Ludwig Daser
Ludwig Daser | |
|---|---|
| Born | c. 1526 |
| Died | 27 March 1589 (aged 62–63) |
| Occupation(s) | kapellmeister, composer |
| Spouse | Magdalena von Haffner |
Ludwig Daser (c. 1526 – 27 March 1589) was a German renaissance composer and choirmaster. His career is marked by the
Biography
Daser was born in Munich near the year 1526, the son of fisherman Achacius Daser.
In the 1560s, Albert V began actively pursuing a course of establishing Catholicism at his court.
Influences, style, and impact
Daser's compositional output consisted mainly of masses, of which 22 manuscripts are extant.[1][2] He also wrote motets.[2] His works continued to be performed in a court context as late as 1616.[9]
Daser was significantly influenced by the Franco-Flemish School, demonstrated by his methodology for tying the cantus firmus to the Ordinary.[10] The sources of his melodies often originate from the Netherlands.[2] He employed a variety of methods of treating plainchant melody within his masses, including canon, ornamentation, cantus firmus, and juxtaposition.[10] Daser would move the cantus firmus from the tenor to the highest voicing, in order to highlight the main melody.[11]
Daser was highly respected by his contemporaries, receiving high commendation from Bavarian court chronicler Massimo Troiano.[2] Much of his work is held in manuscript form at the Bavarian State Library.[2] His works are ambitious in nature, notable for their complexity.[2] His contemporaries particularly valued his lyrical abilities.[3] His style was conservative in nature for his time, evidenced by his four-voice masses and his reliance on the cantus firmus technique.[3] However, his style became more "modern" during his time at Stuttgart.[3]
Orlande de Lassus' mass number 40 Ecce nunc benedicite was directly modeled on a work by Daser.[6]
Works
Masses
4 voices
- Ave Maria
- De virginibus
- Dominicalis (i)
- Dominicalis (ii)
- Ecce nunc benedicite
- Grace et vertu (attributed)
- Mins liefkins braun augen
- Paschalis
- Per signum crucis (attributed)
- Qui habitat
- Un gay bergier
5 voices
- Beati omnes
- Dixerunt discipuli
- Ferialis
- Fors seulement
- Jerusalem surge
- In feriis quadragesimae
- Inviolata
- Maria Magdalena
- Pater noster
- Sexti modi
6 voices
- Praeter rerum seriem
Mass Propers
- De Sancto Spiritu infra septuagesima (4 voices)
- De veneratione (4 voices)
In addition to the masses, he composed a work for four voices entitled Patrocinium musices; passionis Domini nostri Jesus Christi historia, a Magnificat for four voices, a Magnificat for eight voices, 24 motets for four to eight voices, and 34 hymns and psalms in German.[3]
References
- ^ a b c d Pratt, Waldo Selden (1907). The History of Music. New York: G. Schirmer, Inc. p. 135.
- ^ ISBN 9789042916814.
- ^ ISBN 1-56159-239-0.
- ^ ISBN 978-3-11-027005-1.
- ^ ISBN 978-1-349-20536-3.
- ^ ISBN 978-1-4008-6378-5.
- ISBN 978-1-57647-078-7.
- ^ ISBN 978-0-521-80773-9.
- ISBN 978-0-300-18364-1.
- ^ ISBN 9789042916814.
- ISBN 9789042916814.
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