DOCSLIB.ORG

Carillonconcert 20 Augustus 19:00 Uur Monika Kazmierczak, Beiaardier in Gdansk (Polen)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carillonconcert 20 Augustus 19:00 Uur Monika Kazmierczak, Beiaardier in Gdansk (Polen) Carillonconcert 20 augustus 19:00 uur Monika Kazmierczak, beiaardier in Gdansk (Polen) Prelude Matthias Vanden Gheyn (17721-1785) Preludio 5 Music for/from Gdańsk and Poland Gdańsk was a rich city, flourishing around 16th and 17th century. It was very much influenced by Flemish culture, hence the carillon appeared there already in 1561 in Main Town Hall, being one of the first outside the Netherlands and Flanders. Most of music life concentrated around StMary’s church known to be a biggest brick church in the world (I can see it every day from my office’s window) where City Council’s orchestra resided. Most of the city was destroyed in 1945 by Russian bombs. Nowadays Gdańsk was rebuild beautifully and is a big touristic attraction with three carillons. Paul Siefert (1586-1666) Fantasia a 3 (arr. M. Kaźmierczak) A student of Sweelinck in Amsterdam, Siefert was known for his violent character and innovative way of playing. After many turbulences he finally became main organist in StMary’s church in Gdańsk. Johann Valentin Meder (1649-1719) Chaconne (arr. M. Kaźmierczak) Kapellmeister of StMary’s church at the end of 17th century. After coming into debts and conflicting with the City Council which declined to stage his operas, fled to Riga where he spent rest of his life. Johann Sebastian Bach (1685-1750) Selection from “Goldberg Variations” BWV 988 (arr. G. Bodden) Johann Gottlieb Goldberg (1727-1756) Two Polonaises (from “24 Polonaises in All Keys”, arr. M. Kaźmierczak) Johann Gottlieb Goldberg was a talented virtuoso harpsichordist born in Gdańsk. His teacher was Johann Sebastian Bach himself who dedicated him famous Goldberg Variations. Bach had more connections to Gdansk than just one student – once he showed interest in becoming one of city’s musicians. Unfortunately, the city wasn’t interested! Friedrich Christian Mohrheim (1719-1780) Trio g (arr. M. Kaźmierczak) Student of Bach in Leipzig, Kapellmeister of StMary’s church in Gdańsk where he was buried. Poland Fryderyk Chopin (1810-1849) Prelude c op. 28 nr 20 (arr. M. Kaźmierczak) Geert D’hollander (*1965) A Chopinesque Prelude (from Wellesley Studies) No need to introduce most famous Polish composer. Geert D’hollander wrote a study based on Chopin’s Prelude as one of his Wellesley Studies. Stanisław Moniuszko (1819-1872) Valse in Ab major (arr. M. Kaźmierczak) One of the best known romantic and patriotic composers in Poland, author of national operas and many songs. Karol Szymanowski (1882-1937) Mazurka op. 50 nr 1 (arr. C. Winter) Szymanowski was a famous Polish composer and pianist. He drew much influence from Chopin and folk music, especially from Polish Highlands region. Like Chopin, he wrote a number of mazurkas (20) for piano, although in a very modern style. For Gdańsk Krzysztof Falkowski (*1996) Little variation for carillon (2019) Little variation is a first carillon piece, written by a young and promising student of Academy of Music in Gdańsk. The composer was inspired by a characteristic sound of carillon and decided to refer to historical functions of bells, such as announcing important events like Holy mass or assemblings. The piece was formed as a set of variations with a theme starting with a “call” based on rhythmical strikes of two bells, transforming into melody which appears in the piece. Paweł Mykietyn (*1971) Stop (2020) One of the “hot” names in Polish modern music. The work STOP was written to a commission from the City of Gdańsk and Museum of Gdańsk to mark the 40th anniversary of the Gdańsk Agreement. The title expresses the beautiful, if perhaps somewhat naïve, dream of the victory of good over evil. May that dream ring