Nicolaus Hasse - Revision history

Fiskfan1999: Text replacement - "German composers" to "German Composers"

2024-11-14T01:00:56Z

Text replacement - "German composers" to "German Composers"

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	[[David Nichols\|Nichols, David J.]] "Hasse, Nikolaus." Grove Music Online, 2001. [https://doi.org/10.1093/omo/9781561592630.013.90000380290], accessed 2 September, 2023.		[[David Nichols\|Nichols, David J.]] "Hasse, Nikolaus." Grove Music Online, 2001. [https://doi.org/10.1093/omo/9781561592630.013.90000380290], accessed 2 September, 2023.

	[[Category:Composers\|Hasse, Nicolaus]][[Category:German ~~composers~~\|Hasse, Nicolaus]][[Category:German\|Hasse, Nicolaus]][[Category:Baroque\|Hasse, Nicolaus]][[Category:Norddeutsche Orgelschule\|Hasse, Nicolaus]]		[[Category:Composers\|Hasse, Nicolaus]][[Category:German Composers\|Hasse, Nicolaus]][[Category:German\|Hasse, Nicolaus]][[Category:Baroque\|Hasse, Nicolaus]][[Category:Norddeutsche Orgelschule\|Hasse, Nicolaus]]

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Analysis

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	== Analysis ==		== Analysis ==
	Hasse's four works have been interpreted (by [[David Nichols]]) as representing the development of the North-German chorale fantasia itself. The piece representing the earliest such development is ''Jesus Christus unser Heiland'', a piece in three parts in which the ''cantus firmus'' is un-ornamented and placed against a very classical contrapuntal texture. Slightly more developed is ''Allein Gott in der Höh sei Ehr'' which has imitation in the accompanying voices and some ornamentation in the ''cantus firmus'' in the soprano. In a second setting of ''Jesus Christus unser Heiland'' for ~~two~~ manuals and pedal, Hasse introduces motivic imitation and echo passages, and ''Ornamentation is used to an even greater extent'' (Nichols). Finally, ''Komm, Heiliger Geist, Herre Gott'' is his most progressive piece in the development of the chorale fantasia, in which ornamentation is found in all voices and ''increased imitative counterpoint and motivic interplay'' (idem) is introduced.		Hasse's four works have been interpreted (by [[David Nichols]]) as representing the development of the North-German chorale fantasia itself. The piece representing the earliest such development is ''Jesus Christus unser Heiland'', a piece in three parts in which the ''cantus firmus'' is un-ornamented and placed against a very classical contrapuntal texture. Slightly more developed is ''Allein Gott in der Höh sei Ehr'' which has imitation in the accompanying voices and some ornamentation in the ''cantus firmus'' in the soprano. In a second setting of ''Jesus Christus unser Heiland'' for three manuals and pedal, Hasse introduces motivic imitation and echo passages, and ''Ornamentation is used to an even greater extent'' (Nichols); furthermore, this writing technique, the ''Echo choral fantasia'' is a comparatively-newer genre which may have been invented by [[Jakob Praetorius]].<ref>{{NdS2 2009}} 152.</ref> Finally, ''Komm, Heiliger Geist, Herre Gott'' is his most progressive piece in the development of the chorale fantasia, in which ornamentation is found in all voices and ''increased imitative counterpoint and motivic interplay'' (idem) is introduced.

	== Works ==		== Works ==

Fiskfan1999: Created page with "'''Nicolaus Hasse''' is a German organist and composer. Four organ compositions by him are found in the Pelplin Tablatures. He is considered a member of the North-German Organ School. == Biography == Nicolaus began music studies with his father Peter Hasse. He was the organist at ''Marienkirche'', Rostock from 1642-1671. == Analysis == Hasse's four works have been interpreted (by David Nichols) as representing the development of the North-German chorale..."

