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Stockholm manuscript S 230 and its Prussian context

100%

Leszczyńska A.

Interdisciplinary Studies in Musicology

2012

issue 11

201-212

The manuscript S 230, held in the National Library of Sweden in Stockholm, has not been thoroughly investigated until now. The only extant partbook of the source contains thirty two works, comprising motets and German songs. Only four of them bear the composers’ names: Orlande de Lassus, Franciscus de Rivulo, Johannes de Vienna and Joachim a Burck. Among the composers of anonymous works to have been identified are Jacob Bultel, Jacobus Clemens non Papa, Arnold Feys, Nicolas Gombert, Josquin des Prez and Jacob Meiland, as well as Lassus and Rivulo. At least two works are unique to this source: Rivulo’s A Domino egressa est res ista and Vienna’s Wohl dem, der den Herrenfiirchtet. The text of Rivulo’s motet is taken from the non-Vulgate version of the Book of Genesis, and the only other composer to write music to these words was Johannes Wanning, who succeeded Rivulo as magister chori musici at the Marian church in Gdańsk in 1569, five years after the latter’s death. Johannes de Vienna was composer at the Königsberg court in 1564-1568 and 1571 1576. The work from the Stockholm manuscript is his only extant composition. Two motets from the Swedish collection also appear in the Prussian manuscript J 40 24-28, held in the Copernican Library in Toruń: the anonymous Non est bonum and Rivulo’s Nuptiaefactae sunt.

Ustawiacze automatycznego carillonu ratusza Głównego Miasta w Gdańsku — Franciscus de Rivulo i jego następcy

86%

Popinigis D.

Aspekty Muzyki

2012

vol. 2

67-79

In 1561 an automatic carillon was installed at the Main Town Hall in Gdańsk. The mechanism was programmed by so-called town hall bell setters, who were employed by the City Council. We know the names of over twenty people who held this post. The fi rst was Franciscus de Rivulo — a composer most probably originally from the Netherlands. Out of all the bell setters that followed, he turned out to be the most signifi cant musician and outstanding composer. Later, the mechanism was programmed by other musicians, chiefl y organists, as well as members of the city orchestra and musicians’ guild. As many as ten of tchem were professional organists: Michael Colrep, Jacob Tetius, Franz Tetius, Andreas Neunaber, Jacob Neunaber, Christian Bühn, Theodor Friedrich Gülich, Rudolph Liebegott Liebendey, Julius Krieschen and Paul Krieschen. Members of the city chapel included Philipp Schönberg, Bartel Biehn and Johann Georg Borowski, while the musicians’ guild was represented by Hans Neunaber and Peter Bewersdorff. In the fi nal decades of the 17th century, the post was for the fi rst time held by a clockmaker, Johann Eichstedt. In the 19th century, the post of bell setter was held by two other members of this profession — Paul Friedrich Knaack and Carl Anton Kaschlinsky. On account of their professional training, these clockmakers were very familiar with the mechanism of the ‘singing device’ and they had no problems with setting music on the carillon drum. The article focuses on those setters whose activities had in some way infl uenced the musical culture of Gdańsk. It also points to the work of as yet not so well-know setters. Nevertheless, research is underway and in near future it promises to shed light on many of these currently unclear matters.

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1 Aspekty Muzyki

1 Interdisciplinary Studies in Musicology

1 Leszczyńska A.

1 Popinigis D.

2 2012

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Stockholm manuscript S 230 and its Prussian context

Ustawiacze automatycznego carillonu ratusza Głównego Miasta w Gdańsku — Franciscus de Rivulo i jego następcy