out from the carillon of the Town Hall in Gdańsk – a city that has experienced both great good, with the creation of Solidarity, and great evil, with the murder of its mayor. Katarzyna Kwiecień-Długosz (*1978) Ad Fontes (2020) Katarzyna is a composer from Poznań who was drawn to carillon’s beauty few years ago and composed several pieces performed worldwide, including Epitaph for Paweł Adamowicz, Mayor of Gdańsk wo was murdered in 2019. This work was the composers’ reaction to the situation surrounding the coronavirus pandemic. She completed it in the Holy Week of 2020, and dedicated it to all people who are looking for hope. The composer says: We can search for hope in various ways. For me, it was a natural reflex to reach for the biblical Book of Psalms. At this difficult time, Psalm 42 seemed especially evocative to me. In this text, the psalmist makes use of the image of an animal, a doe which wants to find a life-giving stream. That is why the title of my work contains the Latin phrase from Vulgate, “Ad Fontes” – “to the sources” – which can be understood in differently depending on the context. I believe that the time of the pandemic forces us, in a way, to reflect on the sources of our identity, humanity, and spirituality. It might even cause us to return to those sources. There are musical citations in this work, for example, a fragment of the melody of Psalm 42 from Jakub Lubelczyk’s Psalter from 1556, the oldest preserved Polish psalter. I was inspired to reach for those musical sources by the story of the carillon from the Gdańsk Town Hall, which was built at the same time. In my work, the melody from the psalter is transformed through variations, and the whole musical action can be summarized with the last verse of Psalm 42: “Why art thou cast down, O my soul? and why art thou disquieted in me?” Hope thou in God: for I shall yet praise him for the help of his countenance.” This piece will be followed by Jakub Lubelczyk (1530-1563) David’s Psalter: Ps. 42 (1556) .
Load more

Recommended publications
  • Stadt- Und Hofkultur Im Ostseeraum in Der Frühen Neuzeit Urban and Court Culture in the Early Modern Baltic Sea Region
    Stadt- und Hofkultur im Ostseeraum in der Frühen Neuzeit Urban and Court Culture in the Early Modern Baltic Sea Region Konferenz am 2. und 3. Mai 2019 Estnische Musik- und Theaterakademie, Tallinn, Tatari 13, Raum A-402 Donnerstag, 2. Mai 2019 9.30–10.00 Begrüßungskaffee, Foyer im 4. Stock 10.00 Grußwort Kristel Pappel, Tallinn Hauptvortrag Silke Leopold, Heidelberg Opera in Europe around 1680: A Panorama of Dramaturgies, Languages and Styles 11.20 Martin Loeser, Greifswald The Court in the City? Aristocratic and Burgher Culture in Hamburg in the 17th and Early 18th Century 12.00 Ingo Rekatzky, Leipzig Höfische Festopern im Dienste der Diplomatie oder: Die ‘große Erzählung’ von Hamburgs Bürger-Oper 12.40–14.00 Mittagessen (Selbstverpflegung: Mensa im Keller der EMTA, Café Peps, Café Reval) 14.00 Peter Wollny, Leipzig Unbekannte Spuren von Johann Valentin Meders Notensammlung 14.40 Alexander Staub, Leipzig Johann Valentin Meders Dialogkantate „Wie murren denn die Leut’“: Anmerkungen zum historischen Hintergrund und zur musikalischen Gestaltung 15.20 Juliane Peetz-Ullman, Uppsala/Braås Wenn Gelegenheitsmusik aus ihrem Zusammenhang gerissen wird: Zur Stockholmer Version von Johann Valentin Meders anlässlich einer Feier der Befreiung Rigas komponierten Dialog „Wie murren denn die Leut’“ 1 18.00 Festsaal der Estnischen Akademie der Wissenschaften, Kohtu 6 (auf dem Domberg, ehem. Stackelberg-Palast) Konzert der Studenten des Zentrums für Alte Musik, EMTA (Leiterin: Imbi Tarum) Werke von Meder, Buxtehude, J. H. Roman Empfang für die Teilnehmer und Organisatoren der Konferenz sowie Mitglieder der Graduate School of Cultural Studies and Arts in Estonia Freitag, 3. Mai 2019 9.30–10.00 Begrüßungskaffee, Foyer im 4.
