Zweyer Gleich-Gesinnten Freunde Tugend Und

Home , Kurt Gudewill

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

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

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

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Plate 1--Title Page of the Tugend- und Schertz-lieder

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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.

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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 another 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. She received for life a small benefit of medi-

cation from the hospital there. A summary of this material

is still available today in the Ratsbucherai along with

this note: "DONUM VIDUAE B. JOH. JACOBI LEONIS VON EISENACH,

ORGANOEDI DU VIVERET AD S. NIC." 19

()Horst Walter, Musikg eschichte der Stadt L'nneburg (Tutzing, 1967), p. 264. 1?Walter, "L6'ie von Eisenach," 1113. Ibid.

19Walter, ViLtsk eschichte, 132. 6

His Music

The strong point of Lowe's musical creation lies in

his free instrumental forms, influenced by Italian styles.

The Sonaten, Canzonen, und Capriccien confirms Lowe's char-

acteristic "kanzona" form. Lbwe had previously used this

form in his Ensemble Suiten under the name "Synfonia", in

which he joined the form of the Italian chamber sonata with

that of the German suite.20 At that time, the Italian chain-

ber sonata was a three-movement form consisting of either a

first-movement allemande or courante, followed by a second-

movement sarabande and a third-movement ,igue or gavotte.21

The Cerman suite, as standardized by Froberger, closely re- sembled the Italian sonata, but consisted of four titled

dance movements: Allemande, Courante, Gigue, and Sarabande.22 Lbwe's suites are also interesting as the oldest preserved

German suites with an introductory sinfonia in the French

style. This collection of orchestral suites, Synfonien,

Intraden, Gagliarden, Arien ,Ballettin, Courantenj Sarabanden

(3remen, 1658) for two violins, two violas, bass (viola or

20alter,"Lbwe von Eisenach," 1114.

21 I.C. Colles, "Sonata," Grove's Dictioary of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom (New York, 15347~ ~VI1,~~92. 22 Will Apel, editor, "Suite," Harvard Dictionary of Mu sic, 2nd ed. (Cambridge, 1974), p. 815. 7 bassoon), and continuo, was edited in part by Albert

Rodemann in 1930 and published as number 67 of Nagels

Musik Archiv.2 3

In his collections of solo songs, Lb'we patterned his

songs after models of Italian arias that he had studied in

Vienna. They took the shape of either strophic songs or arias in a loose, two-part form with orchestral ritornelli. 2 4

The word "aria" at this time still generally referred to

strophic songs.25 His songs are usually joined thematically

to the ritornelli, as was the practice of the time. The vocal melodies are not subservient to the words, but are largely

bound to instrumental melodic techniques. However, L'6we preferred compositions of a secular rather than a spiritual nature, as is seen by the predominance of the former in his

overall output, and especially in the Salanischen Musenlust

composed with Martin Kemper and published in Jena in 1665.26

In the preface to this work, he called himself "Johann Jacob Lowe von Eisenach, Kapellmeister to the High Prince of

Braunschweig-Wolfenbittel and Saxon-Zeitz." 27 This work is

2 3 Loewenberg, op. cit. , 410. 4 2 Donald J. Grout, A History of Western Music, rev. ed. (New York, 1973), p. 310.

25 Claude Palisca, Baroque Music (Englewood Cliffs, New Jersey, 1968), p. 105. 6 2 Walter, "L'3we von Eisenach," 1114.

27 Eitner, op.it., 205. 8

dedicated to his patron, Duke Maurice, to whom he com-

plained in the preface about the great pains of labor the

canons in the collection had caused him.28 Selections from

this collection were edited by Rodemann in 1929 and also

published in Nagels MusikArchiv.

The Tugendo-undSchertz-lieder

The Tugend- und Schertz-lieder, composed in collabora-

tion with Julius Johann Weiland, and published in Bremen in

1657, is a collection of twenty-two secular songs, among

them arias, canzonettas, and a madrigal composed according

to the melodically and rhythmically free manner of the new

monodic style.2 9 Lobwe said these songs were based "on the

modern and newest form of the arts of song and poetry."

They definitely show the influence of Heinrich SchtUtz on Lwe's song composition. His combination of voices and in-

strumental groups corresponds to that of part two of Schiutz's

Symphoniae Sacrae composed ten years earlier. Sch'ntz wrote

for solo voices individually or in combination as well as

instrumental ensembles of two violins and bass. Lwe studied

the Italian style of composition with SchUtz, who first in-

troduced that style to Germany. The extensive use of parallel

thirds and sixths and the concertato effect between a group

of voices and a group of instruments reflect this Italian

2 8 Moore, op. cit., 529. 2 9 Walter, "Lbwe von Eisenach," 1114. 9

influence. Lowe also learned from Schutz the technique of

suiting the rhythm of the melody to the rhythm of the text

in order to better reflect the meaning of the words.3 0

Dedicated to Herzog August, prominent patron of German

song and German opera, this collection was undoubtedly

intended for use by the court.3 1

The collaborator in this work, Julius Johann Weiland,

was one of L6we's court musicians in TWolfenbuittel. The date

and place of Weiland's birth are uncertain, but it is spe-

culated that he came from a musically prominent family in

Weimar. In 1642 he became a student at the Gymnasium in

Braunschweig and joined the choir there. During this time,

he served for at least four years in the Braunschweig-

Wolfenbuttel Court Chapel. In 1654 he traveled to Petershagen, where he can be traced through his musical activities. In

1655 Weiland was accepted as a musician in the Braunschweig-

Wolfenbuittel Chapel under Lowe, and was raised to the position of Vice-Kapellmeister in 1660.32 While he was a musician

in the court chapel, he signed his compositions simply as

Julius Johann Weiland, Musicus; his salary at this time was

30 Anthony C. Lewis, "Schfitz," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom (New York, 1954), VII, 643-648.

31 Hermann Kretzschmar, Geschichte des Neuen deutschen Liedes (Leipzig, 1911), pp. 113-114. 32 Martin Geck, t "Weiland, Julius Johann," Die Musik in Geschichte und Gegenwart, 14 vols., ed. Friedrich Blume (Kassel, 1949-1968), XIV, 385. 10

100 Thalers per year. When he became Vice-Kapellmeister,

he received first 200 Thalers and later 250 Thalers for

his services. As Vice-Kapellmeister he signed his works

as such, but beginning in 1661, he reverted to signing his works simply "Musicus." 33 He distinguished himself as both a singer and a cembalist and at times assisted in performances of the Wolfenbuttel Music and Theater productions. He remained in Wolfenbuttel until his death on April 2, 1663.34

Little is known of Weiland's music. Of the few remaining manuscripts, the Musicalischen Andachten, some small spiritual works on Biblical texts, and his Deuterotokos on Latin hymn texts are the best known. These works, like those of L'we, show the strong influence of Schutz. The most important of his secular works is the Tugend- und Schertz-lieder composed with Lowe. 35

33Eitner, op.,cit., X, 209.

3 4 Geck, op. cit., 385. 351bid. CHAPTER II

GERMAN SECULAR SONG ca. 1650

German secular song in the mid-seventeenth century

was a combination of developments in national schools of

other countries, notably the Netherlands, England, and

Italy. In spite of these outside influences, however,

the German song maintained a national character of its own,

with many of its songs based on German dance rhythms. Each

country developed its songs with national flavor, as can

be seen in the various names for the song that cannot be readily translated; Lied, song, canto, and melodie are four totally different concepts which may or may not be equiva- 1 lent. The uniquely German solo song became the Baroque continuo Lied.

