M. W. C. B. M.: Difference between revisions
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== Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref> == | == Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref> == | ||
[[File:Mwcbm o mensch end.jpg|thumb|The end of ''O Mensch, bewein dein Sünde groß'', showing haphazard part-writing]] | [[File:Mwcbm o mensch end.jpg|thumb|The end of ''O Mensch, bewein dein Sünde groß'', showing haphazard part-writing]] | ||
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 | 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. | ||
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. | 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. | ||
Revision as of 11:36, 20 July 2023
Two pieces in 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].
Works[1]
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[2]) resulting in an incorrect handling of the leading tone.
The first piece is a chorale setting of Vater unser in Himmelreich in three verses. The second and third variations are 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.
| Manuscript | Title | Notes |
|---|---|---|
| D-B Mus. Ms. Lynar B 3 No. 6 | Vater unser / in Himmell / reich. / MW.C.B.M. | 3 verses. Third verse ends with "verte [sic.]" |
| 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. |
- ↑ Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [1] Accessed 17 July, 2023
- ↑ Beckmann, Klaus (editor). Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II. Wiesbaden, Breitkopf & Härtel, 1997. 104.
