Sacred concerto
Sacred concerto
History
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Early Baroque
The stylistic roots of the concert lie in early baroque Italian models brought back to German by musicians such as Heinrich Schütz, and popularised by his contemporaries such as Samuel Scheidt. Some of these concerts take an Italianate dialogue or oratorio form, notably the works of Kaspar Förster and the dialogues of Schütz.
Middle Baroque
The next generation of composers working in this form include
Musical form and examples
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Reception
Sacred Concerto - A piece of sacred music composed on a text that may be liturgical or non-liturgical (e. g., from the Psalms), which was sung after the Communion Hymn during the communion of the clergy at the Divine Liturgy. Sometimes hymns from other services, e. g., the All-Night Vigil, are sung as Sacred Concertos.[8] German church music of the Baroque era composed after the first half of 17th century was throughout the 20th century hardly ever indicated as sacred concerto or, in German, Geistliches Konzert. Pieces of this genre were mostly qualified as motets or as cantatas, for instance:
- When Max Schneider published a large selection of the Altbachisches Archiv (ABA) in 1935, he ranged the compositions in two volumes, the first of which was called Motetten und Chorlieder (Motets and choral songs), containing, among others, Johann Michael Bach's Herr, wenn ich nur dich habe, ABA I, 6 , and Ich weiß, dass mein Erlöser lebt, ABA I, 7 .[9] Georg Christoph Bach's Siehe, wie fein und lieblich, ABA II, 2, was included in the second volume, titled Kantaten (Cantatas).[9]
In 21st-century scholarship, the sacred concerto or geistliches Konzert description is used more often to indicate compositions from the late 17th or early 18th century:
- A 2009 catalogue of the archive of the Sing-Akademie zu Berlin describes Johann Michael Bach's ABA I, 6 and I, 7 as Geistliches Konzert,[10] and Georg Christoph Bach's ABA II, 2 as Sacred concerto.[11]
References
- ^ a b Perreault 2004.
- ISBN 978-1-56159-263-0.
- ^ a b geistliches Konzert at universal
_lexikon .deacademic .com - ^ ISBN 978-1-56159-263-0. Retrieved 17 May 2020.
- ^ Wörner 1993, p. 243: "Aus den Gattungen Geistliches Madrigal, Motette und insbesondere Geistliches Konzert entwickelt sich nach 1650 die ältere Kirchenkantate als geistliche Vokalmusik mit (relativ) unabhängigen Sätzen"
- ^ Christ lag in Todesbanden (Johann Pachelbel) in the Choral Public Domain Library (ChoralWiki)
- Muziekwebwebsite
- ^ "SACRED CONCERTO". churchmotherofgod.org. Retrieved 2022-01-07.
- ^ a b Schneider 1935.
- ^ Fischer & Kornemann 2009, p. 478.
- ^ Fischer & Kornemann 2009, p. 36.
Sources
- Fischer, Axel; Kornemann, Matthias (2009). The Archive of the Sing-Akademie zu Berlin: Catalogue. ISBN 9783598441745.
- Perreault, Jean M. (2004). "60 Christ lag in Todesbanden, sacred concerto". In Fitch, Donna K. (ed.). The Thematic Catalogue of the Musical Works of Johann Pachelbel. ISBN 0810849704.
- Schneider, Max, ed. (1935). Altbachisches Archiv: aus Johann Sebastian Bachs Sammlung von Werken seiner Vorfahren Johann, Heinrich, Georg Christoph, Johann Michael u. Johann Christoph Bach [Old-Bachian Archive: from Johann Sebastian Bach's Collection of Compositions by his Ancestors Johann, Heinrich, Georg Christoph, Johann Michael and Johann Christoph Bach]. Das Erbe deutscher Musik (in German). Vol. I. Motetten und Chorlieder. – II. Kantaten. Leipzig: Breitkopf & Härtel.
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- Wörner, Karl Heinrich (1993). "V. Teil. 17. Jahrhundert" [Part V: 17th Century]. In ISBN 352527811X.