Composers

Johann Christian Kittel

Organ
Clavichord
Piano
Harpsichord
Prelude
Chorale prelude
Variation
Choralbearbeitungen
Chorale
Religious music
Piece
Method
Theory
For beginners
by popularity

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155 Vierstimmige Choräle mit Vorspielen3 Variations on 'Wer nur den lieben Gott läßt walten'4 Variations on 'Straf mich nicht in deinem Zorn'6 Variations on 'Nicht so traurig, nicht so sehr'

D

Der angehende praktische Organist

F

Fantasia in F major

G

Große Präludien für die Orgel

J

Jesus Christus, unser Heiland

L

Liebster Jesu wir sind hierLobt Gott ihr Christen allzugleich

M

Machs mit mir, Gott, nach deiner Güt

O

O Traurigkeit, o Herzeleid

P

Praeludium-Ouverture in D majorPrelude in A minorPrelude in A-flat majorPrelude in C majorPrelude in C minorPrelude in C-sharp majorPrelude in C-sharp minorPrelude in D majorPrelude in D minorPrelude in E minorPrelude in F majorPrelude in F minorPrelude in F-sharp minorPrelude in G major

S

Sammlung von Choralvorspielen, ausgeführten Chorälen und anderen Stücken
Wikipedia
Johann Christian Kittel (18 February 1732 – 17 April 1809) was a German organist, composer, and teacher. He was one of the last students of Johann Sebastian Bach. His students included Michael Gotthard Fischer, Karl Gottlieb Umbreit, Johann Wilhelm Hässler and Christian Heinrich Rinck. See: List of music students by teacher: K to M#Johann Christian Kittel.
Kittel was born and died in Erfurt. He first studied with Jakob Adlung. He moved to Leipzig in 1748 and was a favourite - and last - pupil of Johann Sebastian Bach until his death two years later. He was appointed organist and teacher in Langensalza in 1751, following which he returned to Erfurt as organist of the Barfüßerkirche, in 1756, moving to the Predigerkirche in 1762.
He refused many generous and more munificent offers, including one in 1790 from Duchess Anna Amalia of Saxe-Weimar to travel to Italy, remaining in Erfurt for the rest of his life. He played many evening recitals there and was famous as a virtuoso organist; Goethe, Herder, and Wieland all went to hear him play, and he made a concert tour to Hamburg in 1800, remaining there for a year while preparing a book of chorales for Schleswig-Holstein.
He considered himself to be "grounded in the principles of Bach" and aimed "to awaken, maintain and heighten feelings of devotion in the hearts of his hearers by means of music". His teaching and composition fulfilled this aim by a restriction to simple forms which were best suited to liturgical use. He wrote some large-scale organ works such as double chorale variations based on Bach's examples, though he was influenced by the contemporary galant style, with a strong emphasis on melody. His piano sonatas of 1789 have features in common with the Viennese classical school.