The Significance Of The Newly Rediscovered . - Bach Network
Understanding Bach, 8, 61–85 Bach Network UK 2013The Significance of the Newly RediscoveredKittel ChoralbuchSUSAN M C CORMICKAlmost 200 years after the death of Johann Christian Kittel (1732–1809), amanuscript Choralbuch bearing his name was purchased from a Germanantiquarian book-dealer.1 The manuscript—which, according to the antiquarian,dates from between 1780 and 1810—is unlike any other extant Kittel source inscope and scale. This article offers a description of the manuscript, a discussion ofits place among Kittel’s other known chorale collections, and its relationship withother extant multiple bass Choralbücher, with a view to clarifying later eighteenthcentury organ chorale pedagogy and practice.Physical description of the newly rediscovered Kittel ChoralbuchThe manuscript was first described by Robin A. Leaver in an unpublished paper,presented to the Bach Colloquium meeting at Harvard University’s MusicDepartment in May 2009.2 The newly rediscovered Kittel manuscript (hereafterreferred to as Source A) consists of 215 folios bound within a cardboard cover,with leather lining on the spine and corners.3 It is sewn in signature, with pagesgathered in inconsistent groups. All folios up to and including 133v consist ofdouble paper; the remaining sheets are single.The Choralbuch opens with a title page (f.1r) reading Choralbuch von JohannChrist. Kittel, Organist an der PredigerKirche in Erfurt—this page also includes thenames of two previous owners of the manuscript: ‘Poss: J. G. Anhalt’ (whosename has been crossed out) and ‘Poss Ludwig Christian’ (Figure 1). Folio 2r bearsthe inscription ‘Herrn Böhm’ and contains remnants of red wax. This page isfollowed by 189 multiple bass chorale settings (ff. 2v–189r), which are numbered1–182 (some numbers are repeated). These chorales contain up to six differentfigured bass settings each (no. 55 contains no music, although the title Mensch,123This manuscript is in the private possession of Professor Yo Tomita, Newtownabbey, UK. Theantiquarian book-dealer advertised the source as ‘Uraltes Choralbuch von Johann Christ.Kittel, ca. 1780–1810’.Robin A. Leaver, ‘Pedagogy, Practice, or Both? A Preliminary Survey of the Significance of theNewly-Discovered Choralbuch of Johann Christian Kittel (1732–1809)’.The cover measures 15.8 cm (spine) / 15.6 cm (outer length) by 19.5 cm (top) / 19.2 cm(bottom). The thickness of the cardboard cover is 0.5 cm, and the overall width of themanuscript is 6 cm.
Susan McCormick62willst du leben seliglich appears along with two pages of ruled staves). Themanuscript also contains fifteen chorales with one figured bass setting each(ff. 189v–196v). Folios 197r-204v contain no music; however, all but folio 204v areruled with staves. An alphabetical index of the chorales appears at the back of themanuscript (ff. 205r–208v), after which empty folios continue to the end (f. 215r).Figure 1: Title page of Source AWatermarks are visible on a number of folios. Those on the double paper differfrom those on the single. The former are difficult to decipher: there are at leastthree different marks, two of which consist of lettering (only parts of these lettersor words are legible).4 One of these marks may be ‘C BLAW’.5 D & C Blauw was aDutch paper mill that was active approximately between 1750 and 1822.6 Thiswatermark is commonly known to be accompanied by a fleur-de-lis, but theimages found here consist of flowers, or possibly suns, a combination that has notbeen recorded elsewhere. Furthermore, Andrea Lothe is of the opinion that the456Sincere thanks to Dr Christine Blanken at the Bach-Archiv Leipzig for the invaluable helpgiven in examining the watermarks of Source A, and for sharing her expertise so kindly.The other mark resembles ‘C & I Honig’, a prominent paper mill in the eighteenth century.However, normally a fleur-de-lis appears as a countermark.According to the Deutsche Nationalbibliothek’s, Papierhistorische Sammlungen. Thanks to MsAndrea Lothe at the Deutsche Nationalbibliothek, Leipzig, for providing me with thisinformation, and for helping to decipher the watermarks of Source A.
