Unmittelbarock! Tage Mitteldeutscher Barockmusik
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An Examination Into the Stylistic Characteristics
GEWESENER MAGDEBURGISCHE MUSICUS: AN EXAMINATION INTO THE STYLISTIC CHARACTERISTICS OF HEINRICH GRIMM’S EIGHT-VOICE MOTET, UNSER LEBEN WEHRET SIEBENZIG JAHR’ Benjamin Michael Dobbs, B.A. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS December 2010 APPROVED: Graham H. Phipps, Major Professor Frank Heidlberger, Minor Professor Gene J. Cho, Committee Member Eileen Hayes, Chair of the Division of Music History, Theory, and Ethnomusicology Lynn Eustis, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Dobbs, Benjamin Michael. Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm’s Eight-Voice Motet, Unser Leben wehret siebenzig Jahr’. Master of Music (Music Theory), December 2010, 172 pp., 61 figures, references, 71 titles. Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm’s 1631 motet, Unser Leben wehret siebenzig Jahr’. Furthermore, I compare his compositional technique to that of his contemporaries and predecessors with the goal of examining the work from both Renaissance and Baroque perspectives. Copyright 2010 by Benjamin Michael Dobbs ii ACKNOWLEDGEMENTS There are many people that I wish to acknowledge without whose support and assistance this study would not have been possible. -
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 A Study of Two Seventeenth-Century Teaching Manuals in Hamburg: Critical Editions and Translations of Thomas Selle's Kurtze Doch Gründtliche Anleitung zur Singekunst (c. 1642) and Heinrich Grimm's Instrumentum Instrumentorum, Hoc Est, Monochordum vel Potius Decachordum (1634) Joanna L. Carter Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC A STUDY OF TWO SEVENTEENTH-CENTURY TEACHING MANUALS IN HAMBURG: CRITICAL EDITIONS AND TRANSLATIONS OF THOMAS SELLE’S KURTZE DOCH GRÜNDTLICHE ANLEITUNG ZUR SINGEKUNST (c. 1642) AND HEINRICH GRIMM’S INSTRUMENTUM INSTRUMENTORUM, HOC EST, MONOCHORDUM VEL POTIUS DECACHORDUM (1634) By JOANNA L. CARTER A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 The members of the Committee approve the dissertation of Joanna L. Carter defended on 8 November 2002. Jeffery T. Kite-Powell Professor Directing Dissertation Bruce Boehrer Outside Committee Member Hans-Friedrich Mueller Outside Committee Member Douglass Seaton Committee Member Charles E. Brewer Committee Member The Office of Graduate Studies has verified and approved the abovenamed committee members ACKNOWLEDGEMENTS Over the years, several people have contributed their time and expertise to this project. In its initial phases, I was greatly encouraged and assisted by Hans Joachim Marx, professor emeritus of musicology at the Universität Hamburg, and Jürgen Neubacher, music librarian at the Staats- und Universitätsbibliothek Hamburg. In particular, Dr. Neubacher aided me in procuring source materials and provided valuable information concerning them. -
The Reception of the Motet Elisabeth Zachariae by Jacobus Handl-Gallus in the Sixteenth and Seventeenth Centuries
View metadata, citation and similar papers at core.ac.uk Prejeto / received: 2. 3. 2015. Odobreno / accepted: 4. 5.brought 2015 to you by CORE provided by ZRC SAZU Publishing (Znanstvenoraziskovalni center - Slovenske... THE RECEPTION OF THE MOTET ELISABETH ZACHARIAE BY JACOBUS HANDL-GALLUS IN THE SIXTEENTH AND SEVENTEENTH CENTURIES MARKO MOTNIK Universität für Musik und darstellende Kunst Wien Izvleček: Šestglasni motet Elisabeth Zachariae Abstract: Elisabeth Zachariae, a six-part motet Jacobusa Handla - Gallusa sodi med skladatel- of Jacobus Handl-Gallus can be considered as jeva najuspešnejša dela. Prispevek obravnava one of his most successful works. In this article besedilo, strukturo in rabo moteta, predvsem the motet’s text, structure, and use are briefly pa se posveča njegovi recepciji od nastanka discussed, and the history of its reception from do zadnjih natisov in rokopisnih prepisov iz its first appearance to its last printed editions sredine 17. stoletja. and manuscripts in the mid seventeenth century is examined. Ključne besede: Elisabeth Zachariae, Jacobus Keywords: Elisabeth Zachariae, Jacobus Handl- Handl - Gallus, Stephan Schormann, Heinrich Gallus, Stephan Schormann, Heinrich Grimm, Grimm, Thomas Selle. Thomas Selle. When the Prague publishing house of Georgius Nigrinus, also known as Jiří Černý, in 1580 printed Selectiores quaedam missae, a collection of sixteen Masses by Jacobus Handl-Gallus,1 the composer was already thirty years old. It took another six years before the first book of his motets came out in print, although a few works published in Handl’s Opus musicum between 1586 and 1590 appear earlier as models for his Mass settings. These are Pater noster and Locutus est Dominus from the first part of Opus musicum (1586, nos. -
Music and Lutheran Devotion in the Schütz Era