By definition, the Baroque continuo Lied was a solo song, usually strophic, over a figured bass, the realization of which was left to the discretion of the performer within the traditional rules of performance practice The

Fritz Noske, "Lied, B. Das Sololied ausserhalb des deutschen Sprachgebiets," Die Musik in Geschichte und Gegenwart, 14 vols., ed. Friedrich Blume (Kassel, 1949- 1968), VIII, 775. 2 R. Hinton Thomas, Poetry and Song in the German Baroque (London, 1963), p. xii.

11 era of the continue Lied is considered to be the second

'great eriod of German songq; the first period was that

of the tenor Tied of the Renaissance, while the last en-

compasses that of the piano Lied of the eighteenth and

nineteenth centuries. Collections of songs in the mid-

seventeenth century were not exclusively devoted to mono-

dic songs after the style of the Italians, but included polyphonic F part song's as well. urther, the suggestion has been made that a second voice was not infrequently impro- vised in the monodic songs. Frequently the composer would provide ritornelli between the stanzas, usin g6 as many as live voices.- The older polyphonic style was replaced by the newer Italian-influenced monody by the mid-seventeenth

century, and the many republications of polyphonic music as solo songs dve evidence of this.

The melodies of the IBaroque continuo Lied, however, can be linked to the polyphonic tradition through many of their characteristics. The melody and the bass frequently echo each other in imitation, while the melodies themselves

are sequential, thus giving them an added strength.5Anw Musical practice developed through the use of the folksong with its charming melodies and flexible agtlity. In poly-

Uanfred ukofzer, music i nhe B1aroque Era (New York, i> ) p. 99.

Thurston Dart, "Song 1500-1700," Grove' sDictionary Of usicand Musicians. 5th ed., 10 vols,ed. ErT&cO Wew: ~York 7,~f~5Ir 928.,

-Ibid. 13 phonic songs the melody was most often in an upper voice since it was believed that if the melody was sung in an inner voice, the tenor, for example, its agility would be hidden by the other voices, and the organization of the tune thereby sacrificed. With the beginning of the seventeenth century, much more care was given to the composition of the melody in songs for solo voice.6

Strict monody in the Italian manner was slow to ap- pear in Germany, possibly because the polychoral style of the Venetian school, 7 which had been introduced to Germany by Heinrich Schuitz, was already well known. The Thirty

Years War later aided the monodic impetus through the re- duction of the size of the chapels. The monodic influence of the Florentine Camerata in this way cannot be denied, but it is not as important as was thought at one time.8

When German songs began to resemble the Italian aria, however, it was with a predominance of organized recitative and arioso rather than fluent melody. Parry suggested

6 August Reissmann, Geschichte des deutschen Liedes (Berlin, 1874), p. 88.

7 Nigel Fortune, "Solo Song and Cantata," of The Age of Humanism, 1540-1630, ed. Gerald Abraham as Vol IV of The New Oxford Histor of Music, 7 vols. to date, ed. J.A. Westrup and others (London, 1968), p. 183. 8 Noske, op. cit., 775. that the Germans did not have the Italian flair for melody.9

Italian opera also had a great influence on German song, as may be seen by the use of Italian coloratura techniques mixed with strong harmonic progressions, resulting in ornamentation on insignificant syllables, orchestral ritornelli, and defined harmony and tonality.10 There is also a noticeable influence of the English lutenist school.11

In England solo song resulted when airs with lute accompaniment that had been composed as accompanied part songs were sung as solos.12 The lute usually included the omitted polyphonic parts as accompaniment. In Germany this practice was adapted in part songs, so that a solo song was created when the upper voice was sung and the lower voices were played by an accompanying instrument.

The Germans were also influenced by Dutch melodies and poetry adopted from the French air de cour. The Germans were not directly influenced by the French models on which the Dutch patterned their secular songs, and recognized

9 Hubert Parry, Music of the Seventeenth Century, Vol. III of the Oxford History of Music, 7 vols. (London, 1902), p. 455.

1 0 Dart, op. cit., 928.

1 1 Dennis Stevens, A History of Song, rev. ed. (New York, 1970), p. 228. 12Ibid. 15 only the Dutch influence even if its French origin was apparent. 1

The rhythm of the secular songs in Germany became in-

creasingly mnore regular, resembling that of the Chorale

and the Studentenlied. 14The simplest strophic songs could,

however, have a greater rhythmic flexibility than might seem 15 at a ance. elodies in Holland and Germany differed

from those in Italy and France in that German and Dutch

melodies paid close attention to the meter and accents of

the texts. Since the Geran and Dutch languages are similar

in structure, the Dutch laniuacge was easier to imitate than

the French. Although composers often set Romance language

texts in a declamatory fashion, the result was not a true

recitative, since these Romance languages did.ot have a

strict stress meter.16 The seemingly ree meter of these

sons i dueas not to the text declamation of the language but to the influence of the chanson mesuree a l'antiqu17

Sheincrease in rhythmic stability resulted in a

stability of tonal progressions and modulations, which, as

they ecamile more balanced and perfected, helped to establish

John H. Baron, "Dutch Influences on the German Secular Solo Continuo Lied in the Mid-Seventeenth Century," Acta MusicologC XLIII (Jan.-June, 1971), p. 44.

Stevens, op. cit., 230.

Thomas, pp.cit . ,49. 36 Baron, 2p. cit., 48-49. s. IJDos e, op. 2 cit. , 776.- 16

the clear major-minor tonality of the Classical period. 1 8 German composers were more and more influenced by Italian principles of tonality, as exemplified in choral writing by a clear succession of figured chords.19 Under this emanci- pation of major and minor tonalities from the church modes, the solo song experienced its first blossoming in the high Baroque era (1630-1680). 20 The accompaniment of these songs was primarily indicated by figured bass symbols, designating basic harmonic patterns for a continuo realization. The accompaniment could also be provided by one or more other instruments, generally strings, in addition to the continuo, which was usually an

organ or some similar 2 1 keyboard instrument. Previously the harmonies had been added by the interweaving of voices in part songs, but in solo songs only the upper voices remained as solo voices while the lower voices were filled in by the continuo instrument.2 2

Several prominent composers during this period exerted a great influence on their contemporaries. In Germany, the

18 Stevens, op. cit., 230.

1Parry, 9p. cit., 441. 20 Kurt Gudewill, "Lied, A. Das Kunstlied im deutschen Sprachgebiets," Die Musik in Geschichte und Geenwart, vols., ed. 14 Friedrich Blume assel, 1949-496b, VIII, 756. 21 Reissmann, p. cit., 90. 22 Kurt Gudewill, "German Secular Song," of The Age Humanism, 15o0-16 of 3 0, ed. Gerald Abraham as Vol Vof the New Oxford Histor of Music, 7 vols. to date, ed. J.A. Westrup and others London, 1968), p. 114. 17

mot important of these were Heinrich Schitz, Heinrich

AlIert, and Adam Krieer.

