Evening music

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Marienkirche in Lübeck

The evening music is the most traditional series of church music events in the Hanseatic city of Lübeck . They were the first regular church music events outside of the service and were free of charge because they were sponsored by the local economy.

The historical evening music from the 17th to the 19th century

Emergence

The evening music was founded by Franz Tunder during his time as organist at the Marienkirche in Lübeck (1641–1667). The origin of these concerts did not come from the parish , but from the merchants , in that the "trading guilds" in front of the stock exchange in the Lübeck town hall next door had a "time reduction" given by playing the organ. The Lübeck cantor and music director Caspar Ruetz reported in 1752 on the basis of oral tradition. The "evening play" is mentioned for the first time in 1646 when Tunder asked the church council for a salary increase because the irregular additional income ("Accidentia") decreased every year. Tunder expanded the initially pure organ concerts to include string instruments and vocals.

blossom

Dieterich Buxtehude , Tunder's successor as organist at St. Marien, took over this tradition established by his predecessor and expanded the series of events during his tenure at this church (1668–1707). On his initiative, two singing galleries were built into the nave of the church in 1669 to complement the four existing galleries. The six galleries offered space for a total of 40 instrumentalists and singers. The term evening music has been in common use since 1673 . Buxtehude expanded the program to include a choir and orchestra and took the help of his brother-in-law Samuel Franck , Tunder's son-in-law, who was cantor at St. Marien and at the Katharineum in Lübeck . It is assumed that up to 40 musicians will be participating, with Buxtehude providing seven council musicians free of charge. He initially had to pay for any further payment that might become necessary. The organist therefore bore the organizer's risk; however, the resulting shortfalls were regularly covered by private donations.

The evening music took place on Thursdays in Tunders times, but was put by Buxtehude on the five Sundays before Christmas from 1675 at the latest, on which it began at 4 p.m.

The course of the events cannot be compared with today's concert events. Because of the financing by the council, the merchant corporations, the guilds and donations from the families of the patriciate, the events attracted an extraordinary number of people from all walks of life the city was turned off free of charge to perform the evening music. The sponsors sat elevated on the rood screen and thus undoubtedly had an improved enjoyment of art with a simultaneous overview of the turbulent events in the nave. On the occasion of his visit to Buxtehude in Lübeck in 1705, Johann Sebastian Bach will also have participated in the "extraordinary" evening music. Buxtehude called it “extraordinaire” because this year it did not take place on the five Sundays, but on Wednesday and Thursday, December 2nd and 3rd. The first - Castrum doloris (Painful Camp) - was a memorial service in memory of the deceased Emperor Leopold I ; the second - Templum honoris (temple of honor) - celebrated the accession to the throne of his successor Joseph I. The textbooks of these two evening music are kept in a facsimile edition in the city library.

Continuation

The Marian organists Johann Christian Schieferdecker (1707–1732), Johann Paul Kunzen (1732–1757), Adolf Karl Kunzen (1757–1781) and Johann Wilhelm Cornelius von Königslöw (1781–1833) also continued the evening music and contributed to it each contribute their own compositions to the content of the concerts. However, under Schieferdecker, who withdrew from Buxtehude's work and no longer performed any of his evening music, a process of overturning occurred which was continued by Kunzen. Under von Königslöw, who initially also contributed his own compositions, the evening music changed around 1791 with the performance of Messiah (1792) and Saul (1794) by Georg Friedrich Handel, more to the reproductive mediation of oratorios . The ecclesiastical background also stepped back in favor of secularization , from 1800 the concerts took place on Fridays in the stock exchange in the town hall. In 1801 the council limited the number of annual Sunday church music for the whole of Lübeck to only 30 of a maximum of 1½ hours, which were allocated to the individual main churches according to a fixed key .

The popularity of the events at that time can now be measured by the fact that the first Lübeck address book from 1798 explicitly listed the evening music in the organizing time of Königslöws in its mixed local notes and described: “Spiritual oratorios, which are held on five Freytag evenings around Advent , and on Sunday evenings in St. Mary's Church every year, and for which various texts and compositions are then delivered. "

The end

In the succession of Buxtehude, the tradition continued uninterrupted until 1810. The last evening music was a resumption of 1782: The home of young Tobias . Then it died out not only as a result of the difficult economic conditions caused by the Lübeck French era , but also due to a shift in intellectual interest as a result of the civil enlightenment .

Resumptions in the 20th century

In 1926, the Marian organist Walter Kraft resumed the tradition of evening music as an event and as a composer. His successor Ernst-Erich Stender continued the evening music as a concert series in the summer by candlelight. Concerts at the turn of the year are performed under Johannes Unger and the tradition of evening music is continued.

In Bern Cathedral are performed since 1913 Abendmusiken in which Predigerkirche in Basel since 2013. The tradition lives in the Netherlands on. In 2002 a series of concerts under the name Abendmusiken began in Hoorn, the Netherlands . Three times a year the Evening Music Foundation organizes a concert with baroque music on Saturday afternoons.

