat in the manner of the subject found in the last movement of the third sonata of the "Erste Liefer- ung". (See Example 56 of Chapter IV.) There is nothing in the music to suggest organ performance, either in the format (two staves: soprano and bass clefs) or in the general style, and the first movement exhibits abundant traits of £3112 gelant writing: constantly changing, kaleidoscopic rhythmic textures, alternating 16th, 32nds and 16th note triplet patterns and scale passages with melody and accompaniment textures, usually in groups of three measures. (EX. 1h) The second movement, slightly more Italianate, has the character of an aria containing augmented fourth skips which underline its expressive qual- ities. Although somewhat similar to the slow movementof 20]. 3238111910 114-! Organ sonata, First movement (”Andante"), measures 202 Exmle 11+ (cont.) 203 Haydn's clavier concerto in D major (the so-called "Kinder- Konzert") the music is rather undistinguished, exhibiting numerous instances of awkward harmonic progressions, Short- circuited cadential formulae and tiresome melodic repeti- tion. (EX. 15) In addition, the manuscript copy in the writer's possession is marred by several obvious copyist's errors. The generally dull and unimaginative nature of the fugue subject, strings of parallel thirds, and sixths, and redundant sequential passages, do not raise the final move- ment above a level of mediocrity either, despite a short- lived episode employing an attractive, chromatically des- cending countersubject. (EX. 16) The over-all impression which.the sonata produces is that, if, in fact written by Sorge, it represents an early' effort, certainly nowhere as finished musically as the maj- ority of the works we have examined in the course of our in- vestigations. It is only too true, of course, that many of the marks of the "Klein Meister" are to be seen‘here, but, even in comparison to the others, this work must be account- ed musically among the composer's most easily forgotten. At this point, the writer wishes to call attention to a.mdnor point of attribution among a group of organ works which were for many years identified originally as music by J.S.Bach. ”There are the so-called "Eight Short Preludes and Fugues" (BWV 553-560), a staple of the young organ stu- dent's repertoire. Since about the turn of this century, 2014. Example 15: Organ sonata, second movement ("Cantabile"). measures 1—16. h 205 Example 16: Organ sonata, third movement ("Fugetta"), measures 1.12 we. [La-56. 206 increasing doubt as to their authenticity has been re- peatedly raised. Without recounting here the various in- vestigations involved with the works, we may simply state that all the evidence, some of it admittedly circumstantial, points to the music having not been composed by the Leipzig maSterell The possibility has occurred to this writer that these works may have been composed by Sorge himself. There are a number of similar stylistic traits and several identi- cal passages seen in both Sorge's extant keyboard works and in the organ works in question. In addition, such works could conceivably be found among those lost works of Sarge, which includes a number of fugues (but not Preludes). It has also been observed that the fugues are generally more well-written and musically adroit than use Preludes.12 As armatter of fact, the style of several of the Preludes points to a lgggg_period than the fugues, mainly because of the adun- dance of galant traits: slow harmonic rhythm.arising from stereotyped bass lines, constantly fluctuating rhythmic pat- terns containing by turns arpeggios, Alberti basses, 16th 11For a good summary of the research on the music in question, the reader is referred to the article by Vernon Gotwals in volume VI, no. 3 (Autumn, 1956), p. 15, of the Organ Institute Quarterly. 12See, for example, Harvey Grace, The Or an Works of Bach, (London: Novello and Co., 1922) pp. 59-51. 207 note triplets, Lombardic rhythms and dotted.notes, often in three or four'measure groupings with full stops between them. Not all the Preludes eXhibit these traits, but enough of them do to impress one with the musical disparity between them and the fugues. It is possible that some compiler arbitrar- ily coupled Preludes by one composer to fugues (in the same key) by another, a procedure certainly not without precedent. Although other places could easily be found, we point out here only two obvious quotations. Examples 17 and 19 reproduce two Sorge Preludes, and in Examples 18 and 20, we have placed excerpts from the Bach attributions in juxta- position to them to show the very close similarity between the works. (mass 17, 18, 19 and 20). In spite of having thus established a possible con- nection between the styles of the two composers, Sorge and whomever was responsible for the "Eight Short Preludes and Fugues“, we are forced to conclude that, in the final anal- ysis, such similarities can be more rightfully considered "coin of the realm” phrases, stock permutations which crop up all too often in music by literally dozens of other Ger- ‘man composers of the time. Unless more persuasive evidence can be