dimecres, 16 de novembre de 2016

STADEN, Johann (1581-1634) - Motetten (1625)

Pierre Mignard - San Juan Bautista (1688)
Obra de Pierre Mignard (1612-1695), pintor francès (1)


- Recordatori de Johann Staden -
En el dia de la commemoració del seu 382è aniversari de decés



Parlem de Pintura...

Pierre Mignard (Troyes, 7 de novembre de 1612 - Paris, 30 de maig de 1695) va ser un pintor francès. Es va formar inicialment amb Jean Boucher a Bourges i poc després, el 1633, va entrar a l'estudi de Simon Vouet a París. Dos anys més tard va viatjar a Roma, on hi va arribar el 1636 i a on hi va romandre més de 20 anys, fins a octubre de 1657. Allà va conèixer l'art clàssic de Domenichino i Nicolas Poussin, entre altres. No obstant això, Mignard no va deixar d'estar atent les noves tendències de la pintura romana del seu temps, com les provinents de Venècia. El 1657 va tornar a França, passant per Avinyó i Fontainebleau, on va retratar a Lluís XIV, abans d'arribar a París. Precisament, va ser el retrat el gènere en què va destacar, i va obtenir una gran reputació amb les representacions de destacats personatges de la cort en elegants composicions al·legòriques. Tampoc va menysprear la pintura històrica, el gènere més honorable segons els postulats acadèmics contemporanis i al mateix temps va realitzar obres de gran interès, com la decoració de la cúpula de l'església de Val-de-Grâce de París per Ana d'Àustria el 1663, on va poder aplicar els ensenyaments de Giovanni Lanfranco que havia rebut a Roma. El 1690, i després de la mort de Le Brun, va assolir la condició de pintor del rei i de director de l'Acadèmia Francesa. Mignard va morir a París el maig de 1695.

Font: En català: No disponible En castellano: Pierre Mignard (1612-1695) In english: Pierre Mignard (1612-1695) - Altres: Pierre Mignard (1612-1695)



Parlem de Música...

Johan Staden (Nürnberg, bap. 2 de juliol de 1581 - Nürnberg, bur. 15 de novembre de 1634) va ser un organista i compositor alemany. Es desconeix la formació inicial i la primera documentació va aparèixer en un escrit de Doppelmayr que el va situar com a organista a Nuremberg. Allà també es documenta el seu casament el 16 d'abril de 1604. Més endavant va ser organista de la Cort de Bayreuth fins el 1605, any que la cort es va traslladar a Kulmbach i a on hi va treballar fins el 1610. A partir d'aquí el seu rastre es perd fins el seu retorn a Nurember el gener de 1611, any del baptisme de la seva filla. Després de la mort de Hans Leo Hassler el juny de 1612, Staden va ocupar el càrrec vacant a Dresden fins a principis del 1614. Aquell mateix any va tornar a Nuremberg on va treballar al servei de la ciutat i a la Spitalkirche. El novembre de 1616 va substituir a Kaspar Hassler com a organista de l'església de San Lorenz i el 1618 va ser nomenat organista a San Sebaldus el qual ja va mantenir fins el novembre de 1634, l'any de la seva mort a Nuremberg. Els seus dos fills, Sigmund Theophil Staden i Adam Staden, van ser compositors.

OBRA:

Vocal secular:

Neue teutsche Lieder nach Art der Villanellen beyneben etlicher Baletti oder Tantz, 3–5vv (1606)
Neue teutsche Lieder mit poetischen Texten samt etlichen Galliarden, 4vv (1609); 3 in S ii; 1 in J iv; 4 ed. in W. Vetter, Das frühdeutsche Lied, ii (Münster, 1928), 20ff
Venus Kräntzlein, newer musicalischen Gesäng und Lieder, 4, 5vv (1610); 7 in S ii; 1 in J iv; 15 ed. in NM, cxix (1936, 2/1959)
Orpheus redivivus, MS, lost, see Zirnbauer, 1960, p.346

