M. W. C. B. M.: Difference between revisions
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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 [[ | Two pieces in [[D-B Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.''' | ||
== Attribution == | == Attribution == | ||
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 | These works have been connected with the composer [[Wilhelm Karges]]. 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. However, [[Klaus Beckmann]] said that this assertion is false due to the comparison of the handwriting with a known Karges manuscript, [[D-B Am.B 340]].<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. | ||
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{{NdS2 2009}} 507-508. | {{NdS2 2009}} 507-508. | ||
== Works<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'']] | ||
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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]] | |||
Latest revision as of 14:18, 2 June 2026
Two pieces in D-B Ms. Lynar B 3 are headed by the unsolved initials M. W. C. B. M.
Attribution
These works have been connected with the composer Wilhelm Karges. It appears that either Max Seiffert (who inspected the 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. However, Klaus Beckmann said that this assertion is false due to the comparison of the handwriting with a known Karges manuscript, D-B Am.B 340.[1].
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"[2] from the middle of the century, based on Scheidt-like counterpoint and Froberger relaxation, without substance or supporting coloratura.
References
Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009. 507-508.
Works[3][4]
| Manuscript | Title | Incipit | Notes |
|---|---|---|---|
| D-B Mus. Ms. Lynar B 3 No. 6 | Vater unser / in Himmell / reich. / MW.C.B.M. |
 |
3 verses. Third verse ends with "verte" |
| 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. |
 |
References
- ↑ 20 Freie Orgelwerke der Norddeutschen Schule. Meister der Norddeutschen Orgelschule 29. Mainz: Schott, 2013. p.81.
- ↑ Kleinmeister
- ↑ Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [1] Accessed 17 July, 2023
- ↑ [Karges, Wilhelm in Repertorium Orgelmusik2001]