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 [[The Lynar Tablatures|D-B Mus. Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.''' It has been theorized that this refers to the composer [[Wilhelm Karges]] by [[Max Seiffert]]{{Citation needed}}.
Two pieces in [[D-B Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.'''


== Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref> ==
== Attribution ==
[[File:Mwcbm o mensch end.jpg|thumb|The end of ''O Mensch, bewein dein Sünde groß'', showing haphazard part-writing]]
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.
Mus. Ms. Lynar B 3 is written in [[New German Tablature Notation]], but the two pieces by M. W. C. B. M. have some haphazard part-writing in the accompanying voices, and frequent changes in the number of voices (such as an addition of a fifth voice at cadences in ''O Mensch, bewein dein Sünde Groß''). One particularly egregious example of this is the end of ''O Mensch, bewein dein Sünde groß'', in which the bass and tenor appear to move in parallel fifths. Based on the vertical alignment of the notes, the alto appears to become the ''quintus'' (a term used by [[Klaus Beckmann]] to refer to the middle of five voices<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.</ref>) resulting in an incorrect handling of the leading tone.
 
As pointed out by [[Klaus Beckmann]], the assertion that Karges was a scribe of '''Ms. Lynar B 3''' is shown to be false when comparing it to [[D-B Am.B 340]], which was likely written by Karges<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>. (see [[D-B Am.B 340#Scribe|D-B Am.B 340]]).
 
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.
 
=== References ===
{{NdS2 2009}} 507-508.
 
== 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'']]


The first piece is a chorale setting of ''Vater unser in Himmelreich'' in three verses. The second and third variations are [[Bicinium|Biciniums]] with the [[Cantus firmus]] in the bass and treble respectively. One aspect of note is that the third verse is succeeded by "Verte.", suggesting that the piece is incomplete (as ''verte'' is typically an instruction to the player to turn the page to continue the piece{{Citation needed}}). The second piece is an example of the practice of ornamenting the cantus firmus, and it is dated 1628.
{| class="wikitable"
{| class="wikitable"
|+Works by M. W. C. B. M.
|+Works by M. W. C. B. M.
!Manuscript
!Manuscript
!Title
!Title
!Incipit
!Notes
!Notes
|-
|-
|D-B Mus. Ms. Lynar B 3 No. 6
|D-B Mus. Ms. Lynar B 3 No. 6
|Vater unser / in Himmell / reich. / MW.C.B.M.
|Vater unser /<br>in Himmell /<br>reich. /<br>MW.C.B.M.
|3 verses. Third verse ends with "verte [''sic.'']"
|<score><< \relative a' { \clef alto a1 a4 g f e8 f g4 } \\ \relative a { a1 a2 d, e4 } \\ \relative e' { e1 e2 d4 c | b2*1/2 } \\ \relative cis' { cis1 cis2 a }  >></score>
|3 verses. Third verse ends with "verte"
|-
|-
|D-B Mus. Ms. Lynar B 3 No. 24
|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.
|O Mensch Be /<br>weine deine /<br>sünde gros auf. /<br>2 Clavier der Co /<br>rahll gecollorirett /<br>M. W. C. B. M.
|<score><<\relative f { \clef bass f4 f8 g a f a bes c4 r16 } \\ \relative f, { r2 f4 f8 g a f a8*1/2 } \\ \relative c { s1 c4 c8*1/2 } >></score>
|
|
|}
|}
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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 18:00, 10 August 2024

The composer's initials

Two pieces in D-B Ms. Lynar B 3 are headed by the unsolved initials M. W. C. B. M.

Attribution

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.

As pointed out by Klaus Beckmann, the assertion that Karges was a scribe of Ms. Lynar B 3 is shown to be false when comparing it to D-B Am.B 340, which was likely written by Karges[1]. (see D-B Am.B 340).

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]

The end of O Mensch, bewein dein Sünde groß
Works by M. W. C. B. M.
Manuscript Title Incipit Notes
D-B Mus. Ms. Lynar B 3 No. 6 Vater unser /
in Himmell /
reich. /
MW.C.B.M.
<< \relative a' { \clef alto a1 a4 g f e8 f g4 } \\ \relative a { a1 a2 d, e4 } \\ \relative e' { e1 e2 d4 c | b2*1/2 } \\ \relative cis' { cis1 cis2 a } >>
 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.
<<\relative f { \clef bass f4 f8 g a f a bes c4 r16 } \\ \relative f, { r2 f4 f8 g a f a8*1/2 } \\ \relative c { s1 c4 c8*1/2 } >>

References

  1. ↑ 20 Freie Orgelwerke der Norddeutschen Schule. Meister der Norddeutschen Orgelschule 29. Mainz: Schott, 2013. p.81.
  2. ↑ Kleinmeister
  3. ↑ Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [1] Accessed 17 July, 2023
  4. ↑ [Karges, Wilhelm in Repertorium Orgelmusik]
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