Corresponding Society of Musical Sciences

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The Corresponding Societät der Musicalischen Wissenschaften is a virtual musicological community founded by Lorenz Christoph Mizler in 1738 . Among the co-founders were Giacomo de Lucchesini († 1739) and Georg Heinrich Bümler (1669–1745).

Concept and structure

Philosophy of the firm

On the one hand, the partnership is Germany's first musicological society. On the other hand, it differs significantly in its objectives from today's institutions of this kind. Mizler initiated a wide variety of musical projects, but referred to music as his side work throughout his life. The “main end” and starting point of his efforts were a synthesis of philosophical and theological thoughts. He made this clear, for example, in his Leipzig lecture concept. This concept, which Mizler referred to elsewhere as musico theologia , appears in relation to the society in the introduction to the three necrologists in the fourth volume of his musical library . The prioritization of theology and philosophy over music makes Mizler's entire life plan understandable, because it was consistent for him to turn to other projects beyond music if necessary.

Mizler's theological and philosophical basic ideas differ significantly from those of conservative theologians. While they tried to use quotations from the Holy Scriptures in their arguments, Mizler ignored the Bible and the specifically Christian context in the above-mentioned concepts. Ultimately, differences between a theological and philosophical question are no longer recognizable. In both cases it is about the search for truth, because the search for God is identical with the search for truth and the highest good. In place of the biblical revelation ( sola scriptura ) Mizler put the "book of nature". In this way, he agrees with the drafts of the theologia naturalis developed by the Enlightenmentists Christian Wolff and Johann Christoph Gottsched . From a methodological point of view, reason - more precisely Wolff's demonstrative method - becomes an instrument of knowledge.

The image of the firm was largely shaped by Mizler. Apart from him, no other member has had any notable influence on society. Overall, his partnership can be seen as a typical project for the German Enlightenment. The fact that a paragraph of the statute explicitly expresses the expectation that the texts should be written in accordance with the type of teaching and the principles of Wolffian philosophy is to be seen as a further indication of the philosophical orientation. It was the declared intention "to put the musical sciences, as far as history is concerned, as well as what belongs to it from world wisdom, mathematics, rhetoric and poetry, as much as possible into perfect condition."

The musical library as a publication organ

Mizler's musical library served as the society's publication organ. An early and a later statute were published here, as well as the history of the company. Society members had the opportunity to place their own contributions in the musical library . However, only Christoph Gottlieb Schröter , Georg Philipp Telemann and Georg Venzky made use of this.

The statutes were expanded from the original 12 paragraphs (1738) to 32 paragraphs (1746). The new version contained new and reformulated passages. They could be interpreted as an attempt to solve internal problems, as the result of discussions within the society or with potential members, including Johann Sebastian Bach . The number of members was limited to twenty, and there were also four posts for foreigners and six honorary posts. The diverse mentions of dunning procedures for omissions are striking. The statutes should be observed “as closely as possible” and one should treat one another with “love and courtesy”. The efforts to improve the cash balance point to the firm's financial problems, which are also often addressed in letters from Mizler to Spieß. In addition to the prize for theoretical and practical work, which has been awarded every two years since 1738, the solution to a musicological task should now also be rewarded with a prize. Leipzig was set as the seat of the permanent library. A portrait well painted on canvas and a curriculum vitae should be made of all members. All of this was coordinated by the permanent secretary Mizler.

In-house correspondence

Since the members lived too widely in Germany and, in the case of Handel, even in England, there were no general meetings. Instead, the law firm corresponded internally with the help of parcels sent by the members by circulation. From the second of the presumably twelve packages onwards, they were sent to Mizler's new Polish address. He explained the content in the musical library . However, there were also packages whose content was not intended for the public. These programs also contained special voting slips for internal decisions made by the society. For example, if a new member was accepted, this required the consent of all members. This elaborate procedure took a year not only in the case of Bach, because the circulating parcels were not always forwarded promptly.

Law firm history

The partnership created a communication structure between the important composers Johann Sebastian Bach, Carl Heinrich Graun, Georg Friedrich Händel, Georg Philipp Telemann and Gottfried Heinrich Stölzel with the music theorists Lorenz Christoph Mizler, Christoph Gottlieb Schröter, Georg Andreas Sorge and Meinrad Spieß . Regrettably, apart from the musical library and the few letters that have survived, there are no other handwritten archival materials that could provide information on the content of the communication. The society published the first Bach biography with the necrology it initiated. Mizler was particularly interested in presenting the portrait required by the statutes. Elias Gottlob Haußmann's Bach portrait would not have been made without this initiative. Bach's late work has been brought into close connection with the partnership, especially since the agreement in content with the partnership's goals is evident. However, the evidence is different. The dedication of the Canon triplex a 6 Voci (BWV 1076) and the determination of the composition are documented. Some canonical changes, / about the / Weynacht-Lied: / Vom Himmel hoch da / I come here (BWV 769). Bach presented this work when he joined the firm. The musical sacrifice (BWV 1079) and the art of fugue (BWV 1080) have also been brought into connection with the partnership. For example, there are sources of Mizler sources on the circular fugue that is suitable for cancer and on the “story of the fugue that he [Bach] played before the king” ( musical sacrifice ) that strengthen these assumptions.

A larger project of the society was a music-theoretical task written out by Mizler to prohibit the octave and fifth parallels. The relevant writings published in the musical library were signed with the Society's internal names. The partnership name Pythagoras can be clearly assigned to Mizler. He found that the task had not been satisfactorily solved in any of the documents.

Mizler's report on the contents of the parcels sent highlights further details of the firm's history. The attempt made by Georg Andreas Sorge to dispute Mizler's position as secretary was particularly stressful. The dispute over Telemann's new musical system, which lasted from 1744 to 1754, was even more burdensome. Telemann had suggested dividing the octave into 55 micro-intervals, but he was evidently not aware of the mathematical problems associated with a satisfactory description of music theory. It was Sorge's credit to have provided a mathematical description of this system.

