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Simon Lohet, Surviving organ works Simon Lohet (1550 - 1611) 2 Mus. pr. 64 Bayerische Staatsbibliothek Woudenberg 2016 Partitura Organum

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Simon Lohet,Surviving organ works

Simon Lohet(1550 - 1611)2 Mus. pr. 64

BayerischeStaatsbibliothek

Woudenberg 2016Partitura Organum

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Simon Lohet,Surviving organ works

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This work may be distributed and/or modified under the terms of theCreative Commons Attribution Non-commercial ShareAlike License, CCBY-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 Bayerische Staatsbiblio-thek. When using or distributing this Edition you must give proper creditto the Bayerische Staatsbibliothek (https://www.bsb-muenchen.de/) andprovide a link to Partitura Organum (http://partitura.org)

2016, Partitura Organum

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Introduction

Simon Lohet (Loxhay) (c. 1550 – 1611) was a Flemish composer, possiblyborn in Maastricht. During his live he was mostly active in Germany. Hewas organist of the Wurttemberg court of count Louis VI. Lohet madeseveral trips to the Low Countries in the 1570s and to Venice in 1581 tobuy instruments and music. In 1601 he retired from his post. He remainedin Stuttgart until his death in summer 1611.

All of Lohet’s known works are contained in Johann Woltz’s Nova mu-sices organicae tabulatura (Basel, 1617). The bulk of his small survivingoutput consists of twenty keyboard fugues, which are also his most histor-ically important works. Most of them are short, averaging 20-25 bars, andeight are monothematic, exploring a single subject in a single section. Theyfrequently use stretto entries, diminution and other contrapuntal devices,characteristic for the classic fugue of the late Baroque. It seems almostunbelievable the fugues were written almost a 100 years before Bach wasborn. Bringing these fugues and the rest of Lohet’s known output togetherin a freely available edition, hopefully contributes to a better and widerunderstanding of the historical importance of Lohet’s work.

The source of these fugues is Johann Woltz’s Nova musices organi-cae tabulatura (Basel, 1617). Woltz introduces the fugues with thesewords: “Fugas sequentes a Clarissimo Viro, Aulae Wirtembergicae quon-dam Organoedo celeberrimo, Domino Simone Lohet, cum quo mihi nonnulla intercessit familiaritas, olim communicatas, in honorificam ipsiusmemoriam, aliis gratiose inserviendo, hic apponere placuit, que Musicesamatori non displicebunt”, which roughly translate as: “It is a pleasure toappend hereto the following fugues, which music lovers will enjoy, commu-nicated some time ago by the famous Mr. Simon Lohet, once the very cel-ebrated court organist at Wurtemberg, to honour his memory.”. Woltz’sedition is notated using German tablature. A characteristic of Germanorgan tabulature is that voice crossings are very easy to notate. In ourmodern notation voice crossings quickly become messy. Where applica-ble, in this edition crossing voices cross staves as well. These crossingsare indicated by small lines. That way the individual voices can still befollowed, but the score is more easily playable. Another characteristic ofWoltz’s edition is that there is no indication whether the bass-part shouldbe played on the pedals or not. In some of Lohet’s pieces, however, thepedals can be used to great effect. To facilitate pedal playing, some of thepieces are edited using three staves. However, all pieces are available asmanualiter as well.

Lohet’s music is not only a foreshadowing of what was to come, it isfirmly rooted in it’s own time as well. The first fugue is undeniably aRenaissance keyboard work. It is more dance like than it is a fugue,with some surprising rythms. The harmonic progression in the secondfugue sometimes sounds a bit strange to our ‘modern’ ears. A further

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characteristics of these fugues is the frequent use of parallel fifths andoctaves. The third, fourth and fifth fugue show allready several examplesof this. In keyboard music they were probably not as ‘forbidden’ in Lohet’sdays as they were to become in the contrapuntal writing of the Baroque.

Lohet’s Quinta Fuga (this edition follows the designation in the originalEdition, instead of naming it Fuga Quinta) shows its Renaissance rootsmore than the previous three. It uses frequent repeated chords, a devicewe nowadays don’t associate with the contrapuntal style of a fugue. Andit uses (again) frequent parallel fifths and octaves. These are either acharacteristic for the instrumental music of the period, or Lohet was (inthis respect) a very bad composer. Interesting is also the e flat in the bassvoice in bar 43 against the d in the alto voice. Perhaps an error in voiceleading by Lohet, but it sure results in a colourfull harmony.

The sixth fugue, though short, uses contrapuntal devices as stretto anddimunition and combines them as well. In that respect it is more modernthan the fifth fugue. The harmonic progression though is in places stillquite ‘old’.

Lohet’s Septima Fuga is actually two small fugues in one piece. Twodifferent (but related) themes each get an exposition and then the fugueis over. Yet it is a pleasant dance like piece, like most of these fugues fromLohet.

Fuga Octava is another dance-like fugue of Lohet. Apart from someunusual (to our ‘modern’ ears) harmonic progressions, this piece couldhave been written a 100 years later than it actually was.

Lohet’s Nona fuga has a far more subdued character than most of thepreceeding fugues. It can be played with use of the pedals. But this editioncontains a manualiter version as well.

The tenth fugue is a lively piece. It’s not exactly a mono thematicfugue, as there are four different segments discernable. Actually quite anachievement for a piece of only 46 bars.

Playing Undecima Fuga one wonders wether Bach knew the fugues ofLohet. The theme of the fugue BWV 878 is the same as the theme ofUndecima Fuga. And Bach uses some of the same stretto constructionsLohet used in his fugue. Of course, Lohet’s fugue is not nearly as elaborateas BWV 878, yet we can only admire the man who wrote this somewherebefore 1600.