"chtzhas often been credited with bringing the

Italian style of compostion to Germany, and thereby

iin 1 the gap between the sixteenth and seventeenth

conturis. Ho, however, was more interested in the Venetian

style of polychoral writing than in Italian monody.23 In

spite of his preference for Venetian styles, however, Sch'tz

ias the primary influence on the advancement and development

of the accompanied song in Germany.24 In his S _phoniae

Satcrae, Schutz ;ave the voices and the instruments equal

Impor t ance and they shared the same melodic material.25

Heinrich Albert, a nephew of SchUtz, was the leader

of th 'North German school of composition. His arias, mainly

composed during the years 1638-1650 were known all over

Geriany.H26 e had shown a great penchant for Italian reci-

tative and had ever remarked -that his recitatives should

be sun "without measure" as "a clear narration.," 27 In his

eight volumes of Arien, Albert included a number of choral

pieces in the contrapuntal style of Schitz; these, however, were on a smaller scale. The solo songs were always set in

a free recitative style. His melodies are usually simple

Stevens, op. cit., 229.

4 Herumann Pretzschmar, Geschichte des Neuen deutschen Liedes (Leipzig, 911), p. 9. S.tevens, op. cit., 229. 26ui ")uKo -rPI. cit*., 99. 271bid, 10

and his rhythms are direct in reflection of the sixteenth-

century style. Albert wrote in the preface to his Arien

that in his opinion, only through-composed songs adequately

reflected the text. Although he affected a superior attitude

toward the strophic song, he rarely rote anything but stro- . 20 pDhic songrs. 2

Adai K rieger, a pupil of Samuel Scheidt, and a student

of the Central erman school, is often credited with bring-

ing the continuo Lied to aturity. etveen 165$ and 1667, trieger published a series of arias for solo voice accom-

panied by a small solo emsemble and interspersed with five-

part ritornelli.3 0 He, as did Albert, used the strophes of the strophic son'in alternation with the ritornelli to

create an eXpanded form.3 1 Krieger's ritornelli usually do

not have a thematic relationship to the songs themselVes.32

J1 combined in his songs melodies reflecting the Italian

bel canto style with national German dance rhythms, creating

popular songs that were not folksongs, but were intended

for use in mddle-class homes and by students in their uni-

rersity gatherings. In his songs, Krieger allowed himself

some flexibility in tex t ual me-ter, leng th of lines, and

2 8Stevens, 23-0 o12. cit., 229. 2 9vukofzer, opcit. , 101.

30Ibid., 100.

31Ibid., 101.

323tevens, op. cit., 229. 3 3 Bukofzer, o. cit.,1100. 19

rhyme schemes, while preserving a primary tendency to-

ward symmetry. The settings always adhere to a stable meter in spite of the flexibility of the texts. 4

All three of these composers set texts by members of the Fruchtbringende Gesellschaft. The most important poets

in the society were Martin Opitz and Simon Dach. The

Fruchtbringende Gesellschaft, influential in the areas of

poetry and literature, followed the movement of the Florentine

Camerata in music in its desire to return to the artistic

values of Classical antiquity, especially in the simplifi-

cation of text declamation. In this area, Italian monody

had its greatest effect.

German poets first began to set their texts according

to the natural accentuation of the language at the begin-

ning of the seventeenth century. In 1624, Martin Opitz pub-

lished his Buch von der deutschen Poeterey in which he put forth the idea that the German language was more suited to the combination of poetic metrical stress with its own natural accentuation than either French or Latin.35 Opitz felt that some poetry was better suited for musical expression than others. Poetry that was to be set to music should be entertaining, not profound, corresponding

Thomas, op. cit., 62.

35 Jack M. Stein, Poem and Music in the German Lied from Gluck to Hugo Wolf (Cambridge, Mass., 1971),YP. 9. to a similar attitude held by many contemporary Baroque composers. According to Opitz, poetry best suited for musical expressionr dealt with such subjects as "love, dances, banquets, fine people, gardens, vineyards, the praise of moderation, the unimportance of death, etc., but especially exhortations to jollity.A" 3 At times, a poem would be set as a simple song because a certain in- diidual waite d a song to sing for the evenin' s enter- taiment. The influence of the Fruchtbringende Geselischaft, and in particular Martin Opitz, can be seen not only in the works of the three composers mentioned earlier, but also in the compositions of other contemporary musicians. The ideas set forth by the society extended as well into the th n of composers of German song well into the eighteenth c e ntu1ry.V

3 6 Thomas, op. cit., 43.

37 id., 36. 3Ibid., 52. CHAPTER III

ZWEYER GLEICH-GESINNTEN FREUNDE TUGEND- UND SCHERTZ-LIEDER

Critical Notes

The edition of the Zweyer gleich-gesinnten Freunde

Tugend- und Schertz-lieder by Johann Jacob Lwe and Julius

Johann Weiland, printed in Bremen in 1657 by Jacob Khler, contained many inconsistencies that had to be dealt with in the modern edition. They will be discussed briefly here.

Accidentals have been added in the realization of the figured bass if they were indicated by Lbwe either in the corresponding vocal or instrumental lines. If a figure appeared in the figured bass, but the corresponding acci- dental was missing from the vocal or instrumental line, it has been supplied and indicated by the use of brackets

( [~ ] ). (See list of corrections for specification of accidentals added in this edition).

Original mensuration signs have been indicated above the staff. Bar lines that were omitted have been supplied to add clarity to the modern edition, but other obvious mistakes have been corrected without notice.

Several interesting features were encountered in the printed edition of 1657, reflecting printing and stylistic practices of the time. A rather curious sign that appears

21 22

i several of the pieces resembles either a tie or

fermata with a line through it:

Fig. 1--Tie and Fermata with Staff Line

This symbol results from a type-setting problem. The print-

ers apparently did not have enough type slugs without

staff lines, and out of necessity or perhaps carelessness,

they used slugs with staff lines, causing the fermata

or tie to have either an additional upper or lower stafI

line running through it.

Another problem in printing resulted in much confusion

in the Igured bass symbols. Difficulty was encountered in the interpretation of the symbol which would usually

indicate a first inversion chord. Here, however, it may

also indicate #6, and the meaning can only be derived from the context. This same difficulty also applies to the 7

Aigure.

In many portions of the continue line, Lwe used the

process of coloration to achieve a particular rhythmic ef-

fect. Phis process involves -the use of originally red and

later black notes with the appropriate note values indi-

cated by their steis to create a hemiola rhythm. In general,

coloration indicates that three black notes are equal to wo wh ite notes. if the black notes replace two notes of perfect value, as is the case in this collection, the hemiola f igure results.1

. -A. L.1

Tig. 2--Coloration Figure

Coloration has been indicated in this edition by means of brackets ( ~ } ) Another figure found frequently is the so-called

Corelli Clash, Composers of the seventeenth century often combined the formulas for suspensions and anticipations in two different vocal or violin parts so that they oc- curred simutaneously, creating a striking dissonance. 2

I A -AVII aAJ

Fig. 3--Corelli Clash

Tlpilli Apel, editor, "Mensural Notation," Harvard Di t1in, 2nd ed (abridge , Mas s . , 197) p. 521.

2Apel, p.cit., "Cadence," p. 120. 24

Zweyer gleich-gesjnnten

Freunde

Tugend und Schertz-

Lieder

Auff die jetzJge neueste Art in die

Sing-und Dicht-Kunst

verfasset/Durch

Joh an Jacob Twen von Eisenach F7rstl. Braunschw- tLneburg. Capelrmeistern

und

Julius Johannes WIeiland Frstl. Braunschw. Ltneb. musicum.