Vocal religiosa:

Neue teutsche geistliche Gesäng, 3–8vv (1609)
Harmoniae sacrae pro festis praecipuis totius anni, 4–8vv, quibus … adjectae sunt … novae inventionis italicae cantiones, 1–5vv, bc (1616); Angelicus hymnus, no.11, pubd separately (1615); 7 in S i; 1 in J ii
Jubila sancta Deo per hymnum et echo, 8vv (1617)
Harmoniarum sacrarum continuatio, 1–12vv, bc (1621); 3 in S i; 3 in S ii
Drey christliche Betgesäng, 4vv (1622)
Harmonicae meditationes animae, 4vv (1622)
Hauss-Music, geistliche Gesäng, 3, 4vv: vol.i (1623, 2/1634), 4 in S i; vol.ii (1628), 2 in S i, 1 in J ii; vol.iii (1628), 9 in S i, 6 in J v; vol.iv (1628), 4 in S i; 4 vols. pubd together (1646), 2 in S i
Kirchen-Music, geistliche Gesang und Psalmen: vol.i, 2–14vv (1625), 1 in S i, 1 in S ii; vol.ii, 1–7vv/insts, bc (1626), 5 in S ii; incl. in bc of vol.ii, Kurz und einfältig Bericht für die jenigen, so im Basso ad Organum unerfahren; pr. in AMZ, new ser., xii (1877), 99–103, 119–23; extracts trans. in Arnold, 100–09
Harmoniae novae sacrarum cantionum, 3–12vv, bc (1628); 4 in S ii
Hertzentrosts-Musica, geistliche Meditationen, 1v, bc (1630); copy in D-Nst incl. MS organ tablature of nos. 1–9; 1 in S ii
Musicalischer Freuden- und Andachtswecker oder Geistliche Gesänglein, 4–6vv (1630); 3 in S i; 2 in J ii, iv
Hertzens Andachten, geistliche Gesänglein, 1, 4vv, bc (1631); 2 in S ii
Harmoniae variatae sacrarum cantionum, 1–12vv, bc (1632); 1 in S ii
Plausus Noricus praecelsissimo atque potentissimo principi ac domino, domino Gustavo Adolpho, 9vv/insts, bc (1632)
Geistliche Music-Klang, 1, 3vv, 2, 3 viols, bc (1633); 1 in S ii
Davids Harpffe, 1v, bc (1643), lost
Ach bleib bey uns, 8vv (n.d.)
1 Magnificat, 1620, incl. in Kirchen-Music, i
12 songs, 4vv, 1637
5 motets, 1672, 4 from Harmoniae novae
Lamb Gottes, das du weg nimbst Sünd der Welt, response, 4vv, D-Nla

Instrumental:

Neue Pavanen, Galliarden, Curanten, a 4, 5 (1618) [incl. 1 repr. from 1616]; 6 in S ii; 6 ed. in NM, lxxx (1932, 2/1955); 2 balletti ed. in E. Mohr, Die Allemande, ii (Zürich and Leipzig, 1932), nos.46–7
Opusculum novum, a 4 (1625)
Operum musicorum posthumorum pars prima, a 3–8 (1643); 8 in S ii; 3 ed. in W. Hillemann, Im Trio (Mainz, 1954)
Inst pieces in secular vocal collections, see above
5 suite movts, a 3, Nuremberg, Staatsarchiv (score)
21 pieces incl. 4 toccatas, kbd, and org transcrs. of inst works, I-Tn (see Mischiati)

Literatura:

Letter, 4 Dec 1626, Nuremberg, Staatsarchiv
Kurz und einfältig Bericht, see Kirchen-Music, ii (1626)

Font: En català: Johann Staden (1581-1634) En castellano: No disponible In english: Johann Staden (1581-1634) - Altres: Johann Staden (1581-1634)



Parlem en veu pròpia o en veu d'altri...

