H. M. T.: Difference between revisions

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== Attributions ==
== Attributions ==
Several theories as to the identity of "H.M.T." have been made, but none have gained widespread approval. It was theorized to be the south German composer [[Michael Tonsor]]<ref>Junghans, Wilhelm. ''Lüneburg eine Pflegstätte kirchlicher Musik''. Aus dem Ostern 1870 herausgegebenen Programm des Johanneums zu Lun̈eburg abgedruckt. 33.</ref> (an [[Intabulation]] of a piece by Tonsor does appear in [[D-Lr Mus.ant.pract. K.N. 210]]<ref>[[Lydia Schierning]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der ersten Hälfte des 17. Jahrhunderts.'' Kassel: Bärenreiter, 1961. 106.</ref><ref>{{RISM|450101516}}</ref>). The musicologist [[Fritz Dietrich]] wrote that it may be a distortion of "F.T." (=[[Franz Tunder]]) and "H.S.M." (=[[Heinrich Scheidemann]]), two initials which appear in this manuscript<ref>Brieg, Werner. ''Die Orgelwerke von Heinrich Scheidemann''. Archiv für Musikwissenschaft. Wiesbaden: Franz Steiner Verlag, 1967. 56.</ref>.
Several theories as to the identity of "H.M.T." have been made, but none have gained widespread approval. It was theorized to be the south German composer [[Michael Tonsor]]<ref>Junghans, Wilhelm. ''Lüneburg eine Pflegstätte kirchlicher Musik''. Aus dem Ostern 1870 herausgegebenen Programm des Johanneums zu Lun̈eburg abgedruckt. 33.</ref> (an [[Intabulation]] of a piece by Tonsor does appear in [[D-Lr Mus.ant.pract. K.N. 210]]<ref>[[Lydia Schierning]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der ersten Hälfte des 17. Jahrhunderts.'' Kassel: Bärenreiter, 1961. 106.</ref><ref>{{RISM|450101516}}</ref>). The musicologist [[Fritz Dietrich]] wrote that it may be a distortion of "F.T." (=[[Franz Tunder]]) and "H.S.M." (=[[Heinrich Scheidemann]]), two initials which appear in this manuscript<ref name="Brieg">Brieg, Werner. ''Die Orgelwerke von Heinrich Scheidemann''. Archiv für Musikwissenschaft. Wiesbaden: Franz Steiner Verlag, 1967. 56.</ref>.


Despite these, the initials remain unsolved; in ''Repertorium Orgelmusik'' the initials are left unattributed<ref>Beckmann, Klaus. ''Repertorium Orgelmusik''. New York: Schott, 2001.</ref>.
Despite these, the initials remain unsolved; in ''Repertorium Orgelmusik'' the initials are left unattributed<ref>Beckmann, Klaus. ''Repertorium Orgelmusik''. New York: Schott, 2001.</ref>.
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3rd<br><score><< \relative e' { \time 4/2 \clef alto e2 c4 d c a'  } \\ \relative a { r4 a4. f4 g8 a16 bes g a f g e f  } >></score>
3rd<br><score><< \relative e' { \time 4/2 \clef alto e2 c4 d c a'  } \\ \relative a { r4 a4. f4 g8 a16 bes g a f g e f  } >></score>
|}
|}
This work was covered by [[Werner Brieg]] in his book on [[Heinrich Scheidemann|Scheidemann's]] organ music.<ref name="Brieg">Brieg, Werner. ''Die Orgelwerke von Heinrich Scheidemann''. Archiv für Musikwissenschaft. Wiesbaden: Franz Steiner Verlag, 1967. 56.</ref> He stated that, despite the connection to Scheidemann suggested by Fritz Dietrich, the piece can not be attributed to him on stylistic grounds.


== See also ==
== See also ==

Revision as of 05:57, 8 February 2024

Initials in K.N. 209

One piece in D-Lr Mus.ant.pract. K.N. 209 is headed by the currently unsolved initials "H.M.T.".

Attributions

Several theories as to the identity of "H.M.T." have been made, but none have gained widespread approval. It was theorized to be the south German composer Michael Tonsor[1] (an Intabulation of a piece by Tonsor does appear in D-Lr Mus.ant.pract. K.N. 210[2][3]). The musicologist Fritz Dietrich wrote that it may be a distortion of "F.T." (=Franz Tunder) and "H.S.M." (=Heinrich Scheidemann), two initials which appear in this manuscript[4].

Despite these, the initials remain unsolved; in Repertorium Orgelmusik the initials are left unattributed[5].

Works[6][7]

Manuscript No. Pages Title Incipits
D-B mus.ant.pract. K.N. 209 47 256-261
  • Ich Rueff Zu / dir Herr Jesu / Christ. / H.M.T.
  • 2dus Versus / Auf 2. Clavier
  • Tertius Versus. / Auff 2. Clavier.
 1st
<< \relative a' { \time 4/2 a1 f2 g f d } \\ \relative d' { r1 r4 d bes4. c8 d4 c8 bes a4. bes8 } \\ \\ \relative a { s\breve r4 a f4. g8 } >>

2nd
<< \relative a' { \time 4/2 r2 r8 a f4 g2 f2. } \\ \relative d' { d2 bes8 c d4. d8 c bes a4 bes8 c d4 } \\ \relative a' { s1 s2 a4. g8 f2*1/2 } >>

3rd
<< \relative e' { \time 4/2 \clef alto e2 c4 d c a' } \\ \relative a { r4 a4. f4 g8 a16 bes g a f g e f } >>

This work was covered by Werner Brieg in his book on Scheidemann's organ music.[4] He stated that, despite the connection to Scheidemann suggested by Fritz Dietrich, the piece can not be attributed to him on stylistic grounds.

See also

Editions of "Ich ruf zu dir, Herr Jesu Christ":

References

  1. ↑ Junghans, Wilhelm. Lüneburg eine Pflegstätte kirchlicher Musik. Aus dem Ostern 1870 herausgegebenen Programm des Johanneums zu Lun̈eburg abgedruckt. 33.
  2. ↑ Lydia Schierning. Die Überlieferung der deutschen Orgel- und Klaviermusik aus der ersten Hälfte des 17. Jahrhunderts. Kassel: Bärenreiter, 1961. 106.
  3. ↑ RISM450101516
  4. ↑ 4.0 4.1 Brieg, Werner. Die Orgelwerke von Heinrich Scheidemann. Archiv für Musikwissenschaft. Wiesbaden: Franz Steiner Verlag, 1967. 56.
  5. ↑ Beckmann, Klaus. Repertorium Orgelmusik. New York: Schott, 2001.
  6. ↑ Rehwinkel, William (editor). "Ich ruf zu dir, Herr Jesu Christ" 22 May, 2023. [1] Accessed 17 July, 2023.
  7. ↑ RISM450101450
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