The Chorale Variation

Both traditional and galant elements appear in the chorale variations. Kittel considers the

church style of writing to be especially desirable for variations, with its serious purpose and

dignity. However, he acknowledges that the galant style, although it is limited to some extent to

meet the quality of the chorale melody, is suitable for the variations.53 His intermediate position

is revealed in his preference to combine the two styles “in order to gain a third kind in which

solemn seriousness is combined with grace.”54

Several examples show a remnant of J. S. Bach’s treatment of the chorale; however,

Kittel never forgets to add galant gestures to obtain the “third” kind of style. For example, in

variations II and IV of O Haupt voll Blut und Wunden (Ex. 4 and 5), Kittel references the

imitative techniques and obbligato pedal found also in the Orgelbüchlein. The main difference is

Kittel’s addition of galant gestures (i.e. the parallel octave passages in Ex. 4, m. 3 and mm. 7-9),

which when combined with the full organ add to the overall expression of the passion text.

Therefore, this mixture of the two different styles creates what Kittel mentioned earlier:

combination of “solemn seriousness” with grace.

53
Brown, I, 108.
54
APO, III, 15. Quoted in Brown, I, 114. For this blended style, Kittel recommends individual choruses and
symphonies composed by Mozart, Haydn, and Handel.

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Ex. 4 Variation II on O Haupt voll Blut und Wunden, mm. 1-11
(Octaves boxed)

Ex. 5 Variation IV on O Haupt voll Blut und Wunden, mm. 1-8

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 Variation V (Ex. 6) is another example of the use of octaves in a contrapuntal context.

This three-voiced piece is reminiscent of a variation from Sei gegrüßet Jesu gütig, BWV 768,

which has a similar figuration of running sixteenth notes in the lower two voices beneath the

soprano cantus firmus. Here Kittel articulates the unison passages in a different way than in

Variation II (Ex. 4), connecting the slurs from a weak note to a strong note (Ex. 6, mm. 2-3)

which differs from the articulation of the similar gesture in Variation II (see Ex. 4, mm. 7-9).

Whereas the slurs from the strong notes to the weak notes reflect drama and passion, the slurs in

Variation V beginning on weak notes sound more elegant and graceful. The two examples

demonstrate how a subtle change in articulation can profoundly affect the character of the

gesture.

Ex. 6 Variation V on O Haupt voll Blut und Wunden, mm. 1-6

Interestingly, the sole free variation is placed in the middle of the set and is written not

for the organ, but for the pianoforte (Ex. 7). It is doubtful that the pianoforte was used in the

liturgy, although this instrument became popular during this time and gradually replaced the

other stringed keyboard instruments at home as a practicing device. Kittel probably realized the

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dynamic power and potential of the instrument, which is effective for the galant style of music,

and wished to provide an example for those who practiced at home.

Ex. 7 Variation III on O Haupt voll Blut und Wunden,55 mm. 1-13

55
This ancient chorale is written in the Phrygian mode, which normally ends on E. Just as J. S. Bach kept the
Phrygian mode for the harmonization of this chorale in the St. Matthew Passion, Kittel also takes the same mode
and transposes it up a minor third ending on G.

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 In Example 7, frequent dynamic and rhythmic changes are seen, in particular with

specified dynamic indications. Also the broken chords throughout the piece, the slurred

descending thirds in measures 9 and 10, and the octave pattern in the bass at the end reveal

common features of the galant style.

Variation II and III on Jesu komm doch selbst zu mir show how one can treat the chorale

melody as a fixed theme in the free-style writing.

Variation II (Ex. 8) is a straightforward two-voice piece in a light texture. The left-hand

broken chords accompany an ornamented version of the chorale melody with a slow harmonic

rhythm, creating an elegant motion. The two–measure phrases create a balanced symmetry.

Ex. 8 Variation II on Jesu komm doch selbst zu mir, mm. 1-6

Variation III (Ex. 9), with a melody containing triple figures, is in the style of a gigue.

An additional voice is added and detailed dynamic markings are indicated. In this light texture,

Kittel provides the consistent rhythmic contrasts by opposing eighth notes and sixteenth notes in

each phrase.

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Ex. 9 Variation III on Jesu komm doch selbst zu mir, mm. 1-10

An interesting contradiction arises in Kittel’s use of the dance style. In his 1805

publication Vierstimmige Choräle mit Vorspielen, Kittel mentions that the true church style is

disrupted by the “adornment of theatrical and dance styles that are so often clumsily used in

church.”56 However, this variation could be seen as a compromise by Kittel in order to please the

congregation’s taste. Instead of playing organ transcriptions of French dances or orchestral

excerpts, which some of organists performed during the service, he rather provides a graceful

character by modifying the rhythm of the chorale melody to please his listener and congregation.