In Bremen/

Bey Jacob Kdhlern getruckiTt/Im Jahr M.DC.LVII. 25

Dem Durchleuchtigen und Hochrebohrnen Fursten und Herzen/Herm

AUGUSTO

iiertzoge.n zu Braunschweig und Luneburg

Unseen gnddien rsten und Herzen

Der D.rchleuchtigen iund Hochpebohrnen Furstinnen und Frauen/Frauen

SOPHIAE ELISA- BETHAE

Herzogin zu' sraunschweir: und Lui>nebr:/:,ebohrnen Hertzogin zu Mecklenburg. Frstin zu enden/Pchverin und Ratzeburg/auch Grsfin zu Schwerin der Lande Rostock und Stargard Frauen/

Unserer gn5.digen Frstin und Frauen 2$

Durchleuchtiger Hochgebohrner Hertzog Cn'rsdiger FiUrst. und Herz;

Durchleuchtige Hoch:ebohrne Hertzogin Gnadige F rstin und Frau;

Das E.E. Hochf rstl. Durchl. Durchl. WteltberUhmten Nahmen mit diesel geringen Wercklein/unserer Jugend Erstlin- gen/in Unterth~nigkeit zuzuschreliben/und vor dero Hoch- Furstl. FUrstI. Durchl. Durchl, Fsse nieder zu legen/wir uns erfrihnen/hier zu machet uns unsere gehorsame Schuldig- keit/in Unterthl4niger Zuversicht/pflichtii/Weilu satsam befand/dass Ihr Kochfrstl. Durchl. unser GndAigster Frst und Herz/der Edlen- Freyen Knste/dahin die liebliche Pocsis und erlustige-nde Music, mit geh'o'ren/ als ein mchtiger Schutz Freund und hoher Liehaber/ sich bisshero/ auch bey unserer Unterthanisgen geringen Auffartung/ jederzeit gn'dig erzeigt/ und darin ein, Undiges Gefallen getragen. Zu dem Hocherleuch- te Princessin/ gnadigste Furstin und Frau/ ist von E. Hoch- FUrstl. Durchl. mit hohen Ruhm befand was gestalt die elbe/ hunter andern vortrefflichen Tugenden wormit sie der Himmel besaliget/ auch eine sonderbahre Ergetzung (zu sothaner ir furnemlich dieses Wercklein gerichtet) als hohe Erfahrunj/ an der Sing-und Dicht-Kunst haben/ dass sich dartiber nicht allein mnniglich verwundern/ besondern auch rancher Dicht- und Thoon-K tnstler Schamroht werden muss. Wannenhero wir der unterthbnigen Hoffnung leben/ und desswegen demdtig bit- te/ zE".E. Hochfflrs t l. F"'rstl. Durchl. Durchl. werden auss ar'ebohrner Gunst gegen die Tugend-und Kunstliebende/ unsere geringf*gige Arbeit sich gndigst gefallen lassen/ und in dero Durchleuchtickeiten reiche )eschutzungvorden Pfeilen des ifftigen Neides/ in Gnaden auffzunehmen geruhen. In zwvischenIhr Hoch FUrstl. FUrstl. Durchl. Durchl. samt dero Jungen Herschafft und Fr'ulein der starcken Obhut Gottes/ Uns aber deren H Frstl.2och Gnaden empfehlend

E.E. Hochffirstl. Fu'rstl. Durchl. Durchl.

Wolfenbuttel den lb. Aprilis im Jahr 1657 Unterthnige gehorsame

Johan Jacob Low von Eisenach

Julius Johannes Jeiland

Respective Capelmeister und Musicum. 27

Anmerckung

An die/der ing-und Dicht-Kunst gefliessene.

Die i. diesen ;ercAlein gesetzte Gesange/ worunter etliche Arien etzlichen Cantzonetten (Von den hWelschen also, renandt) befindlicn; ind auffderen neueste Art/ und wie sie in der Hohen Music-Schule am Kayser. Hore in Ielscher Spraach gebra'uchich: ?orden denen/ so da nicht Wissen/ tas die Welschen wsr eine discretion und in dem Singen pielen gebrauchen/ besondern sie mit der Schiiler "gaf- fen" Tackt/ nur oben hin Lehren/ allerdings nicht sonder- lich 7efalen: Diesen aber/ welchen sothane Artim Sinen und der Welschen mensur bekandt; dorfften ein gnstiges belieben hierzu bekommen. Die darbey befindlichen Lieder sind begehrter massen/ aus shuldiger Freundeschaftpflicht und von wegen der lieb- licn-woltesetzten telodeyen von keinem Poeten/ sondern Musico (welcher dadurch nicht eine eitele Ehre suchet/ sondern wie in der Zuschrifft edacht: Ihrer Hochf. Durchl. Unserer a-idst. Furstin und Frauen nur damit unterth. auff- zuwarten) auffgesetzet: weiln ihm wol wissend/ dass der nicht flugs ein Poet, so etziiche Reimen schmieden kan/ gleich wie der nicht alsobald ein Musicus, so nur dingen oder spielen kan/ besondern der round / nemlich das wolgebundene Dichen/ die schnen Erfindungen/ und das mit Kunst und Lieblidkeit vermischte Auffsetzen der Thoone auss eigenem Aopffe v.a.m. muss bey beeden K1nsten (als gar genau resip- ton und gleachsam Geschwistern) das Vornehmste seyn; massen die Thoon Kunst eine Stimmende Dichtkunst/ und die Dicht- kuinst eine reimende Toor Kunst. Es find aber die gar zu nohe und tunckele V6'rter/ die Poetischen Fechtsprfnge/ was und sonsten fur Zierlichkeiten mehr darbey beobachtet werden solten (Imbetracht der Singe-Kunst solche hoch-und schwerverstandige Dichtereyen/ welche man kaum lesend/ zugeschweigen sinend verstehen kan/ nicht annehm.lich) gut- Ulig-agemeiden/ und nach verliehenen Gaben einfSltig auffgesetzet worden; In der getrbsten Zuversicht/ Es werden Kunst-und Tugend-liebende deren Gering-fWigugkeit rinaen meiner ge- Jugend und wenigen Jahren beymessen/ und mit gutem SIlen genegt verbleiben, 28.

An Heria Johann Jacob L'o'wen von Eisenach und Julius Johann meiland/FUrstl. Braunschw. Lneburgisch. respective Capelmestern und Musicanten