The Significance of the Newly Rediscovered Kittel Choralbuch63paper in Source A is notably different to that produced by D & C Blauw.7 Thewatermarks on the single paper consist of a crowned double-C emblem betweenpalm leaves, with letters ‘S C’ (?) as countermark. Crowned double-C emblemsbetween palm leaves were not uncommon in eighteenth-century papers: they areassociated with firms such as Sickte, and H.C. Borcherdt, although these emblemsnormally appear alongside countermarks (for example, names or initials). It maybe worth mentioning that a c.1769 manuscript of C.P.E. Bach has a very similardouble-C watermark to that in Source A, although the shape of the crown differsslightly.8 There does not appear to be any known examples of a crowned doubleC emblem between palm leaves appearing on the same paper as the letters ‘S C’.However, the watermarks on the single paper indicate that the paper originatedin Sachsen-Anhalt or Niedersachsen (both of which border Kittel’s home state ofThuringia). The watermarks (or at least the combination) of Source A appearsomewhat unique, and have yet to reveal any concrete information about themanuscript’s origin.Copyists and provenanceHaving compared Source A with other known works in Kittel’s hand, it appearsthat Kittel did not transcribe the former. It is clear that at least two copyists wereinvolved in transcribing Source A (both of whom are, as yet, unknown). Themultiple bass chorales and the index seem to have been written in one hand, andthe fifteen chorales with one figured bass line each, together with the inscription‘Herrn Böhm’—found on folio 2r—in another.9 The notation, particularly of thestem directions, of the fifteen melodies at the back of the collection is moremodern than that of the preceding chorales.Ludwig Christian and J. G. Anhalt—as is evident from the title page—are theonly two known owners of Source A prior to the antiquarian book-dealer.10 Thecalligraphic style of J. G. Anhalt’s signature and the handwriting of the title of themanuscript are extremely similar, suggesting that the same hand was used toinscribe both. This, along with the fact that the name ‘J. G. Anhalt’ has beencrossed out, implies that Anhalt owned the manuscript before Ludwig Christian.78910It is possible that this paper was a forgery of the high quality paper produced by D & C Blauw.The cover of this manuscript contains the double-C watermark. C.P.E. Bach, Oster Musik / Von /C. P. E. Bach. / 69 / 76 / 87 / No. 19, ca. 1760–1789, D-B, Mus. ms. Bach St 182, 84 folios. Anumber of C.P.E. Bach manuscripts contain crowned double-C emblems.The bottom one or two bass lines of a number of these chorales appear in a fainter coloured inkthan the rest of the notation. This suggests that they were added on a later occasion. On lessfrequent occasions entire settings (or large sections) appear in this faint ink. These choralesmay represent points at which folios were left blank and then returned to at a later date.A small number of sacred settings by a composer named J. G. Anhalt are housed in the BachArchiv, Leipzig. These manuscripts date from the eighteenth century, with some recorded tohave originated, more specifically, in the last decade of the century. It is possible that thiscomposer was also one of the owners of Source A. The identity of Ludwig Christian isunknown. Prince Louis Ferdinand of Prussia (1772–1806) was also referred to as PrinceFerdinand Ludwig Christian of Prussia. As a talented musician, it is possible that Source Acame into his possession. If this suggestion is proved true, it implies that the manuscript wascertainly completed before 1806, and as we know Ludwig Christian was not the first owner ofthe manuscript it implies that the source was likely to have been compiled some years earlier.