    [Show full text]
  • Routes to the Düben Collection the Acquisition of Music by Gustav Düben and His Sons
    Prejeto / received: 6. 5. 2015. Odobreno / accepted: 18. 6. 2015 ROUTES TO THE DÜBEN COLLECTION THE ACQUISITION OF MUSIC BY GUSTAV DÜBEN AND HIS SONS LARS BERGLUND Uppsala University Izvleček: Razprava opisuje, na kakšne načine so Abstract: The article describes the practices of prihajale muzikalije v Dübnovo zbirko. Glasbo acquisition of music behind the Düben Collec- so zanjo prepisovali iz tiskov, so pa tudi iz ra- tion. Music was copied into manuscripts from znih predelov Evrope pridobivali cele skupine prints, but was also obtained in the form of rokopisnih prepisov. Zdi se,da so bila tesna groups of manuscripts from different regions of osebna prijateljstva in zasebne mreže pri tem Europe. Close personal contacts and networks pomembnejše kot uradne tržne poti. seem to have been more important than tradi- tional trade routes. Ključne besede: Dübnova zbirka, 17. stoletje, Keywords: Düben Collection, seventeenth cen- glasba na Švedskem, razširjanje glasbe, zbirke. tury, music in Sweden, dissemination, music collections. Musical-cultural interchange and the transfer of music and musical cultures constitute in effect an exchange of knowledge, skills and values. In early modern Europe music travelled across the continent, being adopted, imitated and integrated in local contexts, often in cross-fertilization with local practices. Encounters with new and foreign sounds could be uncritically embraced – or resisted and rejected – but they always led to some kind of transformation of attitudes to listening, playing, composing or otherwise inter- acting with music. Even though transnational and transcultural interchange effectively entailed mental transformations of this kind, cultural transfer had in some way or other to be mediated by material means – by the transfer of material objects such as music prints or manuscripts, instruments or educational treatises: a transfer basically carried out by humans, who might be migratory musicians, postal carriers, shippers or couriers.
    [Show full text]
  • Stadt- Und Hofkultur Im Ostseeraum in Der Frühen Neuzeit Urban and Court Culture in the Early Modern Baltic Sea Region
    Stadt- und Hofkultur im Ostseeraum in der Frühen Neuzeit Urban and Court Culture in the Early Modern Baltic Sea Region Konferenz am 2. und 3. Mai 2019 Estnische Musik- und Theaterakademie, Tallinn, Tatari 13, Raum A-402 ABSTRACTS Silke Leopold, Heidelberg (Key note) Opera in Europe around 1680: A Panorama of Dramaturgies, Languages and Styles During the third generation since its creation, opera has spread throughout Europe and has become a highly differentiated art form. The differences between Italian, French, English and German opera were significant around 1680. And they have to do above all with the relationship between spoken theatre and dramatic singing in the respective countries. In Italy, where there is no literary theatre at the time, opera can develop freely and play out all the possibilities of vocal virtuosity. In France and England, opera with its sung dialogues has to justify its existence against an established theatre tradition. And in Germany the theologians argue against the supposedly immoral opera. The different forms of opera and the different views on opera around 1680 will be discussed in this lecture. Martin Loeser, Greifswald The Court in the City? Aristocratic and Burgher Culture in Hamburg in the 17th and Early 18th Century In recent cultural studies the city of Hamburg is still characterized as a Burgher metropolis in a very strict sense. But reflecting the gallant lifestyle of rich patricians, their political and cultural power and the importance of music as a means of representation and entertainment, this class shared a lot with members of the aristocracy. The paper shows in how far Aristocratic and Burgher culture were overlapping, and which influences and impulses on music culture may be considered.