uncovered, preferably in the form of scribal concor- dances between manuscript ccpies made by Sorge and.the organ works, we must continue to wonder who did write these eight works. However, to the names of Johann Christoph Altnikol, Johann Ludwig Krebs and Johann Tobias Krebs, may now be added another possible and likely candidate: Georg Andreas Sorge. n1 208 Example 17: Prelude 2h (l7h2), measures 1h-21. Example 18: Prelude and Fugue in E minor, attributed to J.S. Bach, measures 16-18 of the Prelude. ‘r'v 209 Example 19: Prelude 8 (17116), measures 7-10. Example 20: Prelude and Fugue in F major, attributed to J .S. Bach, measures 15-22 of the Prelude. CHAPTER VI THE STRUCTURE OF THE COLLECTIONS AND THE QUESTION OF TUNING AND TEMPERAHENT It is apparent, from even a superficial perusal of the keyboard music of Sorge, that he follows a definite plan of numerical organization in writing all of his music. The collections of Preludes and Sonatinas are arranged in groups of sixes, and an examination of the listings given on page of Chapter III, Part 2, will show that the interlocking a1- ternation of "Sonatina" and "Prelude" is also accompanied by a definite numerical correlation: (1738) 6 Sonatinas (1739) 12 Preludes (l7h0) 6 Sonatinas (17h2) 12 Preludes (17h5) 6 Sonatinas Likewise, there are six Partitas in the French style, and twelve works forming the 1751 publication of Sonatinas, Fan- tasies, Toccatinas and Sinfonias. Although this mechanical ordering in sixes and twelves comes to be followed almost without exception in musical collections from the latter part of the seventeenth century on, at least in Germany, it is of 210 211 considerably greater interest to investigate key choices as a means by which some kind of structural unity is established. In all the publications of Sonatinas (1738. 17h09 17h5) and the Erste Lieferung von XII Sonaten_(c. 17h7-h9): only the simple keys up to three flats and two sharps are seen. On the other hand, internal key relationships between sup- posedly independent entities become increasingly apparent with each subsequent appearance of these works, so that one is almost forced to conclude that pairings, in thetnanner of a two or three movement suite are actually intended. The table reproduced below indicates clearly the plausibility of such a hypothesis: (1738) - 6 Sonatinas - G, D, b, e, a, F (17110) - 6 Sonatinas -‘c, c, E51, 'sb, g, d' (17115) - 6 Sonatinas 51), b, p,‘ 'c, e, c' There seems to exist a.more than casual key relationship be- tween the sonatinas of the first group, in the clearly tonic- dominant pairing of the first two, and the tonic-subdominant pairing of the third and fourth sonatinas. This becomes slightly more obvious in the second group of six sonatinas, where, for example, C major is followed by its parallel minor, C minor, and in turn by E flat, the relative‘major of C minor. In the second group of three sonatinas, B flat major is follow- ed by its relative minor, G minor (exhibiting a minor relation- 212 ship to the second and third sonatinas) and the last sona- tina presents the minor dominant of G minor. There is yet an additional observation which should reinforce the internal structure which Sorge seems to be establishing. The publi- cation (the second group of six sonatinas, dating from either l7h0 or 17h1), is the first (except for an isolated example in the fourth sonatina of 1738) wherein toe composer employs exact tempo markings, and the second and fifth sonatinas are precisely those having the markings "Con Affetto" and "Andante", respectively, the other movements being marked "Vivace", “Allegro", "Presto", and "Presto". It thus becomes quite ob- vious that these six sonatinas were probably meant to be play- ed in groups of two works having three movements in the order: fast - slow - fast. The next publications of concern to us here are the 17h5 sonatinas, which fall completely and naturally into two, three movement works. The outside movements are all fast, and the middle movements are marked "Andante" and use the relative minor key 8 . 1 It should be remembered, of course, that this pair- ing of two (or three) seemingly unrelated movements into a group was not unusual in keyboard music of the eighteenth icentury, and has already been shown to prevail in the large 1Frisch mistakenly identifies the key of the sec- ond.sonatina as D major, failing thereby to take into account the correspondence between keys and movements. (See Frisch, "G.A. Sorge", p. 52. 213 2 ‘majority of Scarlatti sonatas. Likewise, the thirty-six Fantasies by Georg Philipp Telemann divide themselves con- veniently into twelve works of three movements with the un- alterable tempo order: fast - slow - fast, and the key scheme: Tonic - Relative minor - Tonic.3 Sorge's next keyboard publication, the three sonatas of the Erste Lieferung von XII Sonaten from 17h?