Music and Lutheran Devotion in the Schütz Era Mary E. Frandsen n the sixteenth century, musical settings of two sorts of German texts – chorales and scripture verses – Iemerged as a distinctively Lutheran musical response to the Reformation. Both types of pieces can be regarded as consequences of Luther’s calls for congregational participation in worship, and for worship resources in the vernacular. The resulting vast repertoires of »Choralbearbeitungen« and »Spruchmotetten« have come to be closely associated with Lutheranism, and rightly regarded as fundamental to its musical identity. But the music inventories of Lutheran courts, Latin schools, and city churches reveal that the sixteenth-century repertoire also included numerous Latin motets, many of which flowed from the pens of such Catholic composers as Josquin, Clemens non papa, and Lasso1. Many of these texts were also drawn from the Bible, and thus this Latin repertoire also contributed significantly to the body of settings of scripture in Lutheran use. Early in the seventeenth century, however, Lutheran composers began to expand the range of their textual options by engaging musically with devotional texts. These took the form of prayers – personal supplications that give voice to the individual Christian’s ardent expressions of love for Christ in par- ticular2. With these prayers, a third type of text – the devotional text – entered the Lutheran repertoire. Musical settings of these Christocentric prayers quickly gained a permanent place in the repertoire of sacred music, and came to constitute a considerable body of music; from the opening years of the century until the emergence of Pietism around 1680, between 700 and 800 settings of devotional texts circu- lated among Lutherans, mostly in the form of motets and sacred concertos3. -
Im Auftrag Der Internationalen Heinrich-Schütz-Gesellschaft E.V
Im Auftrag der Internationalen Heinrich-Schütz-Gesellschaft e.V. herausgegeben von Walter Werbeck in Verbindung mit Werner Breig, Friedhelm Krummacher, Eva Linfield 32. Jahrgang 2010 Bärenreiter Kassel . Basel . London . New York . Praha 2011_schuetz-JB-umbruch_1105019_1 1 19.05.2011 09:03:05 Gedruckt mit Unterstützung der Internationalen Heinrich-Schütz-Gesellschaft e.V. und der Landgraf-Moritz-Stiftung Kassel © 2011 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel Alle Rechte vorbehalten / Printed in Germany ISBN 978-3-7618-1688-2 ISSN 0174-2345 22011_schuetz-JB-umbruch_1105019_2011_schuetz-JB-umbruch_1105019_2 2 119.05.20119.05.2011 009:03:059:03:05 Inhalt Vorträge der Heinrich-Schütz-Tage Breslau 2009 Breslau als Zentrum der Musikkultur Schlesiens im 17. Jahrhundert 7 Remigiusz Pos´piech The Role of Heinrich Schütz and Silesian Musicians in the Dissemination of the Repertoire of the Polish Royal Chapel led by Marco Scacchi in Silesia, Saxony and Thuringia 17 Barbara Przybyszewska-Jarmin´ ska Die deutsche Orgeltabulatur New York Public Library Mus. Res. MN T 131 und das Breslauer Musikleben des 17. Jahrhunderts 29 Barbara Wiermann Freie Beiträge Harmonie des Klanglichen und der Erscheinungsform – Die Bedeutung der Orgel bauerfamilien Beck und Compenius für die mittel deutsche Orgelkunst der Zeit vor Heinrich Schütz 51 Gerhard Aumüller, Wolf Hobohm, Dorothea Schröder Symbolische Kommunikation und musikalische Repräsentation – Der Friede von Nijmegen (1679) im Spiegel zeitgenössischer Kompositionen 107 Markus Rathey The Rhetoric of Interruption in Giovanni Felice Sances’s »Motetti a voce sola« (1638) 127 Andrew H. Weaver »Musica noster Amor« – Musikereinträge im Stammbuch von Sethus Calvisius d. J. 149 Michael Maul Ein Stammbuchblatt von Heinrich Schütz? 157 Rashid-S. -
Musiker-Lexikon
Maren Goltz Musiker-Lexikon des Herzogtums Sachsen-Meiningen (1680 - 1918) Meiningen 2008 Impressum urn:nbn:de:gbv:547-200800339 Titelbild Karl Piening mit Fritz Steinbach und Carl Wendling vor dem Meininger Theater, Photographie, undatiert, Meininger Museen B 617 2 Vorwort Das Herzogtum Sachsen-Meiningen (1680-1918) besitzt in kultureller Hinsicht eine Sonderstellung. Persönlichkeiten wie Hans von Bülow, Johannes Brahms, Richard Strauss, Fritz Steinbach und Max Reger verankerten es in der europäischen Musikgeschichte und verhalfen ihm zu einem exzellenten Ruf unter Musikern, Musikinteressierten und Gelehrten. Doch die Musikgeschichte dieser Region läßt sich nicht allein auf das Werk einzelner Lichtgestalten reduzieren. Zu bedeutsam und nachhaltig sind die komplexen Verflechtungen, welche die als überlieferungswürdig angesehenen Höchstleistungen erst ermöglichten. Trotz der Bedeutung des Herzogtums für die europäische Musikgeschichte und einer erstaunlichen Quellendichte standen bislang immer nur bestimmte Aspekte im Blickpunkt der Forschung. Einzelne Musiker bzw. Ensembles oder zeitliche bzw. regionale Fragestellungen beleuchten die Monographien „Die Herzogliche Hofkapelle in Meiningen“ (Mühlfeld, Meiningen 1910), „Hildburghäuser Musiker“ (Ullrich, Hildburghausen 2003), „Musiker und Monarchen in Meiningen 1680-1763“ (Erck/Schneider, Meiningen 2006) oder „Der Brahms- Klarinettist Richard Mühlfeld“ (Goltz/Müller, Balve 2007). Mit dem vorliegenden „Musiker-Lexikon des Herzogtums Sachsen-Meiningen“ wird erstmals der Versuch unternommen,