    [Show full text]
  • Lieder (Fast) Ohne Noten. Gelegenheitsdrucke Meders Als Sozialhistorische Und Musikalische Quellen1 Anu Schaper
    Lieder (fast) ohne Noten. Gelegenheitsdrucke Meders als sozialhistorische und musikalische Quellen1 Anu Schaper Abstract From Riga, Tallinn (Reval), Gdańsk (Danzig) and Bremen around 20 printed examples of occasional works by Johann Valentin Meder (1649–1719) have survived. Few of these actually include music; however, the type and structure of the texts as well as some of the composer’s designations regarding genre reveal a varied corpus of work, ranging from Generalbassaria (strophic basso continuo aria) through concerto cum aria and dialogue to what Meder calls Cantata. The dedications, allusions in the texts and other details enable us to observe how Meder, as musician and man, positioned himself with respect to prospective patrons and the upper classes as well as towards music lovers. On one hand, the characteristics of the music, where it has survived, together with hints as to the nature of the music in others where it has not can shed some light on questions concerning the urban and corporate networks of Meder’s time. On the other, they enable us to make assumptions and draw conclusions about some of Meder’s other works not included in this corpus which have been preserved in manuscript. Im Jahr 1685 hat Johann Valentin Meder (1649– 2. 1719) aus Riga2 eine Hochzeitsmusik nach Tallinn Also wollst du gleicher Massen / geschickt – für die Hochzeit „Des Ehren-Vesten Meine Klio / munter sein […] Herrn Herman Vegesack / Vornehmen [...] Kauff-Gesellens in Revall / als Bräutigams / und Der […] Jungfer Anna Wistinghusen […] 3. als Braut“.3 Die Hochzeitsmusik ist in vielerlei Auff! und säume nicht zu reisen / Hinsicht besonders: Der Ritornellarie war nicht Mit der Post nach Revall hinn! nur ein Brauttanz hinzugefügt, sondern auch Sey geflissen / umb zu weisen ein Kompositionsrätsel, darüber hinaus enthält Deine Pflicht und treuen Sinn der Arientext aufschlussreiche Hinweise.
    [Show full text]
  • Katarzyna Gugnowska Johann Valentin Meder - Musicus Poeticus : Analiza Retoryczno-Muzyczna Koncertu Psalmowego "Ach Herr, Strafe Mich Nicht in Deinem Zorn"
    Katarzyna Gugnowska Johann Valentin Meder - musicus poeticus : analiza retoryczno-muzyczna koncertu psalmowego "Ach Herr, strafe mich nicht in deinem Zorn" Aspekty Muzyki 3, 111-133 2013 ISBN 978-83-936400-5-8 ASPEKTY MUZYKI 2013, ТОМ 3 ISSN 2082-6044 KATARZYNA GUGNOWSKA (Uniwersytet Muzyczny Fryderyka Chopina, Warszawa, i^dział Kompozycji, Dyrygentury i Teorii Muzyki) Johann Valentin Meder — musicus poeticus. Analiza retoryczno-muzyczna koncertu psalmowego Ach Herr, strafe mich nicht in deinem Zorn Johann Valentin Meder (1649—1719)' nie mógł nie korzystać z rozwiązań, jakie miała do zaoferowania barokowa retoryka muzyczna. Pozwalała ona na taki sposób konstruowania wypowiedzi muzycznej, by jak najdobitniej wyrazić 1 Johann Valentin Meder pracował jako muzyk w wielu ośrodkach europejskich. W latach 1687-1699 był zatrudniony w Gdańsku na stanowisku kapelmistrza kościoła Najświętszej Marii Panny i Kapeli Rady Miasta. W encyklopediach i leksykonach muzycznych podawane są jedynie zwięzłe informacje na temat życia i twórczości Medera. Bardziej wyczerpujące dane zawierają następujące prace: Johann Mattheson, Grundlage einer Ehren-Pforte, Hamburg 1740, wyd. nowe, red. Max Schneider, Berlin 1910; Johannes Boite, Das Stammbuch Johann Valentin Meder’s, „Vierteljahrsschrift für Musikwissenschaft” 1891, Vol. 8; Johannes Boite, Johann Valentin Meder. Neue Mittheilungen, „Vierteljahrsschrift für Musikwissenschaft” 1891, Vol. 7; Johannes Boite, Nochmals Johann Valentin Meder, ibidem; Johannes Boite, Johann Valentin Meder’s Stammmbuch, „Sammelbände der Internationalen Musikgesellschaft” 1899-1900, Bd. 1; Hermann Rauschning, Geschichte der Musik und Musikpflege in Danzig. Von den Anfängen bis zur Auflösung der Kirchenkapellen, „Quellen und Darstellungen zur Geschichte Westpreußens” 1931, Bd. 15; Christian Kämpf, Von Wasungen nach Reval, Danzig und Riga. Das bewegte Leben des Johann Valentin Meder, „Wasunger Geschichtsblätter” 2010, Vol.
