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[[File:BahrOLux.jpg|thumb|right|The autograph manuscript of ''O Lux beata Trinitas'' from the [[Visby Tablature]]]] | [[File:BahrOLux.jpg|thumb|right|The autograph manuscript of ''O Lux beata Trinitas'' from the [[Visby Tablature]]]] | ||
'''Johann Bahr''' (1610-1670) was a German-Swedish organist and composer. The only surviving compositions by him were written by him in the [[Visby Tablature]]. | '''Johann Bahr''' (1610?-1670) was a German-Swedish organist and composer. The only surviving compositions by him were written by him in the [[Visby Tablature]]. | ||
<blockquote> Bahr performed an important role as an intermediary between the north German music tradition and Gotland’s music life during the island’s first years as a part of Sweden.<ref>"Johann Bahr (ca 1610−1670)" [https://swedishmusicalheritage.com/tonsattare/bahr-johan/ swedishmusicalheritage.com], accessed 24 August, 2023.</ref></blockquote> | |||
== Life == | |||
Bahr was probably born in Schleswig around 1610. He traveled to Visby in 1630 (he had come into the possession of the [[Visby Tablature]] before this). He became the substitute organist at [[Visby Cathedral]] sometime in the 1630s, and in 1638 he was promoted to organist after the death of [[David Herlicius]]. He passed away in June 1670. | |||
== | |||
== Works == | == Works == | ||
'' | In addition to two vocal cantatas in the same manuscript (''Concert a 4 voce: So Ziehet Hin'' f.81v-82r, ''Concert a sola voce: Befiehle Dem Herren Deine Wege'' f.82v-83r), Bahr copied two of his organ compositions into the [[Visby Tablature]]. | ||
{| class="wikitable" | {| class="wikitable" | ||
| Line 17: | Line 15: | ||
|- | |- | ||
| [[Visby Tablature]] f.37v-39r | | [[Visby Tablature]] f.37v-39r | ||
| | |A 4. Voc. /<br>Magnificat /<br>octavi toni /<br>In Basso. /<br>Johan Bahr. | ||
|<score>\relative d' { \clef alto d1 e <<{ d2 g2\laissezVibrer } \\ g,1 >> }</score> | |<score>\relative d' { \clef alto \time 4/2 d1 e <<{ d2 g2\laissezVibrer } \\ g,1 >> }</score><br>Secundus / Versus / auff / 2 Clavir.<br><score><< \relative d' { \time 4/2 \clef alto R\breve r1 d1*1/4 } \\ \relative g { g1 a g2 c2~4 } >></score><br>Tertius Versus / a 3. Voc: / In Basso. / Joh: Bahr.<br><score><< \relative g' { \time 4/2 \clef alto r2 r8 g a g c2 } \\ \relative g { g1 a2 } \\ \relative g' { e8\rest g a g d2 r8 d e fis } >></score> | ||
| | | | ||
|<ref>[https://sok.riksarkivet.se/bildvisning/J0000003_00030 sok.riksarkivet.se], accessed 15 August, 2023.</ref> | |<ref>[https://sok.riksarkivet.se/bildvisning/J0000003_00030 sok.riksarkivet.se], accessed 15 August, 2023.</ref><ref>Rehwinkel, William (editor), "Johann Bahr: Magnificat Octavi Toni." 2023. [https://ftp.williamrehwinkel.net/scores/early/files/bahr_magnificat_8_toni.pdf ftp.williamrehwinkel.net], accessed 25 September, 2023.</ref> | ||
|- | |- | ||
| [[Visby Tablature]] f.78v-82r | | [[Visby Tablature]] f.78v-82r | ||
| | | I.N.I. /<br>O Lux beata /<br>Trinitas. /<br>auff zweÿ Clavir. /<br>Johann Bahr. | ||
|<score>\relative e' { \clef alto << { e1 d2 c b c } \\ { | |<score>\relative e' { \clef alto << { \time 4/2 e1 d2 c b c } \\ { r1 r2 a g f4 e } >> }</score> | ||
| | | ''At end:''<br>Anno 1655 / Die /<br>20. Martz Wisbüens | ||
|<ref>[https://sok.riksarkivet.se/bildvisning/J0000003_00071 sok.riksarkivet.se], accessed 15 August, 2023.</ref><ref>Rehwinkel, William (editor), "Johann Bahr: O Lux beata Trinitas." 2023. [https://ftp.williamrehwinkel.net/scores/early/files/bahr%20O%20Lux%20beata%20Trinitas.pdf ftp.williamrehwinkel.net], accessed 25 September, 2023.</ref> | |||
|<ref>[https://sok.riksarkivet.se/bildvisning/ | |||
|} | |} | ||
