CHAPTER 1 ERHARD BODENSCHATZ AND THE FLORILEGIUM POTENSE Lutheran church music in its first two and a half centuries can be characterized by the incorporation of a staggering variety of styles and musical genres. Plainchant, imitative polyphony, and chorale hymnody existed alongside one another, and composers such as Heinrich Schütz (1585-1672) and Johann Hermann Schein (1586-1630) were among the first to synthesize elements of Monteverdi’s seconda pratica with a fully German practice. Fruits of this multi-style crosspollination, whether a continuo based melodic-harmonic framework, polychoral textures, use of the solo voice or obligato instruments, all paved the way for the apex of this tradition, the concerted vocal works of J.S. Bach. The introduction of many of these Italianate elements can be traced back in part to the multitude of motet anthologies which appeared in the first decades of the seventeenth century. The most influential and enduring of these, compiled and edited by Erhard Bodenschatz, brought composers such as Lassus, Marenzio, and Giovanni Gabrieli into widespread use within Lutheran churches. Bodenschatz’s 1618 and 1621 motet anthologies, both titled Florilegium Portense, enjoyed widespread use well into the eighteenth century during Bach’s tenure in Leipzig. The 1618 Florilegium contains 115 works mostly by German composers from four to eight voices, a listing of which is shown in Table 1-1. The 1621 Florilegium reflects the growing trend in the second and third decade of the seventeenth century of these anthologies to include a greater number of works by Italian composers. Less than half Table 1-1 – Bodenschatz Chronology of the 150 motets in 1621 anthology are by German composers, as compared to the ... ... middle of paper ... ...s name, for the splendor of the church, and for the education of young people.” Yet perhaps as a further sign of the rift between Bodenschatz and his teacher, Calvisius, the stated purpose of the 1621 Florilegium notably leaves out any reference to use for students. It is instead offered as a source for music for the entire church year. Despite the apparent turning away from Calvisius and the Schulppforta, Bodenschatz owed the foundation of many of his successful projects to the work of his teacher. Bodenschatz’s indebtedness to the school itself it revealed in the title of both works “Florilegium Portense” (“Flowers of Schulpforta”). Chaney noted that though only two works by Calvisius are included in the 1621 Florilegium, they surround on either side the sole motet by Bodenschatz, perhaps as a sign of gratitude for the main contributor of his most famous work.
...rease in popularity during the Baroque Age. The listeners enjoyed hearing the keyboard pieces that were often grouped into suites and played in the same key. Organ music was also very important during this era, mainly being played in church services. The major forms of keyboard music were preludes, chorals, variations, and fugues. Each of the three musicians used these forms of keyboard music in their pieces. Through these forms, Bach was able to take on every genre of music, creating his own which was the keyboard concerto. The works that Handel composed were often forgotten unless they were an oratorio. Telemann’s music was generally complex containing French, Italian, and Polish styles. Though the styles of music between these three men vary, they were able to leave a positive lasting impression causing people to reproduce and listen to their music regularly.
When Johannes was in his tenth year he had made such remarkable progress that Cossel thought it best to secure a more advanced instructor. He was thus put under the care of Eduard Marxsen (Cossel?s own teacher), the royal music director at Altona, who took him unwillingly ...
Loyset Compere, an accomplished yet not very well-known composer of the 15th century, has been neglected as a figure in musical history. Historians through the ages have somehow left him out of most of their writings. Therefore, as modern researchers and discoverers, we have very little resources from which to gather information about Compere. In fact, even his date and place of birth are argued upon by historians. Thus, our study is limited to what we see on the pages of his music and what we glean from the music we hear (MCD 1490, Carapetyan).
The first composition, "Miserere Mei, Deus", was produced by Gregorio Allegri in 1638. I learned this, as I read along with the well-thought-out program that was given. As we, the audience, looked up to the vocalists, we were entranced by the consuming sound. The room filled with a vibrant melody, in which the harmonization and tone color was spectacular. The emotion conveyed throughout the room was one of absorption and delight. During this piece, the sopranos hit such high notes, that I was astounded. Being a person who participates in concert choir, I understand the level of commitment and talent it takes to reach those notes and stay in tune. This ...
