Johann Schneider, Organ works from Mus. ms

Transcription

1 Johann Schneider, Organ works from Mus. ms Johann Schneider ( ) Mus. Ms Staatsbibliothek zu Berlin Woudenberg 2017 Partitura Organum

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3 Johann Schneider, Organ works from Mus. ms

4 This work may be distributed and/or modified under the terms of the Creative Commons Attribution Non-commercial ShareAlike License, CC BY-NC-SA 4.0 International, which can be found at creativecommons.org. The license applies to the entire Edition. It is build upon material freely provided by the Staatsbibliothek zu Berlin. When using or distributing this Edition you must give proper credit to the Staatsbibliothek zu Berlin ( and provide a link to Partitura Organum ( 2017, Partitura Organum

5 Introduction Johann Schneider ( ) was a German organist, violinist and composer. Around 1720 he became a keyboard pupil of J.S. Bach. Besides keyboard with Bach, he studied violin with Johann Gottlieb Graun. In 1729 Schneider became organist of the Nicolaikirche in Leipzig. He remained in this position for the rest of his career. Schneider enjoyed a reputation as a truly great organist. A contemporary wrote that his preludes on the organ are of such good taste that in this field, except for Mr. Bach, whose pupil he has been, there is nothing better to be heard in Leipzig. Only a small number of his organ works survive. Most of them are contained in manuscript Mus. Ms , owned by the Staatsbibliothek Berlin. What little there is, shows great quality and makes one regret not more of Schneider s music has survived to the present day. The style of Schneider s music leans closely to the style of J.S. Bach, but shows traces of the galant style as well. Schneider had a thorough understanding of counterpoint. In his fugues and choral preludes he uses the usual tricks like diminution, stretto and inversion with ease and to great effect. Yet the music never becomes learned, the musical flow was obviously Schneider s main concern when composing. Four of the works contained in manuscript Mus. Ms are called Präludium. Since the fugal part of these four works is so prominent they are called Präludium und Fuge in this edtion. Three of these four fugues have the indication Allabreve. Interestingly, there is also a seperate Allebreve in the manuscrit, which is again a fugue. Could this be the second part to a lost Präludium? We ll probably never know for certain. The Trio in a minor follows the pattern often used by Krebs: a slow introduction, followed by a more lively second part. Regrettably, the Trio is left unfinished in the manuscript source. There are two pages without a conclusion, followed by another piece. Now it is very easy to end the piece where the source end, by just adding one bar. It fits very well in the musical structure. And perhaps that is why the copyist didn t write it out: he thought it obvious how one should conclude the piece, and thus save himself place for another work. Again, we ll probably never know for certain. The works in present Edition are based upon material freely provided by the Staatsbibliothek zu Berlin in digital form ( They appear here in the order in which they appear in the manuscript.

6 Contents Vater unser im Himmelreich (Canto fermo in soprano) 1 Vater unser im Himmelreich (Canto fermo in Ped. con organo pleno) 2 Mein Gott das Herze bring ich dir (a 2 Clav. & Ped. ) 5 Trio 8 Präludium und Fuge, D dur 11 Präludium und Fuge, G dur 15 Präludium und Fuge, g moll 19 Präludium und Fuge, G dur 25 Allabreve 29

7 Vater unser im Himmelreich Canto fermo in soprano Johann Schneider ( ) Ped. Man Edition Partitura Organum ( 1

8 Vater unser im Himmelreich Canto fermo in Ped. con Organo Pleno Johann Schneider ( ) Ped. Man

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10 Edition Partitura Organum ( 4

11 Mein Gott das Herze bring' ich dir a 2 Clav. & Ped. Johann Schneider ( ) Ped. Man

12 13 15 *) *) b: b flat in manuscript 6

13 26 *) *) e: e flat in manuscript Edition Partitura Organum ( 7

14 Trio Johann Schneider ( ) Man. Ped. Adagio

15 Andante

16 *) **) 32 *) d sharp e f sharp e: sixteenth notes in manuscript. **) d: last note in the manuscript. The last bar is meant as a rudimentary conclusion to the piece Edition Partitura Organum ( 10

17 Präludium und Fuge 11 Johann Schneider ( ) Man. Grave Ped

18 Ped. Man. Allabreve 7 14 *) *) g: g sharp in manuscript 12

19 40 47 *) *) c sharp: b in manuscript 13

20 72 79 Adagio Edition Partitura Organum ( 14

21 Präludium und Fuge Johann Schneider ( ) Ped. Man

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23 Allabreve Man. Ped. *) *) 30 *) g: tie not in manuscript *) c e d c: not in manuscript; but manuscript does not indicate a rest either 17

24 37 45 *) *) b: not in manuscript Edition Partitura Organum ( 18

25 Präludium und Fuge Johann Schneider ( ) Ped. Man *) 9 *) d: not in manuscript. 19

26 11 13 *) *) c: not in manuscript 20

27 *) *) g: not in manuscript 21

28 Ped. Man. Allabreve 6 11 *) *) f: e in manuscript 22

29 *) **) 46 *) d: not in manuscript **) d: not in manuscript 23

30 *) **) 71 *) g: a in manuscript **) rest f g a: not in manuscript. Manuscript has half note f on first beat of bar Edition Partitura Organum ( 24

31 Präludium und Fuge Johann Schneider ( ) Adagio Man. Ped *) p 11 f p 15 f *) d: not in manuscript. 25

32 p 18 Fuga Ped. Man

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35 Allabreve Johann Schneider ( ) Ped. Man

36 * ** * c c sharp: manuscript has a quarternote d in between; either that note is an error or the half note d that follows the c sharp should be a quarter note ** b flat: half note in manuscript. Edition Partitura Organum ( 30