Evening music as a work name

The name "Abendmusiken" is also used for the works created by Dieterich Buxtehude and his successors on the occasion of the concerts. None of these apparently oratorio-like pieces of music by Buxtehude has survived - only one composition with the title Wacht that cannot be attributed with absolute certainty to Buxtehude ! Get ready for a quarrel! (first published in 1939 under the modern title The Last Judgment ) is available. Details can be found in the Buxtehude works directory and from the organists themselves.

literature

Music and text books

  • Dieterich Buxtehude: Castrum Doloris - Templum Honoris. The "Extraordinary Evening Music" Lübeck 1705 . Facsimile edition. Library of the Hanseatic City of Lübeck, Lübeck 2002, ISBN 3-933652-14-6 , ( Publications of the Lübeck City Library 3, 22, facsimiles).
  • Text books of the Lübeck Evening Music (collection of all text books), Lübeck City Library, Lub 4 ° 8803
    • 1714 to 1729 digitized
    • 1782: The home of young Tobias: In the usual evening music of the city of Lübeck in the main church of St, Marien in 1782 for edification. Digitized
    • 1789: Sacred song poems, performed in the usual evening music of the city of Lübeck in the main church of St. Marien in 1789 for edification. Digitized
    • 1790: Sacred song poems, performed in the usual evening music of the city of Lübeck in the main church of St. Mary in 1790 for edification. Digitized
    • 1793: Sacred song poems, performed in the usual evening music of the city of Lübeck in the main church of St. Mary in 1793 for edification. Digitized
    • 1794: Sacred song poems, performed in the usual evening music of the city of Lübeck in the main church of St. Mary in 1794 for edification. Digitized
    • 1795: Sacred song poems, performed in the usual evening music of the city of Lübeck in the main church of St. Mary in 1795 for edification. Digitized
    • 1796: Sacred song poems, performed in the usual evening music of the city of Lübeck in the main church of St. Mary in 1796 for edification. Digitized
    • 1797: Sacred song poems, performed in the usual evening music of the city of Lübeck in the main church of St. Mary in 1797 for edification. Digitized
    • 1801: Sacred song poems. Or evening music by the city of Lübeck in the stock exchange in 1801. Digitized
    • 1802: Sacred song poems or evening music of the city of Lübeck listed in the stock exchange in 1802. Digitized
    • 1810: The home of young Tobias: Performed in the usual evening music of the city of Lübeck in the stock exchange in 1810. Digitized

Secondary literature

  • Almut Jedicke: Dietrich Buxtehude and the Lübeck Evening Music. In: The Tonkunst. Vol. 1, 2007, Issue 1, pp. 1-8.
  • Almut Jedicke: Franz Tunder and the beginnings of evening music. In: Wolfgang Sandberger, Volker Scherlies (Ed.): Dieterich Buxtehude. Text - context - reception. Bärenreiter, Kassel 2011, ISBN 978-3-7618-2168-8 , pp. 124-135.
  • Fritz Jung: The music in Lübeck . In: Fritz Endres (ed.): History of the free and Hanseatic city of Lübeck. Quitzow, Lübeck 1926, pp. 171-209 (179 ff).
  • Arndt Schnoor, Volker Scherliess : “Theater Music in the Church”. On the history of Lübeck evening music. Library of the Hanseatic City of Lübeck et al., Lübeck 2003. ISBN 3-933652-15-4 , ( Publications of the Lübeck City Library 3, 37, catalogs), (exhibition catalog).
  • Kerala J. Snyder: Dieterich Buxtehude. Bärenreiter-Verlag, Kassel 2007, ISBN 978-3-7618-1836-7 .
  • Kerala J. Snyder: Lübeck evening music. In: Arnfried Edler, Heinrich Wilhelm Schwab (Hrsg.): Studies on the music history of the Hanseatic city of Lübeck. Bärenreiter, Kassel, 1989, pp. 63-70.
  • Wilhelm Stahl : The Lübeck Evening Music in the 17th and 18th centuries. In: Journal of the Association for Lübeck History and Archeology. 19, 1937 pp. 1-64
  • Carl Stiehl : The organists at St. Marienkirche and the evening music in Lübeck . Breitkopf & Härtel, Leipzig 1886.

Individual evidence

  1. ↑ Caspar Ruetz: Refuted prejudices about the nature of today's church music and the way of life of some Musicorum. Böckmann, Lübeck 1752, p. 48.
  2. ↑ Jörg-Andreas Bötticher: Franz Tunder (program booklet for evening music in the Predigerkirche Basel), accessed on August 2, 2019 (PDF).
  3. ^ Snyder: Lübeck evening music. 1989, pp. 64, 69.
  4. ↑ a b Arndt Schnorr: "That doesn't happen anywhere else" - the Lübeck evening music. In: Music that »doesn't happen anywhere else«. World famous church music from Lübeck , p. 36; accessed on August 2, 2019.
  5. ↑ tagesspiegel.de: 300th anniversary of Dietrich Buxtehude's death , accessed on August 2, 2019.
  6. ^ Snyder: Lübeck evening music. 1989, p. 69.
  7. ^ Christoph Wolff : Johann Sebastian Bach . 4th edition. S. Fischer, Frankfurt am Main 2011, ISBN 978-3-596-16739-5 , pp. 109 .
  8. ↑ Kerala Snyder: Dieterich Buxtehude. Bärenreiter-Verlag, Kassel 2007, p. 92 f.
  9. ^ Marie-Agnes Dittrich: Organ building and organ music in Northern Germany. In: Heimo Reinitzer (Hrsg.): The Arp Schnitger organ of the main church St. Jacobi in Hamburg. Christians, Hamburg 1995, ISBN 3-7672-1187-4 , pp. 30-66, here pp. 62-64.
  10. ^ Lübeckisches Address Book with local notes and topographical news for the year 1798 , p. 179.
  11. ↑ The home of young Tobias: Performed in the usual evening music of the city of Lübeck in the stock exchange in 1810. Text book digitized , Lübeck City Library
  12. ^ Snyder: Lübeck evening music. 1989, p. 68.
  13. ↑ Lübeck Evening Music , accessed on August 2, 2019.
  14. ↑ Evening music in Hoorn , accessed on August 2, 2019.
  15. ^ Kerala J. Snyder: Buxtehude, the Lübecker Abendmusiken and »Wacht! Prepares you for an argument «. In: Yearbook of Early Music. Vol. 1, 1989, pp. 153-181.