Der 94ste PsalmSonate fr die Orgel

Julius Reubke (1834-1858)

This edition copyright 2009 by Wilbert Berendsen

Licensed under the Creative Commons License (BY-NC-SA)

http://www.wilbertberendsen.nl/http://www.wilbertberendsen.nl/http://creativecommons.org/licenses/by-nc-sa/3.0/nl/http://creativecommons.org/licenses/by-nc-sa/3.0/nl/http://creativecommons.org/licenses/by-nc-sa/3.0/nl/http://creativecommons.org/licenses/by-nc-sa/3.0/nl/

PSALM 94

Grave, Larghetto (vs. 1, 2)

O LORD God, to whom vengeance belongeth,

shew thyself. Lift up thyself, thou judge of the

earth: render a reward to the proud.

Herr Gott, des die Rache ist, erscheine. Erhebe

Dich, Du Richter der Welt; vergilt den

Hoffrtigen, was sie verdienen.

Allegro con fuoco (vs. 3, 6, 7)

LORD, how long shall the wicked triumph? They

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.

Herr, wie lange sollen die Gottlosen prahlen?

Witwen und Fremdlinge erwrgen sie und

tten die Waisen und sagen: der Herr sieht es

nicht und der Gott Jacobs achtet es nicht.

Adagio (vs. 17, 19)

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.

Wo der Herr mir nicht hlfe, so lge meine

Seele schier in der Stille. Ich hatte viel

Bekmmernis in meinem Herzen, aber deine

Trstungen ergtzen meine Seele.

Allegro (vs. 22, 23)

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.

Aber der Herr ist mein Hort und meine

Zuversicht. Er wird ihnen ihr Unrecht

vergelten und sie um ihre Bosheit vertilgen.

Herrn Professor Carl Riedel gewidmet.

Der 94ste Psalm.Sonate fr die Orgel.

Julius Reubke (1834-1858)

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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/)

http://www.wilbertberendsen.nl/http://www.wilbertberendsen.nl/http://www.wilbertberendsen.nl/http://creativecommons.org/licenses/by-nc-sa/3.0/nl/

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Engraved at 18-10-2009 with LilyPond 2.13.1 (http://lilypond.org/)

http://lilypond.org/web/http://lilypond.org/web/http://lilypond.org/web/

About this edition

I created this score to deepen my understanding of, and as a tribute to, both Reubkes splendid Organ

Sonata, and the LilyPond development communitys 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.

Measure 176, left hand, last beat, third sixteenth: Cinstead of C-flat:

fff

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.)

6

Measure 411, right hand, last beat, second sixteenth:

D instead of F:

6

Measure 413, right hand, last beat, second sixteenth:

D instead of B:

TRANSLATIONS of some German terms:

nach und nach schneller accellerate bit by bit

nicht schleppend do not slow down

oder or

ohne without

schwcher weaker

Trompete fort remove Trumpet

(viel) strker (much) louder

alle Bsse all bass stops

allein only

dster dark, gloomy

etwas belebter more lively

heller brighter

hervortretend on the foreground

leiser werdend becoming softer

NB on page 10: Hold the notes from the broken chords as long as possible

http://www.imslp.org/http://www.imslp.org/http://www.imslp.org/http://www.imslp.org/http://www.imslp.org/http://www.imslp.org/