Organum IV: Difference between revisions
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Despite including additional symbols for practical use that are not present in the source, this series included some progressive/scholarly features such as listing the source for every piece in the preface. | Despite including additional symbols for practical use that are not present in the source, this series included some progressive/scholarly features such as listing the source for every piece in the preface. | ||
The ''Organum IV'' series was an important part of the efforts of german musicologists to expand the published repertoire of the [[North German Organ School]]. Within this series, the first editions of many important works were included, including the 13 fantasias by [[Paul Siefert]], the complete extant organ preludes by [[Franz Tunder]]<ref>Beckmann (2009), 265, but two of them had been published before</ref>, the three preludes by [[Nicolaus Bruhns]] including the first edition of the "small" E-minor and G-major preludes,<ref>Beckmann (2009), 535</ref> many preludes by [[Heinrich Scheidemann]]<ref>Beckmann (2009), 124</ref>, and many works anonymous and attributed to lesser-known composers. These lesser-known works were included in compilations as part of a sub-series titled ''Orgel-meister'' which was published alongside volumes more focused on certain composers. Notably, many works from the [[Lynar Tablatures|Lynar "B" Tablatures]]–a brand-new discovery at the time–were published in this series for the first time. | |||
The ''Organum IV'' series was an important part of the efforts of german musicologists to expand the published repertoire of the [[North German Organ School]]. Within this series, the first editions of many important works were included, including the 13 fantasias by [[Paul Siefert]], the complete extant organ preludes by [[Franz Tunder]]<ref>Beckmann (2009), 265, but two of them had been published before</ref>, many preludes by [[Heinrich Scheidemann]]<ref>Beckmann (2009), 124</ref>, and many works anonymous and attributed to lesser-known composers. These lesser-known works were included in compilations as part of a sub-series titled ''Orgel-meister'' which was published alongside volumes more focused on certain composers. | |||
The fourth series of ''Organum'' remains a valuable resource for the inclusion of some pieces which have recieved minimal attention since then, such as the anonymous Prelude from [[D-Lr Mus.ant.pract. K.N. 207/16]] in volume 10 no. 5. However, as more scholarly critical editions are published in the modern day, this series has began to lose its value for the current-day performer. | The fourth series of ''Organum'' remains a valuable resource for the inclusion of some pieces which have recieved minimal attention since then, such as the anonymous Prelude from [[D-Lr Mus.ant.pract. K.N. 207/16]] in volume 10 no. 5. However, as more scholarly critical editions are published in the modern day, this series has began to lose its value for the current-day performer. | ||
== Introduction == | == Introduction == | ||
<ref>Preface to volume 1</ref><ref>Lott, 6</ref>The primary purpose of Organum IV was to publish music from the [[North German Organ School]] (in addition to some entries from middle and south Germany) from Sweelinck to Buxtehude and to enrich the literature and playing material of this period of music in order to contextualize the music of J. S. Bach. Particularly, music from the Frescobaldi and [[Johann Jacob Froberger]] circles were included, and the music of Pachelbel was focused on. By publishing this music, listed according to school and composer, Max Seiffert hoped to bring this music back together and bring it to light, so that it would be played by organists. | |||
== Description == | |||
[[File:Bruhns seiffert einleitung.jpg|thumb|The introduction of volume 8, the edition of [[Nicolaus Bruhns]] preludes. Here, Max Seiffert includes brief information about what manuscripts the pieces are found in.]] | |||
A typical volume in this series begins with an introduction in which Max Seiffert sometimes writes biographical information about the composer and always writes what manuscripts each piece is found in. | |||
== Editorial Style == | |||
Despite the scholarly inclusion of manuscript information, the fourth series of ''Organum'' favored the more practical angle. It included editorial markings like tempos and hand indications. Also, Max Seiffert did not include critical notes to list his editorial changes, even though many pieces required them, as he did not want to make these editions needlessly complex. | |||
<blockquote>''In the critical editing of the text of the music, it was necessary to pick a way through many writing errors, oversights and omissions in the originals, both of which, by the way, omit to indicate the pedal part. To discuss these in detail would take too much space, the main object being the practical result.''<ref>''Organum'' volume 19. [[Johanan Kuhnau]]: Zwei Präludien mit Fugen und eine Toccata. (Introduction, english translation)</ref></blockquote> | |||
