The Organ Works of Moritz Brosig: Contributions of a German Catholic Composer in the Romantic Era

Abstract

Moritz Brosig was a professor of theory and organ at the University of Breslau, and served as Domkapellmeister at the Breslau Cathedral from 1853–1884. A participant in the 19th century Bach revival, Brosig’s study of the works of Mendelssohn and Bach inspired him to compose chorale-based works himself. Peculiar to the chorale-based works of Brosig is his Catholic faith; the chorale prelude was primarily a Protestant genre, yet Brosig composed thirty-one chorale preludes. Brosig’s career is overshadowed by his contemporary Adolf Friedrich Hesse, a noted organ virtuoso who traveled Europe giving performances. Brosig’s development of the chorale prelude foreshadows those of perhaps the greatest German Romantic organist of all time, Max Reger. In fact, a line of influence can be traced between Mendelssohn’s organ music and that of Brosig, and subsequently from Brosig to Reger through Heinrich Reimann and Karl Straube. This research document also details the Cecilianist movement and its positive and negative influence on Brosig and German Romantic composers of the time. Brosig’s gradual dismissal of the Cecilianists, as well as his growing distaste for its founder, Franz Xaver Witt, is noted. Brosig’s improvisational prowess is displayed in his chorale fantasie, his chorale preludes, and his free works. Moritz Brosig is largely unheard of in North America. This study argues that his sizable musical output deserves more exposure.