Wie find wir doch so tieff in Thorheit eigesencket/ Dass keiner inter uns die 6guldne Maass bedencket/ Was sonst in aliem Thun das beste wird geacht/ turd so gat lieberlich von jederman veracht .as uns der Himmel hat aus milder %unst verliehen/ LDas muss gemissbraucht seyn, Nichts ist das dem entfliehen Ud sich versichern kan. Dahero dan geschicht/ Dass of-t das best Ding nur darumb wird zu nicht; Dan dieser Zeiten Sinn ist als wie user Jagen/ Das/was er Uberfrist/kan er nicht wol vertragen E1 auch nicht zu viel: dan aller*'&berfluss r i-nt enen Eckel mit und wedrigen Verdruss. Ich darff nicht nach Beweiss und nach Exempel gehen: Es ist an der Music und Poesie zu setzen. Vor/da man erst verspuirt/was deroselben Kunst Und oissenschafft vermogt/war nichts als Preiss und Gunst/ Nichts als Begierligkeit und hertzliches Belieben/ Als er nachahls auch sich andre wolten 'ben/ Die weder Geist noch Traum auff HKelicon gesetzt/ Und den der lusen Brunn den iund noch nie benetzt/ Doch ; nleichwol mit gewalt die armen Reden zwungen/ Und ohne Geist und Sinn die Wort' in Stimmen drungen/ Da sing diess sch'6ne Werck veracht zu werden an/ So geht es/ an da singt und spielt Herz Jederman. Vor >ar die edle Kunst bey frsten ur in ehren/ Si muste dero Preyss und hohe Tugend lehren Sie war der herzen Ruhr, und Knigliche Lust Das Dorff und Sauer Volck hat wenig hie gewust. Jetzt muss die liebe Kunst zu allen Diensten stehen; Dan an vermeynt/es kan nights Glckliches z'eschehen/ Es kan fast keine raut zur Traue gehen ein/ Es muss auch diese Kunst darbey gemissbraucht seyn. Und das ist eben das/was so viel edle Sinnen Von dessed Lust entfhrt. Wier wil da was beginnen/ Da schrim-ff elohniung ist? Doch/o ich auch recht bin/ So dunckt mich/dass dennoch ein tugend bester Sinn Sich darumb eben nicht diess l'a'sset hitter ziehen/ Er wil den edlen Geist/der ihm in dem verliehen Und vol durchtrieben ist/doch gleichwol lassen sehn/ Tnd solcher Barbarey behertzt entgegen gehn Dan nam muss dieses auch zugleich dabey bedencken: no Benen/Hummeln find. :erwil sich darumb krencken/ Dass offt ein Nesselbusch sich hunter Rosen flight/ Sie bluhen gleichwol auff. Es schadet darumb nicht/ Ds LBffund 'L-ff zuvor nights liebliches 'esungen: Dem rantuaner Swar ist es den0noch gelungern. 29

Keln Gold umb sclacken ncht/ei Korn umb Sprew verdirbt. Die 3eele bleibet doch/ob gdieich der Crper stirbt/ So bleibt was gut ist auch. Drumb last euch nicht erli een/ as diese Kunst ansicht/noch earner zu besiegen/ ielfft/als ihr helffen knnt/der msn Zierligkeit: Gbt euch kein Mench den Lohn/so Ibt ihn doch die Zeit.

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Du Edle Zeit vertreiberin Du susse Lust und Freude Du rechte Sinnenrauberin Und des gemrnihtes weide Du vorschmack susser Seligkeit Du Englisches geth'orne Du himmels susse liebligkeit Du bist es ja? 0 Sclh6ne. o schones zucker aller gunst o schone edle Singekunst. O Schbne-Edle-Singekunst Un d du begabtes dichten ter sich er giebet eurer gunst Der lernet bald vernichten Das/was nur schmeektj-nach 1itelkeit Und nach dem Koht der Erden: Er liebet was zu keiner Zeit Uns kan genommen werden: o schnes zucker aller gunst 0 Edle Sing-und Dichte-kunst. 0 Edle Sing-und Dichtekunst Ihr sendtIvom Himmel kommen Ihr achtet nights des Neides dunst Ihr bringet nutz und frommen ann man die Himmels-Lieder hUrt Biss in den Himmel klingen Wird unser Hertze ausveleert Von Sorg und eitlen Dingen: 0 Himmel halt mich in der Gunst Der Edlen-Sing-und Dichtekunst. za krenclni r e n

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Lass fahren du mein freyer Lass Sinn alles Eitle fahren hin: Erwehle das was ewig Und was steht mit keiner Zeit vergeht, IWas hilfft dich doch nach Das pr"sste dieser Welt Guth und alles ,an dich betrifft Geld Verstirbstu die Sterer.szeit mit der Eitelkeit. Hingegen wan du Tugend liebst Und dich darinnen fleissig iUbst: SO krigstu auch der Tugend Die immer Lohn srune Ehren Krohn. opreiset dich die dMusen-Schaar Und bal et dir em Lob-Altaar: So lebestu nach dieser So Zeit lebstu in der Seligkeit, Derwegen du mein freyer Sinn Lass alles Eitel fahren Erwehle hin das was ewig steht LJnd was den besten Lohn empf[ht. 3. 4cA in d6 66t auC0 zuc39

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Ach nein du tolles Sauffgezucht Eur leben das gefilt mir nicht Nur weg mit eurem laster leben: Darbey ihr nur nach ungluck ringt Das euch in sound und schande bringt Und macht euch nrrisch selbst darneben.

Ich liebe still Einsamkeit Darinnen kan ich meine Zeit Zu Hauss in stoltzer Ruh zu bringen: Ich achte keine Pralerey Da lauter Wort und nichts darbey Ich frage nichts nach solchen Dingen.

Ein sch'O'nes Buch beliebet mir Darinn ich lese mit begier Das mich zur Tugend mKge Leiten: Wenn ich des Ubordrussig bin Erquicket meinen matten sinn Ein sisser Thon der klaren Saiten.

Bissweilen geh' ich auch wol auss (Doch mache gar kein Handwerck drauss) er wolte immer sich befleissen? Und nicht bey gutem Bier und lein Mit guten Leuten lustig seyn Denn ich wil kein Kalmeuser heissen.

Der Himmel lass mich meine Zeit In dieser Eiteln Eitelkeit Bey stiller Ruh so fort zu bringen Bey einer Seelen/die mich liebt Und was mir sonst das glicke giebt So wil ich meinem Gott lobsingen. 3 9Xi nar Imer w ej t&6c{65esne ideit Card 501 Ca-PljAi or7te ((0

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Ey weg nur immer weg du blasses Neiden Die Edle Musen-Zunfft mag dich nicht leiden S e hat nur ihren hohn an deinem hassen Du must mit deinem gifft gar bald verlassen,

Ein Edler Sinn der Kunst und Tugend liebet Der sich auff Redligkeit am meisten giebet Der achtet wenig solche Lastermuler Noch die mit Gifft und Gall-vermischte Pfeiler.

Ein Ungeschickter der nicht viel vergessen Derselbe ist gemeiniglich besessen Von solcher Lastersucht/die ihm mehr schadet Als dem/den er mit Neiden Uberladet.

Drum weg nur immer weg du blasses Neiden Die Pierinnen konnen dich wol meiden Du richtest wenig aus mit deinem Hassen Du must ja selbst von deinem Gifft verblassen. aodttdocAk vte ran e 571 ? C rLt 50( eOYL yj irnenen

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Was wiltu doch viel prangen Du arme schonheit du? Das purpur deiner wangen Verbleicht in elnem nur So lang die lilien stehen In ihrer schbnen bliht So bald ists auch geschehen Umb dich eh mans versteht

Esopus hat mehr frommen Als Helena gebracht: Wie mancher ist umkommen Der Schbnheit nach getracht Wie schm'dhlich muste sterben Der sch'nste Absolon; Und an dem Baum verderben. Sein hier das less davon.

lan Schbnheit mit sich fahret Der schonen Turend glantz So ist sie recht gezieret Mit elnem Lorbeer Krantz Als dann kan sie bestehen Fi-r allem Rost der Zeit Dass man sie schbn wird sehen In grauer Ewigkeit. 51 6Deter m4 iA jto( [cn Cfvo o .%on&o eart

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Deiner muss ich jawoli lachen Juneker Praai-H{ans hier und dort Wpan du dich und deine fachen Rhmest immer immer fort Wan du dich so hoch vermessen lass de alle kunst gefressen Ja du wUnchest offt den 'ann Der es dir gJeich thuen kan Hdr doch was die Leute sagen Welchen uoi zu blauben 1st: Dass e n urm dich soite piacen Wan du dich so hoch vermisst; deinengar du seyst geschoffen degen deiner Narzen-poffen. Die bey ier undlrante ein Deine besten Spruche seyn. Hastu etwan gute Gaben Wende sie nur nutzlich an Lass darmit dein hohes traben Nicht verachte jederman: Mvienschen finden ihres gleichen Andre kdnnen auch erzeichen Das/was mbgich/wie mich dnckt Mercke/Eigen Lob das stinckt. 55 7 i n tens fbr-cer a eCf r CfYt sO6o c~on ire(o

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Was kan uns sterblichen All hier doch mehr er freuen Als ein getreuer Freund Mit dem ich ohne scheuen Darff reden was ich wil In ungltick und in noht Steht er getreulich bey Ja gar biss in den Tod.

