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Title
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INSTRUMENTS IN SACRED VOCAL MUSIC AT BRAUNSCHWEIG-WOLFENBUETTEL: A STUDY OF CHANGING TASTES IN THE SEVENTEENTH CENTURY. (VOLUMES 1 AND 2) (GERMANY).
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Identifier
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AAI8319748
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identifier
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8319748
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Creator
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BRAUER, JAMES LEONARD.
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Contributor
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Barry S. Brook
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Date
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1983
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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Sacred vocal works of Braunschweig-Wolfenbuttel composers between 1589 and 1694 show the evolution of instrumental timbre. This was, in part, a struggle between national (English, Italian, French, German) preferences reflected in ducal tastes. Around 1600, ensembles of Renaissance instruments were, most often, grouped by family (a pure consort). By 1690, they were organized, typically, around a central body of strings (violin family) and a keyboard.;Under Dukes Heinrich Julius (1589-1613) and Friedrich Ulrich (1613-1634), Thomas Mancinus, Michael Praetorius, Daniel Selich, and Johann Schop allowed for alternate instrumentation, to be chosen by the Kapellmeister. Often, instruments doubled or replaced singers, a practice thoroughly explained in Praetorius's prefaces and his Syntagma Musicum III. Occasionally, individual parts for polychoral works were conceived for instruments only.;After the Thirty Years' War, Duke August (1635-1666), aided by Duchess Sophie Elisabeth, an amateur composer, gradually rebuilt Wolfenbuttel's Kantorei. Performances led by Stephan Korner, shown in engravings from the 1640s, still used Renaissance instruments. The works of Heinrich Schutz, musical consultant in the 1650s, and of Johann Jacob Lowe, Julius Johann Weiland, and Martin Koler, Kapellmeister influenced by Schutz, often employed smaller ensembles with solo singers, a few obbligato instruments, and continuo. Polychoral practices of the 1610s were never entirely abandoned.;After 1630, coregent Duke Anton Ulrich (1685-1704), revived Wolfenbuttel's music. The works of Johann Rosenmuller called for all manner of ensembles--a large one might require eight voice-parts, five strings, and five brass instruments. Johann Theile wrote for a maximum of five voices, usually accompanied by strings but sometimes by strings plus oboes and bassoons, or cornetts and trombones. The works of Johann Kusser, Lully's student, reflected both French and Italian influences.;Volume I includes thirteen tables showing the instruments designated in seventeenth-century manuscripts and partbooks for eight composers, nine plates depicting instrumental ensembles, and a bibliographic index to pieces in the original partbooks and manuscripts consulted. Volume II has transcriptions of works by Mancinus, Schop, Selich, Sophie Elisabeth, Weiland, Koler, Rosenmuller, Theile, and Kusser.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
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Program
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Music
