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'''Franz Tunder'''
'''Franz Tunder''' (1614-1667) was a German organist, composer, and ''Werckmeister''. He was part of a prestigious line of organists (and one of the longest serving organists) working at the [[Marienkirche, Lübeck]], and was an important composer in the [[North German Organ School]].
 
== Life ==
[[File:HLWerkhausMarker.JPG|thumb|right|Plaque at the ''Werkhaus'' at the [[Marienkirche, Lübeck]] commemorating Franz Tunder and [[Dietrich Buxtehude]]]]
<ref>Beckmann (2009). 262-263.</ref>Franz Tunder was born around 1614. His exact date of birth is not known due to missing records, but can be estimated because he was described as 53 years old in a note in an elegy found in the ''Marienkirche'' protocol book.
 
Opinions about Tunder's place of birth varied during the course of modern musicology of early organ music. Around 1925, [[Peter Wiepert]], a local historian in ''Bannesdorf auf Fehmarn'' said that Tunder had been listed as originating from there in local historical documents (however, these documents have since been lost). These same documents stated that Tunder was working as an organist in Copenhagen around 1632...it is not clear if this is supported by any other evidence or if this is the same person.
 
However, in 1996 [[Gerhard Kay Birkner]]<ref>Birkner, Gerhard Key. "Franz Tunder in Lübeck geboren!". ''Lübeckische Blätter'' 161 (1996) Heft 16 (October 12). p.248.</ref> found that Tunder could be connected to a Franz Tunder Sr. who was active in Lübeck starting in 1598 and was even active with the Marienkirche, leasing storage space for books from the church in 1599. Furthermore, writings by Franz Tunder on August 28, 1665 directly reference his father ("Vaters Frantz Tunders..."). Therefore, it has been conclusively proven that Franz Tunder, the organist, was born in Lübeck, the son of Franz Tunder the older.
 
Tunder's music teachers are not known. If Tunder was working in Copenhagen around 1632, it is possible that he was taught by [[Melchior Borchgrevinck]], the ''Hoforganist'' and ''Hofkapellmeister'' there. [[Johann Mattheson]]–in 1740–wrote that Franz Tunder studied with [[Girolamo Frescobaldi]] in Italy, but there is no other evidence of this claim.
 
In February 1640, Tunder married [[Maria Elisabeth Voigt]]. Together they produced five children, including [[Sophia Augusta Tunder]], born in 1644 and the Cantor of the [[Marienkirche, Lübeck]] starting in 1663, and [[Anna Margreta Buxtehude|Anna Margreta]], who was born in 1646 and married [[Dietrich Buxtehude]] in 1668.
 
At the end of September, 1641, Franz Tunder assumed the office of Organist at the [[Marienkirche, Lübeck|Marienkirche]]. He became the ''Werckmeister'' in 1647. On July 31, 1648 Tunder played for the wedding of [[Matthias Weckmann]] and [[Regina Beute]].
 
Franz Tunder passed away at 9:30 PM on November 5, 1667.
 
== Analysis ==
The organ chorale works of Franz Tunder can be divided into four categories<ref>{{NdS2 2009}} 277</ref>:
* ''Verse cycles'' with separate verses - Jesus Christus, unser Heiland
* Continuous ''Verse cycles'' - Auf meinen lieben Gott
* ''Choral ricercare'' - Jesus Christus, wahr' Gottes Sohn
* ''Choral Fantasie'' (the rest of the surviving compositions)


== Works ==
== Works ==
[[File:S-Uu Ms Ihre 285 Tunder.jpg|thumb|right|The Canzona by Franz Tunder, found in S-Uu Ms. Ihre 285]]Except for one work, all remaining pieces by Franz Tunder only occur in one early source. The sources of Tunder's organ music are in three main categories:
[[File:S-Uu Ms Ihre 285 Tunder.jpg|thumb|right|The Canzona by Franz Tunder, found in S-Uu Ms. Ihre 285]]Except for one work, all remaining pieces by Franz Tunder are unicas. The sources of Tunder's organ music are in three main categories:
 
a collection of manuscripts in the ''Rätsbucherei'', Lüneburg.