- 17h9, present the first examples of true three and four movement works in the style of later classical models. The key schemes for the three sonatas are as follows: I. 1. B flat major II. 1. F major III. 1. D minor“ 2. G minor 2. F minor 2. G minor 3. B flat major 3. F major 3. D minor h. B flat major h. F major We discover here yet another indication of Sorge's transition- al stylistic position. In the first sonata, the use of the relative minor in the slow movement reflects a baroque con- cept which saw such a relationship as but two different sides of the same coin. In the second sonata, on the other hand, 2Kirkpatrick, Scarlagt , p. lhl. 3Georg Phili Telemann, Fantasies pour le Claves- sin,...3 Douzaines, Ver ffentlichungen der uaik-Bibliothe Paul Hirsch. ankfurt am Main. Johannes Wolf, ed., 1923. hNewman incorrectly identifies the movement as being in F‘major, and on this basis'misleadingly states that the key of the second movement is in "the unusual one of the super tonic." (Newman, Classic Era, p. 389.) 21h F major of the first movement is contrasted to F minor of the second and reflects not a baroque attitude which saw the parallel minor as only distantly related to its major, but a later, almost nineteenth century concept of tonal relationships.S As will be seen presently, representation of the "circle of fifths" will show the most striking i1- 1ustration of these concepts. In the group of twelve Sonatinen, Fantasien, Toc- catinen and Sinfonien from 1751, yet another type of key arrangement is seen. Although only four keys are represent- ed, each of them is used for three pieces, in the order fast - slow - fast. The titles "Fantasie", "Toccatina", and "Sin- fonia" are used exclusively for the first piece in each key group, and thus explain the title. (Although the term "So- natinen" is included in the title, there are actually no ex- alees of works with such a name in the collection.) Again we observe the strong possibility of internal groupings being suggested by key choice or tempo designations. The chart be- low will sum up our hypothesis clearly, and it will also show SAlthough little research‘has been conducted in this interesting field, it can easily be demonstrated that, with the exception of some highly interesting French clave- cin pieces, the relative minor is used, in general, by the baroque composer for contrasting keys of separate movements. Mozart, and even more, Haydn, among the composers of the Viennese school, make interesting and increasingly greater use of the parallel minor, and Beethoven's extensive use of the parallel minor for different movements is, of course, well-known. (See also Bukofzer, Bar ue Era, p. 335.) th 215 that the first six works stand in the same relationship to each other as the last six: the second three in each group of six are in the relative‘minor of the first three. In the listings given below, there are several instances in which either tempo designations or titles of movements are omitted. However, there are no instances in which both tempo designation Egg.a characteristic title for a given movement are both lacking. This, therefore, allows us to observe the fast - slow - fast order in all cases. 1. Fantasia - "Moderato" - C major 2. Aria - "Poco adagio" - C major 3. - "Vivace" - C major h. Toccatina - "Poco allegro" - A.mincr 5e - "Andante“ - A minor 6. - "Vivace ma non presto" -.A minor 7. Fantasia "Moderatc" - G major 8. Arioso - - G'major 9. - "Vivace" - G major 10 e Sinf 01113 "Allegro" - E minor 11. - "Andante" - E minor 12. - "Tempo di Giga” - E minor BIC 216 Further instances of an implied internal order of movements can be observed in the group of eleven (originally twelve--see below) manuscript organ trios found in the Royal Belgium Library in Brussels, and discussed in more detail in Chapter V. As in the 1751 collection of music we have just examined, only four keys are represented, each group of three . trios being grouped in one key, with the exception of trios ) seven and eight, where there are only two samples. In Chapter III, Part 2, we postulated that there is, in fact, one trio missing from the set of preserved manuscripts, basing our con- clusion, in part, on the persistence of the number six, and its multiples twelve and twenty-four, as being part of a structurally determining factor, not only in Sorge'slnusic, but also in a large number of the other composers of the time. However, stronger and more persuasive evidence may be found in purely musical elements. we have observed that the grouping together of three movements, all in a common key, in the 1751 Fantasien, Toccatinen und Sinfonien, was underlined by means of tempo changes, so as to produce a nat- ‘ural fast - slow - fast sequence. We find no tempo markings at all in the case of the eleven trios, and can only surmise that Sorge calls for a generally moderate speed. Closer scrutiny of our samples reveals, however, more subtle types of’structural determinants at work. 217 In all but one case (and this too, is easily sus- ceptible to logical explanation) the first and third trios of each gEQERDare generally in a contrapuntal, imitative texture, or one which combines elements of both, and employs duple meter, and the middle trio of each key grouping is in an obviously chordal, homophonic style and exhibits triple meter. In addition, those in a predominantly contrapuntal style have an upbeat entrance of thematic material, while those having mixed or homephonic