Sacred concerto: Difference between revisions
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'''Sacred concerto'''{{sfn|Perreault|2004}} ({{lang-de| |
'''Sacred concerto'''{{sfn|Perreault|2004}} ({{lang-de|geistliches Konzert}},<ref>{{GroveOnline|title=Chorale concerto |author=[[Robert L. Marshall|Marshall, Robert L.]] |access-date=17 May 2020|url=https://doi.org/10.1093/gmo/9781561592630.article.05654 }}</ref> plural {{lang|de|geistliche Konzerte}}, {{literal translation|spiritual {{ill|concert(o)|de|Konzert}}}}) is a broad term for various genres of chamber concerto for a small number of voices and instruments popular in Germany during the 17th Century and prefiguring the late baroque [[church cantata]] and solo sacred cantata forms.<ref>Karl Heinrich Wörner, Wolfgang Gratzer, Lenz Meierott ''Geschichte der Musik: ein Studien- und Nachschlagebuch'' (1993). Page 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"</ref> |
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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. |
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. |
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Revision as of 06:12, 18 May 2020
Sacred concerto[1] (German: geistliches Konzert,[2] plural geistliche Konzerte, lit. 'spiritual concert(o)') is a broad term for various genres of chamber concerto for a small number of voices and instruments popular in Germany during the 17th Century and prefiguring the late baroque church cantata and solo sacred cantata forms.[3]
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.
The next generation of composers working in this form include Johann Schelle, Johann Philipp Förtsch, Sebastian Knüpfer, Dietrich Buxtehude and early members of the Bach family, the works of whom have been partially preserved in the Altbachisches Archiv. Johann Pachelbel is another composer contributing to the genre, for instance his Christ lag in Todesbanden, P 60, for SATB voices, strings, bassoon and continuo.[1][4][5]
References
- ^ a b Perreault 2004.
- ^ Marshall, Robert L. (2001). "Chorale concerto". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0. Retrieved 17 May 2020.
- ^ Karl Heinrich Wörner, Wolfgang Gratzer, Lenz Meierott Geschichte der Musik: ein Studien- und Nachschlagebuch (1993). Page 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)
- ^ Cantate voor soli en orkest, "Christ lag in Todesbanden", Johann Pachelbel (1653-1706) at Muziekweb website
Sources
- 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. Wolff, Christoph (Foreword). Scarecrow Press. pp. 54–56. ISBN 0810849704.
