Die von Questenberischen Musikern aufgeführten Oratorien

Musicologica Brunensia, 2014

2007

Zur Identifizierung der Questenbergischen Partituren in Wiener Musikarchiven (A-Wgm und A-Wn)

Höink, Dominik and J. Cornelis de Vos (eds.). Deutschsprachige Oratorien des 'langen 19. Jahrhunderts': Studien zu vergessenen Gattungsbeiträgen. Universitäts- und Landesbibliothek Münster. Universität Münster, 2021. doi:10.17879/58049522534., 2021

Der vorliegende Band versammelt die Ergebnisse eines wissenschaftlich-künstlerischen Lehrprojekts. Im Rahmen von zwei Seminaren, die an der Folkwang Universität der Künste in Essen sowie der Westfälischen Wilhelms-Universität Münster stattgefunden haben, haben sich Studierende im Sommersemester 2019 vergessenen deutschsprachigen Oratorien des »langen 19. Jahrhunderts« zugewandt und zu jeweils einem Werk einen eigenen Forschungsbeitrag verfasst. Ergänzt werden die acht Werkstudien um einen einführenden Beitrag aus theologisch-bibelwissenschaftlicher Perspektive.

2014

An unprecedented upsurge of the Italian oratorio was experienced in Brno, South Moravia, in 1720s and 1730s, testified by 49 extant oratorio libretti of local origin. Productions of these musical pieces were organized mainly by Count Wolfgang Hannibal Schrattenbach, Olomouc bishop and former viceroy of Naples; hence the considerable number of otherwise unknown compositions by Neapolitan composers on the repertoire (Porpora, Vinci etc.). On the basis of a number of case studies, the present paper aims at describing the textual history of the selected librettos and scores, offering a hypothesis concerning their origin, and outlining the generic overlap between opera and oratorio as musical genres. Attached is the list of all known oratorios produced in Brno before 1740.

Musicologica Brunensia, 2014

Heimatblätter. Schwazer Kulturzeitschrift 61

THE THREE HOLY KINGS AS HUNGARIANS Liszt: Christus Oratorio I,5 The only Hungarian- related movement of the oratorio Christus is the March of the Three Holy Kings based partly on 19th- century Hungarian verbunkos music. The present study tries to give an explanation for this „Three Holy Kings- Hungarians”- association by presenting and interpreting Liszt’s changing concept of Hungarians. This change implied that after the mid-1850s Liszt gave up transcribing folk and national melodies in the nature of Hungarian Rhapsodies he had been occupied with since 1839–1840, turned to Christian subjects and was looking for meeting points between Hungarian and European art music. The earliest evidence of this tendency is the verbunkos- based „Tristis est anima mea” movement of the concept dating from between c.1849 and 1853 of the Revolutionary Symphony which, although it has remained unfinished, served as a starting point for the identically called movement in the oratorio Christus as well as for the symphonic poem entitled the Battle of Huns. The date is indicative of the fact that for Liszt the Hungarian War of Independence in 1848–1849 gave the decisive impetus for such a reinterpretation, so to say moral refinement of the concept of Hungarians. The March of the Three Holy Kings composed in the early 1860s is a memento of this two decade- long transformation process.

Die Musikforschung

Als die Sammlung der "Newen Teutschen Geistlichen und Weltlichen Liedlein" in zwei Teilen in München 1578 und 1580 bei der Druckwerkstatt von Adam Berg erschien, war ihr Autor wahrscheinlich schon tot, wie das am 17.8.1577 datierte Dokument nahelegt, das seine Witwe Ehrentrud erwähnt. Insgesamt umfassen die zwei Bände der veröffentlichten Sammlung 49 Lieder, darunter 21 im ersten und 28 im zweiten Band. Wahrscheinlich waren zwei weitere Bände für eine Veröffentlichung vorbereitet. bms online (Cornelia Schöntube)

Musicologica Brunensia

The lutheran manuscript Choral Books from the 17th Century preserved in the territory of Slovakia contain a lot of simple polyphonic Chants and Hymns, especially with German, but also Latin, Hungarian and Czech texts. Almost all of preserved manuscripts comes from Upper Hungary (contemporary Eastern Slovakia). The repertory of the manuscript sources includes arround 300 polyphonic compositions, mostly german origin. There are ca. 50 compositions from (mostly anonymous) local composers in this sources, from small polyphonic works in the traditional style of choral motet or metrical hymn with cantus firmus in discant to spiritual song with figured bass. This various styles of hymn setting stayed in practice in the lutheran churches of Upper Hungary until the Early 18th Century.