The twelfth fugue is a slow flowing piece. It’s very reminisence of aKyrie by da Palestrina: long lines intertwine gracefully with each other,in slowly changing harmonies.

The thirteenth fugue is more dance like than the preceeding fugue withits long lines. The fourteenth fugue is again a calm flowing piece. It makesextensive use of syncopation, which makes a nice ‘wobly’ effect in the flowof the music. In his fiftheenth fugue Lohet experiments with inversion.After the first statement of the first theme, it is immediately answered byits inversion. The third and fourth statement of the theme are respectivelyits inversion and rectus form in stretto. After that Lohet repeats the sameproces with different point at which he starts the stretto. And that’s just

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the first theme. The second theme gets more or less the same treatment,with (partly) inversion and different points at which the stretto starts. Allin all quite elaborate and dense contrapunt.

The sixteenth fugue has no less then three different themes. But they alldo not get more than one exposition and then the fugue is over. Interestingis that in the first exposition Lohet emplois again inversion: the seond andfourth entrance of the theme, have the theme inverted. The 17th fugueis a mono thematic fugue and an intricate one. In it Lohet explores thedifferent ways in which the theme and its inversion can be combined. Thetheme overlaps in different ways with itself, with its inversion and theinversion with the inversion. The voices in this fugue are quite far apart.Unless Lohet had really large hands, he must have used pedals to play thisfugue.

The eighteenth fugue is again some dense contrapuntal writing. Thefirst part of the fugue is setup as a mono thematic fugue. Somewherearound twothird of the piece it changes in a double fugue. In the originaledition the alto and tenor voice play the second theme in unisono. Thiscould be an editorial error. But since there is no other source, there isno way to know for sure. The nineteenth fugue is again a mono thematicfugue. There is hardly a measure where the theme is not present in oneof the voices. In atmosphere it is very much like the seventheenth fugue.The twentieth and last fugue consists of two sections, each with a fugaltreatment of a different theme. The first section is more strict then thesecond.

Apart from the 20 fugues, there are five more pieces. The first, Canzonais really a fugue in much the same style as most of his 20 fugues. Perhaps itis called canzona, because of it’s sing-like character. Lohet’s transcriptionof the motet “Media vita in morte” has the main melody in whole notes inthe bass voice. Lohet’s composition on the melody of psalm 9 (”De toutmon coeur”) is a nice example of dense renaissance contrapuntal writing.Each stanza of the choral gets a fugual treatment, often in stretto. Theharmony of the last beat of bar 16 sounds very modern, but it’s reallythere in the original edition.

Lohet’s compositions on the melody of psalm 51 and psalm 125 are notbased on the melodies of those psalms as we know them. Rather, theyare based on the melodies composed by Matthaus Greiter (1495 – 1550),the Kantor of the Strassburg cathedral. The compositions sound like theywere originally written for voices. The composition on psalm 51 is a moresimple composition than the composition on the melody of psalm 8. It hasnevertheless some surprises: parallel octaves and quints appear frequentlyand there are some colourful dissonants that would have been hard to sing.So perhaps it’s a pure instrumental composition after all. The last pieceof Lohet is a four voice treatment of Psalm 125. The last chord of bar 22is probably an error, as it is strangely dissonant. It is however not listedin the errata in the original publication of Woltz. Present edition featuresa more consonant chord, with a footnote indicating the original.

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Most of the accidentals in this edition are in the source as well. In afew cases, where an accidental is probably implied by its use in one of theother voices, the accidental is added in brackets.

The works in present Edition upon material freely provided by the Bay-erische Staatsbibliothek in digital form:

http://daten.digitale-sammlungen.de/ db/0005/bsb00050860/images/.

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Contents

Fuga Prima 1

Fuga Secunda 3

Fuga Tertia 5

Quarta Fuga 6

Quinta Fuga 7

Sexta Fuga 8

Septima Fuga 9

Octava Fuga 10

Nona Fuga 12

Decima Fuga 13

Undecima Fuga 15

Duodecima Fuga 16

Decima tertia Fuga 17

Fuga 14 19

Fuga 15 20

Fuga 16 21

Fuga 17 22

Fuga Decima Octave 24

Fuga Decima Nona 26

Fuga Vigesima 27

Canzona 28

Media vita in morte 29

De tout mon coeur 31

Psalm 51, Erbarm dich mein 33

Psalm 125, Nun welche hie ihr Hoffnung gar 35

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Fuga Secunda (pedal) 36

Quinta Fuga (pedal) 38

Nona Fuga (pedal) 40

Undecima Fuga (pedal) 42

Duodecima Fuga (pedal) 43

Decima tertia Fuga 45

Decima tertia Fuga (pedal) 47

Fuga 14 (pedal) 49

Fuga 15 (pedal) 51

Fuga 17 (pedal) 53

Fuga Decima Octava (pedal) 55

Fuga Decima Nona (pedal) 57

Fuga Vigesima (pedal) 59

Canzona (pedal) 61

Psalm 51, Erbarm dich mein (pedal) 62

Psalm 125, Nun welche hie ihr Hoffnung gar (pedal) 64

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Fuga Prima

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Fuga Secunda

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Fuga Tertia

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Quarta Fuga

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Quinta Fuga

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Sexta Fuga

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Septima Fuga

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Fuga Decima Octava

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Fuga Decima Nova

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Compositio super Coral Psalm 9“De tout mon coeur”

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Erbarm dich mein, o Herre GottPsalm 51

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Nun welche hie ihr Hoffnung garPsalm 125

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Fuga Secunda

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Quinta Fuga

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