Johannes Litzau was born in Rotterdam, The Netherlands in 1822. He received organ lessons from local organists and by the age of twelve began to give organ concerts. In 1843 he became organist of the Presbyterian Congregation in Rotterdam and in 1855 in the Evangelical Lutheran congregation there. Besides teaching and playing organ, he also wrote articles for Dutch and German organ magazines. He was also frequently asked to examine organs and organists.
Stabat Mater is a musical setting of the Passtiontide sequence, composed by Giovanni Battista Pergolesi (1710-1736). Composed in the final weeks of Pergolesi's life, it is scored for soprano and alto soloists, violin I and II, viola and basso continuo (cello and organ).
For this transcription, Litzau has chosen the last movement, "Quando corpus morietur".
In a flowing F minor, the "literal aspect" of the piece is preserved, except the "solo duet" is dropped an octave, as if it were for a tenor and baritone, rather than for a soprano and alto.
Litzau calls for the accompaniment to be played on soft 16' and 8' stops, will the solo parts are to be played upon a combination of 8' and 4' stops, plus the Vox Humana. That sound might work on another organ, but I did not even try to "simulate" a Vox on this organ.
Since the piece is somber, I wanted a slightly "uncomfortable feel," and I used the Choir Dulciana 8', Lieblich Gedacht 8' and Lieblich Flute 4' coupled to the Great with the Sub-coupler, thus creating the pitches that Litzau calls for, and producing an unusual color.
The duet is played upon the Swell diapasons, (open and stopped), plus the 4' flute, and the Oboe.
There is one LARGE stretch of a 10th in the right hand, coming in a hard location, so, I had to "grab" the lower note with the left hand, "hook" the right hand onto it, and get the left back to the accompaniment! Surprisingly, it didn't show that much!
The score is attached below, as well as a photo of Litzau and a painting of Pergolesi.