    [Show full text]
  • Cremona Baroque Music 2018
    Musicology and Cultural Heritage Department Pavia University Cremona Baroque Music 2018 18th Biennial International Conference on Baroque Music A Programme and Abstracts of Papers Read at the 18th Biennial International Conference on Baroque Music Crossing Borders: Music, Musicians and Instruments 1550–1750 10–15 July 2018 Palazzo Trecchi, Cremona Teatro Bibiena, Mantua B Crossing Borders: Music, Musicians and Instruments And here you all are from thirty-one countries, one of Welcome to Cremona, the city of Monteverdi, Amati and the largest crowds in the whole history of the Biennial Stradivari. Welcome with your own identity, to share your International Conference on Baroque Music! knowledge on all the aspects of Baroque music. And as we More then ever borders are the talk of the day. When we do this, let’s remember that crossing borders is the very left Canterbury in 2016, the United Kingdom had just voted essence of every cultural transformation. for Brexit. Since then Europe—including Italy— has been It has been an honour to serve as chair of this international challenged by migration, attempting to mediate between community. My warmest gratitude to all those, including humanitarian efforts and economic interests. Nationalist the Programme Committee, who have contributed time, and populist slogans reverberate across Europe, advocating money and energy to make this conference run so smoothly. barriers and separation as a possible panacea to socio- Enjoy the scholarly debate, the fantastic concerts and political issues. Nevertheless, we still want to call ourselves excursions. Enjoy the monuments, the food and wine. European, as well as Italian, German, French, Spanish, And above all, Enjoy the people! English etc.
    [Show full text]
  • Reorer-Muusiko-Kin )0
    ISSN 0207—6535 reorer-muusiko-kin)0 Eesti Kultuuri* ministeeriumi, Eesti Heliloojate Eesli Kinoliidu ja Eesti Teatriliidu ajakiri 12 detsember IX aastakäik Esikaanel: Eesti poiss kaameliga (Rein Oja). A. Koluvere foto Tagakaanel: Kaadrid režissäöride Riho Undi ja Hardi Volmeri animaifilmist «Jack pot» «.Tallinnfilm», 1990). TOIMETUSE KOLLEEGIUM JAAK ALLIK AVO HIRVESOO ARVO IHO TÕNU KALJUSTE ARNE MIKK MARK SOOSAAR PRIIT PEDAJAS LINNAR PRIIMÄGI ÜLO VILIMAA PEATOIMETAJA MIHKEL TIKS, tel 44 04 72 TOIMETUS: Tallinn, Narva mnt 5 postiaadress 200090, postkast 3200 Peatoimetaja asetäitja Peeter Tooma, tel 66 61 62 Vastutav sekretär ggH^ Helju Tüksammel, tel 44 54 68 Teatriiosakond Reet Neimar ja Margot Vismap, tel 44 40 80 Muusikaosakond Mare Põldmäe ja Mart Siimer, tel 44 Sl 09 Filmiosa kjond Sulev Teinemaa ja Jaak Lõhmus, tel 43 77 56 Keeletoimetaja Kulla Sisask, tel 44 54 68 Fotokorrespondent Toomas Huik, tel 44 47 87 KUJUNDUS: MAI EINER, tel 44 47 87 83 «Teater. Muusika. Kino», 1990 SISUKORD TEATER Piret Kruuspere EESTI NÄITEKIRJANIKUD BERNARD KANGRO JA ILMAR KÜLVET Jaak Allik ZOKIILI1KMENA QUE3ECI TEATRIFESTIVALIL German Schutting FARSI VÕITLUS KOMÖÖDIAGA VABADUSE PLATSI ÄÄKES (Vene teatri hooaeg 1989/90) 51 MUUSIKA VASTAB ILMAR LAABAN — MUUSIK 3 Vaike Sarv SOVETLIKU SAMAANI RASKE ROLL К Maris Männik JEAN SIBELIUS JA EESTI Toomas Siitan JOHANN VALENTIN MEDER. MATTEUSE PASSIOON 63 UUEST AASTAST TAAS «MUUSIKALEHT» 68 EESTI NOORED MAAILMA NOORTE KOORIS Mart Siimer EESTI NOORTEST HELILOOJATEST 73 Tiina Lõhmuste ÜHE PILLIMEHE LUGU (Fiöödimängija
    [Show full text]
  • Passionsgottesdienst Johann Valentin Meder (1649 – 1719): Oratorische Passion Nach Matthäus »Actus Musicus De Passione Et Morte Jesu Christi«
    CHRISTUSKIRCHE BREMERHAVEN Karfreitag, den 3. April 2015, 17.00 Uhr Passionsgottesdienst Johann Valentin Meder (1649 – 1719): Oratorische Passion nach Matthäus »Actus Musicus de passione et morte Jesu Christi« Evangelist: Benjamin Kirchner · Jesus: Ralf Grobe Blockflöten: Julia Fritz & Barbara Heindelmeier Violinen: Corinna Hildebrand & Anette Keimel G-Violone: Marthe Perl · Orgel: Folker Froebe Leitung: Eva Schad · Predigt: Pastorin Friederike Anz www.kreiskantorat-bremerhaven.de Johann Valentin Meder (1649 –1719) Johann Valentin Meder entstammte einer großen fränkisch-hennebergischen Musikerfamilie, war der jüngste Sohn des Wasunger Kantors Johann Erhard Meder und wurde am 3. Mai 1649 in der Wasunger Stadtkirche getauft. Da schon seine älteren Brüder als Kantoren tätig waren, sein Bruder David Bern- hard sogar als angesehener Organist an der Frauenkirche in Kopenhagen, schien auch für Johann Valentin die Musikerlaufbahn vorbestimmt. Er be- gann aber 1669 zunächst ein Theologiestudium, das er 1670 – vermutlich aus finanziellen Gründen – abbrach. In der Folgezeit (1671–72) diente Meder als Sänger an verschiedenen Höfen: in Gotha, Meiningen, Eisenach und Kassel. 