3 - Wilbert Berendsen

Der 94ste Psalm
Sonate für die Orgel
Julius Reubke (1834-1858)
This edition copyright © 2009 by Wilbert Berendsen
Licensed under the Creative Commons License (BY-NC-SA)
PSALM 94
Grave, Larghetto (vs. 1, 2)
Herr Gott, des die Rache ist, erscheine. Erhebe
Dich, Du Richter der Welt; vergilt den
Hoffärtigen, was sie verdienen.
O LORD God, to whom vengeance belongeth,
shew thyself. Lift up thyself, thou judge of the
earth: render a reward to the proud.
Allegro con fuoco (vs. 3, 6, 7)
Herr, wie lange sollen die Gottlosen prahlen?
Witwen und Fremdlinge erwürgen sie und
töten die Waisen und sagen: der Herr sieht es
nicht und der Gott Jacobs achtet es nicht.
slay the widow and the stranger, and murder the
fatherless. Yet they say, The LORD shall not see,
neither shall the God of Jacob regard it.
Adagio (vs. 17, 19)
Wo der Herr mir nicht hülfe, so läge meine
Seele schier in der Stille. Ich hatte viel
Bekümmernis in meinem Herzen, aber deine
Tröstungen ergötzen meine Seele.
Unless the LORD had been my help, my soul had
almost dwelt in silence. In the multitude of my
thoughts within me thy comforts delight my
soul.
Allegro (vs. 22, 23)
Aber der Herr ist mein Hort und meine
Zuversicht. Er wird ihnen ihr Unrecht
vergelten und sie um ihre Bosheit vertilgen.
LORD, how long shall the wicked triumph? They
But the LORD is my defence; and my God is the
rock of my refuge. And he shall bring upon them
their own iniquity, and shall cut them off in
their own wickedness.
Herrn Professor Carl Riedel gewidmet.
Der 94ste Psalm.
Sonate für die Orgel.
Julius Reubke (1834-1858)
„
Grave.
M. III. 8 .
pp
düster
9
9
p
7
9
9 9 9
9 9 f
f
9
22
fff
9 9 ff
Man. I.
9 fff
9
9
9 ff
M. I.
9 9 9 decresc.
9
viel stärker werdend.
f
9 9 M. II.
9 9
f
9 M. II.
9
9
9 9 9
9 9 Manual stärker und heller werdend.
u. 8 .
p16 .düster
aber hervortretender.
9
9 9 9 9 9 9 9 9 pp
Man. II.
etwas hervortretend.
decresc.
9 9 9
9 9 9 9
16
ff
M. I.
9 9 Edited, engraved and copyright © 2009 by Wilbert Berendsen (http://www.wilbertberendsen.nl/)
This edition may be freely copied, distributed, performed and recorded under the provisions of the
Creative Commons License (BY-NC-SA, http://creativecommons.org/licenses/by-nc-sa/3.0/nl/)
9
9 99 5
9 99 9 9 28
9 9 9 9 9 9
9 9 9 9 9 9 9 9 9 9 9
9
9
9 9
9 9 9 9 9 9 9 9 9 9 9 33
9 3
3
3
3
9 9 9 9 poco
9 3
3
3
3
9 9
99 a
9 9
93 9 3
3
3
3
9
9 9 37
9
9 f poco
9 9 9
9 9 3 3
3
42
9 mf
9
9 9 decresc.
9 9 47
p3
9 ppp
Subbass 16 .
ppp
9 9 3
9
pppp
p
99 99 99 99 9
9
9
9 3
9 pp
3
oder Harmonika 8 allein
9 Flöte
9 3
pp immer leiser werdend
9
9
9
9
9
99
9
999
999
6
p3
9
99
53
Larghetto.
9
99
9
99
M. II. Salicional und Gedackt 16 . u. 8 .
p
cresc.