This shows Kittel’s compromising approach to a long-running debate about which style is

suitable in church during the transition period.57

The final toccata-like variation (Ex. 10) is developed on an independent musical idea and

not on the chorale melody. Kittel does not explain why this variation is free from the chorale

melody, however, he provides an explanation in the text on how to make a piece based on a

simple motive (labelled “a” in Ex. 10) without additional subordinated ideas, saying that

56
See Stephen Rose, “Lutheran Church Music,” in The Cambridge History of Eighteenth-Century Music, ed. Simon
P. Keefe (Cambridge University Press, 2009), 163.
57
Ibid.162-3. According to Rose, Hiller complained that dance music was being played by church organists as
preludes to chorales. In addition, Niedt suggested organists should play “very devoutly and not too merrily.”

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“simplicity of form cannot be attained without simplicity of material.”58 The technique in writing

a toccata using a circular motive is similar to the toccatas in D minor and F major of J. S. Bach.

Kittel mentions that this piece reflects a serious and majestic character,59 and can, in fact, be

considered one of the most well-developed works among Kittel’s examples in terms of length,

material and development.60

Ex. 10 Variation IV on Jesu komm doch selbst zu mir, mm. 1-11

58
APO, II, 54. Quoted in Brown, I, 86.
59
Brown, II, 114.
60
Brown, I, 156.

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The Free Works in Der Angehende Praktische Organist and the 16 Grosse Präludien

Kittel’s non-chorale-based works are composed in the free style for the postlude as their

titles bear “Nachspiel” or “Preludio pro Organo Pleno.” These pieces are also titled as

“Präludium” in another of Kittel’s publication, the 16 Grosse Präludien, which will be discussed

below. Although the word “Präludium” or “Preludio” (Prelude) indicates a piece that is played

before something else, Kittel’s use of the word “Nachspiel” (Postlude) for the same piece that is

labeled as “Präludium” confirms that the Präludium was expected to be heard at the end of the

service. Türk also agreed that the Präludium was played as a postlude according to his list of four

different preludes: 1) the prelude with cantus firmus, 2) the prelude without C. F., 3) the prelude

prior to concerted music in church, and 4) the voluntary, which is considered the postlude.61

Türk states that the improvisation at the end of the service was one of the most important

parts of the service in that the organist was to “demonstrate his proficiency, to incorporate a

pedal solo, and to employ everything his art makes available to him.”62 He continues that if the

organist, however, plays too long, the congregation would leave the church without further

listening, saying that “should he stray too far afield in this, the nuisance he causes as a result will

not be of great consequence because the majority of the congregation will no longer hear him.”63

This might lead to an understanding of the differences in the same D minor works, which appear

both in Der Angehende Praktische Organist and the 16 Grosse Präludien (Ex. 11 and 12).

61
Türk, 1787, 57.
62
Ibid., 70.
63
Ibid. Although it is not completely clear what Türk meant by the statement “should he stray too far afield in this”
in the context, it is likely that he would have suggested a short improvisation, as he mentioned that a lengthy prelude
(played before the service) could make the congregation bored and displeased with the organist’s artistry. See Türk,
1787, 63.

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Ex. 11 D minor Postlude for Full Organ with Two Manuals from Der Angehende Praktische
Organist, mm. 1-37

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Ex. 12 D minor Präludium from 16 Grosse Präludien, mm. 1-12

Interestingly seven out of the ten free works in Der Angehende Praktische Organist,

reappear in the 16 Grosse Präludien, which, according to the plate number, suggests that they

were likely meant to be published in 1809.64 Among them, two works from the volume of 1801,

E-flat major and D minor, appear as slightly altered versions in the 16 Grosse Präludien. In

particular, the D minor version of the later publication is shorter than the original version and

presents a close relationship in the use of the theme between the two. In contrast, the later E-flat

major version is nearly identical to the original, but begins with slightly altered melodic contour.

The D minor piece, titled as “Nachspiel für volle Orgel mit zwey Clavieren” (Postlude

for full Organ with two manuals) in Der Angehende Praktische Organist (Ex. 11) is longer than

the D minor Präludium in the 16 Grosse Präludien (Ex. 12). The main differences occur mostly

at the beginning. For example, the D minor Postlude from Der Angehende Praktische Organist

(Ex. 11) begins on a secondary manual without pedal and provides delicate articulation markings,

slurs and staccatos. After the theme ends with a perfect authentic cadence in measure 8, it repeats

64
Water Emery, Editorial Note to Johann Christian Kittel, Three Preludes for Organ (Borough Green: Novello,
1958), 2.

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