Another interesting editorial decision taken by Max Seiffert was to transcribe almost every piece on three staves, indicating some notes to be played on pedal (however, some manualiter pieces were written on two staves, such as the ''Toccata'' by [[Johann Adam Reincken]]). This has been criticized in more recent times. For example, the transcription of the Canzon by [[Marcus Olter]] in volume 2 is written on three staves, even though modern musicologists including [[Klaus Beckmann]] say that it is clearly a manualiter composition.<ref>Beckmann (2009), 523</ref> | |||
== Contents<ref>[https://obis.oberlin.edu/record=b1878373~S4 obis.oberlin.edu], accessed 19 July 2023.</ref><ref>Beckmann (2009) 124-125</ref> == | == Contents<ref>[https://obis.oberlin.edu/record=b1878373~S4 obis.oberlin.edu], accessed 19 July 2023.</ref><ref>Beckmann (2009) 124-125</ref> == | ||
For unknown reasons, the Organum IV series only published free organ works (including early praeludiums, but also canzonas, ciaconas, and fugues), except for the ''Magnificat'' fugues by [[Johann Pachelbel]]. It appears that a large collection of chorale settings was planned for the conclusion of the fourth series,<ref>Lott, 6</ref> but it is not clear if this was ever completed. | |||
{| class="wikitable" | {| class="wikitable" | ||
|+ Volumes of Org. IV | |+ Volumes of Org. IV | ||
| Line 133: | Line 144: | ||
== References == | == References == | ||
{{NdS2 2009}} | {{NdS2 2009}} | ||
''ORGANUM: usgewählte ältere vokale und instrumentale MEISTERWERKE kritisch durchgesehen und zum praktischen Gebrauch herausgegeben von MAX SEIFFERT.'' (publisher and year unknown). Introduction by Dr. [[Walter Lott]] [http://hdl.handle.net/1802/17035 urresearch.rochester.edu]Accessed August 9, 2024. ("Lott") | |||
[[Category:Books]] | [[Category:Books]] | ||
Revision as of 22:09, 9 August 2024
Organum IV (sometimes written ORG IV, de: Vierte Riehe) is a series of publications of early organ music edited by Max Seiffert and published by Kistner & Siegel in Leipzig, beginning in 1925[1].
Despite including additional symbols for practical use that are not present in the source, this series included some progressive/scholarly features such as listing the source for every piece in the preface.
The Organum IV series was an important part of the efforts of german musicologists to expand the published repertoire of the North German Organ School. Within this series, the first editions of many important works were included, including the 13 fantasias by Paul Siefert, the complete extant organ preludes by Franz Tunder[2], the three preludes by Nicolaus Bruhns including the first edition of the "small" E-minor and G-major preludes,[3] many preludes by Heinrich Scheidemann[4], and many works anonymous and attributed to lesser-known composers. These lesser-known works were included in compilations as part of a sub-series titled Orgel-meister which was published alongside volumes more focused on certain composers. Notably, many works from the Lynar "B" Tablatures–a brand-new discovery at the time–were published in this series for the first time.
The fourth series of Organum remains a valuable resource for the inclusion of some pieces which have recieved minimal attention since then, such as the anonymous Prelude from D-Lr Mus.ant.pract. K.N. 207/16 in volume 10 no. 5. However, as more scholarly critical editions are published in the modern day, this series has began to lose its value for the current-day performer.
Introduction
[5][6]The primary purpose of Organum IV was to publish music from the North German Organ School (in addition to some entries from middle and south Germany) from Sweelinck to Buxtehude and to enrich the literature and playing material of this period of music in order to contextualize the music of J. S. Bach. Particularly, music from the Frescobaldi and Johann Jacob Froberger circles were included, and the music of Pachelbel was focused on. By publishing this music, listed according to school and composer, Max Seiffert hoped to bring this music back together and bring it to light, so that it would be played by organists.
Description
A typical volume in this series begins with an introduction in which Max Seiffert sometimes writes biographical information about the composer and always writes what manuscripts each piece is found in.
Editorial Style
Despite the scholarly inclusion of manuscript information, the fourth series of Organum favored the more practical angle. It included editorial markings like tempos and hand indications. Also, Max Seiffert did not include critical notes to list his editorial changes, even though many pieces required them, as he did not want to make these editions needlessly complex.
