Beate Sorg
Beate Sorg holds a PhD in Musicology from Johannes Gutenberg Universität Mainz (2014), with a focus on eighteenth-century German music. Her dissertation, entitled “Christoph Graupners Musik zu zeremoniellen Anlässen” examines the political, cultural and historical context of the works by this contemporary of J. S. Bach.
less
Related Authors
InterestsView All (12)
Uploads
Papers by Beate Sorg
Books by Beate Sorg
For the landgrave‘s ceremonies, Graupner used to write church cantatas for the mandatory service, plus often some secular music for entertainment. The genre of the cantata – new and highly fashionable at the time – dominates Graupner‘s oeuvre, but there are also operas, especially in the first decade of his service. 83 panegyrical works (57 spirital and 24 secular cantatas, 2 stage works) were analysed in their composital circumstances. New insights could be gained, like datings, assignments and classifications, also some textbooks, that had been considered lost could be identified. Councillor Johann Jacob (von) Wieger turned out to be probably one of the most important authors of textbooks.
It has become clear that court representation suffered decline at the end of the age of enlightenment, which affected the court music in Darmstadt as well as in other residences. For Graupner, it was inevitable to submit under the hierarchical structures, but there is also evidence that he tried to create a stand-off for himself in a latent way: on the one hand by writing musical subtexts that can be regarded as critical meaning, on the other hand by turning to church music and thereby to a religious claim of christian virtues, and by accomplishing his work to „the glory of God“, which meant a personal justification, superior of all worldly calamities.
Drafts by Beate Sorg
Johann Conrad Lichtenberg wrote three series that form an associated cycle. One of them, written in 1741, is »Betrachtungen über die Hauptumstände des großen Versöhnungsleidens unseres Erlösers« (Reflections on the Circumstances Surrounding the Propitiatory Passion of our Saviour), consisting of ten cantatas.
For the landgrave‘s ceremonies, Graupner used to write church cantatas for the mandatory service, plus often some secular music for entertainment. The genre of the cantata – new and highly fashionable at the time – dominates Graupner‘s oeuvre, but there are also operas, especially in the first decade of his service. 83 panegyrical works (57 spirital and 24 secular cantatas, 2 stage works) were analysed in their composital circumstances. New insights could be gained, like datings, assignments and classifications, also some textbooks, that had been considered lost could be identified. Councillor Johann Jacob (von) Wieger turned out to be probably one of the most important authors of textbooks.
It has become clear that court representation suffered decline at the end of the age of enlightenment, which affected the court music in Darmstadt as well as in other residences. For Graupner, it was inevitable to submit under the hierarchical structures, but there is also evidence that he tried to create a stand-off for himself in a latent way: on the one hand by writing musical subtexts that can be regarded as critical meaning, on the other hand by turning to church music and thereby to a religious claim of christian virtues, and by accomplishing his work to „the glory of God“, which meant a personal justification, superior of all worldly calamities.
Johann Conrad Lichtenberg wrote three series that form an associated cycle. One of them, written in 1741, is »Betrachtungen über die Hauptumstände des großen Versöhnungsleidens unseres Erlösers« (Reflections on the Circumstances Surrounding the Propitiatory Passion of our Saviour), consisting of ten cantatas.