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.
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
John Dowland (1563-1626) was a composer of Renaissance England and considered one of the most prolific and well-known composers of English lute song. A composer and accomplished lutenist, he is probably the most well traveled English composer of his time. Through his travels he was exposed to the musical elements of his Italian, French and German contemporaries. He developed his own musical language, in which he created a unique style for the lute song. As a composer, he focused on the development of melodic material and was able to elegantly blend words and music with a wide range of emotion and technique. For the purpose of this document we will focus on the influence of his Italian travels. John Dowland’s use of chromaticism in his lute songs as can be directly associated with such as “All ye whom love or fortune.” In these pieces, we can see the influence on this genre through his travels to Italy and encounters with such composers as Marenzio.
Janice B. Stockigt, Jan Dismas Zelenka, 1679 – 1745: A Bohemian Musician at the Court of Dresden (Oxford, 2000)
Boynick, Matt. "Georg Friedric Handel." Classical Music Pages. 1 Feb. 1996. 13 July 2005 .
...n 1705, his first composed pieces where published. These pieces were his Opus 1 which was twelve Sonatas for two violins and basso continuo in conventional style. His second collection, Opus 2 was published it was the same as the format of the first. Twelve sonatas meant for the two violins and basso continuo in conventional style. Opus 3 was the breakthrough that he was looking for. It was twelve concerti for one, two and four violins. This piece was dedicated and sponsored to the Grand Prince of Tuscany, Ferdinand. Stabat Mater was one of his earliest masterpieces. Even though the piece looked like it was written in haste, the string parts were simple, movements one, two, and three were repeated in the next three, and not all the text was set it was a wonderful piece. Perhaps he wrote it that way on purpose and it was just the forced essentiality of the music.
According to Rowell, "Musical composition became much longer, and composer were forced to evolve new means of maintaining unity and continuity over long time spans" during the Baroque period. Therefore, the texture of music became very important. When I look at the musical texutre of the Cantata No. 78 by J. S. Bach, I realized that this piece was unified very well within a movement and as a whole piece by many techniques. Some of those techniques were found in the text, and the others were in the music.
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
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 ...
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.
Schubert's instrumental works show development over a long period of time, but some of his greatest songs were composed before he was 20 years old. In Schubert's songs the literary and musical elements are perfectly balanced, composed on the same intellectual and emotional level. Although Schubert composed strophic songs throughout his career, he did not follow set patterns but exploited bold and free forms when the text demanded it. Except for his early training as a child, Schubert the composer, was largely untrained and self-taught. His gift of being able to create melodies that contained both easy naturalness and sophisticated twists at the same time was unprecedented for his time. On this quality rests the reputation that music history finally gave Schubert.
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...
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...
Historical. This brilliant composition is considered as one of the two most important violin concertos of the German Romantic period, with Mendelssohn’s vi...
“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)
Over the past century music change has been based on the influence of people and technology. The changes in technology have influenced the way music is listened to and the instruments in that time period that make the sounds. The sound of the music links directly to the likes and dislikes, which brings us to the influence of the people. Every aspect of a person has an effect. You must take into account what they are feeling and what their lifestyle is. Then the next step is to look at the influence on their lifestyle. Society, it is the people’s likes, dislikes, cultures, and politics as a whole. It can be gathered that what society is doing, everyone is doing it too. So, when it comes to popular music the big question is, what is society listening to?