Bahr placed his setting of the ''Magnificat Octavi Toni'' immediately adjacent to the setting by [[Hieronymus Praetorius]] and his chorale fantasia within the area of the manuscript dedicated to the anonymous chorale settings. Therefore, [[Klaus Beckmann]] noted that it seems that Bahr had intended to neatly organize his pieces in the manuscript ''genre by genre'' (and ''tone by tone''), instead of in random positions. For this reason, one can not conclude that the ''Magnificat Octavi Toni'' was written much earlier than ''O Lux beata Trinitas'' simply based on its position. | |||
The Magnificat by Bahr has been described by [[Willi Apel]] as ''nothing of particular interest;'' On the other hand, ''O Lux beata Trinitas'' was described as ''a noteworthy early example of the extended chorale fantasy replete with echoes and echo-like sound effects.''<ref>Apel, 1972.</ref> | |||
[[Klaus Beckmann|Beckmann]] said that Bahr's setting of the ''Magnificat Octavi Toni'' (which could possibly be dated to the same time as ''O Lux beata Trinitas'') was evidence that the Hamburg-model of the [[Magnificat]] setting (from around 1605, represented by [[Hieronymus Praetorius]]) had been retained to as late as 1650, even though the first verse had shifted from a tenor- to a bass cantus firmus. It seems like Bahr (and perhaps the other organists in Visby) continued to model their church music after their masters from 50 years before.<ref>Beckmann, 2009. 499-500.</ref> | |||
For ''O Lux beata Trinitas'', Beckmann noted that there was a clear attempt to create a varied collection of different textures and sounds, but this attempt fell short by high repetitions of some motifs and writing styles and the complete lack of other techniques, such as the cantus firmus appearing in the alto and tenor. This points to an unfortunately low level of compositional competence compared with other well-known composers in the [[North German Organ School]].<ref>Beckmann, 2009. 501.</ref> | |||
== Editions == | |||
The first edition of the ''Magnificat Octavi Toni'' was in the second volume of the dissertation on Magnificat Settings by [[Gordon Harold Farndell]] (see references). An excerpt of ''O Lux beata Trinitas'' appeared in [[Willi Apel]]'s book on ''The History of Keyboard Music to 1700.'' | |||
All four pieces by Johann Bahr in the [[Visby Tablature]] were published in [[Jeffery Kite-Powell]]'s investigation and critical edition. | |||
== Links == | |||
[https://imslp.org/wiki/Category:Bahr,_Johann Category:Bahr,_Johann] on IMSLP | |||
== References == | == References == | ||
'' | [[Willi Apel|Apel, Willi]], ''The History of Keyboard Music to 1700,'' translated by Hans Tischler. Bloomington: Indiana University Press, 1972. 350, 380-381. | ||
{{NdS2 2009}} 499-501. | |||
[[Gordon Harold Farndell|Farndell, Gordon Harold]]. ''The development of organ Magnificat settings as found in representative German composers between 1450 and 1750.'' Dissertaion: The University of Michigan, 1966. UMI 66-14,516. | |||
[[Jeffery Kite-Powell|Kite-Powell, Jeffery T.]], ''The Visby (Petri) Organ Tablature: Investigation and Critical Edition.'' Wilhelmshaven: Heinrichshofen's Verlag, 1979. | |||
[[Category:Persons|Bahr, Johann]] | [[Category:Persons|Bahr, Johann]] | ||
Latest revision as of 17:27, 24 October 2024
Johann Bahr (1610?-1670) was a German-Swedish organist and composer. The only surviving compositions by him were written by him in the Visby Tablature.
Bahr performed an important role as an intermediary between the north German music tradition and Gotland’s music life during the island’s first years as a part of Sweden.[1]
Life
Bahr was probably born in Schleswig around 1610. He traveled to Visby in 1630 (he had come into the possession of the Visby Tablature before this). He became the substitute organist at Visby Cathedral sometime in the 1630s, and in 1638 he was promoted to organist after the death of David Herlicius. He passed away in June 1670.
