M. W. C. B. M. - Revision history

Fiskfan1999: /* Attribution */

2024-08-10T23:00:25Z

Attribution

← Older revision		Revision as of 19:00, 10 August 2024
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	It appears that either [[Max Seiffert]] (who inspected the [[Lynar Tablatures\|Lynar B]] tablatures) or [[Hans Joachim Moser]] (who published the ''editio princeps'' of these works) was the first musicologist to suggest the connection to [[Wilhelm Karges]]. They speculated that the initials stood for ''Magister Wilhelm Carges Berolinensis Marchicus''. Karges would have been only 15 years old according to the year 1628 found in the manuscript. Moser stated that Karges was one of the scribes of this manuscript, which would explain the appearance of one of his pieces.		It appears that either [[Max Seiffert]] (who inspected the [[Lynar Tablatures\|Lynar B]] tablatures) or [[Hans Joachim Moser]] (who published the ''editio princeps'' of these works) was the first musicologist to suggest the connection to [[Wilhelm Karges]]. They speculated that the initials stood for ''Magister Wilhelm Carges Berolinensis Marchicus''. Karges would have been only 15 years old according to the year 1628 found in the manuscript. Moser stated that Karges was one of the scribes of this manuscript, which would explain the appearance of one of his pieces.

	As pointed out by [[Klaus Beckmann]], the assertion that Karges was a scribe of '''Ms. Lynar B 3''' is shown to be false when comparing it to [[D-B Am.B 340]], which was written by ~~an unknown scribe~~<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>.		As pointed out by [[Klaus Beckmann]], the assertion that Karges was a scribe of '''Ms. Lynar B 3''' is shown to be false when comparing it to [[D-B Am.B 340]], which was likely written by Karges<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>. (see [[D-B Am.B 340#Scribe\|D-B Am.B 340]]).

	Around 1958, an opposing view to that of Moser was developed by [[Margarete Riemann]], who stated that the works by M. W. C. B. M. appeared to be composed by a greater master than Karges at that age, and that the pieces marked ''W. K.'' in [[D-B Am.B 340]] are much more like a "small master"<ref>''Kleinmeister''</ref> from the middle of the century, based on Scheidt-like counterpoint and Froberger relaxation, without substance or supporting coloratura.		Around 1958, an opposing view to that of Moser was developed by [[Margarete Riemann]], who stated that the works by M. W. C. B. M. appeared to be composed by a greater master than Karges at that age, and that the pieces marked ''W. K.'' in [[D-B Am.B 340]] are much more like a "small master"<ref>''Kleinmeister''</ref> from the middle of the century, based on Scheidt-like counterpoint and Froberger relaxation, without substance or supporting coloratura.

Fiskfan1999 at 22:52, 10 August 2024

2024-08-10T22:52:16Z

← Older revision		Revision as of 18:52, 10 August 2024
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	[[Category:Baroque\|M. W. C. B. M.]]		[[Category:Baroque\|M. W. C. B. M.]]
	[[Category:Norddeutsche Orgelschule\|M. W. C. B. M.]]		[[Category:Norddeutsche Orgelschule\|M. W. C. B. M.]]
			[[Category:Composers only known by initials]]

WillsSchoolAccount: am.b 340 was not written by Karges.

2024-01-08T21:24:46Z

am.b 340 was not written by Karges.

← Older revision		Revision as of 17:24, 8 January 2024
Line 5:		Line 5:
	It appears that either [[Max Seiffert]] (who inspected the [[Lynar Tablatures\|Lynar B]] tablatures) or [[Hans Joachim Moser]] (who published the ''editio princeps'' of these works) was the first musicologist to suggest the connection to [[Wilhelm Karges]]. They speculated that the initials stood for ''Magister Wilhelm Carges Berolinensis Marchicus''. Karges would have been only 15 years old according to the year 1628 found in the manuscript. Moser stated that Karges was one of the scribes of this manuscript, which would explain the appearance of one of his pieces.		It appears that either [[Max Seiffert]] (who inspected the [[Lynar Tablatures\|Lynar B]] tablatures) or [[Hans Joachim Moser]] (who published the ''editio princeps'' of these works) was the first musicologist to suggest the connection to [[Wilhelm Karges]]. They speculated that the initials stood for ''Magister Wilhelm Carges Berolinensis Marchicus''. Karges would have been only 15 years old according to the year 1628 found in the manuscript. Moser stated that Karges was one of the scribes of this manuscript, which would explain the appearance of one of his pieces.

