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In the history of seventeenth-century European music the court of Christian IV (r. 1588-1648) occupies a position of prominence. Christian, eager for fame as a patron of the arts, drew to Denmark many of the musical giants of the age, among them the lutenist John Dowland and the composer Heinrich Schltz. Sadly, except for financial records and occasional letters still in the archives, few traces remain of these brilliant years in Denmark. The music composed and played during this half century has largely disappeared, most of it probably in the tragic fire of 1794 that destroyed the old Christiansborg Castle in Copenhagen and with it the court music archives. Except for the recently-discovered Clausholm Fragments, only three specimens of keyboard music from the period remain: Ny kgl. Saml. 1997 fol. (Obmaus Tablature), Gl. kgl. Saonl. 376 fol. (Copenhagen Tablature), and mu 6703.2131/6 (VoigtlaJnder Tablature). It has generally been assumed that the manuscripts were of German origin. The present study, however, demonstrates a probable Danish origin for the third, possible Danish connections for the second, and establishes that the first is of Austrian provenance. The Obmaus Tablature is an amateur's preservation of a German keyboard style already outdated. This slender manuscript, dated 1637, contains a total of ten "archaic" pieces exhibiting the peculiarities of keyboard dances and song settings from the late sixteenth century. The awkward style of the pieces leads to the conclusion that they were transcribed for keyboard--more literally than imaginatively--from lute originals. The Copenhagen Tablature, consisting of thirty-four folios, is of primary importance for its evidence of the spread of the French claveqin style and the development of the keyboard suite. Of the sixty-nine pieces the majority are French dance forms, several with doubles; also included are preludes, German dances, and settings of chorales, psalms, and secular songs. In this study the dating of the various portions of the manuscript is discussed, and conjectures as to the compilers are presented.

Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600

Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600

Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600

Der vorliegende Katalog ist ein maschinell erstellter Auszug aus der RISM-Datenbank. Für umfassendere Recherchen und weitere Informationen zu den einzelnen Werken, Komponisten, sonstigen Personen etc. sei ausdrücklich auf die im Internet frei zugängliche RISM-Datenbank verwiesen (http://opac.rism.info). Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600:Inhalt Zur Benutzung III Einführung V Abkürzungen und Bezeichnungen VII Katalog der Musikhandschriften 1 Komponisten (alphabetisch) 3 Anonyma 58 Sammelhandschriften (Collections) 58 Titel und Textregister 59 Namensregister 64 Sigel 65 Signaturen 66 Wasserzeichen 67 Literatur 68

Quellen sind Puzzleteile historischer Forschung. Um die Teilchen zu finden und zusammensetzen, benötigt der Wissenschaftler verschiedene Orientierungshilfen. Von entscheidender Bedeutung sind überregional ausgerichtete Nachweisinstrumente. Im musikbibliothekarischen Bereich sind derartige Projekte bereits früh nachweisbar. Neben Katalogen musikalischer Quellen einzelner Bibliotheken entstand schon zu Ende des 19. Jahrhunderts mit Robert Eitners Biographischbibliographischem Quellenlexikon der Musiker und Musikgelehrten christlicher Zeitrechnung bis Mitte des neunzehnten Jahrhunderts ein erstes monumentales Verzeichnis, in dem Musikhandschriften und frühe Musikdrucke zentraler europäischer Sammlungen zusammengefasst wurden.

The following thesis is basically an edition of one particular part of the Strahov convolute CZ- Pst, Ms. DA III 17 called the "song section". Majority of its repertoire are songs, yet it isn't standard monothematic section, but rather collection of various relics. The other crucial aspect of the following thesis is the table of concordances and it also contains several chapters focused on the DA III 17 manuscript itself and on three particular pieces: cantiones Pulcherrima rosa, Jesus Christus dum cernitur and trophus Alle- Domina, flos virginalis as well. Other remaining compositions are also shortly commented. The main goal of the thesis is to open up this repertoire for wider spectrum of reaserchers and musicians. And last but not least to add some new informations about this still insufficiently processed musical material.