treatment, always begin with a downbeat. (This has already been pointed out in Chapter V, incidentally.) Summarizing our findings to this point, we produce the following chart: Number Key Texture Part of Beat Meter 1 C major polyphonic upbeat duple 2 C major homophonic downbeat triple] 3 C major mixed downbeat duple u G major polyphonic upbeat duple [5 G major homophonic downbeat triple-J 6 G major mixed downbeat duple 7 E minor homophonic downbeat triple [8 E minor polyphonic upbeat duple :I 2 9 A minor polyphonic upbeat duple [10 A minor polyphonic upbeat duple ] 11 A minor homophonic downbeat triple 218 Two observations can be made about the above tabulation. First, in the case of trios seven and sight, it becomes clear, after seeing the inherent order in the first six, that the sequence has been definitely disrupted and that a trio, in duple time, probably with an upbeat, and in a generally contrapuntal texture, has, in all probability, been lost and is missing from the collection. Secondly, the apparent disparity in order of the three E minor trios (numbers 9, 10 and 11) can be easily reconciled if we ex- change trio eleven and twelve, thus reestablishing the or- der: polyphonic, upbeat opening and.duple time; homophonic, downbeat opening and triple time: polyphonic, upbeat open- ing and duple meter. *fl'fl'fi'fi It might have been noticed, in surveying the fore- going works, that we have failed to discuss, thus far, two sets of Preludes, published.in 1739 and l7h2, each contain- ing twelve individual pieces. In these Preludes, Serge em. ploys an entirely new set of determinants to achieve struc- tural unity between disparate works. For the first time, he makes use of all twenty-four major and minor tonalities, and because of the significance of this new approach, it is nec- essary here to review such a use of keys in earlier collec- tions of keyboard and organ music, as well as some instru- mental music. 219 Writing over thirty years ago, Hans David observed that When the old modes were renounced in favor of the modern major and minor, the problem arose [of] how to combine or arrange the new tonalities to form a complete and perfect cycle.... The first complete solution was offered by Joh. Kuhnau, predecessor of Bach as director'musicgg and organist at St. Thomas' at falsilgtfi David refers here to Kuhnau's 1695 publication Neue Clavier Qgggg, a title, incidentally, which was to serve many German composers in the following century, including, of course, Bach and Sorge. Actually, however, numerous prior instances of grouping pieces in a scheme according to key, and before . that, according to mode, are known. The collection of twelve "Praeambulorum" by the Dresden court organist Johann.Heinrich Kittel (or perhaps "Johann George", as the title page indi- cates), dated 1682, uses all the keys which were then avail- able in mean-tone temperament in the following order: C minor, C major, D minor, D major, E major, F major, G minor, G major, a.mdnor, A major, B flat major and B'minor.7 John.H. Baron's recent article also discusses this collection, and, in addi- tion calls attention to a set of Pachelbel suites, of 1683, and 6Hans David, "The Structure of Musical Collections \np to 1750," BANS, number 3, p. 2. 7s“ Erich Ii. Mueller, "Eine Tabulatur des Dresden- er Hoforganist Kittel," ZgMW (1930), pp. 99-101. 220 Kuhnau's own partien with introductory praeludia, dated 1689 and 1692 for the major and minor keys respectively, which predate the composer's 1695 publication cited above.8 An organ tablature by Werner Fabricius, which comes from a period before 1679, exhibits the following key order, which closely resembles Kittel's: C minor, C major, D minor, D major, E minor, F major, G minor, G major, A.minor, A major, B flat major and B minor. In addition, Fabricius adds extra preludes in F major, A minor and B flat major.9 French sources provide us with many additional examples of key groupings. The eight suites of Guillaume-Gabriel Nivers, published in 1665, are arranged in the order D minor, G minor, {A minor, E (Phrygian), C major, F major, D major and G‘majcr.10 Seiffert cites the first book of clavecin suites of Jacques Chambonnieres, published in 1670, as having a similar order, but beginning with A minor (cf. Sorge's Preludes below) and continuing: C major, D minor, D major, F major, G minor, G major, an order followed almost exactly by Johann Frcberger _g. 8John H. Baron, "A 17th century keyboard tablature in Brasov", JAMS, XX (1967), pp. 279-285. 9See Roland Jackson, "Communication", JAMS, XXIV (1971), p. 318, which adds to Baron's article. 10Livre d'Or e Contenant cent ieces de tons leg Tons de l‘E lise. Paris: R. Ballard, 1265.) (Hadeleine GarrosT'fl§§,article states incorrectly that the work was pub- lished by the composer.) 