	As pointed out by [[Klaus Beckmann]], the assertion that Karges was a scribe of '''Ms. Lynar B 3''' is shown to be false when comparing it to [[D-B Am.B 340]], ~~a known Karges manuscript~~.		As pointed out by [[Klaus Beckmann]], the assertion that Karges was a scribe of '''Ms. Lynar B 3''' is shown to be false when comparing it to [[D-B Am.B 340]], which was written by an unknown scribe<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>.

	Around 1958, an opposing view to that of Moser was developed by [[Margarete Riemann]], who stated that the works by M. W. C. B. M. appeared to be composed by a greater master than Karges at that age, and that the pieces marked ''W. K.'' in [[D-B Am.B 340]] are much more like a "small master"<ref>''Kleinmeister''</ref> from the middle of the century, based on Scheidt-like counterpoint and Froberger relaxation, without substance or supporting coloratura.		Around 1958, an opposing view to that of Moser was developed by [[Margarete Riemann]], who stated that the works by M. W. C. B. M. appeared to be composed by a greater master than Karges at that age, and that the pieces marked ''W. K.'' in [[D-B Am.B 340]] are much more like a "small master"<ref>''Kleinmeister''</ref> from the middle of the century, based on Scheidt-like counterpoint and Froberger relaxation, without substance or supporting coloratura.

Fiskfan1999 at 05:08, 16 December 2023

2023-12-16T05:08:05Z

← Older revision		Revision as of 01:08, 16 December 2023
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	[[File:Signature-M. W. C. B. M..png\|thumb\|The composer's initials]]		[[File:Signature-M. W. C. B. M..png\|thumb\|The composer's initials]]
	Two pieces in [[~~The Lynar Tablatures\|~~D-B ~~Mus.~~ Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.'''		Two pieces in [[D-B Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.'''

	== Attribution ==		== Attribution ==
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	{{NdS2 2009}} 507-508.		{{NdS2 2009}} 507-508.

	== Works<ref>~~Mus.~~ Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref><ref name="b">{{RO2001\|Karges, Wilhelm}}</ref> ==		== Works<ref>Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref><ref name="b">{{RO2001\|Karges, Wilhelm}}</ref> ==
	[[File:Mwcbm o mensch end.jpg\|thumb\|The end of ''O Mensch, bewein dein Sünde groß'']]		[[File:Mwcbm o mensch end.jpg\|thumb\|The end of ''O Mensch, bewein dein Sünde groß'']]

Fiskfan1999 at 17:44, 4 November 2023

2023-11-04T17:44:12Z

@@ Line 1: / Line 1: @@
 [[File:Signature-M. W. C. B. M..png|thumb|The composer's initials]]
-Two pieces in [[The Lynar Tablatures|D-B Mus. Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.''' It has been theorized that this refers to the composer [[Wilhelm Karges]] by [[Max Seiffert]]{{Citation needed}}.
+Two pieces in [[The Lynar Tablatures|D-B Mus. Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.'''
 == Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref><ref name="b">{{RO2001|Karges, Wilhelm}}</ref> ==

