DOCSLIB.ORG

Zweyer Gleich-Gesinnten Freunde Tugend Und

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zweyer Gleich-Gesinnten Freunde Tugend Und UND SCHERTZ-LIEDER ZWEYER GLEICH-GESINNTEN FREUNDE TUGEND BY JOHANN JACOB LOWE AND JULIUS JOHANN WEILAND APPROVED: Major Professor (6 Miro Professo ean of the School of Mu ic Dean b the Graduate School NS ZWEYER GLEICH-GESINNTEN FREUNDETUGEND- UND SCHERTZ-LIEDER BY JOHANN JACOB LOWE AND JULIUS JOHANN WEILAND THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Nancy Jean Clayton, B.M. Denton, Texas May, 1978 Clayton, Nancy J., Zweyer Gleich-Gesinnten Freunde Tugend- und Schertz-lieder. Master of Music (Musicology), May, 1978, 129 pp., 2 tables, 3 illustrations, Bibliog- raphy, 32 titles. The purpose of this thesis was to make available for performance and study an edition of the twenty-two secular songs published in this collection by Johann Jacob Lowe and Julius Johann Weiland in 1657. The thesis contains twenty-two secular songs for one, two, or three voices with continuo accompaniment and ritornellos for one or two violins, and/or viola, as well as translations of Lowe's preface and dedication and a poem to Ldwe and Weiland by Heinrich SchAffer. The work contains three chapters, the first covering Lbwe's life and work and association with Weiland, the second the state of German secular song in 1650, and the third a critical commentary on the editing of the songs. Editorial corrections are in- cluded. G 1977 NANCY JEAN CLAYTON All Rights Reserved ii TABLE OF CONTENTS Page LIST OF PLATES . iv LIST OF ILLUSTRATIONS ....... .. .. iv Chapter I. JOHANN JACOB LOWE . .1 His Life His Music The Tugend- und Schertz-lieder II. GERMAN SECULAR SONG ca. 1650 . .a , . - 11 III. ZWEYER GLEICH-GESINNTEN FREUNDE TUGEND- UND SCHERTZ-LIEDER , . 21 Critical Notes 1. Du Edle Zeit vertreiberin 2. Lass fahren du mein freyer Sinn 3. Ach, nein du tolles Sauffgezucht 4. Ey Weg nur immer weg du blasses neiden 5. Was wiltu doch viel prangen 6. Deiner muss ich jawol lachen 7. Was kan uns sterblichen allhier 8. Du Pestilenz der Jugend 9. Wer wolte doch die siUissen Schmerzen 10. Solt ich dich nicht lieben 11. Ich weiss nicht wie mir ist geschehen 12. H6r doch auff mein Sinn zu dencken 13. Ey so wolt ich lieber sterben 14. 0 der kUmmerlichen Freuden 15. Wie lange sol ich meine Zeit hinbringen 16. Ey lieber Momus sag mir an 17. Wer sich ist nicht weiss zu schicken 18. Warumb solt ich traurig seyn 19. Ich bin Hans ohne Sorgen 20. Ich dancke meinem Gott 21. Weg mit euren Eitelkeiten 22. Wer sich beleidigt find APPENDIX . 120 English Translations Works of Lwe and Weiland BIBLIOGRAPHY . 127 iii LIST OF PLATES Plate Page 1. Title Page of the Tugend und Schertz-lieder . v vii 2. Page of' L*we's Printed Edition of 1657. LIST OF ILLUSTRATIONS Figure Page 22 1. Tie and Fermata with Staff Line . 2. Coloration Figure . - - 23 23 3. Corelli Clash . - - . - - - - - - a * - * iv p(Off btc j tgc nCucfefft t nLbc wo RC tct -, Optt crtafft/ Zlurct 34 a scob Diven on eena WArf. Zrainfdbm. d0(6brg. QYapliuciftcrn Zinb -54rftI-raun*O4t2nb. Muficum. P et9-tl of rut/he P Tu hEDC.LVU Plate 1--Title Page of the Tugend- und Schertz-lieder V This page has been inserted during digitization. Either the original page was missing or the original pagination was incorrect. CHAPTER I JOHANN JACOB LOWE His Life Johann Jacob Lbwe von Eisenach was born July 31, 1628 or 1629, in Vienna, the son of the Saxon Electoral resident, Johann Lo'We (born 1575 in Eisenach, died 1649 in Vienna). He was descended from a well-established Thuringian family which variably spelled the family name LEBE, LEW(E), LOW(E), or LEO. Johann Jacob consistently signed his name as "Lbw von Eysenach" to denote his family line, but was generally known simply as "Lowe." 2 On occasion his works were signed only "J.J.L.V.E." He received his early musical education as a violinist in the Viennese court, where his father was in service. Here Italian musicians and their music exerted a significant in- 4 fluence on him. His later musical education was received 1 Alfred Loewenberg, "Lo5we, Johann Jacob," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom (New York, 1954), V, 410. 