221 also. Chambonnieres' most illustrious pupil, Louis Cou- perin, continues this development and includes, in his suites, in addition to the above keys, works in C minor, F sharp minor, A major, A minor and B minor. This repreg sents, as Seiffert notes, all twelve tones, and almost all the major and minor tonalities.11 Further examples of works by German composers, and arranged according to a definite key scheme, are the two groups of "Prfiamblum’ for organ by Erasmus Kindermann, with the title "Harmonia organics". Group one has preludes in D minor, E major, F (Lydian), G major, A minor and C major, and group two makes use of the order: G minor, A major, B flat ‘major, C major, D minor and F major.12 A final German example is the group of seventy Symphonigg of Samuel Scheidt, pub- lished in l6hh and exhibiting a more restricted key choice: C major, D (Dorian), E (Phrygian), F major, G major, G minor and‘Aminor.13 Curiously, none of these numerous works are cited in an article in the Apel Festschrift by Klaus Speer, who writes that "no collections of non chorale-based works following any systematic order are known before those of J. IISeiffert, Geschichte der Klaviermusik, 1). 16h. 12 A .G. Bitter, Zur Geschichte des 0r e1 iels... (Leipzig: Max Hesse's Verlag, 1885) fascimile ed. Hildes- 99 p0 helm: Georg Olms Verlag, 19 166. 13Samue1 Scheidt, no: 3 honien auff Concerten manir, (Breslau and Leipzig, 16EE97§ES.) 222 K.F. Fischer, J. Kuhnau [Neue Clavier Ubung, 1695?] and J .S. Bach [Inventions and Symphonies?) ".11!- We return new to an examination.of keys employed by Sorge in these twenty-four preludes. It should be re- membered that the composer was an enthusiastic advocate of tuning systems of several types, all of them illustrating, in one way or the other, concepts of tampering intervals which were departures from the principles embodied in mean- tone tuning. Sorge dealt with these novel tuning theories in a number of books, articles and monographs, illustrated with profuse mathematical tables and charts. This was at a time during which an extraordinary amount of heated debate as to the'merits of various tuning and tempering systems could be found almost weekly in music magazines and journals. Serge frequently found himself embroiled in bitter polemical disputes with Friedrich Wilhelm.Marpurg, Johann Mattheson and Jacob Adlung as to the relativeznerits of one tuning sys- tem over another. Two important publications of a theoretical 1”Klaus Speer, "What is tonus in polyphonic music?", in Studies in Musicolo , ed. Hans Tischler (Bloomington: Indiana Ufiiversity Press, 1968), p. 138. It is not clear which of the many keyboard collections of Fischer are meant; the earliest appeared in 1696, the latest in 1737, the latter date even possibly representing the work of a son. They are all in a systematic key order. In addition, Speer's description of the Bach Inventions and Symphonies as being "in ascending ghrcmatic order" (underlining mine) is hardly accurate, since only two of the works, those in E flat major and B flat major, make use of keys built upon anything but the diatonic 80319 from C to C. 223 nature deal particularly with the question of different temperaments. These are Sorge's Gespraech zwischen einem Mice theoretico und einem Studioso Musikges von der Prae- torianschen, Printzischen, Werckmeisterigchen, Neidhgt- Lschen und Silbermannischen Tmeratug (”Conversation be- tween a music theorist and a music student about the Prae- torius, Printz, Werckmcister, Neidhart and Silbermann tem- perament“), published by Sorge himself in Lobenstein in 171;,8, and the considerably more well-known Grflndliche Untersuchung ("Basic Inquiry"), dealing with a disputed aspect of the equal temperament proposed by C.G. SchrBter, which was published in 1751;, also in Lobenstein by the author. The twenty-four preludes predate, by several years, the theoretical writings on new tuning and tempering systems, and simply represent the practical application of principles that were only subsequently codified by the composer. The arrangement of keys which Serge employs in these two books of preludes can be explained by reproducing Table XXVI from his most important publication, the Vorgemach der Musica- lischen Co osition, of which the first part was published in Lobenstein in l7h5--three years after the appearance of Book two of the preludes. (PLATE.VII) The second circle of the diagram, beginning with "A moll", is the starting point for the twenty-four preludes. The scheme presented in the diagram (read clockwise), corresponds almost exactly to that employed in the two books or preludes, with the exception of PLATE VII TAB.XX'VI.P.I. 13.57- 221, the two enharmonic keys of D sharp minor and F sharp major, which are spelled in their respective flat key signatures. The circle illustrated in Sorge's Vorgemach is taken direct- ly from an identical circle of keys which appeared in Matt- heson's Kleine Generalbass-Schule of 1735. Mattheson in- cludes, in addition, both the flat and sharp spellings of E flat minor, G flat major and D flat major.15 An even ear- lier and in most respects similar version, is illustrated by Johann David Heinischen in his Der Generalbass in der Comositiop.16 It is perhaps prudent, at this juncture, to sound a ggzggt_regarding any conclusions which one might be tempt- ed to draw from observing the use of all major and minor to- nalities. In the case, for example, of Bach's we}; ngpered Keyboard, the employment of all the chromatic semitones has often led writers to assert that Bach is here proving the feasibility of what is inaccurately called "equal temperament". First, it should be remembered that Bach's famous collection is not called the "Equal Tempered Keyboard", but the "Well Tempered Keyboard”. The distinctions "well tempered" and "equal tempered", which every theorist of the eighteenth century, from Werckmeister on, takes pains to point out, are 15Johann Mattheson, Kleine Generalbass-Sdhule (Hamburg, 1735). The circle is reproduced in Bukofzer, Baro ue Era, p. 385. 