2023-09-03T00:04:22Z

Created page with "'''Nicolaus Hasse''' is a German organist and composer. Four organ compositions by him are found in the Pelplin Tablatures. He is considered a member of the North-German Organ School. == Biography == Nicolaus began music studies with his father Peter Hasse. He was the organist at ''Marienkirche'', Rostock from 1642-1671. == Analysis == Hasse's four works have been interpreted (by David Nichols) as representing the development of the North-German chorale..."

New page

'''Nicolaus Hasse''' is a German organist and composer. Four organ compositions by him are found in the [[Pelplin Tablatures]]. He is considered a member of the [[North-German Organ School]].

== Biography ==
Nicolaus began music studies with his father [[Peter Hasse]]. He was the organist at ''Marienkirche'', Rostock from 1642-1671.

== Analysis ==
Hasse's four works have been interpreted (by [[David Nichols]]) as representing the development of the North-German chorale fantasia itself. The piece representing the earliest such development is ''Jesus Christus unser Heiland'', a piece in three parts in which the ''cantus firmus'' is un-ornamented and placed against a very classical contrapuntal texture. Slightly more developed is ''Allein Gott in der Höh sei Ehr'' which has imitation in the accompanying voices and some ornamentation in the ''cantus firmus'' in the soprano. In a second setting of ''Jesus Christus unser Heiland'' for two manuals and pedal, Hasse introduces motivic imitation and echo passages, and ''Ornamentation is used to an even greater extent'' (Nichols). Finally, ''Komm, Heiliger Geist, Herre Gott'' is his most progressive piece in the development of the chorale fantasia, in which ornamentation is found in all voices and ''increased imitative counterpoint and motivic interplay'' (idem) is introduced.

== Works ==
{| class="wikitable"
|+ Organ works by Nicolaus Hasse<ref name="cekm101">[[Jerzy Gołos|Gołos, Jerzy]] and [[Adam Sutkowski|Sutkowski, Adam]], ''Keyboard Music from Polish Manuscripts: Vol. 1, Organ Chorales.'' [[Corpus of Early Keyboard Music]] vol. 1 pt. 1, 1965.</ref>
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[Pelplin Tablatures]] vol.2 || Allein Gott in d Höh sei Ehr Nic Hasse || <score><< \relative c' { \clef alto \time 6/4 \partial 4 r4 r c d e f } \\ \relative f { f8 g a2 bes4 c2 } >></score> || || <ref name="cekm101"></ref>
|-
| [[Pelplin Tablatures]] vol.2 fol.IV || Jesus Christus unser Heiland Nic Hasse || 1 Versus Pleno <score><< \relative d' { d2 a' } \\ \relative g { r8 g bes g c a d e } >></score> 2 Versus Choral in Tenor <score><< \relative a' { a8 b c d c4 b } \\ \relative a { a2 a4 g } \\ \relative c' { c8 d e f e2 } >></score> 3 Versus Choral in Bass <score><< \relative a' { a8 g a b c d e d } \\ \relative a { a2 a4 g } \\ \relative e' { e2 a4 bes } \\ \relative c' { c8 b c d e f g f } >></score> || || <ref name="cekm101"></ref>
|-
| [[Pelplin Tablatures]] vol.3 fol.I-VIII || Komm Heiliger Geist Herre Gott auf 2 Clav. N H || <score><< \relative f' { r8 f16 g a bes a g f } \\ \relative f { <f a c>2~2*1/8 } >></score> || || <ref name="cekm101"></ref>
|-
| [[Pelplin Tablatures]] vol.3 fol.116 || Jesus Christus pro 3 Clav. Nic Hasse || <score>\relative a { a2 e' e4 d e }</score> || || <ref name="cekm101"></ref>
|}

== References ==
[[David Nichols|Nichols, David J.]] "Hasse, Nikolaus." Grove Music Online, 2001. [https://doi.org/10.1093/omo/9781561592630.013.90000380290], accessed 2 September, 2023.

[[Category:Composers|Hasse, Nicolaus]][[Category:German composers|Hasse, Nicolaus]][[Category:German|Hasse, Nicolaus]][[Category:Baroque|Hasse, Nicolaus]][[Category:Norddeutsche Orgelschule|Hasse, Nicolaus]]