In the critical editing of the text of the music, it was necessary to pick a way through many writing errors, oversights and omissions in the originals, both of which, by the way, omit to indicate the pedal part. To discuss these in detail would take too much space, the main object being the practical result.[7]
Another interesting editorial decision taken by Max Seiffert was to transcribe almost every piece on three staves, indicating some notes to be played on pedal (however, some manualiter pieces were written on two staves, such as the Toccata by Johann Adam Reincken). This has been criticized in more recent times. For example, the transcription of the Canzon by Marcus Olter in volume 2 is written on three staves, even though modern musicologists including Klaus Beckmann say that it is clearly a manualiter composition.[8]
Contents[9][10]
For unknown reasons, the Organum IV series only published free organ works (including early praeludiums, but also canzonas, ciaconas, and fugues), except for the Magnificat fugues by Johann Pachelbel. It appears that a large collection of chorale settings was planned for the conclusion of the fourth series,[11] but it is not clear if this was ever completed.
| # | Contents | Scans | Notes |
|---|---|---|---|
| 1 | Fünfzehn Präludien und Fugen / Heinrich Scheidemann | urresearch.rochester.edu[12] IMSLP251639 |
|
| 2 | Orgel-Meister I. 3 Praeambeln / Jakob Praetorius. 2 Praeambeln / Melchior Schildt. Praeambulum / Johann Decker. Praeludium / D. Meyer. Canzon / Marcus Olter. 2 Praeludium / Christian Flor | ||
| 3 | 14 Präludien, Fugen und Toccaten / Matthias Weckmann | ||
| 4 | Fünf Praeludien und Fugen / Georg Böhm | babel.hathitrust.org[12] | |
| 5 | Orgel-Meister II. Toccata / Jean Adam Reinken. Sonatina / Christian Ritter | babel.hathitrust.org[12] | |
| 6 | Vier Praeludien / Franz Tunder | ||
| 7 | [Orgel-Meister III] Praeludium / Arnold M. Brunckhorst. [Praeludium und Fuge / Andreas Kneller. 2 Praeludien / Georg Dietrich Leyding] | ||
| 8 | 3 Praeludien und Fugen / Nikolaus Bruhns | urresearch.rochester.edu[12] | |
| 9 | Vier Praeludien und Fugen / Vincent Lübeck | ||
| 10 | 6 Praeludien und Fugen / Anonymi der Norddeutschen Schule | babel.hathitrust.org[12] | |
| 11 | 10 Orgelwerke / Johann Jakob Froberger | ||
| 12 | Praeludien, Fantasien und Toccaten / Joh. Pachelbel | ||
| 13 | Ciaconen, Fugen und Ricercari / Joh. Pachelbel | ||
| 14 | Magnificat-Fugen / Joh. Pachelbel | urresearch.rochester.edu[12] | |
| 15 | Fünf Ausgewählte Orgelstücke / J. Gottfr. Walther | ||
| 16 | Drei Fugen / Fr. Wilh. Zachow | urresearch.rochester.edu[12] | |
| 17 | Ausgewählte Orgelstücke / Johann Krieger | ||
| 18 | Zwei Doppelfugen / Nik. Adam Strungk | ||
| 19 | Zwei Praeludien mit Fugen und eine Toccata / Johann Kuhnau | urresearch.rochester.edu[12] | |
| 20 | 13 Fantasien à 3 / Paul Sieffert | babel.hathitrust.org[12] | |
| 21 | Orgel-Meister IV. Toccata / Samuel Scheidt. Praeambulum pedaliter ; Praeludium ex E vel A pedaliter / Andreas Düben. Praeludium ; Praeludium pedaliter / David Äbel. Praeambulum pedaliter / Peter Hasse. Capriccio Gh ; Praeludium quarti Toni ; Fantasia 12. Juli 1664 / Wilhelm Karges. Praeludium ex d fis con pedal / Peter Hasse | ||
| 22 | Acht Toccaten und Fugen / Joseph Seeger. |
References
Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009.
ORGANUM: usgewählte ältere vokale und instrumentale MEISTERWERKE kritisch durchgesehen und zum praktischen Gebrauch herausgegeben von MAX SEIFFERT. (publisher and year unknown). Introduction by Dr. Walter Lott urresearch.rochester.eduAccessed August 9, 2024. ("Lott")
- ↑ Beckmann (2009), 124.
- ↑ Beckmann (2009), 265, but two of them had been published before
- ↑ Beckmann (2009), 535
- ↑ Beckmann (2009), 124
- ↑ Preface to volume 1
- ↑ Lott, 6
- ↑ Organum volume 19. Johanan Kuhnau: Zwei Präludien mit Fugen und eine Toccata. (Introduction, english translation)
- ↑ Beckmann (2009), 523
- ↑ obis.oberlin.edu, accessed 19 July 2023.
- ↑ Beckmann (2009) 124-125
- ↑ Lott, 6
- ↑ 12.0 12.1 12.2 12.3 12.4 12.5 12.6 12.7 12.8 Accessed August 9, 2024.