Bey zweyen nur ein Sinn; In gleich er Hoheit leben Und immer ohne falsch Bestandig seyn daneben In Glick und in Gefahr; Ist rechter Freundschafft pfand Wie von demJonathan Pythias Und David ist befand. Damon TWfol dem der solchen Freund Erlanget hier auff Erden Dem kan mit Raht und That Offt bey gesprungen werden Er lebt noch eins so wol In Wiederwertigkeit Und kan glUckselig seyn Die meiste Lebens-Zeit. 2 a ?edi6enz clerja ena 5 dJel-

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Du pestilenz der Jugend Du angenehme pein Du mnbrderin der tugend Und halbes nbrrisch seyn Lock vogel ungeziemter lust Du rechter auss geschminckter wust.

Du Krankheit fauler Hertzen Verlust der Edlen-Zeit Ihr bitter-ssse Schmertzen -Ve,^.rgxallte Liebligkeit Du Uber Zuckertes-Vergifft Neh dem/den deine Wollust trifft. Verzaubertes beginnen Vornehmste Eitelkeit Berauberein der Sinnen Ein later Neid und Streit Und was amdrer hinderlist Die Liebe unterworffen ist.

Wie schwehr es sey zu Lieben Und darbey Klug zu seyn Ist satsam schon beschrieben Mich vundert nur allein Wie das zu dieser Tyranney Die Welt so gar vernarret sey. Drum ihxr verliebte Hertizen Die ihr euch kwlen m'nlst Mit sussen-Liebes-Schmertzen Und nur (ie Hoffnung kiisst; Seht zu dass ihr dem blinded ahn Nicht allzu lang seydt unterthan, 1 er wotde xocIZ d Jasen SImerzem 3 ct2Ca odew Jc-sts

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Wer wolte doch die sussen schmerzen verliebter Hertzen Flugs schelten eine pein Und halbes narrisch seyn: Muss einer dan im lieben Nur werden angetrieben Zu ungeziemter lust Und anderm schlimmen wust

0 Nein das wird mir niemand wehren (in allen Ehren) Zu lieben liebes schertz Und ein getreues Hertz: Hat schon bey sich das Lieben Bissweilen ein betruben So forget auff das Leid Ein' angenehme Zeit.

Die Liebe sch'rffet offt die Sinnen Der Pierinnen W1ie mancher sch'ner Fleiss Uns dessen gibt beweiss: Man siht bey Jung und Alten Was sie vom Lieben halten Es liebet jederman So lang er lieben kan. t.O So{t icA iQA na4z 6en a 6 2 &rzz s oder Jeror-

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A jll AW

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Solt ich dich nicht lieben o du recht vollkomne zier Weil du biss gelieben Treu-best'asndig fur und fuir Ist auch ubrig eine tug'end Oder sonst was mer: Das dir nicht mit deiner Jugend Zu gewachsen wehr.

Trefflich kanstu prangen /it der sch~nen H6fflichkeit Mit dem Purpur-Wangen Jit den Frihling deiner Zeit: Reichthum hat dir Gott gegeben From und Tugend sam Freundlich bistu auch darneben Und von gutem Stam.

Solt ich Sie nicht lieben Die so hoch begabet ist Die so Treu geblieben Itzund und zu jeder frist: Ja 0 Seele meiner Seelen Und mein ander-ich Ich wil keine andre wehlen Nur alleine dich. 4/40tli u i NJ J CSC0 ?t,69

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- Ol~~~in ee-ie scImerl-zen 3-o % bo -'ROW3rhsi 'ngy 3 Ich weiss nit wie mir ist geschehen NLich deucht dass ich bezaubert bin So bald ich sie nur angesehen Ist Mir verwundet hertz und sinn Dass ich empfind in meinem hertzen Nur lauter susse liebes schmertzen.

Ich hatte mich zu sehr vermessen Und Liebes-grillen aussgelacht Nun kan ich ihrer nicht vergessen Das hat der Freyen-Sohn gemacht: Ach Ach der sussen-Liebes-schmertzen Die ich empfind in meinem Hertzen.

Das wehlen ist mir nun vergangen Das kwalen muss ich bey mir sehn So lass doch Schonste mein Verlangen Jnd Lieben nicht umb sonst geschehen Vergonne mir nach diesen Schmertzen Nur bald ein sUsses Liebes-schertzen. 12. J/r locl zan ninSa7, znaM

doO e Jo

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AV 74

# 6a

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Hor doch auff mein sinn zu dencken Auff der eitelkeiten Lass dich wahn zu der weisshejt lencken Meide jener thorheit Lass bahn: die weissheit nur allein Deine aller liebste seyn, Wann du dich mit Ihr Freyeste Vermahlet das hbchste Guth Achtest nicht was manchen Drumb kwhlet er xaget Leib und Blut: 0 du Furstin aller Locke Kunst Mich mit deiner Brunst. 75

Lass Mich deine Gunst geniessen o du wehrtes Gtter kind Lass auff mich die Straalen schiessen Dass ich werde angezUndt Und verlange stets nach dir Auserkohrne Tugend-Zier.

Deine Liebe kan mich bringen Zu der gildnen Sternen bahn Zun Verdruss der eitlen din gen Und von allem bdsen wahn: Weissheit lass Mich nur nach dir Immer dUrsten fur und fur. f3 . E0so 4017 Jef leter %terIQen a 3.RioJenor,& &sro A

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A 77

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Ey so wolt Ichx lieber sterben Als bey reichthum arm zu seyn Solt ich mich also verderben Mit des geitzes wucher pein Ich wil seyn mit dem verguget Was Yir Gott hat zugefuget,

;unsche/xer da wil/das Leben Da viel Gold und Kummer ist Da nur Angst und Sorgen schweben Da der Geitz das Hertze frisst: Ich wil seyn mit dem vergn'wget Was mir Gott hat zugefiget,

Besser ist bey wenig sch'atzen Haben einen freyen Muth Als bey jenen Silber- ietzen GUimen sich um eitles Gut: Ich wil seyn mit dem vergnijget Was mir Gott hat zugefiget. 79 I. O der amner(teckenL Jrettden 16- 2 Cktt g Basso D,

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o der kUmmerlichen freuden Die man hat auff dieser welt Die umngeben find mit leyden Und dem elend zugefellt: Sole man dich lieb gewinnen o du eiteles beginmen.

Kaum eh man begint zu schmecken Deine schlechte Frbligkeit Damuss uns gar bald abschrecken Achi so manch es hertzeleid Ach so manche Traurigkeiten Folgen auff die Freudens-Zeiten.