16Jo‘hann‘David Heinischen, per gegeralbass in der Composition (Dresden, 1728), opposite p. 3 . 225 only two among a host of different tempering schemes then in use, or advocated as alternates to mean-tone tunings. A8 a matter of fact, German writers of the time had a perfectly good term for each system: "wohltemperiertes" and "gleich- schwebende". Second, and of considerably greater moment, is the observation that the mere existence of a group of works, all separate, but employing the twelve chromatic keys, is no special proof of their unacceptability in a mean-tone tuning, since, within the confines of one work, the number of tones which were needed was normally confined to the key of the work and its near related major and minor neighbors, and the "148" were obviously not meant to be played consecutively. J. Murray Barbour has shown the the great majority of Bach's keyboard works (excluding, of course, the Well Tempered Key- P_O_§_I'_C_1_ _a_§_ 9; gh_c_>_l_l._e_, and much of the organ music) may still be performed using some kind of mean-tone tuning}7 The writer has proven the soundness of this hypothesis by tuning his harpsichord in one of the many types of meanptone tunings available and, with no difficulty, playing a good portion of the French and English suites and Partitas. It must, 17.1. Murray Barbour, "Bach and the Art of Tem- perament," 33,, xxxxn (19M), p. 61;. 226 of course, be understood that adjustments, in the tuning of the enharmonic tones, will be necessary when changing from a piece containing C sharp or D sharp, as in the E major French suite, to works using D flat or E flat, as in the C minor Partita. This procedure poses no problems on the harpsichord and entails but a few moments time. On the other hand, an entirely different class of keyboard writing, which illustrates a concept of "equal" or "well" temperament, did, however, exist, and these are works in which Eg§h_c sharp and D flat, F sharp and G flat, and so on, occur within the confines of one piece, often at a distance of only two or three measures. They are written by composers actively engaged in experimental tuning and temp. pering schemes which exploit the phenomenon of enharmonic equivalence. In Heinischen's writings just cited (see 9325;, footnote 16) a "Fantasia durch alle Tonarten gehend" is in- cluded, whose title, while not completely accurate, does be- gin in.A minor and modulates through twenty-two of the twenty- four major and minor tonalities, thus illustrating, in an em- pirical manner, the "circle of fifths" seen in the illustration to which we have just alluded. (PLATE VII).18 18The work has been falsely ascribed to J.S. Bach. See BEE, Anhang 179. P. 6&5. 227 The earliest evidence in the keyboard music of Serge, for the possible employment of a tuning system ap- preaching equal or well temperament is a place in Prelude h of 1739, where the cmmposer specifically uses enharmonic spellings at the distance of only a few beats. (EXAMPLE 1) Example 1: Prelude h.in.E minor, 1739. measures 51-55 L Interestingly, this passage, of five measures length, is re- peated exactly, just five measures later, almost as if Serge wished to tell the reader that the music was, in fact, cor- rectly notated. In addition, the passage exhibits a some- what uncommon use of the Neapolitan sixth chord with an ir- regular resolution. (Measure 52) The Prelude is the fourth work in the two groups of twelve Preludes written in all the major and minor tonalities and following the scheme found, as already noted above, in Plate VII. 228 Further examples of works in which some kind of equal or well temperament might be deemed necessary are the fugues on B-A-C-H, where the chromatic nature of the theme would lead one to assume that enharmonic spellings are to be found extensively. Such is, however, not the case to any great extent. The second fugue, which we have discussed in some detail in Chapter IV, part 2, is the only one having any amount of double spellings, and even they are not nu- merous. (The complete fugue is reproduced as Example 62, page 159 of the present study.) Finally, there is the "Fuga chromatica duplex", whose theme was given as Example 58 in Chapter IV, part 2. It is the only work containing any appreciable amount of en- harmonic tones, and even here, such a practice hardly warrants our considering it a stylistic element. In all respects, however, the piece is well-wrought as a fugue, and exhibits an extremely chromatic subject. Example 2 gives a typical example of the prevailing enharmonic spellings, and shows the necessity for a temperament other than a mean-tone one. (The particularly fluid nature of the tonality at this point can be observed in the difficulty with which one identifies the correct key. Were the signature of two flats not pre- sent, the identification of B flat major as the key would remain somewhat problematical.) (Ex. 2) 229 memple 2: "Fuga chromatic duplex", meamres 32443. 