Susan McCormick64From examining the handwriting and layout of Source A it appears plausible thatcopyist 1 transcribed the multiple bass chorales and the accompanying index andcopyist 2 copied the single bass chorales. This second copyist also addressed themanuscript for the attention of Mr Böhm. The manuscript was then passed on toJ. G. Anhalt. It is evident that the folio on which Mr Böhm’s name appears wasonce sealed to the previous page. It is possible that Anhalt was responsible forthis sealing in order to conceal Mr Böhm’s name and to inscribe the title page, towhich he added his own name. The manuscript then came into the possession ofLudwig Christian, who crossed out Anhalt’s name and signed his own.Contents of Source ASource A contains 189 chorale settings consisting of melody and multiple figuredbasses. Of these settings there are 184 different chorale melodies and 181 differenttitles. The chorales are ordered in a similar fashion to that of the commonGesangbuch; for example, the first section is organised according to the Sundaysand feast days of the liturgical calendar. The number of bass settings per choralevaries, with the majority having four different basses each (one chorale has sixbass settings, twenty have five, seventy-seven have four, sixty-one have three,twenty-five have two, and five have one). Six chorale titles appear more thanonce (Table 1). Interestingly, when Kittel sets the same melody in more than onekey, he often retains the same basses and figures. This perhaps suggests that hewas relating the harmonies to the associated texts.Of the 184 different chorale melodies with multiple bass settings, fourteen donot appear under the same titles in Zahn’s comprehensive collection of choralemelodies.11 Of the fifteen chorale melodies with single bass settings, only oneappears. The earliest known sources of three of the chorale melodies in Source Aare reported by Zahn to date from the late eighteenth and early nineteenthcenturies, namely, Die Nacht ist vor der Thür (Zahn 2204), Kommet, kommet sprichtder Herr (Zahn 3328), and Wer ist der Herr (Zahn 865).12 This tallies with theantiquarian’s description of the manuscript as dating from between 1780 and1810. However, the structure and contents of Source A suggest an earlier date oforigin. The choice of chorales and their adopted order are comparable with thatof other mid-eighteenth-century Choralbücher (as shown below). Yet they are1112Johannes Zahn, Die Melodien der deutschen evangelischen Kirchenlieder (Gütersloh: C.Bertelsmann, 1889–1893; reprint, Hildesheim: Olms, 1963).The earliest known source for Die Nacht ist vor der Thür is recorded by Zahn to be the 1803Gesangbuch by Georg Peter Weimar (1734–1800) in which Kittel’s harmonies are used. GeorgPeter Weimar, Vollständiges, rein und unverfälschtes Choral-Melodienbuch zum Gebrauch dervorzüglichsten protestantischen Gesangbücher in Deutschland mit Johann Christian Kittelsharmonischer Begleitung (Erfurt: J.D. Weimar, 1803). Kittel’s setting of Kommet, kommet spricht derHerr incorporates a variation that was, according to Zahn’s knowledge, first used by JohannGottfried Vierling (1750–1813) in 1789. Vierling, Choralbuch auf Vier Stimmen zum Gebrauch beydem öffentlichen und Privat-Gottesdienst (Kassel: Waisenhaus-Buchdruckerey, 1789). Zahn creditsa 1799 Choralbuch by Johann Mathias Rempt (1744–1802) as being the first known source of themelody Wer ist der Herr. Rempt, Vierstimmiges Choralbuch zum Kirchen- und Privatgebrauche vonJoh. Matth. Rempt (Weimar, 1799). This Choralbuch was self-published.
The Significance of the Newly Rediscovered Kittel Choralbuch65Table 1: Titles that appear more than once in Source ANo. inSource A6363 lit. aTitleKeyAllein zu dir, Herr Jesu ChristAllein zu dir, Herr Jesu ChristA minorG minorNo. of basssettings5249157Herr Gott, dich loben alle wirHerr Gott, dich loben alle wirG majorA major3313178Helft mir Gotts Güte preisenHelft mir Gotts Güte, oder:Gott fähret auf gen HimmelLiebster Jesu, wir sind hierA minorC major53G major4A minorG minor22161542Liebster Jesu, wir sind hier[Liebster Jesu, wir sind hier] ExG molMeinen Jesu laβ ich nichtMeinen Jesu laβ ich nichtWir danken dir Herr Jesu ChristD majorG majorG major53323156bWir danken dir Herr Jesu ChristWir danken dir Herr Jesu ChristC majorE major3260152 [a]152 [b]Similarities / differencesMelodyBass 3 of no. 63 is almostidentical to bass 1 of no. 63lit. aMelodyAll three basses almostidenticalDifferent melody