Works
In addition to two vocal cantatas in the same manuscript (Concert a 4 voce: So Ziehet Hin f.81v-82r, Concert a sola voce: Befiehle Dem Herren Deine Wege f.82v-83r), Bahr copied two of his organ compositions into the Visby Tablature.
| Source | Title | Incipit | Notes | Ref. |
|---|---|---|---|---|
| Visby Tablature f.37v-39r | A 4. Voc. / Magnificat / octavi toni / In Basso. / Johan Bahr. |
 Secundus / Versus / auff / 2 Clavir.  Tertius Versus / a 3. Voc: / In Basso. / Joh: Bahr.  |
[2][3] | |
| Visby Tablature f.78v-82r | I.N.I. / O Lux beata / Trinitas. / auff zweÿ Clavir. / Johann Bahr. |
 |
At end: Anno 1655 / Die / 20. Martz Wisbüens |
[4][5] |
Bahr placed his setting of the Magnificat Octavi Toni immediately adjacent to the setting by Hieronymus Praetorius and his chorale fantasia within the area of the manuscript dedicated to the anonymous chorale settings. Therefore, Klaus Beckmann noted that it seems that Bahr had intended to neatly organize his pieces in the manuscript genre by genre (and tone by tone), instead of in random positions. For this reason, one can not conclude that the Magnificat Octavi Toni was written much earlier than O Lux beata Trinitas simply based on its position.
The Magnificat by Bahr has been described by Willi Apel as nothing of particular interest; On the other hand, O Lux beata Trinitas was described as a noteworthy early example of the extended chorale fantasy replete with echoes and echo-like sound effects.[6]
Beckmann said that Bahr's setting of the Magnificat Octavi Toni (which could possibly be dated to the same time as O Lux beata Trinitas) was evidence that the Hamburg-model of the Magnificat setting (from around 1605, represented by Hieronymus Praetorius) had been retained to as late as 1650, even though the first verse had shifted from a tenor- to a bass cantus firmus. It seems like Bahr (and perhaps the other organists in Visby) continued to model their church music after their masters from 50 years before.[7]
For O Lux beata Trinitas, Beckmann noted that there was a clear attempt to create a varied collection of different textures and sounds, but this attempt fell short by high repetitions of some motifs and writing styles and the complete lack of other techniques, such as the cantus firmus appearing in the alto and tenor. This points to an unfortunately low level of compositional competence compared with other well-known composers in the North German Organ School.[8]
Editions
The first edition of the Magnificat Octavi Toni was in the second volume of the dissertation on Magnificat Settings by Gordon Harold Farndell (see references). An excerpt of O Lux beata Trinitas appeared in Willi Apel's book on The History of Keyboard Music to 1700.
All four pieces by Johann Bahr in the Visby Tablature were published in Jeffery Kite-Powell's investigation and critical edition.
Links
Category:Bahr,_Johann on IMSLP
References
Apel, Willi, The History of Keyboard Music to 1700, translated by Hans Tischler. Bloomington: Indiana University Press, 1972. 350, 380-381.
Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009. 499-501.
Farndell, Gordon Harold. The development of organ Magnificat settings as found in representative German composers between 1450 and 1750. Dissertaion: The University of Michigan, 1966. UMI 66-14,516.
Kite-Powell, Jeffery T., The Visby (Petri) Organ Tablature: Investigation and Critical Edition. Wilhelmshaven: Heinrichshofen's Verlag, 1979.
- ↑ "Johann Bahr (ca 1610−1670)" swedishmusicalheritage.com, accessed 24 August, 2023.
- ↑ sok.riksarkivet.se, accessed 15 August, 2023.
- ↑ Rehwinkel, William (editor), "Johann Bahr: Magnificat Octavi Toni." 2023. ftp.williamrehwinkel.net, accessed 25 September, 2023.
- ↑ sok.riksarkivet.se, accessed 15 August, 2023.
- ↑ Rehwinkel, William (editor), "Johann Bahr: O Lux beata Trinitas." 2023. ftp.williamrehwinkel.net, accessed 25 September, 2023.
- ↑ Apel, 1972.
- ↑ Beckmann, 2009. 499-500.
- ↑ Beckmann, 2009. 501.
