Abstract
The purpose of this article is to shed light on the compositional devices utilized in the organ work Six Chorale Preludes , Op. 41, by Paul Pisk. The analysis and discussion include cantus firmus treatment, motives derived from or related to the cantus firmus, and harmony and form, when they relate to the above. Chorale prelude types have been categorized according to those used by Bach. This study is aimed for organists as well other musicians, since the analytical aspects demonstrate the use of contrapuntal techniques in a composer who belonged to the Second Viennese School. Understanding how the chorale tune and its derivations are employed is essential for an organist to select registration, change manuals, and present a sound performance.
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