andbassesDifferent melody andbasses to nos. 152 [a] and [b]MelodySame basses in bothDifferent melody andbassesDifferent melody andbasses to nos. 23 and 156bMelodyFirst two basses almostidenticalunlike other extant harmonised chorale collections by Kittel, all of which arethought to date from approximately 1780 and later.13 In addition to Source A,there are nine extant collections of harmonised chorales by Kittel: three four-partmanuscripts, one four-part print, two Choralbücher with melody and figured bassline, and three small collections (Table 2).14 There appears to be a divisionbetween the melodies in these Choralbücher and those in Source A, with many ofthe melodies in Source A displaying variants to those in Kittel’s other choralecollections. All of the harmonised single bass Kittel Choralbücher (with theexception of the 1803 collection, which was compiled for the region of SchleswigHolstein) contain some melodies that are distinct to Kittel’s hometown of Erfurt.1314The dates of the Kittel Choralbücher from the Peters’ Collection (D-LEm, PM 3884 and D-LEm,PM 3870) are unknown. These two manuscripts are both associated with an Erfurt Gesangbuch.It appears that the first official Gesangbuch to be published solely in Erfurt was the 1778Vollständiges neu aufgelegtes und vermehrtes Evangelisches Gesang-Buch: darinnen 1031. geistreichealte und neue Lieder und Psalmen des . Martini Lutheri . (Erfurt: Freytag, 1778)—Gesangbücherprior to this date were published jointly in Erfurt and Jena, and Erfurt and Langensalza. This,together with the fact that many of the melodies are also included in Kittel’s other extant singlebased manuscript Choralbücher suggests that the earliest possible date of origin for these twocollections was circa 1780.Chorale harmonisations by Kittel also appear in the 1803 Gesangbuch by Weimar, andindividual harmonised chorales are found in a number of other Kittel manuscripts.
Table 2: Kittel harmonised chorale sourcesFormTitle4-part ms4-part ms[Choralbuch, without title]Vollständiges Erfurthl: Choral Buch ausgesetzt von JohannChristian Kittel. Organist an der Evangel. Prediger Kirche inErfurt[Choralbuch, without title]Vierstimmige Choräle mit Vorspielen: Zum allgemeinen sowohl alszum besondern Gebrauch für die Schleswig-Hollsteinischen KirchenChoral Buch von Johann Christian KittelChoralbuch mit Bassen von Kittel nach dem Erfurter Gesangbuche12 Choräle mit verschieden Bäsen di Christian Kittel24 Choräle di Christian Kittel Organist in Erfurt an der PredigerKirche: Letzter Schüler von Sebastian Bach24 Choräle mit acht verschiedenen Bässen [?] nebst 11 Chorälenmit Pasagen von Johann Christian KittelfVier und zwanzig Choraele mit acht verschiedenen Bassen ubereine Melodie von J. Ch. Kittel24 Choräle mit acht verschiedenen Bässen uber eine Melodie von J.Ch. Kittel, letzem Schüler von Joh. Seb. Bach25 Chorale mit achertleÿ General Baessen del sigl. Kittel4-part ms4-part printMel fig.bassMel fig.bassMultiple bassMultiple bassdMultiple bassabcdefLibrary sigla /publication detailsD-Mbs, Mus. ms. 4795US-NHub, LM 22CopyistDateWetterhanRinckc. 17801786–89?aPages /folios95 folios146 foliosD-LEm, PM 3884Altona: HammerichScheibnern/aLate 18th/early 19th C?180385 folios205 pagesD-LEm, II 1 40 69D-LEm, PM 3870US-NHub, LM 4133US-NHub, LM 4745KittelbScheibnerRinckRinck1790Late 18th/ early 19th C?1786–89?c1787–1789?e218 pages85 folios32 folios40 pagesD-Dl, Mus. 1-E-794Unknown180061 pagesOffenbach: Joh. Andren/a181139 pagesOffenbach: Joh. Andren/a184–?39 pagesUS-R, M7 K 62CUnknown179140 pagesThis date is suggested by John Philip Anthony, ‘The Organ Works of Johann Christian Kittel’, unpublished PhD thesis, Yale University, (1978), p. 334.Carl Ferdinand Becker attributes the handwriting to Kittel: Becker, Die Choralsammlungen der verschiedenen christlichen Kirchen (Leipzig: Fleischer, 1845),p. 206. A comparison of the handwriting of this source with other works known to have been transcribed by Kittel confirms Becker’s suggestion. Zahnalso agrees that the handwriting is Kittel’s: Zahn, Die Melodien der deutschen evangelischen Kirchenlieder, vol. VI, p. 554.Anthony suggests this date: Anthony, ‘The Organ Works of Johann Christian Kittel’, p. 337.Printed copies are also held in US-NHub, Vi12 56; US-R, M7 K 62t; and D-Budka, 2897.Anthony suggests this date: Anthony, ‘The Organ Works of Johann Christian Kittel’, p. 350.This manuscript also contains a Choralbuch vor Johann Christoph Bach and some works by Vogler and Fischer.