9 9 9 9 3
3
9 3
9 9 9 3
3
9 9 9
9
decresc. molto
58
999
9 9 99
99
9
9
99
9 9
9 9 9 pp
9
9 9 9
63
9 9 M. II. Flöte 8 .
ppp
9 M. I. V. d. Gamba 8 .
3
9 9 9
9
74
M. I. u. II. crescendo
9 9
9 9
3
9 9 9
9 3
Subbass 16 .
pp
9
9 9 9 9 9 9 9 9 9 9
9 etwas belebter
Ped. poco cresc.
9 9 9
9
9 9
99 9
99
9 9 9
99 99 p Melodie sehr hervortretend.
69
99 9 9
9
9 9 9 9 9
9 9 9 9
9 9 9 9
9 9
7
9
9 9 9 9
9
9
9
9
9 9 9 9 9 99 9
9
9 9 82
99 9 9 9 9
9
99 I. Trompete 8 .
9
9 9 9 9 9 9 9 9 9 9
9 9 9
M. II. molto decresc.
9 9 9 9 9 9 9 9 9 p
pp ritard.
9 9 9 9 M. II. 9
9
86
9 99
p
Ped. decresc.
nicht schleppend
3
3
3
9 9 9 99 3
3
3
3
3
3
9 9 9 9 3
nach und nach schneller
ohne Mixturen
3
3
3
M. III. 16 8 u. 4 .
9 3
3
3
p
Subbass 16.
9
pp
90
3
9
I. Trompete fort und decresc.
Flöte 8 allein.
9
99 mf
9
9 9 9 9 99
9
9 9
9
9 78
3
3
3
3
3
3
3
99 9
f
M. I.
99
9
Pedalcoppel
Pedal nach und nach immer stärker durch die andern Bässe
9
99
f
94
8
9 99
96
9 99
99 9 99
99
99
9 9 sempre
poco
9 9 9
9 alle Bässe ohne Posaune.
99 98
99
9 9
101
a
poco
9 9
cre
9 9
9 9
scen
do
99 9 scen
do
ff cre
9
9 9
ff
9 9
104
Allegro con fuoco.
9 99 9 9 fff Manualcoppel
9 9 9 9 107
9 9
fff
Posaune.
9 9 9
9
9 9 9
111
9 9 9
ten.
99 9
9 115
99 99 9 119
9
9 9 9 9 9
9 123
9 9 9
99 3 9 9 9 9 9 9 99 3
9 9
9 3
9
9
9 3
9 9 3
3
9 3
9 9 9 9 9 9 9
128
ten.
9 9 9 9
9 9 9 9
9 9 10
9 9 9 9 9
9 132
9
9 9 9 9 9 99 9 9 9 9 9
9 136
9
99 9 9 9
99
9
9 9
M. II.
f
999 9 9 9
9
9
9
9
9
R.H.
NB.
L.H.
9
9
9
9 9 9 9
9
9 9
9 9 einige starke Bässe und Pedalcoppel fort.
9 9 ten.
9 9
9
999 9 9 99 9
9
9 9
99 9 9 9 9 9
9 weniger stark und ruhiger.
139
99
ten.
9 9
9
9 9
9
99 9
9
9
9 9 9 9 9
9 9 9 9 9 9 9 9 9 9 9 99
9
9
9
9 9
9
9
99 142
9 9 9 9 9 9
9 9
9 9
9 9
9
99
9
9 9 9 145
9
9 9
9
9 9 9 NB. Alle Töne des gebrochenen Accordes, soweit es die Applicatur erlaubt, bleiben liegen.
11
9 9
9
9
9 9
9
9
9
9
9 9
9 9 9 99
9
9
9
9
9
9
9 99 148
9
9
9 9
9 9
99 9 9 9 9 9
9 9
9
99
151
9
9 9
9 9 9 9
9
9
9 9 9
9 9
9 9 9 9 9 9 9 ff M. I. ohne Coppel.
9 9
9 9
9
9
99
9
9 9 99
ff ohne Pedalcoppel.