From 1754 onwards, the firm was only rarely represented. The last source is a correspondence of Mizler from February 16, 1761 with one of the still active members, Meinrad Spieß, to include the music theorist Martin Gerbert in the apparently formally still existing society.

Partnerships in chronological order.

The following list is based on the information in the Music Library for the years 1738–1752

1738
1. Giacomo de Lucchesini († 1739)
2. Lorenz Christoph Mizler (1711–1778)
3. Georg Heinrich Bümler (1669–1745)
1739
4. Christoph Gottlieb Schröter (1699–1782)
5. Heinrich Bokemeyer (1679–1751)
6. Georg Philipp Telemann (1681–1767)
7. Gottfried Heinrich Stölzel (1690–1749)
1742
8. Georg Friedrich Lingke (1697–1777)
1743
9. Meinrad Spieß (1683–1761)
10. Georg Venzky (1704–1757)
12. Udalricus White (1713–1763)
1745
11. Georg Friedrich Handel (1685–1759), honorary member
1746
13. Carl Heinrich Graun (1704–1759)
1747
14. Johann Sebastian Bach (1685–1750)
15. Georg Andreas Sorge (1703–1778)
16. Johann Paul Kunzen (1696–1757)
1748
17. Christian Friedrich Fischer (1698–1752)
1751
18. Johann Christian Winter (1718–1802)
1752
19. Johann Georg Kaltenbeck subrector and organist in Pasewalk.
1752-1756
The information on other members is partly contradictory. The following members are named in the sources:
Johann Georg Pisendel (1687–1755)
Christian Gottfried Krause (1719–1770), Cammer-Advocat in Berlin
Christoph Stoltzenberg (1690–1764), music director. in Regensburg
Caspar Ruetz (1708–1755), Cantor in Lübeck
Christian Michael Wolff (1709–1789), Capellmeister in Stettin
Büttner, Ambtsactuarius (clerk), further information on Büttner is not available.
Johann Gottlob Harrer (1703–1755), Music Director in Leipzig
Johann Georg Hoffmann (1700–1780), Cantor in Breslau

Individual evidence

  1. The two co-founders hardly appeared in the firm. In the list of members, Mizler gives brief information about his trusted friend Lucchesini, who was also active as a composer ( Musikalische Bibliothek , III.2 [1746], p. 356). As an Ansbacher Kapellmeister, Bümler was an important reference person for the young Mizler, because he was able to inform the pupil of the Ansbach high school about the connections between music and mathematics. The Nekrolog auf Bümler contains not only biographical information, but also mentions Bümler's temperature.
  2. ^ "Recitationes suas mathematicas philosophicas musicas de novo futur" as an appendix to the philosophical text De natura syllogismi , Leipzig 1742 ( source online ) .
  3. Musikalische Bibliothek , I.5 [1738], p. 69, ( source online ) , cf. Felbick 2012, p. 111.
  4. Musikalische Bibliothek IV.1 [1754], pp. 129-134 ( source online ) .
  5. Compared to all other Mizler texts, the second version of the Society's statutes has a strikingly conservative character from the theological point of view, both due to the mention of Holy Scripture and the Triune God, possibly the result of a compromise ( Musikalische Bibliothek IV.1 [1754], p. 348f. ).
  6. Musikalische Bibliothek IV.1 [1754], pp. 130f.
  7. Musikalische Bibliothek I.4 [1738], p. 75.
  8. Musikalische Bibliothek I.4 [1738], pp. 73f.
  9. Musical library (Mizler)
  10. Musikalische Bibliothek , I.4 [1738], pp. 73ff., ( Source online ) and Musikalische Bibliothek , III.2 [1746], pp. 348–356, ( source online ) .
  11. Only a small part of the other correspondence between the members has been preserved. The few letters available provide additional insights into the details of the firm's history. Hans Rudolf Jung and Hans-Eberhard Dentler: Letters from Lorenz Mizler and contemporaries to Meinrad Spieß , in: Studi musicali 2003, No. 32 ( source online ) (PDF; 4.5 MB).
  12. Felbick 2012, pp. 327-335.
  13. Handel's membership was "considered" on June 22, 1744 and then officially announced in 1745. The process also took nine months for Meinrad Spieß and Udalricus Weiß. The announcement of the respectable member [Bach] took place in 1746, the formal act of handing over the accession diploma and the statute did not take place until 1747. Musikalische Bibliothek , III.2 [1746], p. 357.
  14. The extent to which these representations are correct in all details is questioned (Felbick 2012, p. 441ff.).
  15. ↑ One of the goals formulated in the statutes was to restore the “majesty of ancient music” ( Musikalische Bibliothek , III.2 [1746], p. 354).
  16. Felbick 2012, pp. 276 and 336.
  17. Felbick 2012, pp. 327-335.
  18. Felbick 2012, p. 340ff.
  19. Felbick 2012, pp. 296–309.
  20. Musikalische Bibliothek III.2 (1746), pp. 356f. According to his information, Mizler's supplementary list of members covers the years 1746–1752 ( Musikalische Bibliothek IV.1 [1754], p. 107f.).
  21. Counting according to Mizler ( Musikalische Bibliothek III.2 (1746), p. 357, here without the year), but the diploma was sent as early as 1743 (Mizler to Spieß December 2, 1743, Jung / Dentler 2003, p. 95).
  22. These members are mentioned in a letter from Mizler to Spieß (June 22, 1744, Jung / Dentler 2003, p. 173f.) And in a list kept by Spieß in 1756 (ibid., P. 174f.).

literature

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