The Significance of the Newly Rediscovered Kittel Choralbuch67Many of the titles of these melodies also appear in Source A. Here, however,Kittel chooses different melodies, such as Kein Stündlein geht dahin, and Nicht sotraurig, nicht so sehr (Examples 1a and 1b). Zahn records another Choralbuch(c.1760) thought to be by Kittel, which, as far as he was aware at the time ofpublication, represents the earliest known source of a number of Erfurtmelodies.15 Unfortunately, the present location of this source is unknown.However, a number of these Thuringian melodies are included in the 1803Gesangbuch edited by Georg Peter Weimar, and in the following Kittelmanuscripts: D-Mbs, Mus. ms. 4795; US-NHub, LM 22; D-LEm, PM 3884; D-LEm,II 1 40 69; and D-LEm, PM 3870. None of these melodies appear in Source A.The contents and melodies of Source A relate closely to a hymnbook publishedin Gotha in 1715 (see Examples 2a and 2b; 173 of the chorale titles in Source Aappear in the Gotha Gesangbuch, six of which appear in the index only, andtwenty of which have different melodies).16 This Gesangbuch is thought to havebeen based on an earlier hymnal, the Gotha Cantional 1646; a collection thatLeaver suggests was familiar to Kittel’s teacher Johann Sebastian Bach (1685–1750) from his youth.17 This further suggests that Source A originated earlier inthe eighteenth century. If this is the case, then it would appear that this Kittelmanuscript is the earliest known source for the melody Die Nacht ist vor der Thür,the variation of the melody Kommet, kommet spricht der Herr, and possibly themelody Wer ist der Herr (although this is one of the fifteen single bass choralesthat appear to have been added to the manuscript at a later stage).18The harmonic rhythm of the chorales is generally slow in Source A, with themajority of figures representing suspensions, first inversion and seventh chords.The final settings of many of the chorales consist of continuous quaver orsemiquaver movement; however, most of these contain relatively few figures,and are restricted primarily to first inversion and some second inversion chords.The first bass settings of many of the chorales in Source A are comparable in styleto Kittel’s 1803 published four-part Choralbuch—these basses are oftencomparable even when the melodies contain variants (see Examples 3a and 3b).15161718Zahn, Die Melodien der deutschen evangelischen Kirchenlieder, vol. VI, p. 546.Christian Freidrich Witt (ed.), Psalmodia sacra oder andächtige und schöne Gesänge so wohl des sel.Lutheri, als anderer geistreichen Männer Auf Hochfl. gnädigste Verordnung, in dem FürstenthumGotha und Altenburg, auf nachfolgende Art zu singen und zu spielen (Gotha: Reyher, 1715).Cantionale Sacrum, Das ist Geistliche Lieder von Christlichen und Trostreichen Texten Mit 3. 4. 5.oder mehr Stimmen unterschiedlicher Autorum .und zum andernmal gedruckt (Gotha: Schall, 1651).See also Robin A. Leaver, ‘Suggestions for future research into Bach and the chorale: aspects ofrepertoire, pedagogy, theory, and practice’, Bach, 42/2 (2011), 40–63, at 47.Zahn’s anthology focuses primarily on published sources. As he did not have access to a hugenumber of manuscripts, it is possible that these melodies existed elsewhere in handwrittenform.
