Nicolaus Hasse: Difference between revisions
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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 | [[Category:Composers|Hasse, Nicolaus]][[Category:German Composers|Hasse, Nicolaus]][[Category:German|Hasse, Nicolaus]][[Category:Baroque|Hasse, Nicolaus]][[Category:Norddeutsche Orgelschule|Hasse, Nicolaus]] | ||
Latest revision as of 20:00, 13 November 2024
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 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.[1] 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
| Source | Title | Incipit | Notes | Ref. |
|---|---|---|---|---|
| Pelplin Tablatures vol.2 | Allein Gott in d Höh sei Ehr Nic Hasse |  |
[2] | |
| Pelplin Tablatures vol.2 fol.IV | Jesus Christus unser Heiland Nic Hasse | 1 Versus Pleno 2 Versus Choral in Tenor  3 Versus Choral in Bass  |
[2] | |
| Pelplin Tablatures vol.3 fol.I-VIII | Komm Heiliger Geist Herre Gott auf 2 Clav. N H |  |
[2] | |
| Pelplin Tablatures vol.3 fol.116 | Jesus Christus pro 3 Clav. Nic Hasse |  |
[2] |
References
Nichols, David J. "Hasse, Nikolaus." Grove Music Online, 2001. [1], accessed 2 September, 2023.
- ↑ Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009. 152.
- ↑ 2.0 2.1 2.2 2.3 2.4 Gołos, Jerzy and Sutkowski, Adam, Keyboard Music from Polish Manuscripts: Vol. 1, Organ Chorales. Corpus of Early Keyboard Music vol. 1 pt. 1, 1965.