* [[:Category:Lüneburg Tablatures|The Lüneburg Tablatures]], including Mus.ant.pract. K.N. 209.
* [[:Category:Lüneburg Tablatures|The Lüneburg Tablatures]], including [[D-Lr Mus.ant.pract. K.N. 209]].
*[[The Pelplin Tablatures]], a collection of manuscripts from the Pelplin Monestary.
*[[Pelplin Tablatures|The Pelplin Tablatures]], a collection of manuscripts from the Pelplin Monestary.
*The Canzona by Tunder is located in a manuscript currently housed in the Universitetsbibliotek, Uppsala.
*The Canzona by Tunder is located in a manuscript currently housed in the Universitetsbibliotek, Uppsala.


Line 19: Line 40:
| [[D-Lr Mus.ant.pract. K.N. 209]] P486-489 || [34] Auff meinen Lieben / Gott / Auff 2 Clavier / Manualiter / F. Tunder || || <score>\relative d' {\key g \minor \partial 4 d8 e16 fis | g4 a8 bes16 c bes4 c | d2. }</score>
| [[D-Lr Mus.ant.pract. K.N. 209]] P486-489 || [34] Auff meinen Lieben / Gott / Auff 2 Clavier / Manualiter / F. Tunder || || <score>\relative d' {\key g \minor \partial 4 d8 e16 fis | g4 a8 bes16 c bes4 c | d2. }</score>
|-
|-
| [[The Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] P282-293 || Christ lag in / todtes banden / Frans: Tunder: || || <score><< \relative a' { \clef alto a1 g2 a2*1/2 } \\ \relative a { r4 a d c | b c4. a8 }>></score>
| [[Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] P282-293 || Christ lag in / todtes banden / Frans: Tunder: || || <score><< \relative a' { \clef alto a1 g2 a2*1/2 } \\ \relative a { r4 a d c | b c4. a8 }>></score>
|-
|-
| [[D-Lr Mus.ant.pract. K.N. 207/17/1]] P428-431
| [[D-Lr Mus.ant.pract. K.N. 207/17/1]] P428-431
Line 33: Line 54:
| [[D-Lr Mus.ant.pract. K.N. 209]] P634-639 || [72] Komm Heÿliger / Geist Herre Gott / Auff 2 Clauier / Franciscus: Tunder: Ped: || || <score>\relative d' { \key g \major r16 d e fis g a fis a g a b c d e cis e << d1 \\ { r2 <g, b, g>2 } >> }</score>
| [[D-Lr Mus.ant.pract. K.N. 209]] P634-639 || [72] Komm Heÿliger / Geist Herre Gott / Auff 2 Clauier / Franciscus: Tunder: Ped: || || <score>\relative d' { \key g \major r16 d e fis g a fis a g a b c d e cis e << d1 \\ { r2 <g, b, g>2 } >> }</score>
|-
|-
| [[The Pelplin Tablatures|PL-PE 305 (Tabulatura organowa Tom. II)]] P288-294 || Was kan uns / kommen an fur: / Noth / 2 Clav: Ped: / Frans: Tunder. || Pelplin/C-Major version, fragment || <score><< \relative c'' { c1 c4. d8 e2 } \\ \relative g' { r2 g2 a g } \\ \\ \relative e' { r2 e2 e4 f e c } >></score>
| [[Pelplin Tablatures|PL-PE 305 (Tabulatura organowa Tom. II)]] P288-294 || Was kan uns / kommen an fur: / Noth / 2 Clav: Ped: / Frans: Tunder. || Pelplin/C-Major version, fragment || <score><< \relative c'' { c1 c4. d8 e2 } \\ \relative g' { r2 g2 a g } \\ \\ \relative e' { r2 e2 e4 f e c } >></score>
|-
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P612-621 || [65] Waß kan vns / kommen an / für noth / Auf 2. Clauier. / F. Tunder. Ped: || Lüneburg/F-Major version || <score>\relative f { \key f \major \clef bass f16 c a' f c' a f c' \clef treble f2 f8. e16 d e f g a2 }</score>
