Other famous organists of this period were Johann Pachelbel (1653-1706), located at Nuremberg (Bach studied his works as a lad); Dietrich Buxtehude (1637-1707), organist at Lübeck for thirty-nine years. One of the most important names of this period of development is that of Johann Joseph Fux (1660-1741). His “Gradus ad Parnassum,” published in 1725, a treatise on counterpoint based on the practice of the great masters, played an important part in the training of Haydn, Mozart and Beethoven.
English Organists.—In the history of English organ playing, the first great name to engage our attention is that of Thomas Tallys, born about 1520. He is called the “Father of English church music.” He served under Henry VIII, Edward VI, Queen Mary and Queen Elizabeth, as organist of the Chapel Royal. English organists of distinction contemporary with and succeeding Tallys were John Merbecke, Richard Farrant, William Byrd, John Bull, Thomas Morley, Orlando Gibbons (a contemporary of Frescobaldi), Matthew Lock, John Blow and Henry Purcell. The last mentioned, born in 1658, became organist of Westminster Abbey in 1680. The name of Purcell is one of the strongest in the history of English music. It was his ambition to found a distinctive school of English composition. Although not successful in this, he made a lasting impression on English church music and produced many charming secular works. It is on record that he stood high in the estimation of his European contemporaries.
Culmination in Bach and Handel.—The Polyphonic Period culminated in Bach and Handel, both born in 1685. These two, who never met, and who worked upon dissimilar lines, were the most famous organists of their day, in addition to their greatness in composition.
The Organ and Polyphonic Music.—Bach must be regarded as the source of modern organ composition and playing. In him polyphonic composition attained its highest perfection and the organ stands as the centre of the Polyphonic school. The development of the Opera and its influence towards a freer style in vocal and instrumental composition and the tendency of instrumental music to develop along harmonic lines had the effect of relegating polyphonic music to the Church with the organ as its chief vehicle. It is only of comparatively recent years that the organ has become a concert instrument. Bach’s treatment of the instrument serves as a model for the composers of all time and the study of his works is indispensable to the development of technical command of the organ and the cultivation of the true organ style. Handel’s permanent contribution to organ literature consists of sets of Concertos. These concertos, a number of which are still played and admired, excited the enthusiasm of Sir John Hawkins, who gives a glowing account of them in his history. Bach was appointed Cantor at the St. Thomas Schule, Leipzig, in 1723, and it was here that much of his greatest work was accomplished. In addition to his duties at the school, he directed the music in the Churches of St. Thomas and St. Nicholas. As to the relative superiority of Bach and Handel as organists, contemporary opinion seems to have differed widely. Each undoubtedly had a style of his own as shown in his published compositions. Each excelled in improvisation.
The Chorale in Protestant Organ Music.—In addition to his incomparable preludes and fugues, toccatas, fantasias and pieces in the larger forms, Bach made the polyphonic treatment of the chorale an art peculiarly his own. In fact, the German style of organ playing may be said to have developed from the chorale and from the music of the Reformation. This furnished a fresher and very different source of inspiration from the Gregorian chant which had been handled so effectively by Frescobaldi and his Italian successors.
Marchand.—One of the most renowned of early French organists was Louis Marchand (1671-1732). In 1717, while living under banishment in Dresden, he was to have entered into a trial of skill with Bach, but lost courage and departed on the morning of the appointed day. A certain triviality has at times characterized the French school of organ music, undoubtedly a reflection of the prevailing style and taste in other branches of musical composition. Of later years, however, a more serious and exalted style has developed.
