Tugend Und Untugend: German Music From The Time Of Luther

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Cat No: 8553352

Release Date: 01 January 2000

Label: Naxos / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 730099435222

Genres: Classical

Composer/Series: Tugend und Untugend

Description
Ensemble Villanella The century from 1450 to 1550 brings an awakening, anestablishment and a golden age of German music. The Fundamentum organisandiby the Nuremberg organistConrad Paumann and the Buxheimer Orgelbuch areevidence of the German pioneering work in the field of keyboard music. Thenewly discovered polyphonic possibilities of the lute are explored by Germanmusicians and starting with Lied manuscripts such as the Lochamer Liederbuchand the Glogauer Liederbuch, the Lied reaches new heights. Among theprincipal composers and innovators in the art of the Lied are Heinrich Isaac, PaulHofhaimer and Ludwig Senfl, while the development of printing soon led in Germanyto the introduction of music printing. The Franco-Flemish composer Heinrich Isaac wasparticularly active in Italy and in Austria, where between 1497 and 1514 heheld the position of court composer to Maximilian I. From 1480 to 1492 heserved Lorenzo de Medici in Florence, where he was cathedral organist,thereafter moving to Innsbruck and then to Vienna in the imperial service. Hespent the last three years of his life in Florence, where he died in 1517. Oneof the most skilled and prolific composers of his time, he composed, in additionto large scale Masses and motets, songs and instrumental music. The song on whichthe five-part Carmen [1] is based has not been found, while the musicalone survives of the popular song In meinem Sinn [5,7,8]. Songs byIsaac included are Greiner, Zancker [ll], Mein Freud allein[16), an instrumental prelude on Ich stund an einem Morgen [26], acontrapuntal piece on the notes La Mi La Sol (A-E-A-G) [30] and aversion of a song Las rauschen [35], the words of which, preserved in a quodlibetby Wolfgang Schmetzel from 1544, are about love-making in a field of clover. Paul Hofhaimer was born in Radstadt in 1459 andestablished himself as an organist of international reputation, becomingorganist to Maximilian I in 1490 and from about 1520 to 1537 organist to thePrince-Archbishop of Salzburg. He was also distinguished as a teacher,numbering among his pupils Hans Kotter. The lyrical qualities of his music areevident in the examples of his work here included, Erst weis ich, was die Liebeist [6), Greiner, Zanner [14], Mein einigs A [31 and 32] and Zucht,Eer und Lob [33 and 34]. Another musician in the service of Maximilian I wasHeinrich Finck, who served in his time three Polish kings. From 1510 to 1513 hewas Kapellmeister to Duke Ulrich in Stuttgart, then court musician toMaximilian I in Augsburg. In 1520 he was appointed composer to the chapter ofthe Cathedral in Salzburg and in 1525 and 1526 was court Kapellmeister to theEmperor Ferdinand I in Vienna. He died in 1527. Famous for his liturgicalcompositions, he also won a reputation for his secular tenor songs, most often usinghis own melodies. These give evidence of the highest level of feeling formelody and contrapuntal skill. Greiner, Zanner [12] uses the song for aninstrumental piece and Gloria, l
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