68Susan McCormickExample 1a: Kittel, Kein Stündlein geht dahin, Source A (Zahn 4243b)Example 1b: Kittel, Kein Stündlein geht dahin, D-LEm, II 1 40 69 (Zahn 4245)—This melodyalso appears, with slight variations, in all of the other extant single bass Kittel ChoralbuchmanuscriptsExample 2a: Kittel, Jesus Christus, unser Heiland, der von uns, Source AExample 2b: Jesus Christus, unser Heiland, der von uns, Gotha GesangbuchExample 3a: Kittel, Jesu, meine Freude, phrases 4–6 of first bass setting, Source AExample 3b: Kittel, Jesu, meine Freude, phrases 4–6, 1803 Choralbuch
The Significance of the Newly Rediscovered Kittel Choralbuch69The purpose of Source AThe chorale served a number of purposes in the eighteenth century. It played acentral role in the Lutheran church service; organists were required to accompanychorale singing and to create suitable preludes and possibly interludes andpostludes on the chorale.19 It was also performed in the home as part of dailyworship, with many middle-class families possessing their own private choralecollections. A number of published Choralbücher were marketed for use in bothchurch and home, as is evident from their titles (for example, part of the title ofDretzel’s 1731 Choralbuch reads: ‘for public worship on organs and also devotionin the home’).20 The chorale also had a strong pedagogical value. It wascommonly used as a tool for teaching harmony and composition and wasincluded in a number of eighteenth-century treatises.21 We know from theaccounts of Kittel’s pupils, Johann Wilhelm Hässler (1747–1822) and ChristianHeinrich Rinck (1770–1846), that the chorale played a central role in histeaching.22 Furthermore, Kittel’s instructional work Der angehende praktischeOrganist (published in three volumes at the beginning of the nineteenth century,hereafter referred to as the APO) is largely devoted to the discussion of chorales,and his Generalbass Schule includes numerous chorale exercises.23A number of factors suggest that Source A was intended for accompanyingcongregational singing.24 Firstly, the order adopted follows a similar sequence tothat found in the Gesangbücher of the day. Secondly, an alternative text is given toone of the chorales. Thirdly, the fast moving final bass lines of many of thechorales imply that the last verse of the hymn should receive a more elaborate192021222324For further information on the use of the chorale in the Lutheran church service, see MartinBlindow, Die Choralbegleitung des 18. Jahrhunderts in der evangelischen Kirche Deutschlands(Regensburg: Gustav Bosse Verlag, 1957); Karl Gustav Fellerer, Beiträge zur Choralbegleitungund Choralverarbeitung in der Orgelmusik des ausgehenden 18. und beginnenden 19. Jahrhunderts(Strassburg: Heitz & Co., 1932); and Joseph Herl, Worship Wars in Early Lutheranism: Choir,Congregation, and Three Centuries of Conflict (Oxford: Oxford University Press, 2004).Cornelius Heinrich Dretzel, Des evangelischen Zions musikalische Harmonie oder evangelischesChoral Buch (Nürnberg: Lorenz Bieling, 1731): ‘bey dem öffentlichen Gottesdienst auf Orgelnauch zu Haus zur Ermunterung’.See for example, Michael Johann Friedrich Wiedeburg, Der sich selbst informirende Clavierspieler;Johann Mattheson, Der vollkommene Capellmeister, trans. Ernest C. Harriss (Michigan: UMIResearch Press: 1981); and Türk, Daniel Gottlob Türk On the Role of the Organist in Worship, trans.Margot Ann Greenlimb Woolard (Lanham, Maryland: Scarecrow Press, 2000).Christoph Dohr (ed.), Rinck, Johann Christian Heinrich: Dokumente zu Leben und Werk, (Köln:Verlag Christoph Dohr, 2003); and Helga Brück, Johann Wilhelm und Sophia Hässler: einerErfurter Musikerfamilie (Erfurt: Verein für die Geschichte und Altertumskunde, 2003).Johann Christian Kittel, Der angehende praktische Organist, oder Anweisung zum zweckmӓβigenGebrauch der Orgel bei Gottesverehrungen in Beispielen (Erfurt: Beyer und Maring, 1803–1808;reprint, Wiesbaden: Breitkopf & Härtel, 1986); Kittel, Generalbass Schule von meinem Lehrer demOrganisten Kittel Manuscript Rink, 1801–1846, US-NH, LM 3911, 253p. Other pedagogical worksby Kittel include Noten-Buch which deals with the fundametals of music theory: Kittel, NotenBuch Dal Signor Kittell, Us-Wc, MT 224.K62, 144 pages. Many thanks to Dr David Ledbetter foralerting me to this source, and to Mr Larry Molinaro for kindly providing me withphotographs of this work.If the Prince of Prussia (Ludwig Christian) is discovered to have been one of the owners ofSource A it is likely that as a secular musician he utilised the collection privately.
