Peter Cornelius (1824–1874) Vater unser Op. 2
9 geistliche Lieder [mid vce,pno]
edition for mid vce,org
arranged by
Klaus Uwe Ludwig
EB 8704
| €16.90€18.08
36 pages | 23 x 30,5 cm | 153 g | ISMN: 979-0-004-18067-9 | Softcover
Here is an addition to every church musicians repertoire: "Nine sacred songs by Peter Cornelius on original poems in which he paraphrases the "Our Father in a very personal manner. The piano accompaniment is based on ancient liturgical melodies which Cornelius elaborated very imaginatively.
By arranging the piano part for organ, Klaus Uwe Ludwig seems to have been inspired by an observation made by Max Hasse in his 1922 biography of Cornelius: "The cycle will always resist an orchestral adaptation. The organ seems more accessible as an accompaniment.
In the 19th century, many sacred works - following the spirit of the times - were written for home use or the concert ball, while genuine „musica sacra" was forced into the shadows by liturgical and theological developments. These works suffered long-lasting neglect as a result of the shift of musical taste away from emotionally charged romanticism at the beginning of the 20th century; moreover, the harsh judgments of many esteemed composers during the decades following World War II also hindered a proper appreciation of this music.
Mainz-born Peter Cornelius, a friend of Liszt and Wagner, composed a wealth of songs and song cycles. His most well-known cycle is no doubt the Weihnachtslieder Op. 8, of which several songs have long since found their way into the church (and thus to the organ).
In its natural and unpretentious Idiom, the cycle Vater unser Op. 2 can fully hold its own with the Weihnachtslieder.
We have kept the original key sequence in our organ transposition. The piano writing was slightly thinned out at times, particularly in the bass region. The lower part of the original did not inevitably become the pedal part; and the contrary, the pedal always enters only where it is plausible, and always requires a 16' fundament. We sometimes grouped together repeated notes, since, as opposed to the piano, they can easily become too obtrusive on the organ and disturb the contemplative character of the work.
We have also omitted the Italian expressive and tempo markings of the First edition, since it is practically certain that they were not supplied by the composer.
It is recommended to use a registration rich in fundamentals and with a discreetly mellow tone color, especially with Organs having a Baroque specification. The judicious underscoring of individual melodic segments must be realized more in the sense of Reger's style than as a Baroque obbligato solo voice, which must be avoided (the 8' for the solo voice and the 8' + 4' of the accompanying voices must always be coupled). Reger's music should also serve as a guideline for the articulation, agogic and dynamic indications which, however, cannot always be realized and should be understood as suggestions referring to the inner expression and an „emotionally heartfelt Interpretation" (Max Reger). This is also the best way to reach to the heart of these simple and fervent songs. The original edition of the Vater unser for medium voice and piano has now become available once again (Edition Breitkopf 2074). The extensive preface to this reprint provides Information on the life and works of the composer as well as on the genesis and reception of this work.
Wiesbaden, Spring 1999
Mainz-born Peter Cornelius, a friend of Liszt and Wagner, composed a wealth of songs and song cycles. His most well-known cycle is no doubt the Weihnachtslieder Op. 8, of which several songs have long since found their way into the church (and thus to the organ).
In its natural and unpretentious Idiom, the cycle Vater unser Op. 2 can fully hold its own with the Weihnachtslieder.
We have kept the original key sequence in our organ transposition. The piano writing was slightly thinned out at times, particularly in the bass region. The lower part of the original did not inevitably become the pedal part; and the contrary, the pedal always enters only where it is plausible, and always requires a 16' fundament. We sometimes grouped together repeated notes, since, as opposed to the piano, they can easily become too obtrusive on the organ and disturb the contemplative character of the work.
We have also omitted the Italian expressive and tempo markings of the First edition, since it is practically certain that they were not supplied by the composer.
It is recommended to use a registration rich in fundamentals and with a discreetly mellow tone color, especially with Organs having a Baroque specification. The judicious underscoring of individual melodic segments must be realized more in the sense of Reger's style than as a Baroque obbligato solo voice, which must be avoided (the 8' for the solo voice and the 8' + 4' of the accompanying voices must always be coupled). Reger's music should also serve as a guideline for the articulation, agogic and dynamic indications which, however, cannot always be realized and should be understood as suggestions referring to the inner expression and an „emotionally heartfelt Interpretation" (Max Reger). This is also the best way to reach to the heart of these simple and fervent songs. The original edition of the Vater unser for medium voice and piano has now become available once again (Edition Breitkopf 2074). The extensive preface to this reprint provides Information on the life and works of the composer as well as on the genesis and reception of this work.
Wiesbaden, Spring 1999