Veil nun nichts bey unserm Leben Sol und kan bestndig seyn Mag ein ander seyn er geben Diesem falschen Freuden schein; Andre mogen hiernach trachten otas ich lerne jetz verachten. e5ll 2 ie ioC&i memne 4 1, Z er3 2 Canfte pTigtss

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Wie lange sol ich meine Zeit Hinbringen in der traurigkeit? Wie lange sol der kummer mich Verzehren so elendiglich.

ir ist jetz leider unbewust Was fr*lich heist/was freud/und Lust Wann andre Leute Lustig seyn Stelt sich bey mir das Trauren ein.

Was hilffts/es muss also geschehen Es kan "a niemand dem entgehn Was das Verhangnuss haben wil Muss man gedUlti.g halten still.

So sey zu frieden meine Seel In Hoffnung diesel Troft erwehl Dass nach betrubter Traurigkeit ErfoLgt gewiunschte Freudens-zeit. 1 ri ECtebr Amwa 83amr" a3 1 try ne Zs

r 71 I? I an 1We Iint

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y lieber Momus sag mir an ie komt es dass fast jeder man Die Singekunst verachtet Sie thut ja niemand eintzig leid Dennoch wird ihr ohn unterscheid Mit Reit im nach getrachtet.

Das macht dieweil sie eine Kunst Beliebt von Gott/beseelt mit Gunst Bey Tugend-holden Hertzen: WI-ann solches nun ein Tblpel h'6rt Dass man also die Musick ehrt Verdreusst es ihn mit schmertzen.

Und weiler sonst nichts schaffen kan So folget er der Sp'otter Bahn Und 1dst den Gecken sehen Verachtet was er nicht versteht: Des muss ja lachen ein Poet, Wans so pflegt herzu gehen. 86

/7, Ir stcA 1s1 rnJw-t twei# zw sceicIe7l- 32c 2 4 7 U1

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Wer sich ist nicht weiss zu schicken In der leute krrmnes bucken Und die zeit nicht nimt in acht Jer bald sagt was er gedencket Sich um fremde hiindel. krancket W!ird damit nur auss gelacht.

Viel so Hoch gelahrte heissen Die sich Tag und Nacht befleissen In erlernung mancherley: Mussen offt zu r{ocke stehen Lange unbefodert gehen Weil das Gliuck sie geht vorbey.

Wer sich aber weiss zu stellen In die Telt/und GlUckes-wellen Asset die Gelegenheit Folget nicht in allen Dingen Seine Kopff: dem kans gelingen Wann er trifft die rechte Zeit. 9 %1arumf So& JkAirtmj Jerzn 2 /ins,.ia 1 4Baso

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arumb solt ich traurig seyn Schmeckt mir doch der brantewein Und das hier noch immer gut Auch noch bass das neben blut Drum lustig seydt lustig ihr lustigen Bruder Das trincken macht lustig und freudige glieder. Andre m6gen seyn zu Hauss Mir gefllt eincguter Schmauss Da man saufft die gantze Nacht Und sich hacker lustig macht: Ich liebe und lobe die lustigen Brider Lass trauren und sorgen das Vogel-gesieder.

We; mit aller Traurigkeit Lustig seyn ist meine Freud Lustig seyn biss in den Tod Unsch ich mir fUr alle Noht: Ich liebe und lobe die lustigen Bruder Lass trauren/lass sorgen die Tichter der Lieder. 1.left Ai n ys h -nse, ene o

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Ich bin Hans ohne sorgen Ich dencke nicht auff morgen Ich hate reichthum nur fur spott Und meinen bauch fur einen Gott Ein ander kan das nicht las vertragen mir gefund und gut im magen. Mich drftet immer immer Der Durst vergeht mir nimmer Der liebe Trunck ist meine freudt Von Morgen biss zur Abendzeit; Bal d Bier bald Brantewein ich schlinge Wormit ich meine Zeit hinbringe,

Ich liebe solches Leben Die Faulheit auch darneben: Es endertkeiner meinen Sinn Ich bleibe wie ich allzeit Mich bin durftet jetz in dem ich singe Ist niemand hier/der mir eins brain. o 98 20. ic aneI itetnem 6oft Je-nore .% 4e J

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Ich dancke meinem Gott dass ich nicht bin er geben Der schnk6den trunckenheit/woraus ein boses leben Gemeiniglich er folgt: Ich habe meine lust An meiner eignen lieb/wie andern ist bewust.

Ich folge meinem Kopff und liebe mein beginnen Es bringet keiner mich so leicht von meinen Sinnen: Ich bilde mir so wol als einer etwas ein Van einer Neidisch ist/so kan ichs auch wol seyn. Es hilfft mich aber nichts mein Dunckel und mein Neiden Noch eigensinnigkeit: Ich muss es leider leyden Dass ich werd aussgelacht mit meiner Fantasey: Doch lachet immer hin/Ich bleibe doch dabey. 101 21' mit euren &te Cfte Ato

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Seg mit euren eltelkeiten Lelche nutr zu lastern leiten iromt ihr Schwe sten kornt herbey sick und Poeterey EuXch wil ich wiein gantzes leben 9 idmen und u eigen geben.

Mit der Musick~ und mit Tichten Kan ich rneine Andacht Zu richten dern Schopff'er caller Ding: Ian ich tichte wan ich sing das Evite von rir Und min .ehen Auss Geist entziecket stehen. Alles mit der Zeit vergehet Music aber C Ie stehet Und ist lein' empfindligkeit Jener siussen eligeit: Kimlisch Tichten/imlisch Singen Kan ich in den Himmel bringen, 103

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ILX

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Wer sich beleidigt find Der giebet zuverstehen Dass er getroffen ist; Ein jeder mag zu sehen Wie er von Lastern frey Der Tugend sich ergiebt: Der ist nur lobens wehrt Der Gott und Tugend liebt. 113

EDITORIAL CORRECTIONS

The list below indicates the editorial corrections

that have been made in this study, and gives the original

1657 printed version of the places where the corrections

occur. The system used below indicates the song, the mea-

sure number, the voice in which the correction occurs (See

list of abbreviations), the note in the measure, and the original indication. For example, 1. 4 V2 3: Bb indicates

that in the first song, the fourth measure of the second

violin part, and the third note of that part, the original note was a B flat.

2. 3 V2 1: b 18. 24 VI 3; C 4. 4: 4 V2 Fo 20. 9 A 6: F# 8. 12 Cl 1:C

9. 18 Cl - C (meter) 10. 5 02 7: 13. 2 T 1: 4 B 5: B 14. L C2 2: Db

4 C2 3: E

15. 5 Cl 3: G

18. C) J2 3:0 119

ABBEIATIONS

'1 First Violin

V2 Second Violin

'1 First Soprano

02 Second Soprano A Alto

T Tenor

B Bass APPEND X

PREFACE

On the Fleeting Arts of Song and Poetry

The songs contained in this little work, among which are present several arias and canzonettas (of the so-called

Romantic form) are of the newest type as is common in the Royal music School in the King's court in which the Romantic language is used. Those who are not acquainted with what kind of discretion the Romantics use in singing and playing, espeCially those who with their students only "stare" at the beat till certainly not be pleased with these songs that found favor with the Romantics. But those who are aware may receive a joyful experience.

