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'''Johann Rudolph | '''Johann Rudolph Radeck Sr.''' (1610-1663) was a Danish organist and composer. Some of his works were discovered in the [[Clausholm Music Fragments]]. | ||
'' | Even in fragmented form, the existence of these compositions is proof of the standardization of the form of the ''Magnificat'' composition in the [[North German Organ School]].<ref>Beckmann (2009), 490.</ref> | ||
== Life == | |||
Johann Rudolph was born in 1610. He was taught by his father [[Martin Radecker]]. In 1633-1634 he worked as the organist in the church ''Divi Blasii'' in Mühlhausen, then in 1635 at ''St. Marien'' in Flensburg. From 1645 until his death he worked at ''Heiliggeistkirche'' in Copenhagen. | |||
== | |||
== Works == | == Works == | ||
{| class="wikitable" | {| class="wikitable" | ||
|- | |- | ||
! Source !! Title !! Incipit !! Notes !! Ref. | |||
|- | |||
|[[Clausholm Music Fragments]] | |||
|Magnificat Dorii | |||
| | | | ||
| Fragment | |||
| | | | ||
|- | |- | ||
|[[Clausholm Music Fragments]] | |||
|Magnificat Septimi Toni | |||
| | | | ||
| Fragment | |||
| | | | ||
|- | |- | ||
|[[Clausholm Music Fragments]] | |||
|Herr Christ, der einig Gottes Sohn | |||
| | | | ||
| Fragment | |||
| | | | ||
|- | |- | ||
|[[Clausholm Music Fragments]] | |||
|Zweistimmiges Tabulaturfragment | |||
| | | | ||
| Fragment | |||
| | | | ||
|} | |} | ||
The works are dated 1638 and 1639 and the located of Flensburch is given. As noted by [[Klaus Beckmann]], the fragment of the magnificat was surely part of a complete set of Magnificat settings in 8 or 9 tones, in the style of [[Hieronymus Praetorious]]. | |||
Concerning the setting of the Magnificat, the setting of the tone in the tenor is written completely in whole notes, suggesting it can be played in the pedal. | |||
<score><< \new Staff \with { \omit TimeSignature } << \relative a' { \accidentalStyle forget \cadenzaOn s4 a bes2 r4 b! c2 r4 c d2 r4 d e8[ d c bes] } \\ \relative c' { s4 c d d e2 r4 e f2 r4 f g4 g8[ a] g[ f e d] } >> \new Staff \with { \clef bass \omit TimeSignature } << \relative f { f1 g a g } \\ \relative f { s4 f8[ e] d[ c bes a] g4 g'8[ f] e[ d c b!] a4 a'8[ g] f[ e d c] bes4 bes c2 } >> >></score> | |||
The second verse is a setting of fragments of the tone in the form of a [[Chorale Fantasia]]. | |||
== References == | == References == | ||
{{NdS2 2009}} 489-490. | |||
[[Category:Persons|Radeck, Johann Rudolph]] | |||
[[Category:Composers|Radeck, Johann Rudolph]] | |||
[[Category:Baroque Composers|Radeck, Johann Rudolph]] | |||
[[Category:Organists|Radeck, Johann Rudolph]] | |||
[[Category:Baroque|Radeck, Johann Rudolph]] | |||
[[Category:Norddeutsche Orgelschule|Radeck, Johann Rudolph]] | |||
[[Category:WVlist pages|Radeck, Johann Rudolph]] | |||
Latest revision as of 14:45, 4 July 2024
Johann Rudolph Radeck Sr. (1610-1663) was a Danish organist and composer. Some of his works were discovered in the Clausholm Music Fragments.
Even in fragmented form, the existence of these compositions is proof of the standardization of the form of the Magnificat composition in the North German Organ School.[1]
Life
Johann Rudolph was born in 1610. He was taught by his father Martin Radecker. In 1633-1634 he worked as the organist in the church Divi Blasii in Mühlhausen, then in 1635 at St. Marien in Flensburg. From 1645 until his death he worked at Heiliggeistkirche in Copenhagen.
Works
| Source | Title | Incipit | Notes | Ref. |
|---|---|---|---|---|
| Clausholm Music Fragments | Magnificat Dorii | Fragment | ||
| Clausholm Music Fragments | Magnificat Septimi Toni | Fragment | ||
| Clausholm Music Fragments | Herr Christ, der einig Gottes Sohn | Fragment | ||
| Clausholm Music Fragments | Zweistimmiges Tabulaturfragment | Fragment |
The works are dated 1638 and 1639 and the located of Flensburch is given. As noted by Klaus Beckmann, the fragment of the magnificat was surely part of a complete set of Magnificat settings in 8 or 9 tones, in the style of Hieronymus Praetorious.
Concerning the setting of the Magnificat, the setting of the tone in the tenor is written completely in whole notes, suggesting it can be played in the pedal.
![<< \new Staff \with { \omit TimeSignature } << \relative a' { \accidentalStyle forget \cadenzaOn s4 a bes2 r4 b! c2 r4 c d2 r4 d e8[ d c bes] } \\ \relative c' { s4 c d d e2 r4 e f2 r4 f g4 g8[ a] g[ f e d] } >> \new Staff \with { \clef bass \omit TimeSignature } << \relative f { f1 g a g } \\ \relative f { s4 f8[ e] d[ c bes a] g4 g'8[ f] e[ d c b!] a4 a'8[ g] f[ e d c] bes4 bes c2 } >> >>](/wiki/images/lilypond/3/k/3k3ys6tgma449a3bzzyryyb7cyc2g0x/3k3ys6tg.png)
The second verse is a setting of fragments of the tone in the form of a Chorale Fantasia.
References
Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009. 489-490.
- ↑ Beckmann (2009), 490.
