Meister der Norddeutschen Orgelschule: Difference between revisions
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[[File:ED 9581-Beckmann 648 .jpg|thumb|right|The title page for the first volume of MdNO]] | [[File:ED 9581-Beckmann 648 .jpg|thumb|right|The title page for the first volume of MdNO]] | ||
'''Meister der Norddeutschen Orgelschule''' (en: ''Masters of the North German School for Organ'', abbreviated '''MdNO''') is a series published by ''Edition Schott''. It resulted in 36 volumes published between 2003<ref>[https://obis.oberlin.edu/record=b2262379~S4 obis.oberlin.edu], accessed 21 July, 2023.</ref>-2015<ref>[https://obis.oberlin.edu/record=b5273133~S4 obis.oberlin.edu], accessed 21 July, 2023.</ref>. All volumes were edited by [[Klaus Beckmann]] | '''Meister der Norddeutschen Orgelschule''' (en: ''Masters of the North German School for Organ'', abbreviated '''MdNO''') is a series published by ''Edition Schott''. It resulted in 36 volumes published between 2003<ref>[https://obis.oberlin.edu/record=b2262379~S4 obis.oberlin.edu], accessed 21 July, 2023.</ref>-2015<ref>[https://obis.oberlin.edu/record=b5273133~S4 obis.oberlin.edu], accessed 21 July, 2023.</ref>. All volumes were edited by [[Klaus Beckmann]] or [[Claudia Schumacher]], and included the complete organ works of many prominent composers such as [[Hieronymus Praetorius]] (vol. 1-3), [[Heinrich Scheidemann]] (vol. 8-10, 22) and [[Dietrich Buxtehude]] (vol.25-28). | ||
== Editorial Style == | |||
Both [[Klaus Beckmann]] and [[Claudia Schumacher]] adhere to the editorial practice of highly editing the source material while listing all original readings in text form at the end of the volume. For this reason, this series can be considered suitable for performance as well as scholarly use{{Citation needed}}. | |||
The series uses the scholarly practice of ''original beaming'', in which the beaming of the original source in staff notation is copied and the rhythmic groupings in tablature notation are represented by beams. | |||
''Meister der Norddeutschen Orgelschule'' uses ''incipits'' to show the original clefs and staff layout for original sources in staff notation and the [[Klaus Beckmann]] method{{Citation needed}} of notating music originally in tablature notation, in which a white vertical bar is inserted either to the left or right of the time signature to designate the key signature and/or the time signature as editorial additions. | |||
The practice of notating barlines (especially with respect to pieces originall in tablature notation) varies by edition. In some editions of ''MdNO'' (such as the organ works of [[Franz Tunder]], in which all surviving sources are in tablature notation), all barlines are dotted and the pieces are given an editorial common-time or cut-time signature. In other volumes (such as the organ works by [[Heinrich Scheidemann]] or [[Hieronymus Praetorius]]), most pieces without a time signature are given a double-cut-time signature and the barlines are alternating dotted and solid (to signify the ''brevetactus''{{Citation needed}}). | |||
== Contents == | == Contents == | ||
| Line 18: | Line 27: | ||
| 5 || [[Melchior Schildt]] || | | 5 || [[Melchior Schildt]] || | ||
|- | |- | ||
| 6 || [[Jakob Praetorius]] || | | 6 || [[Jacob Preatorius|Jakob Praetorius]] || | ||
|- | |- | ||
| 7 || [[Johann Praetorius]] || | | 7 || [[Johann Praetorius]] || | ||
| Line 34: | Line 43: | ||
| 13 || [[Nicolaus Bruhns]], [[Arnold Matthias Brunckhorst]] || First edition of vol. 13 was only Bruhns{{Citation needed}} | | 13 || [[Nicolaus Bruhns]], [[Arnold Matthias Brunckhorst]] || First edition of vol. 13 was only Bruhns{{Citation needed}} | ||
|- | |- | ||
| 14 || [[Delphin Strunck]] || | | 14 || [[Delphin Strungk|Delphin Strunck]] || | ||
|- | |- | ||
| 15 || [[Nikolaus Adam Strunck]] || | | 15 || [[Nikolaus Adam Strungk|Nikolaus Adam Strunck]] || | ||
|- | |- | ||
| 16 || [[Nikolaus Hasse]] || | | 16 || [[Nikolaus Hasse]] || | ||
| Line 80: | Line 89: | ||
| 36 || [[Samuel Scheidt]] || [[Görlitz Tablature Book]] | | 36 || [[Samuel Scheidt]] || [[Görlitz Tablature Book]] | ||
|} | |} | ||
== Notes == | |||
The 13th volume of this series originally only contained works by [[Nicolaus Bruhns]], his four organ works (including ''Nun komm der Heiden Heiland'') and the ''Prelude in G Minor''. However, it was re-released as a Bruhns-[[Arnold Matthias Brunckhorst|Brunckhorst]] double-issue after the G Minor prelude was connected to Brunckhorst. (See [[Arnold Matthias Brunckhorst#Prelude in G Minor|Prelude in G Minor]]) | |||
== References == | == References == | ||
[https://www.schott-music.com/en/series/meister-der-norddeutschen-orgelschule www.schott-music.com], accessed 21 July, 2023. | [https://www.schott-music.com/en/series/meister-der-norddeutschen-orgelschule www.schott-music.com], accessed 21 July, 2023. | ||
[[Category:Books]] | |||
Latest revision as of 11:38, 13 May 2024
Meister der Norddeutschen Orgelschule (en: Masters of the North German School for Organ, abbreviated MdNO) is a series published by Edition Schott. It resulted in 36 volumes published between 2003[1]-2015[2]. All volumes were edited by Klaus Beckmann or Claudia Schumacher, and included the complete organ works of many prominent composers such as Hieronymus Praetorius (vol. 1-3), Heinrich Scheidemann (vol. 8-10, 22) and Dietrich Buxtehude (vol.25-28).
Editorial Style
Both Klaus Beckmann and Claudia Schumacher adhere to the editorial practice of highly editing the source material while listing all original readings in text form at the end of the volume. For this reason, this series can be considered suitable for performance as well as scholarly use[Citation needed].
The series uses the scholarly practice of original beaming, in which the beaming of the original source in staff notation is copied and the rhythmic groupings in tablature notation are represented by beams.
Meister der Norddeutschen Orgelschule uses incipits to show the original clefs and staff layout for original sources in staff notation and the Klaus Beckmann method[Citation needed] of notating music originally in tablature notation, in which a white vertical bar is inserted either to the left or right of the time signature to designate the key signature and/or the time signature as editorial additions.
The practice of notating barlines (especially with respect to pieces originall in tablature notation) varies by edition. In some editions of MdNO (such as the organ works of Franz Tunder, in which all surviving sources are in tablature notation), all barlines are dotted and the pieces are given an editorial common-time or cut-time signature. In other volumes (such as the organ works by Heinrich Scheidemann or Hieronymus Praetorius), most pieces without a time signature are given a double-cut-time signature and the barlines are alternating dotted and solid (to signify the brevetactus[Citation needed]).
Contents
Notes
The 13th volume of this series originally only contained works by Nicolaus Bruhns, his four organ works (including Nun komm der Heiden Heiland) and the Prelude in G Minor. However, it was re-released as a Bruhns-Brunckhorst double-issue after the G Minor prelude was connected to Brunckhorst. (See Prelude in G Minor)
References
www.schott-music.com, accessed 21 July, 2023.
- ↑ obis.oberlin.edu, accessed 21 July, 2023.
- ↑ obis.oberlin.edu, accessed 21 July, 2023.