Harman, Alec, and Anthony Milner. Late Renaissance and Baroque Music. London: Barrie Books LTD., 1959. ML193.H37
...ble. For the first time in many centuries there was something new and different. Congregational hymns were sung in their native tongues. Additionally, differences in accompaniment was felt. The instrumentation was either more majestic or more limited depending on the area where the music was played. Music was being utilized as an edification implement like the sermon. Additionally, people optically discerned an influx in ingeniousness due to more mundane musical compositions being utilized in accommodations. The Reformation in Germany and the circumventing nations optically discerned an astronomical distinction on available hymns and psalms due to the openness and variations in their Reformation. The English reformation was pretty consistent across the country. However, due to its unique commencements music optically discerned different effects from the Reformation.
By 1945, nearly everyone in the African American community had heard gospel music (2). At
Gospel music began in the cotton fields of the old south. It originates from slaves singing songs of freedom about Jesus and has integrated into today’s music. Gospel music is a standard version of sanctified music that has encouraged Christian beliefs and stimulated the practice of Christian ethical principles, both inside the context of worship services and as music entertainment. Gospel music began with Thomas A. Dorsey, the Father of Gospel Music. Gospel, mean "good news," it was given the name because of the books of the Old Testament with the gospels.1
From the Early Renaissance to the High Renaissance, there was a movement from vocal music to a combination of vocal and instrumental music (Brown, 1976). There are seven categories of instrumental music: 1) vocal music played by instruments, 2) settings of pre-existing melodies, 3) variation sets, 4) ricercars, fantasias, and canzonas, 5) preludes, preambles, and toccatas for solo instruments, 6) dance music, and 7) songs composed specifically for lute and solo voice (Brown, 1976). Italy dominated the stage for instrumental music at this time, and it was not until the last decades of the sixteenth century that English instrumental music became popular (Brow...
Johann Sebastian Bach and Ludwig van Beethoven both flourished in their compositions of classical music; however, their genre of music differed considerably. Bach was a German composer during the Baroque time era of western music which is estimated to have taken place during 1600 to 1750. It was during this time that he composed prolific church organ music which included such works as the Mass in B Minor, much scared choral music, and the St. Matthew Passion, as well as composing over a thousand works in nearly every musical genre except opera. On the other hand, Beethoven was a German composer whom began to emerge during the classical era of western music twenty years after Bach. This era took place throughout the years1750 and 1830. The large quantity of arrangements, over two hundred works in numerous musical genres composed by Beethoven was significantly influenced by his predecessors, onset of deafness, and his highly personal expression of intellectual depth. Such works include the first an...
Johann Sebastian Bach was born into a family of musicians. It was only natural for him to pick up an instrument and excel in it. His father taught him how to play the violin and harpsichord at a very young age. All of Bach’s uncles were professional musicians, one of them; Johann Christoph Bach introduced him to the organ. Bach hit a turning point in his life when both of his parents died at the age of ten years old. Bach’s older brother Johann Christoph Bach took him in and immediately expanded his knowledge in the world of music. He taught him how to play the clavichord and exposed him to great composers at the time. At the age of fourteen, Bach and his good friend George Erdmann were awarded a choral scholarship to the prestigious musical school St. Michael’s in Luneburg. From then on, Bach began to build his career in the music industry. His first two years at the school he sang in the school’s a cappella choir. Historical evidence has shown that Bach at a young age would visit Johanniskirche and would listen to the works of organ player Jasper Johannsen. This was thought to have been the inspiration to Bach’s Toccata and Fugue in D minor. Studying at the prestigious musical school has help Bach network his way around and become acquaintances’ with some of the best organ players at the time such as Georg Böhm, and Johann Adam Reincken. Through his acquaintance with Böhm and Reincken Bach had access to some of the greatest and finest instruments.
There are two pieces in our Renaissance Era musical feature this evening, the first by Pierre Phalèse called Passamezzo d'Italye - Reprise – Gaillarde. Phalèse began as a bookseller in 1545 and not long after he set up a publishing house. By 1575 he had around 189 music books. Much of his work was devoted to sacred music but there was a small amount of Flemish songs and instrumental works. Phalèse borrowed work from many composers and did not hesitate to include other composer’s music in his works. The sec...
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
person is in, there is a psalm to match it. For example, Psalm 19 is
“The folk music of the Germanic people is known in different phrases and varying degrees. For the English-speaking peoples there exists a vast body of ballads, collected in England as well as America. Of German folklore we know best the songs that have come into repertory rather recently. Swedish folk music happens to have available a large collection of fiddle tunes, because some Swedish collectors have concentrated on this aspect of music.” (Folk & Traditional Music of the Western Continents Bruno Nettl)