faty
Get Complete Project Material File(s) Now! »
Chorales used in the Harmonische Seelenlust
The traditional German hymn-tunes known as chorales have provided a tremendous source of inspiration to generations of German composers. Since the middle of the 17th century it had been the custom that the congregational singing of chorales was done in unison. It became the practice to precede the actual singing of the chorale with the playing of a chorale prelude and sometimes also to interpolate interludes during the specific hymn. To the average German Protestant congregants, to whom the melodies were all known from childhood, such a genre of organ music must have been of great interest and significance, bearing in mind that most of these works were also improvised. (Arnold 1995: 61.) The Harmonische Seelenlust must have contributed in no small measure to the chorale prelude repertoire of the day to add greater meaning and dimension to the otherwise normal Divine Service. Kauffmann’s style based on the chorales is twofold. Firstly, the technical strategies he uses are unique in the sense that he couples specific detailed registrations with specific type of chorale preludes as will be seen later. Secondly, the motifs employed in building up the scheme and the treatment thereof associate themselves in a symbolic and even mystical way, with the feeling of the chorale which serves as basis for the melody of the particular hymn. Through careful analysis of this notable oeuvre, one can safely conclude that Kauffmann had definite expectations about the performance thereof, and that he knew what specific sounds he envisaged. Contained in the Harmonische Seelenlust are most of the well-known chorales of the period and these are treated with creativity and good craftsmanship. The following provides a detailed list of the chorales in alphabetical order that are utilised by Kauffmann in the Harmonische Seelenlust (Kauffmann 1924: 151): It is important to note that the sequence of the chorale preludes in the Harmonische Seelenlust is not the same as the order found in the Bärenreiter edition. The works in the latter are arranged in alphabetical order.
Tempo indications and Affekt
Kloppers (2000: 17) states that musically inclined means such as tempo are music’s ‘natural psychological effect’. He goes on to say that tempo can incite a wide range of certain moods and temperaments.The instructions with the regard to the correct overall tempi seem to not only have an influence on the required speed of the works, but also the atmosphere and character, i.e. the Affekt, of the specific work. This is especially true when considering the text of these pieces: we find that the tempo indication does in fact correspond with the overall sentiment of the work in question with respect to the text and pathos. These indications are only recommendations, rather than hard and fast rules to comply with. Hence it is impeccable that the performer’s own critical judgement and decree always remain the point of convergence in order to achieve the greatest clarity and suitable expression. The examples of Kauffmann’s tempo indications found in the Harmonische Seelenlust will be cited and briefly deliberated.
1. Introduction
1.1 Motivation for the study
1.2 Aim of the study
1.3 Problem statement
1.4 Target group
1.5 Methodology
2. A concise biography of Georg Friedrich Kauffmann
3. The Harmonische Seelenlust (1733): a background
3.1 Introduction
3.2 Chorales used in the Harmonische Seelenlust
3.3 Kauffmann’s organ in Merseburg
3.4 Characteristics
4. Registration indications in the Harmonische Seelenlust
4.1 Introduction
4.2 Bicinia
4.3 Trios, ‘à 2 Claviere et Pedale’
4.4 Trios, ‘à 2 Claviere et Pedale con oboe’
4.5 Three- and four-part settings, ‘à 1 Clavier’, with or without pedal
4.6 Chorale settings ‘à 2 Claviere’, without pedal
4.7 Summary
5. Practical suggestions for performance
5.1 Unspecified and incomplete registration in the Harmonische Seelenlust
5.2 No indicated registration in the Harmonische Seelenlust
5.3 Registration suggestions for selected works by Kauffmann’s contemporaries
6. Conclusion
7. Sources