1672–73 hielt er sich in Bremen und Hamburg auf, reiste von dort zu seinem Bruder nach Kopenhagen und besuchte 1674 Dietrich Buxtehude in Lübeck. Dass die Nachwelt über Meders Wanderschaften so gut informiert ist, liegt an seinem teilweise erhalten gebliebenen Stammbuch, das er seit seiner Studentenzeit stets mit sich führte. In ein Stammbuch schrieben sich gute Bekannte und Freunde mit Namen, Beruf, Ort und Datum ein und fügten oftmals auch einen Spruch, eine Zeichnung oder einen musikalischen Gruß hinzu. So widmete ihm Dietrich Buxtehude 1674 einen vierstimmigen Ca- non duplex per augmentationem. Da Meders Besuch 1674 bei seinem Bruder in Kopenhagen zu keiner An- stellung geführt hatte, reiste er weiter nach Estland und trat noch 1674 am Revaler Gustav-Adolf-Gymnasium die Nachfolge des gerade verstorbenen Kantors an.
    [Show full text]
  • Bibliographie Zum Nachleben Des Antiken Mythos
    Bibliographie zum Nachleben des antiken Mythos von Bernhard Kreuz, Petra Aigner & Christine Harrauer Version vom 26.07.2012 Wien, 2012 Inhaltsverzeichnis I. Allgemeine Hilfsmittel .............................................................................................................. 3 I.1. Hilfsmittel zum 16.–18. Jhd. .............................................................................................. 3 I.1.1. Lexika zur Rennaissance .............................................................................................. 3 I.1.2. Biographische Lexika ................................................................................................... 3 I.1.3. Bibliographische Hilfsmittel ........................................................................................ 4 I.1.4. Neulateinische Literatur im Internet ............................................................................ 4 I.2. Moderne Lexika zur Mythologie (in Auswahl) ................................................................. 4 I.2.1. Grundlegende Lexika zur antiken Mythologie und Bildersprache .............................. 4 I.2.2. Lexika zur antiken Mythologie und ihrem Nachleben ................................................. 5 Spezialwerke zur bildenden Kunst ......................................................................................... 5 Spezialwerke zur Musik ......................................................................................................... 6 I.2.3. Zu mythologischen Nachschlagewerken der
    [Show full text]
  • David Kellner - a Biographical Survey
    David Kellner - A Biographical Survey By Kenneth Sparr 2 David Kellner - A Biographical Survey By Kenneth Sparr Stockholm, Sweden 1997 Updated 2011-10-09 3 Introduction David Kellner's fame rests on his thorough-bass treatise Treulicher Unterricht im General-Bass... (Hamburg, 1732) and his lute tablature book XVI auserlesene Lauten-Stücke... (Hamburg, 1747). The Treulicher Unterricht went through no less than eight German editions from 1732 up to 1796, two Dutch, one Swedish and one Russian. Several copies of the different editions are to be found in libraries around the world indicating the impact Kellner's thorough- bass treatise must once have had. Of his lute book, on the other hand, only two copies seem to be preserved. A few of his lute pieces are to be found in manuscript sources. The XVI auserlesene Lauten-Stücke was furthermore one of the last lute tablature books to be published. In spite of all this not much has been known about David Kellner's life and even if he is mentioned in most musical dictionaries the information given is often rudimentary and sometimes incorrect. Only two musicologists have paid any attention to him: Elwyn A. Wienandt and Gun Fridell. Their work, however, concentrates on Kellner's music and thorough bass treatise and not on his biography, a subject which will be the principle object of this article.1 Place of Birth and Family David Kellner was born in a small village, Liebertwolkwitz, situated about 10 kilometres from Leipzig.2 This is evident from the fact that he later registered as Libertwolwicensis Misnicus.