2 Horst Walter, "L6we von Eisenach," Die Musik in Geschichte und Gegenwart, 14 vols., ed. Friedrich Blume (Kassel, 1949-1968), VIII, 1111. 3 Robert Eitner, editor, "Lowe," Quellen-Lexicon, 10 vols. (Leipzig, 1898-1904), VI, 205. 4 Walter, op. cit., 1112. 1 1 - - e * - m a lul a CH SKII 0 Q t: 0 OH -4 -P *i) I 4-) C4-1 1 0 I.I HIH4 C\Q * C S 4 I 'S I t$ C * 4 I. 4 I p6l l I I r-l- , - --- -- - - Alw - --- - - - --- WVA vii 2 from Heinrich Schuitz, with whom he studied organ and compo- sition in Dresden in 1652. The relationship between the two men surpassed that of teacher and pupil, and they became good friends.5 Schutz once described Lowe as being "noble, faithful, able, a particular friend, and beloved as a son." 6 Later in 1652, on SchUtz's recommendation, Lbwe became a resident ambassador and successor to his father in the Kaiser's court. In 1655, again on the recommendation of Schutz, L6we was called as Kapellmeister to the Wolfenbuttel Court of Herzog August the Younger. It was in this capacity that Lowe engaged in his most productive compositional ac- tivities. As Kapellmeister at Wolfenbiuittel, Ldwe collabo- rated with one of the court musicians, Julius Johann Weiland, on the work edited in this study, the Zweyergleich-gesinnten Freunde Tugend- und Schertz-lieder, published by Jacob Kdhler in Bremen in 1657. Thirteen operas supposedly composed by Lbwe were per- formed during his duties in Braunschweig-Wolfenbuttel. The first of these was an opera called Amelinde (1657), with a libretto by a well-known contemporary dramatist, Duke Anton Ulrich. Ulrich provided Lbwe with texts for most of his 5Loewenberg, op. cit., 410. 6 John Weeks Moore, editor, "Lbwe, Complete Encyclopedia of Music (Boston, 1880), p. 529. 7 Walter, O. cit., 1112. 8 Loewenberg, op. cit., 410. 3 singspiels; of these only one libretto remains, and none of the music has survived.9 Of Lo*we's early Braunschweig operas, only one, Qgrphusaus Thracien (1659), can be au- thenticated as a composition by Lowe.1 0 During the Easter season of 1663, again at Schitz's behest, Lowe became Kapellmeister at the newly-established court chapel of Herzog uMoritz in Zeitz. A rivalry with an- other court musician, M. Clemons Thieme, created discontent with the new post, and in ay of 1665, Lzwe submitted his resignation. Herzog Moritz sent a letter of recommendation on behalf of Liwe to the court of Frankfurt am Main as well as to the Elector of Brandenburg, but Lwe failed to obtain either position. From 1665 until 1682, Lowe apparently had no permanent position, although several works composed and printed during this period indicate that he remained active musically. In 1681, the Hanover Kantor, Johann Georg Braun, requested that Lowe compose the musical examples for his rzen AnleItunLzr edlenMusikkunst, and in 1682 Braun contributed the secular texts for Lowe's EinstimmeyNeuen 9 Percy M. Young, "From Schuitz to Telemann," Xerman Music, Of edited by Hans-Hubert Scho-nzeler (London, 19,77 P. 31. 10 Loewenberg, op. cit., 410. 