| [[D-Lr Mus.ant.pract. K.N. 209]] P612-621 || [65] Waß kan vns / kommen an / für noth / Auf 2. Clauier. / F. Tunder. Ped: || Lüneburg/F-Major version || <score>\relative f { \key f \major \clef bass f16 c a' f c' a f c' \clef treble f2 f8. e16 d e f g a2 }</score>
Line 47: Line 68:
| [[D-Lr Mus.ant.pract. K.N. 207/15]] P909-910 || [55] Praeludium / F. Tund: || G-Minor || <score><< \relative a'' { \key g \minor r16 a g e fis g e fis d c bes c a bes g a fis } \\ \relative a' { s2 r16 a g e fis g e fis d } >></score>
| [[D-Lr Mus.ant.pract. K.N. 207/15]] P909-910 || [55] Praeludium / F. Tund: || G-Minor || <score><< \relative a'' { \key g \minor r16 a g e fis g e fis d c bes c a bes g a fis } \\ \relative a' { s2 r16 a g e fis g e fis d } >></score>
|-
|-
| [[S-Uu Ms. Ihre 285]] P50-52 || [20] Cantzon / F: Töndern || On a theme by [[Francesco Della Porta]] || <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>
| [[S-Uu Ms. Ihre 285]] P50-52 || [20] Cantzon / F: Töndern || On a theme by [[Francesco Della Porta]]? || <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>
|}
|}
[[Klaus Beckmann]] noted that the location of the ''Canzon'' in [[S-Uu Ms. Ihre 285]], a manuscript which primarily transmitted harpsichord suites, suggests that the piece may have been written for the harpsichord or other string keyboard instrument.<ref name="beckmann276">Beckmann (2009), 276.</ref>
It has been found that the theme of the ''Canzon'' is similar to that of the motet ''Salve mi Jesu'' by [[Francesco Della Porta]] found in ''Motetti concertati'' (Venezia, 1647, published by [[Giovanni Rovetta]]).<ref name="beckmann276">Beckmann (2009), 276.</ref>
=== Other theorized works ===
Two chorale fantasias from the [[Pelplin Tablatures]] are theorized to be by Franz Tunder by [[Klaus Beckmann]], despite the composer "H.S.M." being written<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Zwei Choralfantasien: Allein zu dir, Herr Jesu Christ ; Ein feste Burg ist unser Gott.'' Wiesbaden: Breitkopf & Härtel, 1991.</ref>. He also theorized that the anonymous ''Magnificat octavi toni'' (also a chorale fantasia) from the [[Zellerfeld Tablatures]] no.1 is by Tunder{{Citation needed}}.
The first praeludium in [[D-Lr Mus.ant.pract. K.N. 207/16]], which is anonymous, has been described as being reminiscent of Tunder<ref>[[Organum IV]] vol.10</ref>.
=== Editions ===
An incomplete list of editions of the organ works of Tunder is included below.
* [[Max Seiffert]], Leipzig: Kistner & Siegel, n.d. ([[Organum IV]] vol. 6).<br>(Preludia only)
* [[Rudolf Walter]]. ''Sämtliche Choralbearbeitungen für Orgel / Franz Tunder.'' Mainz: Schott, 1958.
* [[Klaus Beckmann]], Wiesbaden: Breitkopf & Hartel.
* [[Jan van Biezen]]. ''Christ lag in Todesbanden : für Orgel / Franz Tunder.'' Amsterdam : Annie Bank, 1982. (Stichting Centrum voor de Kerkzang 129)
* [[Michel Belotti]], Wiesbaden: Breitkopf & Hartel.
* [[Claudia Schumacher]], Mainz: Schott. 2022 (revised edition) ([[Meister der Norddeutschen Orgelschule|MdNO]] 17)