154
9
9
9 9
9 9 9
9 9 9 9 9 9
99 9 9
99 9 9 9 9 9
9 9
157
9
9 9
9 9 9
9
99
9
160
99
9 9
9
12
99 9
9
9 9 99 9 9
99 9
9 9
166
9
99
9 99 9 9 9
9
9
9 9 9 9 9
9
9
9 9 9 9 9 172
169
99
9 9
9 9 9 9
163
9 9 9 9 9 9 9 9 Pedalcoppel
9
Sehr hervortretend.
9 9 9 9
9
9
9 9 9 99
9 9 9
99
9
99 9 9 9
175
9
9
99 9
9 9 9 99 9 9 9 9 9 9 9
9 9 9
9
13
9 9 9 178
9 99
9
99
9 9 9
9 Manualcoppel
9 9 9
9
fff
9
9 99
fff 3
3
3
3
9 9
99 3
3
9 9
9
9 99
9 9 9 9 99
189
9
99 9
9 9 3
legato
9
9 9 9 9 99
9 9 9 9 193
9
9 9 3
3
3
9 9 3
3
3
3
3
9 3
3
3
3
3
3
3
3
3
3
3
99 9 9 9
181
185
9 9 9 9
9 9 9 9
9 9 9 9
9 9
9 9
9 9 9 14
99 9 9
197
9
9 9 fff
99
9
9 9 9 sehr hervortretend
99 9
!
202
99 9 9 99
9 9 9
9 9 9 9 9 9 99
213
9
9 9 9 99
9 9
9
217
#
9 9 9 9 99
"
99 9
208
9 9
9
9 9 9 99
9 9
9
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 Grave.
15
99 9
221
#
9 9 9
9 99
9
99
M. III. Salicional und Gedackt 8 .
9 9 decresc. molto
9
9
9 p riten.
p
246
$
42
2 4
2
4 pp
M. III.
9 ppp
M. II. hervortretend
Oboe oder Geigenprinzipal
p
M. III.
Manual- und
Pedalcoppel fort.
pp
9
Subbass 16.
240
9 9 pp ppp
ppp
pp
9 9 9 9 9 9 9 9 99 9 9 9
decresc. molto
Adagio.
233
9 9 99 9 9 9 9 9 9 9 9
99
226
9 9 9 9 9 9
9 molto cresc.
9
2
4
2
4
2
4
16
9
9 9 9 9 252
%
9
9 Oboe oder Geigenprinzipal (Aeoline 16 .)
M. II.
9
p
9
9 9 9
pp
9
9
9 9
p
9
9
9
9
99 9 9
9
M. III.
dimin.
9
9 9
9 9
M. III. Harmonika 8 allein
9
9 9 9
pp
$
257
9 9 9
9 9
262
9
9
9 9
9
9
9 9 9 9 9
9 9 9
267
M. II.
p
9
9
9 9
pp
9 9
9 9
9
9
9 9 9
pp
9
9 ppp
Harmonika 8 allein.
M. III. Salicional.
Subbass allein
273
9 ppp
Posaune fort.
9 9
9 9
pp
9
9
9 9 9 9 9
9 9 9 9 9
9
9 9 9 9 M. I.
9 9 9 99 9 9 9
9 9 9 99 9 9
mf düster 16 8 u. 4 .
9 9 9
9 9
9 9
hervortretend.
Posaune 16 .
!
9 pp
ppp
9
9
9 9 17
279
Lento.
285
292
299
9
9
9 306
9 9 9
9 9 9 9 Salicional u. Gedackt 16 u. 8 .
etwas heller
9 9 9
9
pp
9 sehr weich, singend
9 9 Aeoline 16 .
pp
düster
ppp
pp
9 9 9 9
ohne Gedackt und Aeoline 16 .
cresc.
9 9
„
9 cresc.
„
immer schwächer werdend.
&
Harmonika allein.
Salicional u. Gedackt.
99 9
9 9 9 9
9
9
9
9 9 9 9 9 9
9
9 9 9
9
99 9 9 9 9 9 9 9
9 9
9 9
9
dimin.
9
18
312
&
9
9
99
9 9
9
9 9 9 319
9 9 9 9
99
9
9
ppp
9
pppp
9
f M. II.