70Susan McCormickaccompaniment.25 Fourthly, the harmonic language is relatively straightforward,appearing particularly suited to congregational accompaniment. This is evidenton comparison with the chorale settings in Kittel’s other multiple bass choralecollections. On the whole, these basses are quite intricate, often including wideleaps and large ranges, containing numerous chromatic intervals, and displayingactive, complex and fast moving harmonic progressions (see Examples 4a and4b). These more elaborate accompaniments suggest that they were not intendedprimarily for supporting a congregation: in the APO, for example, Kittel isreferring to accompaniment when he advises keeping active or intricatevariations to the middle of a hymn, so as not to confuse the congregation.26Similar advice is given in the forewords to a number of eighteenth-centuryChoralbücher; for example, Johann Balthasar König (1691–1758) recommends in his1738 collection that the bass of chorales be kept simple so as not to lead thecongregation astray.27 As mentioned, Source A shares a similar harmonic stylewith Kittel’s 1803 Choralbuch. The fact that the 1803 collection was createdfundamentally for use in the churches of Schleswig-Holstein and intended as anaid for novice organists further supports the proposition that Source A wasutilised within the church service.Although a number of factors appear to indicate that Source A was used in thechurch, an examination of other extant chorale works by Kittel makes clear thathe intended many of his works not to serve just one purpose but to be multifunctioning, developing skills in performance, composition and pedagogy. In thepreface to his 1803 Choralbuch, for example, he remarks that the chorales would be‘useful for practical instruction in harmony and counterpoint’ as well as forperformance in church.28 In one of the published editions of Kittel’s twenty-fourmelodies with multiple basses, an alternate ending with the inscription ‘Zumletzten Verse’ is given to the chorale O Gott, du frommer Gott, implying that thiscollection was also used for accompaniment.29 Furthermore, Kittel’s worksinclude examples where he employs the same settings for two different purposes.In the first volume of the APO, for example, he opens with a number of differentsettings of the chorale Sei Lob und Ehr dem höchsten Gut under the following titles:‘Ein kurzes Vorspiel’; ‘Vorspiel mit voller Orgel’; ‘Choral mit vorigem Thema’;‘Für den Anfänger’. Each of these settings serves a different pedagogical purpose.2526272829Herl notes that in the accompaniment of the chorale that was sung directly before the sermonit was customary for the final verse to receive a more boisterous treatment. Herl, Worship Wars,p. 147.See APO, vol. III, p. 56: ‘Diese Bearbeitung darf nur in der Mitte des Liedes angewendetwerden’.Johann Balthasar König, Harmonischer Lieder-Schatz oder allgemeines evangelisches Choral-Buch (Frankf
C.P.E. Bach, Oster Musik / Von / C. P. E. Bach. / 69 / 76 / 87 / No. 19, ca. 1760–1789, D-B, Mus. ms. Bach St 182, 84 folios. A number of C.P.E. Bach manuscripts contain crowned double-C emblems. 9 The bottom one or two bass lines of a number of these chorales appear in a fainter coloured ink than the rest of the notation.
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Chính Văn.- Còn đức Thế tôn thì tuệ giác cực kỳ trong sạch 8: hiện hành bất nhị 9, đạt đến vô tướng 10, đứng vào chỗ đứng của các đức Thế tôn 11, thể hiện tính bình đẳng của các Ngài, đến chỗ không còn chướng ngại 12, giáo pháp không thể khuynh đảo, tâm thức không bị cản trở, cái được
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. Crawford M., Marsh D. The driving force : food in human evolution and the future.
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