4 Arien.11 Lwe also set texts of several members of the ori- ginal Fruchtbringende Gesellschaft.12 In 1682 Ldwe became the organist at St. Nicolas and St. Marian Churches in Luineburg, remaining there until his death in September, 1703. From more than twenty years of musical activity there, no certificates or documents exist to give evidence of his significance in the musical life of the city.13 In the district archives at Dresden, only the following information is on record; no further details are known: While at the Braunschweig Court in 1655, Lbwe received a salary of 300 Thalers, plus 52 Thalers for each singer in his choir, in addition to extra fees for laundry and cloth- ing. In 1660, Lbwe demanded a salary of 450 Thalers, which resulted in payment of the sum, but not on a regular basis. In 1663 he left Wolfenbiittel to go to Zeitz.14 Lwe moved to Luneburg in 1682 to become the organist at St. Nicolas and St. Marian Churches in that city. During Lowe's period of employment in Lineburg, J.S. Bach was a student at St. Michael's Church (from 1700 to 1702) in the same city.15 A contemporary report indicates llWalter, Op. cit., 1113. 1 2 Young, op. cit., 31. 1 3 Walter, p.Jit., 1113. 14Eitner, op. cit., 205. 1 5 Young, op. cit., 31. ) and Georg Bhm, that Bach had made the acquaintances of Lo'we 1 6 Phillip Spitta, another prominent organist in the city. that in his biography of the Bach family, even suggested but this ac- Bac-h may have studied with L'owe at this time, count is not compatible with L Swe's own, when, in 1699, he 7 wrote that he no longer took students.' His death came in LUneburg in 1703. The destitution letters of of the last years of his life forced him to send physical deteriora- request begging for work. His increasing tion becomes evident in these letters.18 In 1713, ten years after Lowe's death, his widow, Anna Lwe, surrendered thirteen bundles of her husband's notebooks to the city of Ldneburg in thanks for certain subsidies.
Load more

Recommended publications
  • Psalm 51 in Germany C
    Ruprecht – Karls – Universität Heidelberg Philosophische Fakultät Musikwissenschaftliches Seminar Prof. Dr. Silke Leopold Dissertation on the topic Musical Settings of Psalm 51 in Germany c. 1600-1750 in the Perspectives of Reformational Music Aesthetics Presented by Billy Kristanto Supervisor: Prof. Dr. Silke Leopold Second Examiner: PD Dr. Michael Heymel Third Examiner: Prof. Dr. Dorothea Redepenning 2 Acknowledgments This present study could not have been written without various supports by numerous institutions and individuals, which I owe debt of thanks here. The following libraries and their staff have made the access to their musical and archival collections possible for me: Universitätsbibliothek Heidelberg; Stadt- und Universitätsbibliothek Frankfurt am Main; Bibliothek der Hochschule für Kirchenmusik, Dresden; Württembergische Landesbibliothek, Stuttgart; Bayerische Staatsbibliothek, Munich; Staatsbibliothek Berlin; and Loeb Music Library of Harvard University, Cambridge. I would also like to thank Joachim Steinheuer, Dorothea Redepenning and the Doktorkolloquium of the Musikwissenschaftliches Seminar, Heidelberg, for helpful feedback, discussion, various suggestions as well as constructive criticism. Special gratitude is due to both my supervisors, Silke Leopold and Michael Heymel for their patient, encouraging, and critical trust in the gradual making of this work. Enormous thanks are also due to Stephen Tong and the congregation of the Reformed Evangelical Church of Indonesia for supporting and patiently waiting for my return without being discouraged. Many thanks are owed to Ferdinan Widjaya, Landobasa YMAL Tobing, Stevanus Darmawan, Shirleen Gunawan, Lily Rachmawati, and Lisman Komaladi for proof-reading the manuscript, giving helpful advice on my modest English. Finally, a profound debt of thanks I owe to my wife and daughters for passing with me through the valley of Baca and for making it a place of springs.