9
99 9
smorz.
Allegro.
99
999
9
9 9 325
9 #
9
9
9 9 9
99
9
99
9
9 "
9 9 9 9 9 9
99
99
9
9
99 329
'
99
9
99
9
332
99 9
9 9 9
9 9 9
19
9
9 9 9 9
9
99
9
99
335
99 9 9 9 9
99
338
99
9
9 9
9 9
341
(
9
9
9 9 99
9 9 9 99
9
99 9 9 344
9 9 9 9 99 9 9 9 9 9 9 9 9 9 99 9
99
9
9
99 9
99
9 99
9
347
20
9 9
9
9 99
9
349
9
99
9 9 9 9 9
9
99
9
99 9
9 9 9 9
9
9 9
9 9 99 9 9 9
9 99
9
9 9 9
9 9 9
!
9
99
9
9
99 358
361
9 9 M. I.
9 9 99
99 9 9 355
9 f ohne Manualcoppel u. Cornett.
9 9 9 9
f
9 9
9
352
9
9
9
9 9 9
9 21
)
9 99 9 9 9
9 9 99
9 9 9 9 9
9 9 9 99 9
9 9 9 364
9
9 9 Manualcoppel.
367
*
9
99
99
9
9 ff
9 ff Pedal cresc.
9 99 9
371
+
9 99 9
9 )
99 9 9 99
9 9
9 9 9 poco
9 9 9 9 poco
9 9 cresc.
9 9 9 9 9 9 9 9 9
9 9
9 9 9
9 9 9
9
9 9 9
9 Cornett.
9 9 9
fff
9 99
fff alle Bässe u. Pedalcoppel.
9
9 9 375
a
9 9 9 99
99
9 9
379
9 99 99 9
9 9
9 9 9
22
383
99 9 9
)
Manualcoppel fort!
99 9 9 9 99
99
9
386
99
99
9
99
9 9 9 9
9
9
9
9 99
,
99 9 9 9 99
389
,
99 9 392
"
99
99
9 9 99
9
395
9
99
9
99
9 9 9 9 9
9 9 9 fff Manualcoppel!
9 9 fff
Posaune 32
23
9 9
9
399
99 9
Manualcoppel fort!
9 99
9 99
9 9
9
9 -
99 9
405
9
9 9 99
9 9 9
9
9
9 9 99 9
99 9
99 9 99 9
408
411
402
99
24
99 9
fff Manualcoppel.
)
9 9
9 fff
9 99
414
9
9 9 9
9 99 9 9 !
9 9 99
418
9
9
9 9 9
9
9 9
Manualcoppel fort.
9 99 999
.
9 99
421
9
99
9 9
99
99 9 9 9
9
9
9
9
.
9
99
9
424
9 9
9 9 9 9 9 9
99
427
99
9
riten.
25
9
9
9
/
mf M. II.
3
3
9
9 9 3 9 9 9 9 9 3
9
99
Più mosso.
99
430
99 9
0
9 9 9 9 9 9 434
99
9
9 9 99 9
9
1
9 99 9 9 438
9
99
9 9 9
9 99 9
9
99
9
9
99
442
9
9 9 9 3
99 9 9
9
99
9
446
26
9
9
9
9 poco cresc.
9 9 9 9
9
99
99
9
450
99
9 9 9
9 2
454
9 9 99 9 9 9 9 9
99
9 9
9
458
3
9 99
99
9
a
9 9
9 „
461
9 9
99
cre
9
99
99 9
464
99
9 9 99
9
poco
9 3
9 9
poco
9 più
9 9 9 scen
9 do
9 27
I.
9 9
9 M.
9
9
9
9
9 9
f
)
9
9 9
9
99
9
9
99
467
99 9 cresc.
9 99
9
99
470
9 9
9
9
9 473
99 9
9
99
9
9 9 9 9 9 9 9 9 9
,
9 9
99
9
9
9
99
ff
9
99 9 9 .
