La place de Strasbourg dans la musique au XVIe siècle
Beschreibung
Personen und Körperschaften: | |
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Titel: | La place de Strasbourg dans la musique au XVIe siècle |
Medientyp: | Buch, Text |
veröffentlicht: |
Institute of Musicology, Zagreb Music Academy
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Umfang: | 5-19 |
Schlagworte: | |
Zusammenfassung: | <p> Summary: The Place of Strasbourg in the 16th-Century Music. As an independent republic and a free city of the Empire, enjoying great material prosperity and a privileged geographical situation, Strasbourg was in the sixteenth century a place of intense intellectual excitement. Alongside Wittenberg and Geneva, it established itself as one of the foremost centres of the Reformation and made an important contribution to the sacral music of the new movement. It was here that a usage that can be described as modern was first imposed and where spoken prayers, exhortations, biblical readings and sermons alternated with certain secular pieces and with strophes of psalms and chorals sung by the whole congregation in unison. In the field of the chant the goal of the Strasbourg Reformers, among whom the first place is occupied by Martin Bucer, was to offer the community a translation into the vernacular language of the whole of the Psalter with the original melodies. The first Strasbourg collections were the fruits of commercial enterprises, issued by local workshops, and this confirms the marvellous public success of the new church chant. Among its authors Matthieu Greiter and Wolfgang Dachstein should be mentioned; they created some chants which can be ranked among the most famous of the Reformation. Because of the historical circumstances, the project for a complete Psalter could not be fully realized in Strasbourg, but it was taken over by Calvin after his exile from Geneva in 1538, when Bucer charged him with the parish of French refugees. In 1539, he published in Strasbourg the first collections of psalms in French, the Aulcuns pseaumes, containing 22 texts and 21 melodies, the starting point of the Huguenot Psalter which he would himself complete after his return to Geneva in 1541. The second half of the sixteenth and the beginning of the seventeenth centuries appeared once again to be favourable to polyphonic music and they witness the birth of two important organ tablatures by Bernard Schmid, father and son (in 1577 and 1607), while an important repertoire of multipart psalms and chorals was re-established thanks to the most remarkable Strasbourg musician of that time, Christophe Thomas Walliser. It is interesting to note that the Roman Catholic Church itself was not inactive. Installed in Molsheim, the Jesuits pursued the Counter-Reformation and Bishop Leopold from Austria encouraged the development of church music. Thus, he attracted foreign musicians to his court in Saverne, among whom was the Croatian composer Vinko Jelić. At the beginning of the seventeenth century there was real rivalry in the sphere of music between the town of Strasbourg, attached to the safe values of the Franco-Flemish school, and the bishopric, due to which a completely new style of accompanied monody was presented to Alsace. Music could only have gained from such competition had not the Thirty-Years' War come to put a temporary end to this remarkable artistic development. </p> |
ISSN: |
0351-5796
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Datensammlung: | sid-55-col-jstormusic sid-55-col-jstoras3 JSTOR Music Archive JSTOR Arts & Sciences III Archive |