D-Lr Mus.ant.pract. K.N. 207/16: Difference between revisions
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The manuscript has been paginated with page 1 being the first page of notation on the ''verso'' side (so that the tablature would extend across pages 1-2, etc.){{Citation needed}}, and the five preludes are numbered from 1 to 5 by a later librarian's hand. | The manuscript has been paginated with page 1 being the first page of notation on the ''verso'' side (so that the tablature would extend across pages 1-2, etc.){{Citation needed}}, and the five preludes are numbered from 1 to 5 by a later librarian's hand. | ||
=== Anonymous Preludium | === Anonymous Preludium === | ||
The authorship of the anonymous prelude in this manuscript has attracted some musicological attention. In the 10th volume of [[Organum IV]], [[Max Seiffert]] stated that it was reminiscent of the style of [[Franz Tunder]]. However, this weak attribution has not been widely accepted. On the other hand, [[Michel Belotti]] made a passing comment (in the preface to his edition of the organ works of Tunder) that it was stylistically similar to the works of [[Matthias Weckmann]]. | The authorship of the anonymous prelude in this manuscript has attracted some musicological attention. In the 10th volume of [[Organum IV]], [[Max Seiffert]] stated that it was reminiscent of the style of [[Franz Tunder]]. However, this weak attribution has not been widely accepted. On the other hand, [[Michel Belotti]] made a passing comment (in the preface to his edition of the organ works of Tunder) that it was stylistically similar to the works of [[Matthias Weckmann]].{{Citation needed}} | ||
Apparently, this anonymous work has been largely ignored since it was published by Seiffert around the 1920s-30s. | It seems that many musicologists believed that the anonymous prelude was composed by Franz Tunder. In her monumental book ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts'', [[Lydia Schierning]] this manuscript was mentioned in passing in a footnote and she said that all five preludes were written by Tunder.<ref>[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961. ''what page?''</ref> However, this attributed was refuted by [[Klaus Beckmann]] in his first edition of Tunder's organ works.{{Citation needed}} | ||
Apparently, this anonymous work has been largely ignored since it was published by Seiffert around the 1920s-30s. A new edition was published online by [[William Rehwinkel]] in 2024. | |||
== Contents == | == Contents == | ||
Revision as of 23:49, 3 June 2024
Mus.ant.pract. K.N. 20716 (Also sylized 207/16, or 207-16) is a manuscript held in the Ratsbücherei, Lüneburg.
Description
The manuscript is written in New German Tablature Notation and contains five preludes, four by Franz Tunder and one unattributed. It was written by Heinrich Baltzer Wedemann.
The manuscript has been paginated with page 1 being the first page of notation on the verso side (so that the tablature would extend across pages 1-2, etc.)[Citation needed], and the five preludes are numbered from 1 to 5 by a later librarian's hand.
Anonymous Preludium
The authorship of the anonymous prelude in this manuscript has attracted some musicological attention. In the 10th volume of Organum IV, Max Seiffert stated that it was reminiscent of the style of Franz Tunder. However, this weak attribution has not been widely accepted. On the other hand, Michel Belotti made a passing comment (in the preface to his edition of the organ works of Tunder) that it was stylistically similar to the works of Matthias Weckmann.[Citation needed]
It seems that many musicologists believed that the anonymous prelude was composed by Franz Tunder. In her monumental book Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts, Lydia Schierning this manuscript was mentioned in passing in a footnote and she said that all five preludes were written by Tunder.[1] However, this attributed was refuted by Klaus Beckmann in his first edition of Tunder's organ works.[Citation needed]
Apparently, this anonymous work has been largely ignored since it was published by Seiffert around the 1920s-30s. A new edition was published online by William Rehwinkel in 2024.
Contents
| No. | Fol. | Title | Incipit |
|---|---|---|---|
| 1 | 1v-3r | [1] Praeludium / a. 5. |  |
| 2 | 2v-3r | Praeludium [2] / Franc. Tunder. |  |
| 3 | 3v-4r | Praeludium / [3] / Franc: Tunder. |  |
| 4 | 4v-5r | Praeludium / Franc. Tunder. [4] |  |
| 5 | 5r-6v | Praeludium [5] / Franc: Tunder |  |
The preludes by Franz Tunder can be found in numerous editions of his works (see Franz Tunder#Editions). The anonymous Praeludium can be found in the 10th volume of Organum IV, edited by Max Seiffert.
References
Schumacher, Claudia (editor). Franz Tunder: Sämtliche Orgelwerke. Mainz: Schott Music GmBH, 2022. 94.
- ↑ Schierning, Lydia. Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie. Kassel: Bärenreiter, 1961. what page?