    [Show full text]
  • Musikwissenschaft Und Vergangenheitspolitik
    Musikwissenschaft und Vergangenheitspolitik Jörg Rothkamm/Thomas Schipperges (Hg.) I Kontinuitäten und Brüche im Musikleben der Nachkriegszeit Herausgegeben von Dietmar Schenk, Thomas Schipperges und Dörte Schmidt II Musikwissenschaft und Vergangenheitspolitik Forschung und Lehre im frühen Nachkriegsdeutschland Mit den Lehrveranstaltungen 1945 bis 1955 (CD-ROM) Jörg Rothkamm/Thomas Schipperges (Hg.) In Verbindung mit Michael Malkiewicz, Christina Richter-Ibáñez und Kateryna Schöning III Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über www.dnb.de abrufbar. ISBN 978-3-86916-404-5 Umschlaggestaltung: Thomas Scheer Umschlagabbildung: Theodor Wildemann, Theodor Heuss und Konrad Adenauer während der Beethoven-Feier 1952 im Garten des Beethoven-Hauses in Bonn, Fotografie von Georg Munker, Bildquelle: Beethoven-Haus, Bonn Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung, die nicht ausdrücklich vom Urheberrechtsgesetz zugelassen ist, bedarf der vorherigen Zustimmung des Verlages. Dies gilt insbesondere für Vervielfältigungen, Bearbeitungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © edition text + kritik im Richard Boorberg Verlag GmbH & Co KG, München 2015 Levelingstraße 6a, 81673 München www.etk-muenchen.de Redaktion: Christina Richter-Ibáñez Satz: Dorr + Schiller GmbH, Curiestraße
    [Show full text]
  • Musik Im Sozialen Raum Beiträge Zur Kulturgeschichte Der Musik Herausgegeben Von Rebecca Grotjahn Band 3
    Musik im sozialen Raum Beiträge zur Kulturgeschichte der Musik Herausgegeben von Rebecca Grotjahn Band 3 Freia Hoffmann, Markus Gärtner und Axel Weidenfeld (Hrsg.) Musik im sozialen Raum Festschrift für Peter Schleuning zum 70. Geburtstag Allitera Verlag Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de April 2011 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2011 Buch&media GmbH, München Umschlaggestaltung: Kay Fretwurst, Freienbrink, unter Verwendung des Gemäldes »Intérieur avec une femme jouant de l’épinette« von Emanuel de Witte. Bayerische Staatsbibliothek München, Signatur 2007.61597. Herstellung: Books on Demand GmbH, Norderstedt Printed in Germany · isbn 978-3-86906-155-9 Inhalt Freia Hoffmann, Markus Gärtner, Axel Weidenfeld Peter Schleuning: Musikwissenschaft auf neuen Wegen ............. 9 Jan Henning Müller »Und ich hörte eine große Stimm« Ein Komponist als Prediger ................................... 15 Klaus Hofmann Vom Fürstengeburtstag zum Ratswahlgottesdienst Mutmaßungen über eine verschollene Bach’sche Arie Mit einem Nachwort über Bachs Parodieverfahren ................. 29 Martin Zenck Wie Thomas Bernhard mit Glenn Gould Bach gegen seine (falschen) Liebhaber verteidigt Zur Bach-Rezeption im 20. Jahrhundert ......................... 38 Martin Derungs Nietzsche und die Alte Musik ................................. 49 Werner Busch Kakophonie! William Hogarths The Enraged Musician ........................ 58 Freia Hoffmann Geheime Botschaften Thomas Gainsboroughs Porträt der Musikerin
    [Show full text]
  • Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music Jacobus Kloppers
    Document generated on 09/27/2021 11:47 p.m. Man and Nature L'homme et la nature Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music Jacobus Kloppers Volume 3, 1984 URI: https://id.erudit.org/iderudit/1011830ar DOI: https://doi.org/10.7202/1011830ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 0824-3298 (print) 1927-8810 (digital) Explore this journal Cite this article Kloppers, J. (1984). Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music. Man and Nature / L'homme et la nature, 3, 131–162. https://doi.org/10.7202/1011830ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 9. Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music1 This paper illustrates certain communicative devices in Bach's organ music. Such devices are usually designated by the term 'symbol.' This term is employed in the present paper in the broadest sense; it denotes a means to communicate something — directly and indirectly.
    [Show full text]
  • DAS ERBE DEUTSCHER MUSIK Gesamtkatalog
    DAS ERBE DEUTSCHER MUSIK Gesamtkatalog 2007 DAS ERBE DEUTSCHER MUSIK Herausgegeben von der Musikgeschichtlichen Kommission e.V. Gesamtkatalog einschließlich der Ausgabe E.T.A. HOFFMANN AUSGEWÄHLTE MUSIKALISCHE WERKE unter Mitarbeit von Alexander Erhard und Felix Loy herausgegeben von Thomas Kohlhase und Martin Staehelin Tübingen 2007 Stand: Dezember 2007 Leitung des „Erbes deutscher Musik“: Professor Dr. Martin Staehelin Musikwissenschaftliches Seminar der Universität Göttingen Kurze Geismarstr. 1, D - 37073 Göttingen Redaktion des „Erbes deutscher Musik“: Professor Dr. Thomas Kohlhase Musikwissenschaftliches Institut der Universität Tübingen Schulberg 2, D - 72070 Tübingen Internet: www.erbedeutschermusik.de INHALT / CONTENTS Vorwort / Preface ..................................................................................................................... 5 DAS ERBE DEUTSCHER MUSIK Gedruckte Bände / Printed Volumes Hauptreihe und Sonderreihe / Main Series and Special Series ................................................ 9 I. Übersicht nach Bänden / Overview sorted by volumes ................................................... 10 Hauptreihe Band 1-125 / Main Series Vol. 1-125 ........................................................... 10 Sonderreihe Band 1-16 / Special Series Vol. 1-16........................................................... 26 Sonderbände und Supplemente / Special volumes and supplements............................... 29 II. Übersicht nach Abteilungen / Overview sorted by sections ............................................