    [Show full text]
  • Ich Bin Die Auferstehung Buxtehude and His
    Ich bin die Auferstehung Buxtehude and His Copenhagen Connections Jakob Bloch Jespersen Concerto Copenhagen & Lars Ulrik Mortensen Dietrich Buxtehude · Johann B Erben · Johann V Meder · Matthias Weckmann DIETRICH BUXTEHUDE (1637-1707) Kaspar Förster (the Younger) · Anderas Kirchhoff · Nicolaus Bruhns Ich bin die Auferstehung und das Leben, BuxWV 44 6:03 Ich bin die Auferstehung – Buxtehude and His Copenhagen Connections JOHANN B. ERBEN (1626-1686) Sonata sopra ut, re, mi, fa, sol, la ������������������������������������������������������������������������������������������������������������� 6:50 Jakob Bloch Jespersen, bass-baritone JOHANN V. MEDER (1649-1719) Concerto Copenhagen Gott hilf mir 10:29 Lars Ulrik Mortensen, organ, harpsichord and direction MATTHIAS WECKMANN (1619-1674) Toccata in A minor 5:22 Kommet her zu mir ��������������������������������������������������������������������������������������������������������������������������������������� 8:11 KASPAR FÖRSTER (the Younger) (1616-1673) Jesu dulcis memoria * 8:02 Fredrik From, Hannah Tibell (violins); Antina Hugosson, Jesenka Balic Zunic (violas); Heidi Gröger (violone); Gawain Glenton, Josue Melendez (cornets); Robert Farley, ANDREAS KIRCHHOff (d 1691) Christopher Pigram (trumpets); Jane Gower (dulcian) Sonata á 6 *
    [Show full text]
  • Seventeenth-Century Gdansk Instrumental Music Sources
    Interdisciplinary Studies in Musicology 11,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 DANUTA SZLAGOWSKA Stanisław Moniuszko Academy of Music, Gdańsk Seventeenth-century Gdansk instrumental music sources ABSTRACT: This article represents an attempt to provide a synthetic presentation of seventeenth-century Gdańsk instrumental music sources, comprising three groups: 1 - manuscripts and old prints, currently found in Gdańsk or elsewhere, that include works by musicians who were active in Gdańsk; 2 - manu­ scripts from Gdańsk libraries that include works by composers not active in Gdańsk; 3 - manuscripts of Gdańsk provenance, now held in libraries outside Gdańsk, that include works by composers not active in Gdańsk. Several types of sources have survived that are characteristic of the age in which they were created. These include lute tablatures, keyboard tablatures and manuscripts and old prints with compositions for various forces, including keyboard instruments, solo instruments (violin, cornet) with b.c., a 2 and a 3 type compositions for violin (in one case for cornet and bassoon with b.c.) and also larger ensembles, chiefly strings with b.c. The repertoire of the Gdańsk sources is similar to that of other seventeenth- century European sources. It includes dances, canzonas, fantasias, preambles, sonatas, suites and, in the earliest manuscripts, intabulations of both religious and secular songs. In total, there are some 800 extant compositions, of which the vast majority (around 700) are found in lute and keyboard tablatures. Some compositions may be considered unique in Old Polish instrumental music. They are works by the composers Marcin Gremboszewski and Heinrich Dóbel, who were active in Gdańsk, representing early examples of solo compositions for cornet and violin with b.c., as well as a chamber piece for cornet and bassoon with b.c.
    [Show full text]