The thereby existing songs found favor because of the requirements of friendship, because of the charming melodies of not just any poetry, and music which does not seek vain honor, but vhich waits patiently to be composed as was ex- pressed to our Illustrious High Prince and Gracious Princess and Lady in the dedication. Since he is aware that a poet cannot quickly devise rhymes, equally a musician cannot ilmediately compose, but can only sing and play, especially on the basis of primarily binding compositions of poetry upon which beautiful melodies that combine art and joy are

12 0 121

added from the mind, and furthermore, must, by means of

both arts (as they are very closely related and are as

'Iblin{s) be most noble, and in both arts make the musical art a fitting melody for the lyric and the poetic art a

3itn rhyme for the melody. This poetic alternation de- serves high praise and should be observed further to find more elegance. Tn consideration of the musical art, such weighty poetry that is difficult to understand when read, much less Then sun), is not acceptable and is willingly avoided, and according to God-iven gifts should be simply composed. I rest in the secure knowledge that those who love art and virtue will consider these insignificant compositions of my small virtue, and attributing them to my limited youth and few years, remain inclined toward my good intentions. 122

DEDICATION

Illustrious High- orn Duke Gracious Prince and Gentleman

Illustrious Hih-orn Duchess Gracious Princess and Lady

To our Illustrious High Prince and Princess, renowned

in the world, we dedicate this unimportant little work, the

first-born product of our youth, and in humility lay it at

the feet of our Illustrious High Prince. We dare to make

here our obedient obligation in humility and faith. Jhile

we have sufficiently found that our Illustrious High Prince,

graciouss Prince and entleman, has shown himself up to now

to be a mighty patron, friend, and high admirer of the noble

free arts, we hope that in hearing the charming poetry and jovial music, he will always bear and convey a gracious

kindness to our humble, unimportant service.

To the Lost Illustrious Princess, gracious Princess

and Lady of whom is found high honor, as well as other ad-

irable virtues "y which she is blessed by the Heavens, we

also courteously direct this work with a special joy as a

pleasant experience and have in the arts of song and poetry

astonished one and all, and also caused many a poet and song- writer to blush with shafe. If we live in the humble hope,

and therefore beg humbly, to please our Illustrious High 123

Prlnce and become of inborn race toward the love of virtue and art, let our insignificant labor please you, and in your illustriousness, mercifully condescend to rive protection from the arrows of poisonous envy, Your Highness, aid for this maiden product o rour youth, ask the mightv protection of God. ie in Your Highness' mercy bid farewell.

:olfeSb tel Humbly obedient, April 20, 1657 Johann Jacob L'we von Eisenach

Julius Johan rieiland

Respectively Capellmeister and Musician 124+

Do the tentlemen Johann Jacob Lwe von Eisenach and Julius Johann Weiland, respectively Capellmeister to the High Prince of Braunschweig Lneburg and musician.

As ye still find covered so deep in folly That none among us reflect on the golden mean ,hat otherwise in all conduct the best are respected Are even immorally scorned by everyman. Wrhat to us the Heaven had bestowed of mild spirit uist be abused. Nothing can escape that and be secure. Thence, then, it happens- That often the best thing only therefore becomes destroyed. Then the sense of these times is as like our stomachs That which it overeats, it cannot well endure, It also doesn't want too much: for out of all excess Brings along a nausea and adverse annoyance. I must not search for proof and examples. it depends on the music and the poetry. before, when one first perceived what this same art and knowledge were capable of, There was nothing short of praise and favor, Nothing short of eagerness and hearty pleasure. But as subsequently others also wanted to practice ho had neither the spirit nor dream of Helicon And the fountain of music still never moistens the mouth Yet nevertheless forced the poor words with power And without spirit and sense, the words pressed forward into voices. Then this beautiful work began to be looked down upon Phus it goes if one sings and plays to the heart of the masses. before, the noble art was by princes only in honor It had to teach praise and high virtue It was the heart's glory and kingly pleasure. The village and peasant folk had known little here Nlow the beloved art must be in service to all For one assumes that nothing happy can occur Almost no bride can be married ut there also this art must thereby be abused And that is precisely what robs so many noble minds of their pleasures. ho wants to begin something there where insult is the re-ward? Yet there I am also right. So I imagine that still a virtuous mind Therefore does not allow itself to be deceived. ie wants the noble spirit which is granted and probably carried through Yit s evertheless allowed to be 125

And consider -tell such strongly opposed barbarism Then one must also consider at the same time, this: .here bees are found are also bumble bees. To giants t herefore to be Upset by the fact that After a nettlebush twists itself among the roses They flourish nevertheless. It therefore does no damage, That previously the common man sang nothing lovely: The Mantuan Swan however succeeded. No cold exists without slag, no Qrain without chaff The soul stitl remains although the body dies. So remains also whLt is good. Therefore let yourselves not surrender Continue to defeat what opposes this art. Help as you can help, as help the Muses1 Ii no one gives you reward, then time gives it anyway.

H. cheffe 126

TORKS: JOHANN JACOB LOWE

ynfnion, Gagliarden, Arien, Iallettin, Couran.ten, arabanden mit 3 oder 5 Instr. Bremen 1658, T.Kher.

Sonaten, anzonen und Capriccien a 2 Instr. Jena 1664, J. J. Bauhof er.

%$aonatena 4, a 5, a 6. 1665 (manuscript)

Salanis chen Musenlust Jena 1665, J. J. lauhofer. instimmNe Neuen Arien. nit 2-st. Ritornellen Murnberg 182, J. Hofftann.

Nue heIstliche ConcerteVolfenbuttel 1660, J. Bissmarck.

2 :rchenlieder in Vollstimmne Tme jburgisches Gesangbuch.

ui- to Orpheus aus Thracien, Lneburg 1659, Stern.

anones uer lartini emt piiFest -und Tugendlieder, Jena 1665, u. J. Bauhofer. musicall examples for Johann ow Braun' s Kurzen Anleitung der edlen Plosik> t, Hanau 1681, C. Scheffers.

PWORit : JULIUS 7JTOHANN EILAND

Erst&ingefMusicalischer Andachten, lremen 1654, J0. Khler.

Deuterotores, Prmen 1656, j. Khler.

Grosser Furst", .remen 1660, j. Kbhler.

"un dancet alle Gott", Wolfenbuittel 1661, Stern.

Lob--nd Dangk Lied aus dem 89. Psalm, olfenbuttel 1661, Stern.

Psalm as117, lolfenbilttel 1662, Stern.

"Uns ist ein Kind geren"?, Wolfenbttel 1663, Stern. I BIOGRAPHY

aooksnd Articles

Ap1, Jilli, editor. HarvardDictionayof Music, 2nd. ed. Cabridge, assachusetts: Harvard University Press, 1974.

-The Notat io~nof BolThicMUsiC900-1600, 5th ed. Camridge, Pass.: The Medieval Academy of AmLeriCa, 1953

Ar-old, Frank T. The Art of Accomaniment from Thorough- Bass. London: Oxford University Press, 1931.

Baron, John H. "Dutch Influences on the German Secular Solo ontinuo Lied in the Mid- eventeenth Century," Acta Musicologica %LIII (19,-), 43-55. B ue W, Georve j. Thorough-Bass Accompaniment Accordingto ohann David Heinichen Los Angeles: University of aliforniaPress, 1966,

,ukozer, anfrAd. usic 1sijn the jaroqe Era. New York: J.W.Nort on, 1947.

Colles, H. . "Sonata," Grove's Dictionary of Music and Musicians,, ed., 10 vols., ed. Eric Blom. -v Yok: rkSt. artin's Press, 1954.

DaLt, Thurston. "Song 1500-1700," rove's Dictionarx of uSic and Musicians, 5th ed., 10 vols, ed. Eric B10;. Ne7 Yor'k: St. Martin's Press, 1954. Donint, berm. APefformer's Guide to Baroque Music. New torki: Charles SchrIner's ons, 1973.

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127 12

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