    [Show full text]
  • The Allure of Beethoven's “Terzen-Ketten”: Third
    THE ALLURE OF BEETHOVEN’S “TERZEN-KETTEN”: THIRD-CHAINS IN STUDIES BY NOTTEBOHM AND MUSIC BY BRAHMS BY MARIE RIVERS RULE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Professor William Kinderman, Chair Professor Emeritus Bruno Nettl Professor Fred Stoltzfus Assistant Professor Katherine Syer ABSTRACT My primary argument concerns Brahms’s use of a specific musical resource: chains of thirds or “Terzen-Ketten” as this device is sometimes described in the original sources. Brahms used third-chains in various ways as a motivic and harmonic technique. Some of his earlier works, such as the Piano Sonata in C major, op. 1, and the Piano Concerto in D minor, op. 15, already show the use of such chains of thirds as a prominent feature. However, Brahms’s treatment of such “Terzen-Ketten” in his later works shows an especially impressive inventiveness and importance. The ways the chains of thirds are treated often lend to these works a character of intense concentration and melancholy, culminating in the setting of “O Tod,” the third of the Vier Ernste Gesänge, op. 121. I argue that Brahms’s sustained preoccupation with chains of thirds after 1862 was connected to his friendship with the pioneer Beethoven scholar Gustav Nottebohm who facilitated the composer’s access to Beethoven’s sketch materials for the “Hammerklavier Sonata” op. 106. Through Nottebohm, some of Beethoven’s sketches for op. 106 passed into Brahms’s personal collection of musical sources.
    [Show full text]
  • The Evolving Role of Music in Theodor Storm's Novellas
    THE EVOLVING ROLE OF MUSIC IN THEODOR STORM’S NOVELLAS by Marie-Thérèse Renée Ferguson A thesis submitted to the Graduate Program of the Department of German in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada April 2015 Copyright ©Marie-Thérèse Ferguson, 2015 Abstract The texts of Theodor Storm (1817-88) engage with the role of the artist and works of art in society during the latter half of the nineteenth century. While the role of painting and writing has already been analyzed in this regard, the function of music in Storm’s work has not been hitherto researched to any great degree. Musicians, however, feature prominently among the artists he portrays. They encounter various artistic and personal difficulties that this dissertation analyzes both through close readings and from a literary-historical perspective. The analysis focuses on three novellas entitled Ein stiller Musikant (1875), Zur “Wald- und Wasserfreude” (1879), and Es waren zwei Königskinder (1884), which illustrate the changing role of music in the lives of the protagonists. In order to show the development of economic and social changes that took place after the 1848 Revolution and during the Gründerzeit, the texts are analyzed in chronological order. This thematic study argues that the reflection on music can be interpreted as a specialized reflection on the topic of the artist in general, which, in itself, is a prominent theme in Romanticism. Taking into account how Romantic notions of life and art lost their appeal both during and as a result of the forces of industrialization, the study shows how music, first presented as a nurturing and comforting force in the Biedermeier era, becomes progressively less important, and, in the end, loses its appeal as artistic salvation.