German composer and organist. He was a distinguished and versatile composer, and one of the outstanding German musicians of his day. In his later years he was the leading musician in Nuremberg and established the so-called Nuremberg school of the 17th century. Staden published no further secular vocal music after leaving the Bayreuth court about 1610. His principle sacred works are a mixture of old and new styles: some motets without basso continuo, some with continuo as well as other instruments, and choral and solo concertos. His first major work, Harmoniae sacrae (1616), contains all these types and is of considerable historical interest. The first 21 pieces are five- to eight-part motets without continuo, modelled after Lassus; an appendix consists of six pieces for two to five voices with continuo (some also have other instrumental parts) in the style of Lodovico Viadana's Cento concerti ecclesiastici (1602). Furthermore, the eighth partbook has all the parts in open score for the organist, which appears to be the earliest German instance of this Italian practice. Along with Aichinger's Cantiones (1607–9), Michael Praetorius's Urano-Chorodia (1613), the first part of Schein's Opella nova (1618) and Schütz's Psalmen (1619), Staden's Harmoniae sacrae offers some of the earliest sacred concertos in Germany; through it he introduced to Nuremberg an obligatory basso continuo (in the style of Viadana), independent instrumental accompaniment, the solo concerto and the modern score. Nevertheless, the basic style is still that of the motet; melodically and harmonically there is no trace of the seconda pratica anywhere in Staden's output. Other collections that can be grouped stylistically with Harmoniae sacrae are Harmoniarum sacrarum continuatio (1621), which also contains open scores, Harmoniae novae sacrarum cantionum (1628, ‘cum & sine Basso ad Organum’) and Harmoniae variatae sacrarum cantionum (1632), though the continuo part of all three is usually a basso seguente.

Staden's first major work with German texts is Kirchen-Music (1625–6), which contains several examples of concerted writing for solo voices, chorus and mixed vocal and instrumental groups. Volume i makes extensive use of chorale texts, whose melodies often serve as cantus firmi in the manner of the chorale motets of Senfl and Heinrich Finck a century earlier; in general, however, chorales play a lesser role in Staden's music. The texts of volume ii are psalms and other biblical verse, usually set in concerto style. The careful attention to declamation and pictorial aspects of the texts makes Kirchen-Music Staden's most expressive work. The basso continuo partbook of volume ii contains his well-known ‘brief and simple introduction’ to ‘basso ad organum’ (see Arnold, 100ff, and the foreword to edn of vol.i, DTB, xii, Jg.vii/1, p.xlii). He added nothing to the theories of Viadana, Agazzari and Michael Praetorius, but he provided a clear summary of these earlier writings and showed his thorough understanding of the various types of basso continuo (see Eggebrecht). His Hertzens Andachten (1631) and Geistliche Music-Klang (1633) also contain solo concertos, and his lost Davids Harpffe (1643) probably did so too. With his Hertzentrosts-Musica (1630) he introduced the solo continuo song to Nuremberg, and along with Schein and Melchior Franck he was an early composer of motet dialogues, two of which appear in Hauss-Music (1628). To sum up, Staden was one of Germany's earliest exponents of the concertato style (both choral and solo) and the continuo. But his maxim, according to Herbst and Walther, was: ‘the Italians do not know everything, the Germans can also do something’. And indeed his output shows neither a complete surrender to, nor a stubborn evasion of, new Italian styles, forms and textures, including those based on the continuo, such as concertato, monody and recitative. Instead his works reveal a conservative interpolation of these elements with the German traditions of syllabic treatment of the text, unadventurous harmony and counterpoint and the dominating sacred songs with their restricted melodic flow and limited forms.

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Informació addicional... 

INTERPRETS: WindsbacherknabenchorConcerto PalatinoCapella de la TorreMartin Lehmann
AMAZON: STADEN, J. - Motetten
SPOTIFY: STADEN, J. - Motetten



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