The German School.—To return to the German organists. A name familiar to all students of the organ is that of Rinck. Johann C. H. Rinck (1770-1846) was a pupil of Kittel, who in turn was a pupil of J. S. Bach. Rinck’s reputation is based largely on his “Practical Organ School,” a work still in use. Another name of importance is that of Johann Gottlob Schneider (1789-1864). He has had the reputation of being one of the greatest German organists since the time of Bach. Of the great composers since Bach, Mendelssohn stands conspicuous as an organist and composer of organ music. Haydn, Mozart and Beethoven, although occasionally using the organ in their scores, did not compose for the instrument. Mendelssohn developed a decided fondness for the organ, which he played admirably. His six sonatas and three preludes and fugues are masterpieces. Among the representative German organists and composers should be mentioned: Adolph Hesse (1809-1863), author of the “Practical Organist” and a prolific composer; Karl August Haupt (1810-1891), a celebrated teacher, numbering among his many pupils from all countries such prominent American organists as Eugene Thayer, Clarence Eddy and J. K. Paine; Carl Ludwig Thiele (1816-1848) composer of some of the most difficult known works for the organ; Gustav Merkel (1827-1885), a prolific composer, whose sonatas are numbered among the standard works for the instrument; J. G. Rheinberger (1837-1901), one of the finest organists and best teachers of his time and a composer of great ability, whose twenty sonatas form a permanent addition to the best organ literature. A number of American organists were among his pupils.
The French School.—Prominent among organists of the French school in the 19th century may be mentioned: L. J. A. Lefébure-Wély (1817-1869) and Antoine Eduard Batiste (1820-1876). The works of both these organists are still widely played and have won much popularity. Wely has been called the “Auber of the organ.” His works display fertility of melodic invention and a piquancy of harmonic treatment, but are entirely lacking in the polyphonic element. Much the same may be said of Batiste, who was a fine player and teacher, and who equalled Wely in tunefulness but not in musicianship. Nicholas Jacques Lemmens (1823-81), a great player (especially of Bach) and author of the celebrated “Ecole d’Orgue” may be said to have laid the foundation of the modern French school. Conspicuous among his successors have been: Camille Saint-Saëns (1835-——), a most versatile musician and a noted organist; Théodore Dubois (1837-——), Théodore Salome (1834-——) and Felix Alexandre Guilmant (1837-——). Guilmant, one of the most noted organists and composers of the present day, was a favorite pupil of Lemmens. He has been one of the most prolific composers since the time of Bach, is a master of all the resources of the modern organ, and has a fertility of invention and a fluent command of contrapuntal resources. Another eminent French organist is C. M. Widor (1845- ——), also a composer of distinction. A powerful influence was exerted on modern organ music, as well as general composition, by the eminent organist and composer, César Franck, who was, for a number of years, in charge of the organ class at the Paris Conservatoire.
The Italian School.—Among recent Italian organists Filippo Capocci (1840-——) and Enrico Bossi (1861-——) are worthy of mention. Both are splendid organists and prolific composers. They are leaders in the revival of good organ playing in Italy, where a determined effort is being made to restore the art to its former supremacy.
The English School.—England has furnished a long line of 19th century organists of ability, prominent among whom are: Sir John Goss (1800-1880), Henry Smart (1813-1879), E. J. Hopkins (1818-1901), S. S. Wesley (1810-1876), Dr. Wm. Spark (1825-1897). Foremost among English organists stands the name of Wm. T. Best (1826-1897). He was one of the most famous concert organists of his time, but is best known to organ students by his “Arrangements from the Scores of the Great Masters,” in which he demonstrated that the organ is in itself capable of reproducing certain orchestral effects without transcending its proper functions or descending to trickery. “The Organ,” by Sir John Stainer (1840-1901), is one of the most widely used elementary works for instruction in organ playing. Dr. Stainer was the successor of Sir John Goss, at St. Paul’s, London, and was appointed Professor of Music at Oxford University in 1889. Frederic Archer (1838-1901) has been considered one of the greatest of organ players. After a successful career in England, he came to America in 1880. He did much towards popularizing and elevating the art of organ playing in this country. Prominent among contemporary English organists stands Edwin H. Lemare (1865-——), who succeeded Frederic Archer as organist of Carnegie Hall, Pittsburg, in 1902. He is a skilful virtuoso, a composer of originality, and a leading representative of the modern English school.