Caspar Vincentius

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Caspar Vincentius (* around 1580 in Saint Omer ; † before June 1624 in Würzburg ) was a Franco-Flemish composer , organist and music editor of the late Renaissance .

Live and act

According to his own statement in the preface of a publication, Caspar Vincentius comes from St. Omer in the former county of Artois . In another publication he states that he was initially an alumnus and choirboy at the Notre-Dame cathedral in his native city; later he came to Brussels as a choirboy to the court orchestra of Archduke Ernst of Austria , who had been governor of the Spanish Netherlands since January 1594 . When Duke Ernst died on February 20, 1595, Vincentius was taken over to the imperial court orchestra in Vienna , where he worked as a chapel boy until 1597. The local court conductor Philippe de Monte recognized his talent and provided for his further musical training. After graduation, he left Vienna in 1602 and then received the position of city organist in Speyer . Here the relationship with the principal of the Latin school, Abraham Schadaeus , became important for him . After his departure from Speyer, he put the extensive fourth part of the Promptuarium musicum collection together for church use, after Schadaeus had created the first three parts from 1611 to 1613. In 1615 Vincentius resigned from his position in Speyer and moved to the St. Andrew's Church in Worms for a while . Finally, on August 3, 1618, he was called to Würzburg as cathedral organist, where he remained until his death. The cathedral organ was completed here in 1617 by Jakob Niehoff ; as a reviewer, Vincentius did not give a favorable judgment for this organ.

meaning

The main importance of Caspar Vincentius lies in his participation in the four-part collection Promptuarium musicum , in the fourth part with 132 Latin motets of five to eight voices; the pieces are called, among others, “preces”, “suspiria”, “laudes” and “cantica cum Psalmis et spiritualibus consolationibus”. 34 Italian composers are represented, including 16 pieces by German composers, including by Georg Otto (around 1550–1618), Melchior Vulpius , Bartholomäus Gesius , Adam Gumpelzhaimer and Jacobus Gallus . Vincentius has added a figured bass part to the pieces in the first three parts created by Schadaeus . The motets in Vincentius' own collection are in the tradition of the 16th century and show craftsmanship, but are less independent in their treatment of the text. The basso continuo accompaniments he added to other compositions were not intended to improve the works, but to replace the previously existing mostly imperfect tablatures with a “nova methodus”, a basso continuo based on the model of Lodovico Viadana , in order to promote their dissemination. An outstanding example of this is his figured bass part for the Magnus opus musicum by Orlando di Lasso .

Works

  • Vocal music
    • Motet “Ui nil est” with six parts in the Odae suavissimae collection , edited by Ph. Schoendorff, 1610 without location
    • Canticum congratulatory collection , Speyer 1611
    • 25 motets for five to eight voices and figured bass in the four-part collection Promptuarium musicum , Strasbourg 1611 and others, 5 of them also in the two-part collection Florilegium Portense , edited by E. Bodenschatz, Leipzig 1618 and 1621
    • Missa super "Cecilia gaude" with eight voices (Kyrie and Gloria)
    • Motet "O fili Mariae" with six parts (lost)
    • Motet “Where the Lord does not build the house” with eight voices
  • Figured basses for compositions by other masters
    • “Basis generalis ad organa musica accomodata” for parts 1 to 3 of the Promptuarium musicum
    • “In magni illius magni boiariae ducis symphoniarchae Orlandi de Lasso magnum opus musicum bassus ad organum nova methodo dispositus”, Würzburg 1625 (preface by Vincentius himself; published posthumously under the names of his children Walther, Konrad Friedrich and Anna Catharina Vincentius, with a dedication to Herzog Maximilian of Bavaria from September 6, 1624)
  • Edition
    • Promptuarii musici, sacras harmonias […] pars quarta […]. Collegit vero et basi generalis accomodavit , Strasbourg 1617 (with a dedication to the dean and cathedral chapter of Worms on June 29, 1617)

Literature (selection)

  • Robert Eitner:  Vincentius, Caspar . In: Allgemeine Deutsche Biographie (ADB). Volume 39, Duncker & Humblot, Leipzig 1895, p. 734 f.
  • A. Sandberger: Remarks on the biography of Hans Leo Hassler. In: Monuments of Tonkunst in Bayern V No. 1, Leipzig 1905
  • A. Werner: The old music library and the collection of instruments at St. Wenzel in Naumburg an der Saale. In: Archives for Musicology No. 8, 1926, pp. 390–415
  • W. Boetticher: Orlando di Lasso and his time , Kassel 1958
  • M. Sack: On the Würzburg music history at the beginning of the 17th century. In: Mainfränkisches Jahrbuch für Geschichte und Kunst No. 11, Würzburg 1959 (= Archive of the Historical Association for Lower Franconia and Aschaffenburg No. 82)
  • J. Roche: Anthologies and the Dissemination of Early Baroque Italian Sacred Music. In: Soundings No. 4, 1974, pages 6-12

Web links

swell

  1. ^ Johannes Günther Kraner, SL:  Vincentius, Caspar. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 17 (Vina - Zykan). Bärenreiter / Metzler, Kassel et al. 2007, ISBN 978-3-7618-1137-5  ( online edition , subscription required for full access)
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 8: Štich - Zylis-Gara. Herder, Freiburg im Breisgau a. a. 1982, ISBN 3-451-18058-8 .
  3. ^ The New Grove Dictionary of Music and Musicians , edited by Stanley Sadie, 2nd Edition, Volume 26, McMillan Publishers, London 2001, ISBN 0-333-60800-3
personal data
SURNAME Vincentius, Caspar
ALTERNATIVE NAMES Vincent, Caspar; Vincent, Gaspard; Vincent, Kaspar
BRIEF DESCRIPTION Franco-Flemish composer and organist of the Renaissance
DATE OF BIRTH around 1580
PLACE OF BIRTH Saint Omer
DATE OF DEATH June 1624
Place of death Wurzburg