WillsSchoolAccount: line breaks in title of works list

2023-09-25T17:13:27Z

line breaks in title of works list

← Older revision		Revision as of 13:13, 25 September 2023
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	\|-		\|-
	\|D-B Mus. Ms. Lynar B 3 No. 6		\|D-B Mus. Ms. Lynar B 3 No. 6
	\|Vater unser / in Himmell / reich. / MW.C.B.M.		\|Vater unser /<br>in Himmell /<br>reich. /<br>MW.C.B.M.
	\|<score><< \relative a' { \clef alto a1 a4 g f e8 f g4 } \\ \relative a { a1 a2 d, e4 } \\ \relative e' { e1 e2 d4 c \| b2*1/2 } \\ \relative cis' { cis1 cis2 a } >></score>		\|<score><< \relative a' { \clef alto a1 a4 g f e8 f g4 } \\ \relative a { a1 a2 d, e4 } \\ \relative e' { e1 e2 d4 c \| b2*1/2 } \\ \relative cis' { cis1 cis2 a } >></score>
	\|3 verses. Third verse ends with "verte"		\|3 verses. Third verse ends with "verte"
	\|-		\|-
	\|D-B Mus. Ms. Lynar B 3 No. 24		\|D-B Mus. Ms. Lynar B 3 No. 24
	\|O Mensch Be / weine deine / sünde gros auf. / 2 Clavier der Co / rahll gecollorirett / M. W. C. B. M.		\|O Mensch Be /<br>weine deine /<br>sünde gros auf. /<br>2 Clavier der Co /<br>rahll gecollorirett /<br>M. W. C. B. M.
	\|<score><<\relative f { \clef bass f4 f8 g a f a bes c4 r16 } \\ \relative f, { r2 f4 f8 g a f a81/2 } \\ \relative c { s1 c4 c81/2 } >></score>		\|<score><<\relative f { \clef bass f4 f8 g a f a bes c4 r16 } \\ \relative f, { r2 f4 f8 g a f a81/2 } \\ \relative c { s1 c4 c81/2 } >></score>
	\|		\|

Fiskfan1999: /* Notes */ remove unecessary notes

2023-08-27T03:10:52Z

Notes: remove unecessary notes

← Older revision		Revision as of 23:10, 26 August 2023
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	\|		\|
	\|}		\|}

	~~== Notes ==~~
	~~These works are listed in [[Repertorium Orgelmusik]] under [[Wilhelm Karges]]<ref name="b"></ref>.~~

	==References==		==References==

Fiskfan1999: /* WorksMus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023{{RO2001|Karges, Wilhelm}} */

2023-08-27T03:09:44Z

WorksMus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023{{RO2001|Karges, Wilhelm}}

← Older revision		Revision as of 23:09, 26 August 2023
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	!Manuscript		!Manuscript
	!Title		!Title
			!Incipit
	!Notes		!Notes
	\|-		\|-
	\|D-B Mus. Ms. Lynar B 3 No. 6		\|D-B Mus. Ms. Lynar B 3 No. 6
	\|Vater unser / in Himmell / reich. / MW.C.B.M.		\|Vater unser / in Himmell / reich. / MW.C.B.M.
	\|3 verses. Third verse ends with "verte ~~[''sic.'']~~"		\|<score><< \relative a' { \clef alto a1 a4 g f e8 f g4 } \\ \relative a { a1 a2 d, e4 } \\ \relative e' { e1 e2 d4 c \| b2*1/2 } \\ \relative cis' { cis1 cis2 a } >></score>
			\|3 verses. Third verse ends with "verte"
	\|-		\|-
	\|D-B Mus. Ms. Lynar B 3 No. 24		\|D-B Mus. Ms. Lynar B 3 No. 24
	\|O Mensch Be / weine deine / sünde gros auf. / 2 Clavier der Co / rahll gecollorirett / M. W. C. B. M.		\|O Mensch Be / weine deine / sünde gros auf. / 2 Clavier der Co / rahll gecollorirett / M. W. C. B. M.
			\|<score><<\relative f { \clef bass f4 f8 g a f a bes c4 r16 } \\ \relative f, { r2 f4 f8 g a f a81/2 } \\ \relative c { s1 c4 c81/2 } >></score>
	\|		\|
	\|}		\|}

Fiskfan1999: remove uncited original research

2023-08-27T03:03:27Z

remove uncited original research

← Older revision		Revision as of 23:03, 26 August 2023
Line 2:		Line 2:
	Two pieces in [[The Lynar Tablatures\|D-B Mus. Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.''' It has been theorized that this refers to the composer [[Wilhelm Karges]] by [[Max Seiffert]]{{Citation needed}}.		Two pieces in [[The Lynar Tablatures\|D-B Mus. Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.''' It has been theorized that this refers to the composer [[Wilhelm Karges]] by [[Max Seiffert]]{{Citation needed}}.

	== Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref> ==		== Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref><ref name="b">{{RO2001\|Karges, Wilhelm}}</ref> ==
	[[File:Mwcbm o mensch end.jpg\|thumb\|The end of ''O Mensch, bewein dein Sünde groß''~~, showing haphazard part-writing~~]]		[[File:Mwcbm o mensch end.jpg\|thumb\|The end of ''O Mensch, bewein dein Sünde groß'']]
	~~{{Lacks citations}}~~

	Mus. Ms. Lynar B 3 is written in [[New German Tablature Notation]], but the two pieces by M. W. C. B. M. have some haphazard part-writing in the accompanying voices, and frequent changes in the number of voices (such as an addition of a fifth voice at cadences in ''O Mensch, bewein dein Sünde Groß''). One particularly egregious example of this is the end of ''O Mensch, bewein dein Sünde groß'', in which the bass and tenor appear to move in parallel fifths. Based on the vertical alignment of the notes, the alto appears to become the ''quintus'' (a term used by [[Klaus Beckmann]] to refer to the middle of five voices<ref>[[Klaus Beckmann\|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.</ref>) resulting in an incorrect handling of the leading tone.

	The first piece is a chorale setting of ''Vater unser in Himmelreich'' in three verses. The second and third variations are [[Bicinium\|Biciniums]] with the [[Cantus firmus]] in the bass and treble respectively. One aspect of note is that the third verse is succeeded by "Verte.", suggesting that the piece is incomplete (as ''verte'' is typically an instruction to the player to turn the page to continue the piece{{Citation needed}}). The second piece is an example of the practice of ornamenting the cantus firmus, and it is dated 1628.
	{\| class="wikitable"		{\| class="wikitable"
	\|+Works by M. W. C. B. M.		\|+Works by M. W. C. B. M.
Line 25:		Line 21:

	== Notes ==		== Notes ==
	These works are listed in [[Repertorium Orgelmusik]] under [[Wilhelm Karges]]<ref>~~{{RO2001\|Karges, Wilhelm}}~~</ref>.		These works are listed in [[Repertorium Orgelmusik]] under [[Wilhelm Karges]]<ref name="b"></ref>.

	==References==		==References==

Fiskfan1999: /* WorksMus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023 */

2023-08-27T02:53:27Z

WorksMus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023

← Older revision		Revision as of 22:53, 26 August 2023
Line 4:		Line 4:
	== Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref> ==		== Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref> ==
	[[File:Mwcbm o mensch end.jpg\|thumb\|The end of ''O Mensch, bewein dein Sünde groß'', showing haphazard part-writing]]		[[File:Mwcbm o mensch end.jpg\|thumb\|The end of ''O Mensch, bewein dein Sünde groß'', showing haphazard part-writing]]
			{{Lacks citations}}

	Mus. Ms. Lynar B 3 is written in [[New German Tablature Notation]], but the two pieces by M. W. C. B. M. have some haphazard part-writing in the accompanying voices, and frequent changes in the number of voices (such as an addition of a fifth voice at cadences in ''O Mensch, bewein dein Sünde Groß''). One particularly egregious example of this is the end of ''O Mensch, bewein dein Sünde groß'', in which the bass and tenor appear to move in parallel fifths. Based on the vertical alignment of the notes, the alto appears to become the ''quintus'' (a term used by [[Klaus Beckmann]] to refer to the middle of five voices<ref>[[Klaus Beckmann\|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.</ref>) resulting in an incorrect handling of the leading tone.		Mus. Ms. Lynar B 3 is written in [[New German Tablature Notation]], but the two pieces by M. W. C. B. M. have some haphazard part-writing in the accompanying voices, and frequent changes in the number of voices (such as an addition of a fifth voice at cadences in ''O Mensch, bewein dein Sünde Groß''). One particularly egregious example of this is the end of ''O Mensch, bewein dein Sünde groß'', in which the bass and tenor appear to move in parallel fifths. Based on the vertical alignment of the notes, the alto appears to become the ''quintus'' (a term used by [[Klaus Beckmann]] to refer to the middle of five voices<ref>[[Klaus Beckmann\|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.</ref>) resulting in an incorrect handling of the leading tone.