9
9 9 9
99 9
9 9
9
9
9 9 9 9
9
9
9
9
9 476
480
9 9 9
ff 9
9 9 9 9 9
9
9
28
9
99
!
484
9
99
9
99 9 99 9
4
9 99
99 9
'
9
99
9
99
9
99 9 488
492
9 9 9
9 9
9 9 9 9 9 5
9 9 9 9 9
9 9 9 99
496
99
9 9
9
9
99 9
9 9
99 9
99 9 9 9 500
29
99 9
/
fff Manualcoppel. 99
9 fff
3
99
9 Allegro assai.
504
Pedalcoppel.
3
9
9 9 3
9 99
3
9
9 9 9
99
99
9
3
3
3
3
3
9
9 9 9 3
3
9 99
524
9
9 9 3
3
3
3
9 3
3
9 9 9 9 9 3
3
3
3
9 9 3
3
3
3
9 9 9 3
3
3
3
3
9 3
3
3
3
3
3
9 3
9 9 9 9 3
3
3
3
3
3
9
9 9 !
9 9 9
9
99
3
3
3
519
9 9
9 509
514
Engraved at 18-10-2009 with LilyPond 2.13.1 (http://lilypond.org/)
3
3
9 About this edition
I created this score to deepen my understanding of, and as a tribute to, both Reubke’s splendid Organ
Sonata, and the LilyPond development community’s truly amazing LilyPond music typesetter. This
edition exactly follows its source: the 1871 score from the International Music Score Library Project
(http://imslp.org/); only where the original sometimes writes the music for both hands in one staff, I
use both staffs to improve readability.
The performer should have a thorough understanding of how the stops sound on a typical German
organ from the second half of the 19th century and find matching registrations at the organ on which
the piece is performed. The original score has a “Vorbemerkung” which notes that, if stops are named
without “allein” (only) appended, some other stops may be added as well, to create a good balance with
the foreground melody. Some registrations possibly refer to the new Ladegast organ of Merseburg
Cathedral, where Reubke played the premiere of this piece on June 17th, 1857. The Aeoline 16 on that
organ was a soft free reed stop and the Posaune 32 had a warm-round sound, not very loud.
Hairpins most times denote the use of a swell box, while directions like cresc. and dim. in most cases
refer to the adding resp. removing of stops. The slanted hairpins that sometimes appear below ranges
of 16th notes do not refer to swell or adding stops, but rather mean that the performer should suggest
an increasing tension by playing the notes a little over-legato (tenuto).
Wilbert Berendsen, Easter 2009
SOME SUGGESTIONS: Aside from some missing clefs, all notes, slurs, articulations, dynamics,
registrations, etc. are exactly copied from the source. At a few places however, the original text
contains ambiguities or possibly small errors. Those are listed below, with a suggested alterative.
TRANSLATIONS of some German terms:
alle Bässe all bass stops
allein only
düster dark, gloomy
etwas belebter more lively
heller brighter
hervortretend on the foreground
leiser werdend becoming softer
6
½
½½½ ½½
½ ½
½ ½ ½½½
➱
• Measure 413, right hand, last beat, second sixteenth:
D instead of B:
6
½½ ½
½
½½½ ½
½
➱
• Measure 411, right hand, last beat, second sixteenth:
D instead of F:
½½ ½
½
➱
½
½½ fff
½½
½
• Measure 181, left and right hand, fourth beat: E
instead of E-flat (like measure 33). This way the upper
voice better reflects the main theme. (One could argue
to also play measure 185 with E instead of E-flat like
measure 35 but I think that is not necessary, as the
curve of the upper voice is not affected.)
½½
½ ½ ½ ½
➱
• Measure 176, left hand, last beat, third sixteenth: C
instead of C-flat:
½
½
½½½½
½½ ½½½
½½
½
nach und nach schneller accellerate bit by bit
nicht schleppend do not slow down
oder or
ohne without
schwächer weaker
Trompete fort remove Trumpet
(viel) stärker (much) louder
NB on page 10: Hold the notes from the broken chords as long as possible