Melchior Woltmann: Difference between revisions
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As noted by [[Klaus Beckmann]], the ''cantus firmus'' appears completely unornamented until the very end of the piece. It was likely inspired by the treatment of the ''cantus firmus'' in the [[Samuel Scheidt|Tabulatura Nova]]. The harmonies are described as equally plain. | As noted by [[Klaus Beckmann]], the ''cantus firmus'' appears completely unornamented until the very end of the piece. It was likely inspired by the treatment of the ''cantus firmus'' in the [[Samuel Scheidt|Tabulatura Nova]]. The harmonies are described as equally plain. | ||
Beckmann splits the piece into three parts, ''Stollen, Gegenstollen, Abgesang''. The first section begins with an imitative 2-voice section followed by a ''liedsatz a 3'' in which the descant plays the cantus firmus in g minor, c minor, then d minor. In the ''Gegenstollen'' the cantus firmus plays in the | Beckmann splits the piece into three parts, ''Stollen, Gegenstollen, Abgesang''. The first section begins with an imitative 2-voice section followed by a ''liedsatz a 3'' in which the descant plays the cantus firmus in g minor, c minor, then d minor. In the ''Gegenstollen'' the cantus firmus plays in the bass in a 3-part ''liedsatz'' in g minor, d minor, then c minor. Finally, in the ''Abgesang'', the cantus firmus returns to the descant, and echos and colorations are introduced. The piece ends with a supplemental section with figurations 'a 4' ending in G Major. | ||
Beckmann noted that ''Von Gott will ich nicht lassen'' lacks the elegance of chorale fantasias by [[Heinrich Scheidemann]] or [[Franz Tunder]], but for this reason it is seen as an early (likely around 1625-1635) example of this ''paradigm'', the echo chorale fantasia, that would be more developed later. This work was described by [[Fritz Dietrich]] as ''a quite low-quality work in fantasy form''<ref>"ein ganz minderwertiges Stück in Fantasieform"</ref>. | Beckmann noted that ''Von Gott will ich nicht lassen'' lacks the elegance of chorale fantasias by [[Heinrich Scheidemann]] or [[Franz Tunder]], but for this reason it is seen as an early (likely around 1625-1635) example of this ''paradigm'', the echo chorale fantasia, that would be more developed later. This work was described by [[Fritz Dietrich]] as ''a quite low-quality work in fantasy form''<ref>"ein ganz minderwertiges Stück in Fantasieform"</ref>. | ||
Latest revision as of 22:57, 6 July 2024
Melchior Woltmann (-1642) was a german organist and composer. One work by him survives in D-Lr Mus.ant.pract. K.N. 209.
Life
Woltmann was the court organist in Celle starting in 1637.
His date of birth is not known, but he passed away in 1642. When he passed away, he was referred to as der alte Melchior. With all due caution, one may surmise that he lived to around 60-70 years old, so he may have been born in the 1570s.
Work
| D-Lr Mus.ant.pract. K.N. 209 No. 35 | Von Gott Wil / nicht lassen. / Auff 2. Clavier / M. Woltman. |  |
[1][2] |
Description
Von Gott will ich nicht lassen is a manualiter chorale fantasia on two manuals. Most of the piece is in three voices.
As noted by Klaus Beckmann, the cantus firmus appears completely unornamented until the very end of the piece. It was likely inspired by the treatment of the cantus firmus in the Tabulatura Nova. The harmonies are described as equally plain.
Beckmann splits the piece into three parts, Stollen, Gegenstollen, Abgesang. The first section begins with an imitative 2-voice section followed by a liedsatz a 3 in which the descant plays the cantus firmus in g minor, c minor, then d minor. In the Gegenstollen the cantus firmus plays in the bass in a 3-part liedsatz in g minor, d minor, then c minor. Finally, in the Abgesang, the cantus firmus returns to the descant, and echos and colorations are introduced. The piece ends with a supplemental section with figurations 'a 4' ending in G Major.
Beckmann noted that Von Gott will ich nicht lassen lacks the elegance of chorale fantasias by Heinrich Scheidemann or Franz Tunder, but for this reason it is seen as an early (likely around 1625-1635) example of this paradigm, the echo chorale fantasia, that would be more developed later. This work was described by Fritz Dietrich as a quite low-quality work in fantasy form[3].
References
Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009. 546-547.
- ↑ RISM450101436
- ↑ Rampe, Siegbert (editor), Deutsche Orgel- und Claviermusik des 17. Jahrhunderts: Werke in Erstausgaben. Kassel: Bärenreiter, 2003-2004.
- ↑ "ein ganz minderwertiges Stück in Fantasieform"