230 We find the most widespread use of double spell- ings in the “Toccata per ogni Modi", which the reader will recall is the single work of the composer in print today.19 It exists, as discussed in Chapter III, only in a single manuscript ccpy from the end of the eighteenth century, and was evidently not published during Sorge's lifetime. The plan of modulation follows exactly that seen in the illus- tration reproduced in Plate VII, as well as the Mattheson and Heinischen schemes, and all possible enharmonic relation- ships are fully exploited. Two other classes of keyboard composition.may also be cited here, representing another approach of some interest. First, there are works beginning in C major, and modulating, not by means of dominant relationships and the "circle of fifths", but chromatically. Among the many works attributed to J.S. Bach, but of whose authorship we are in some doubt, is the "Kleines harmonisches Laybrinth" (§!2,591) It is listed in the Bach.Gesellschaft among his organ works, al- though there is certainly no internal evidence to suggest (that it would not be equally appropriate on the'harpsichord.2o 19Au1er, ed., Spielbuch, Vol. II, p. 62. 20J.S.Bach's Werke, Vol. XXXVIII, p. 235. See also Schmieder, BWV, p. h337 231 Although cited by Apel in 32 as employing methods similar to those used by Sorge, Mattheson and Heinischen, this work is rather distantly related, because of the use of chromatic modulations rather than the circle of fifths.21 The work is admittedly of somewhat peripheral'musical worth, and Schmieder is of the Opinion that it was written by Heinischen. Since Heinischen did, in fact, write a piece modulating by the circle of fifths (see above), and was one of those most interested in new tuning systems, it is reasonable to assume that he may have, in addition, tried his hand at a chromatically modula- ting composition. In addition to works exhibiting modulation schemes based on the circle of fifths and those of a chromatic nature, there is a third, rather unusual type of modulating composi- tion built on the six tones of the hexachordum.ggggg, system» atically transposed to higher or lower intervals, either in a descending or ascending set. The fascinating history of this type has been discussed in splendid detail in a recent monograph by Edward Lewinsky, in an article which deals main- 1y with the chromaticism of Adrian Willaert.22 The important element that all of these types of works have in common is that they employ double spellings for 21Willi Apel, "Circle of Fifths," E2, p. 171. 22Edward E. Lewinsky, "Echoes of Adrian Willaert's chromatic 'duo' in 16th and 17th century compositions," in Studies in Music Histogy: Essa%s for Oliver Strunk ed. Harold owers r nceton: Princeton vers ty Press, 19 8), p. 211. 232 many passages, making them intolerably out of tune in any- thing but some kind of well or equal temperament. Speak- ing of John Bull's famous keyboard fantasie on the hexa- chord, Lewinsky reminds us that Fuller Maitland and Barclay Squire, the editors of the Fitzwilliam.Virginal Book, as well as Charles van den Borren in his book, The Sources of Keyboard Music in England (London, 1913) are all in agree- ment "that John Bull must have used a keyboard instrument with equal temperament."23 Whereas the Bull Fantasia begins on G (the initial tone, of course, of the untransposed hard hexachord), and the "Kleines harmonisches Laybrinth" starts in C major, the Hein- ischen Fantasie and the Serge Toccata begin and conclude in (A minor. This arrangement brings about a pairwise sequence of major keys together and minor keys together, except for the opening key of.A minor. Thus both works follow the sec- ond line in the circle reproduced as Plate VII: A minor, C major, G major, E minor, B minor, D major,.A major", etc. The effect of the enharmonic relations in the Serge Toccata is largely hidden due to the changes in key signature which occur every ten or twelve bars, thus effectively cancelling the visual impact, at least, of the double spellings. Oddly enough, the single instance of such a procedure occurs in the penultimate measure of the music. We reproduce below the final 23Ibid., p. 212. 233 four measures of the music. Emample 3: "Toccata per ogni modi", measures ll9-122.2h The fascinating history of the many attempts to construct tuning and temperament systems which represent efforts at circumventing the supposed limitations of the various mean-tone schemes has yet to be fully documented.25 It is significant that those men most interested in experi- mental systams were most often composers of'keyboard music, 2("'The upper G sharp of fine third beat of the fer- mata measure does not appear in the manuscript, being added by Auler in his edition. (On the variant readings between the manuscript and the printed edition of Auler see further Chapter III Examples 1, 2, 3 and h and the accompanying discussion. 