    [Show full text]
  • Die Kieler Musikwissenschaft Unter Friedrich Blume: Selbst- Und Fremdbilder
    Alexander Lotzow, Mareike Jordt, Erko Petersen, Yvonne Schink, Meike Voskuhl und Claus Woschenko Die Kieler Musikwissenschaft unter Friedrich Blume: Selbst- und Fremdbilder Symposiumsbericht »Fachgeschichte in der Lehre«, hg. von Sebastian Bolz, Alexander Lotzow und Jörg Rothkamm in Verbindung mit Klaus Pietschmann, in: Beitragsarchiv des Internationalen Kongresses der Gesellschaft für Musikforschung, Mainz 2016 – »Wege der Musikwissenschaft«, hg. von Gabriele Buschmeier und Klaus Pietschmann, Mainz 2018 Veröffentlicht unter der Creative-Commons-Lizenz CC BY-NC-ND 4.0 im Katalog der Deutschen Nationalbibliothek (https://portal.dnb.de) und auf schott-campus.com © 2018 | Schott Music GmbH & Co. KG Alexander Lotzow, Mareike Jordt, Erko Petersen, Yvonne Schink, Meike Voskuhl und Claus Woschenko* Die Kieler Musikwissenschaft unter Friedrich Blume: Selbst- und Fremdbilder Hervorgegangen aus einem Projektseminar unter der Leitung von Siegfried Oechsle und Alexander Lotzow existiert an der Christian-Albrechts-Universität seit dem Sommer 2014 eine Arbeitsgruppe von Studierenden und Lehrenden, die sich um die Aufarbeitung der Geschichte des Kieler Musikwissen- schaftlichen Instituts bemüht.1 Die vorliegende Darstellung soll exemplarisch Einblicke in diese Ak- tivitäten gewähren. Heuristischer Ausgangspunkt war von Beginn an die Recherche ›vor der eigenen Haustür‹. So bestand die Arbeit des Seminars zunächst in der Sichtung möglichst aller Quellenbestände zur Geschichte der Kieler Musikwissenschaft, die sich, zu großen Teilen noch unerschlossen, in unmit- telbarer Nähe, sprich: in Kieler und Schleswiger Archiven befinden. Aus ihnen lässt sich die Geschichte des Kieler Instituts im Ganzen zumindest überblicksartig anschaulich machen,2 zugleich ziehen aber auch einzelne Funde immer wieder die Notwendigkeit von Detailuntersuchungen nach sich. Beides soll im Folgenden miteinander verknüpft werden. Zunächst sei, basierend auf der bisherigen Quellenaus- wertung, ein kurzer Abriss der Institutshistorie bis 1933/34, also vor Friedrich Blumes Amtsantritt in Kiel, vorangestellt.
    [Show full text]
  • Heinrich Schütz
    NAVORSINGSARTIKELS the question of his relevance in a country that is far removed – both geographically and culturally – from the epicentre of the early music revival. Winfried Lüdemann is a Professor of Musicology and Chair of The lens through which this perspective will be presented is reception history. For that the Department of Music, Stellenbosch University. He has published reason a few remarks about reception history will not be out of place, since some readers of widely on a diverse range of topics, including South African music and this journal may not be wholly familiar with the term. Reception history could be described a biography of Hugo Distler (Augsburg, 2002). His keen interest in most simply as audience response to music over time; it has to do with the interaction between sacred music derives in equal measure from scholarly engagement and music and listener in the historical life of a piece of music and the meaning that is read into such practical experience as organist, choral and brass band conductor and music once it has been embraced by its listeners and may even have become part of the so-called composer. musical canon. Such responses to or meanings read into a musical work can vary strongly over time and place. It shows that musical meaning and significance is not fixed and immutable and email: [email protected] lies as much in the perception of the listener as in the music itself.1 This point deserves special emphasis within the context of religious music (the topic of interest of this journal).
    [Show full text]
  • Johann Hermann Schein and Musica Poetica: a Study of the Application of Musical-Rhetorical Figures .In the Spiritual Madrigals O
    JOHANN HERMANN SCHEIN AND MUSICA POETICA: A STUDY OF THE APPLICATION OF MUSICAL-RHETORICAL FIGURES .IN THE SPIRITUAL MADRIGALS OF THE ISRAELSBR&NNLEIN (1623) by GREGORY SCOTT JOHNSTON B. Mus., University of Calgary, 1979 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August, 1982 ©Gregory Scott Johnston, 1982 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Music The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date September 10, 1982 DE-6 (3/81) ABSTRACT The present study examines the musical-rhetorical figures of the of the 17th-century Figuventehve as they are applied to the spiritual madrigals of Johann Hermann Schein's Israelsbrunnlein (1623). Although analogies between music and text had been made long before the turn of the 17th century, it was not until Schein's own lifetime that a codified list of musical parallels to the classical rhetorical figures of oratory was compiled by Joachim Burmeister in 1599.
    [Show full text]