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The North German Baroque: Breathing Life into Old Music Nicholas Capozzoli

I. What do I do with all this music? -Understanding the works of J.S. Bach -Self-satisfaction and new ways of teaching students -Creative and refreshing recital programming -Enriching our congregation’s musical repertoire II. How do I play it? Historical evidence sheds light on articulation and interpretative decisions !!!

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Example 1: John Bull Preludium mm. 3-5

Example 2: Johann Joachim Quantz On Playing the Flute

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III. How do I register it?

Specification of 1712-15 Arp Schnitger organ at St. Michael’s Church (Hamburg) Hauptwerk Rückpositiv Brustwerk Pedal Principal 16' Principal 8' Flute douce 8' Principal 16' Quintadena 16' Gedact 8' Octava 4' Subbas 16' Octava 8' Quintadena 8' Rohrflöte 4' Rohr-Quinte 10 2/3' Rohrflöte 8' Octava 4' Quinta 2 2/3' Octava 8' Octava 4' Flute douce 4' Octava 2' Octava 4' Spitzflöte 4 Gedact Quinta 2 2/3' Waldflöte 2' Nachthorn 2' Nasat 2 2/3' Octava 2' Sifflet 1 1/3' Rauschpfeiff II Super Octava 2' Spitzflöte 2' Tertian II Mixtur VI Rauschpfeiffe II Quinta 1 1/3' Scharff IV Gross Posaun 32' Mixtura IV-VI Sesquialtera II Trichter Regal 8' Posaune 16' Cimbel III Scharff IV-VI Schallmey 8' Dulcian 16' Trommete 16' Dulcian 16' Trommete 8' Trommete 8' Hautbois 8' Trommete 4' Vox Humana 8' Cornet 2' Plenum – Pr (16’), 8’, 4’, 2’, 2-2/3’, Mix (+Cimbel) Reed Plenum – HW: Trommete 8’, Pr 4’, 2’, 2-2/3’ (+Mix) RP: Dulcian 16’, Pr 8’, 4’, 2’, Scharff Reed Consorts – HW: Pr 4’, 2-2/3’, Trommete 8’ or Vox Humana 8’ BW: Pr 4’, 2-2/3’, Regal against Ped: 8’ Trommette Solo colors – BW: Fl 8’ and 2’ RP: Quintadena 8’ RP: Pr 8’ 4’, 2’, Sesquialtera Ped: Reeds 16’, 8’, 4’, 2’

***For more possibilities, see Barbara Owen The Registration of Baroque Organ Music***

Example 3: Georg Muffat’s bowings (from A Performer’s Guide to Seventeenth Century Music, ed. Stewart Carter)

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IV. How do I use it in church and recitals? The Liturgical Year Advent: Nicolaus Bruhns (1665-1697) Nun komm, der Heiden Heiland Christmas: Dieterich Buxtehude (1637-1707) Nun freut euch lieben Christen g’mein Lent: Vincent Lübeck (1654-1740) Ich ruf zu dir, Herr Jesu Christ Easter: Heinrich Scheidemann (ca. 1595-1663) Christ lag in Todesbanden Pentecost: Franz Tunder (1614-1667) Komm, heiliger Geist, Herre Gott Evening Services (Vespers) Te Deum: Buxtehude Te Deum laudamus Magnificat: Matthias Weckmann (1616-1674) Magnificat II Toni Lord’s Prayer: Georg Böhm (1661-1733) Vater unser im Himmelreich Postludes: Praeludia by Buxtehude and Nicolaus Bruhns (1665-1697) Short prelude and offertory music Samuel Scheidt (1587-1654) – sacred variations on chorales, chants, and psalm tunes Johann Nikolaus Hanff (1663-1711) – chorale preludes on familiar tunes Pairing with later works Popular forms and chorales across different styles Buxtehude Praeludium + Petr Eben’s Hommage à Dietrich Buxtehude Chorale Fantasies by North German composer and Max Reger Chorale Preludes by North German composer and Johannes Brahms Nun komm, der Heiden Heiland by Bruhns and Hugo Distler V. Further Reading Carter, Stewart, ed. A Performer’s Guide to Seventeenth Century Music. 2nd ed.

Bloomington: Indiana University Press, 2012. Haynes, Bruce. The End of Early Music: A Period Performer’s History of Music for the

Twenty-First Century. Oxford: Oxford University Press,2007. Owen, Barbara. The Registration of Baroque Organ Music. Bloomington: Indiana

University Press, 1997. Synder, Kerala. Dieterich Buxtehude: Organist in Lübeck. 2nd ed. Rochester: University of

Rochester Press, 2008.