25J. Murray Barbour's excellent book should be noted here however, in addition to the interesting series of records which were produced by him.for Musurgia Records. J. Murray Barbour, Tuning_and Te erament (East Lansing: Michigan State CollegePress, l9 1 . See also Dr. Bar— Bour'; article "Temperatur und Stimmung,“ EGG, XIII, cols. 13-2 70 23h .Arnold Schlick having been one of the first organist- 26 A1- composers to make experiments in this direction. though we have discussed here various attempts at well and equal temperament, and specifically the musical re- sults which illustrate such concepts (works with enharmon- ic tones which modulate through many tonalities), there were also a good number of keyboard works which deliberate- 1y used a mean-tone temperament and simultaneously exploited the shocking sonorities resulting therefrom when non-enharmon- ic sounds were introduced. The most famous examples (all keyboard works) are the final, chromatic variation of Samuel scheidt's "Da Jesus an dem Kreuze stund", Sweelinck's "Chro- matic Fantasie", and the fifth variation of Bach's Partita on "Gott, du frommer Gott". In the case of the two works built on chorale tunes, the prescribed effects can be ex- plained as a means of underlining the text to be found in the corresponding verses--an "affect" brought about by the tuning of the instrument. Serge thus stands in a line of development span- ning several centuries and the efforts of a host of composer- theorists, whose interest and creative imagination were fired by some of the most intriguing aspects of speculative music theory 0 26Arnold Schlick, S is e1 der Or elmacher und Organisten (Mainz: Peter Schoe er, Eng trans. by the author in Or an Institute uarterl , Vols. sVII (1961). DH1963). and x 1196):). " ""“‘9"—_1 CONCLUSIONS In the foregoing study, we have attempted to evaluate a body of keyboard music written in one of the ‘most critical periods of music history: the middle of the eighteenth century. Second only to the upheaval caused by the development of monody at the opening of the seven- teenth century, the course of musical style, in the half- century from 1730 to 1780, shifted from a contrapuntal orientation to a new, yet not so new stylistic affinity: accompanied melody. Though oversimplified perhaps, this constitutes the essential direction of musical expression. The keyboard instruments themselves were especially sensi- tive to this style change, and the sharpely etched sound of the harpsichord and the cohesive, bright ensembles of the baroque organ, both admirably suited to independence of voice parts and individuality of contrapuntal lines, began to give way to the piano, with its "expressive" qualities and its ability to play bath’a melodic line and its accompaniment on one keyboard, but at different sound levels. 235 236 In addition to these purely musical considera- tions, another one, social in nature, began to be apparent: the rise of middle-class audiences for listening and for pri- vate music making. For this new audience of amateurs, many of whom chose to learn the clavier, composers were quick to create a readily appreciated body of literature, a reper- toire of music making use of stock left hand patterns of accompaniment and an easily grasped melodic design. We have discovered, in the present study that, as in all stylistic changes, and in all the arts, vestigial remains of the previous era continue to be intermingled with more progressive elements, and the isolating of these different elements and their interrelationships constitutes in itself some of the hallmarks of style, and style, after all, is that way in which the constituent elements are weld- ed together and interact on each other. Georg Andreas Serge, fibergangsfi , presents us with a "Klein Meister" who has written works contributing to an understanding of those style elements which result in change from one era to another. This music must be studied in order to explain and understand, in turn, the music of Haydn, on the one hand, and that of Bach, on the other. There are classes of excellence in all things, and if Serge is not Johann Sebastian Bach or Franz Joseph Haydn, his ex- cellence as a composer and a musical arbiter need not be condemmed simply because he stands in the shadows cast by two giants. BIBLIOGRAPHY BIBLIOGRAPHY Apel, Willi. Geschichte der Orgel- unnglaviergmusik bis 1100, Kassel: BHrenreiter Verlag, 1957. "Brillenbass," "Circle of Fifths," "Sonata Form," Harvard Dictionary of Music, 2nd ed., ed. Willi Apel. Cambridge, Mass.: Belknap Press, 1969. . Masters of the Keyboard, Cambridge, Mass.: Harvard University Press, 19E7. Armstrong, William H. Organs for America. The Life and‘Work of David Tannenber a e p a: vers ty 0 enn- I i P 19% sy van a ress, 7. Auler, Wolfgang, ed. 3 ielbuch fur die Kleinor e1, 2 vols., New York: C.F. Peters Corp., 19E? and I95I, Vol. II, pp 0 62-69 0 Bach, Johann Sebastian. Werke, Leipzig: Breitkogf und Hfir- tel, 1851-99 and suppIementary volume, 192 3 61 vol- umes in h? Jahrgfinge. ' . 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