== References ==
== References ==
{{NdS2 2009}} 262-288.
[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke''. Mainz: Schott, 2019.
[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke''. Mainz: Schott, 2019.


Latest revision as of 22:09, 21 August 2024

Franz Tunder (1614-1667) was a German organist, composer, and Werckmeister. He was part of a prestigious line of organists (and one of the longest serving organists) working at the Marienkirche, Lübeck, and was an important composer in the North German Organ School.

Life

Plaque at the Werkhaus at the Marienkirche, Lübeck commemorating Franz Tunder and Dietrich Buxtehude

[1]Franz Tunder was born around 1614. His exact date of birth is not known due to missing records, but can be estimated because he was described as 53 years old in a note in an elegy found in the Marienkirche protocol book.

Opinions about Tunder's place of birth varied during the course of modern musicology of early organ music. Around 1925, Peter Wiepert, a local historian in Bannesdorf auf Fehmarn said that Tunder had been listed as originating from there in local historical documents (however, these documents have since been lost). These same documents stated that Tunder was working as an organist in Copenhagen around 1632...it is not clear if this is supported by any other evidence or if this is the same person.

However, in 1996 Gerhard Kay Birkner[2] found that Tunder could be connected to a Franz Tunder Sr. who was active in Lübeck starting in 1598 and was even active with the Marienkirche, leasing storage space for books from the church in 1599. Furthermore, writings by Franz Tunder on August 28, 1665 directly reference his father ("Vaters Frantz Tunders..."). Therefore, it has been conclusively proven that Franz Tunder, the organist, was born in Lübeck, the son of Franz Tunder the older.

Tunder's music teachers are not known. If Tunder was working in Copenhagen around 1632, it is possible that he was taught by Melchior Borchgrevinck, the Hoforganist and Hofkapellmeister there. Johann Mattheson–in 1740–wrote that Franz Tunder studied with Girolamo Frescobaldi in Italy, but there is no other evidence of this claim.

In February 1640, Tunder married Maria Elisabeth Voigt. Together they produced five children, including Sophia Augusta Tunder, born in 1644 and the Cantor of the Marienkirche, Lübeck starting in 1663, and Anna Margreta, who was born in 1646 and married Dietrich Buxtehude in 1668.

At the end of September, 1641, Franz Tunder assumed the office of Organist at the Marienkirche. He became the Werckmeister in 1647. On July 31, 1648 Tunder played for the wedding of Matthias Weckmann and Regina Beute.

Franz Tunder passed away at 9:30 PM on November 5, 1667.

Analysis

The organ chorale works of Franz Tunder can be divided into four categories[3]:

  • Verse cycles with separate verses - Jesus Christus, unser Heiland
  • Continuous Verse cycles - Auf meinen lieben Gott
  • Choral ricercare - Jesus Christus, wahr' Gottes Sohn
  • Choral Fantasie (the rest of the surviving compositions)

Works

The Canzona by Franz Tunder, found in S-Uu Ms. Ihre 285

Except for one work, all remaining pieces by Franz Tunder are unicas. The sources of Tunder's organ music are in three main categories:

Note: numbers in brackets are written in the manuscript by a librarian.

Surviving works by Franz Tunder
Source(s) Title Notes Incipit
D-Lr Mus.ant.pract. K.N. 209 P486-489 [34] Auff meinen Lieben / Gott / Auff 2 Clavier / Manualiter / F. Tunder
\relative d' {\key g \minor \partial 4 d8 e16 fis | g4 a8 bes16 c bes4 c | d2. }
PL-PE 306 (Tabulatura organowa Tom. III) P282-293 Christ lag in / todtes banden / Frans: Tunder:
<< \relative a' { \clef alto a1 g2 a2*1/2 } \\ \relative a { r4 a d c | b c4. a8 }>>
D-Lr Mus.ant.pract. K.N. 207/17/1 P428-431

D-Lr Mus.ant.pract. K.N. 209 P644-649

[207/17/1:] [13] Herr Gott / dich loben wir p / auff 2. Clav. / Franciscus Tunder.
<< \relative e' { \clef alto e1 g2 a4. b8 } \\ \relative a { r4 a c2 b4 <e e,> <c f,> <d d,> } >>
D-Lr Mus.ant.pract. K.N. 209 P474-477 [30] Indich habichge / hoffet Herr. / Auff 2. Clavier. / F. Tunder.
\relative g { \key g \minor g16 a b a g a b c d g e fis g a fis a g1 }
D-Lr Mus.ant.pract. K.N. 209 P562-565 [48] Jesus Christus / Unser Heÿland. / F. T.
\relative a { \clef bass r16 a g a fis g e g fis8 g16 e fis d e cis << d1 \\ \relative d, { r4 d g1*1/2 } >> }
D-Lr Mus.ant.pract. K.N. 209 P470-473 [29] Jesus Christus / wahr Gottes Sohn / F: Tunder
<< \relative g' { \key g \minor \time 3/2 \partial 2 g4 a bes1 c2 d1*1/4 } \\ \relative g' { r2 r2 g4 f ees f bes, } >>
D-Lr Mus.ant.pract. K.N. 209 P634-639 [72] Komm Heÿliger / Geist Herre Gott / Auff 2 Clauier / Franciscus: Tunder: Ped:
\relative d' { \key g \major r16 d e fis g a fis a g a b c d e cis e << d1 \\ { r2 <g, b, g>2 } >> }
PL-PE 305 (Tabulatura organowa Tom. II) P288-294 Was kan uns / kommen an fur: / Noth / 2 Clav: Ped: / Frans: Tunder. Pelplin/C-Major version, fragment
<< \relative c'' { c1 c4. d8 e2 } \\ \relative g' { r2 g2 a g } \\ \\ \relative e' { r2 e2 e4 f e c } >>
D-Lr Mus.ant.pract. K.N. 209 P612-621 [65] Waß kan vns / kommen an / für noth / Auf 2. Clauier. / F. Tunder. Ped: Lüneburg/F-Major version
\relative f { \key f \major \clef bass f16 c a' f c' a f c' \clef treble f2 f8. e16 d e f g a2 }
D-Lr Mus.ant.pract. K.N. 207/16 F3v-4r Praeludium / [3] / Franc: Tunder. F-Major
\relative f'' { \key f \major f8. g16 a e f g c, f e f c d a bes << c1*1/2 \\ { r4 <a f>4 } >> }
D-Lr Mus.ant.pract. K.N. 207/16 F2v-3r Praeludium / [2] / Franc. Tunder. G-Minor
\relative d'' { \key g \minor r16 d e f g d f ees d b c d g, b a c << <b d, g,>4. \\ g1*3/8 >> }
D-Lr Mus.ant.pract. K.N. 207/16 F4v-5r Praeludium / Franc. Tunder. [4] G-Minor
\relative g { \key g \minor g16 b a b g a b c b d c d b c d ees d g e fis g }
D-Lr Mus.ant.pract. K.N. 207/16 F5v-6r Praeludium [5] / Franc: Tunder G-Minor
<< \relative d'' { \key g \minor d8. ees16 d8. c16 b4 c } \\ \relative g' g1 \\ \\ \relative b { b4 c d8. ees16 c8. d16 } >>
D-Lr Mus.ant.pract. K.N. 207/15 P909-910 [55] Praeludium / F. Tund: G-Minor
<< \relative a'' { \key g \minor r16 a g e fis g e fis d c bes c a bes g a fis } \\ \relative a' { s2 r16 a g e fis g e fis d } >>
S-Uu Ms. Ihre 285 P50-52 [20] Cantzon / F: Töndern On a theme by Francesco Della Porta?
\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }

Klaus Beckmann noted that the location of the Canzon in S-Uu Ms. Ihre 285, a manuscript which primarily transmitted harpsichord suites, suggests that the piece may have been written for the harpsichord or other string keyboard instrument.[4]

It has been found that the theme of the Canzon is similar to that of the motet Salve mi Jesu by Francesco Della Porta found in Motetti concertati (Venezia, 1647, published by Giovanni Rovetta).[4]

Other theorized works

Two chorale fantasias from the Pelplin Tablatures are theorized to be by Franz Tunder by Klaus Beckmann, despite the composer "H.S.M." being written[5]. He also theorized that the anonymous Magnificat octavi toni (also a chorale fantasia) from the Zellerfeld Tablatures no.1 is by Tunder[Citation needed].

The first praeludium in D-Lr Mus.ant.pract. K.N. 207/16, which is anonymous, has been described as being reminiscent of Tunder[6].

Editions

An incomplete list of editions of the organ works of Tunder is included below.

References

Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009. 262-288.

Schumacher, Claudia (editor). Franz Tunder: Sämtliche Orgelwerke. Mainz: Schott, 2019.

  1. ↑ Beckmann (2009). 262-263.
  2. ↑ Birkner, Gerhard Key. "Franz Tunder in Lübeck geboren!". Lübeckische Blätter 161 (1996) Heft 16 (October 12). p.248.
  3. ↑ Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009. 277
  4. ↑ 4.0 4.1 Beckmann (2009), 276.
  5. ↑ Beckmann, Klaus (editor), Zwei Choralfantasien: Allein zu dir, Herr Jesu Christ ; Ein feste Burg ist unser Gott. Wiesbaden: Breitkopf & Härtel, 1991.
  6. ↑ Organum IV vol.10
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