Georg Arnold (musician)

Georg Arnold (born April 23, 1621 in Feldsberg , † January 16, 1676 in Bamberg ) was an Austrian composer and organist of the Baroque era .

Life

Georg Arnold was born as the son of Wolf Arnold in Feldsberg , Lower Austria . There is no evidence of his youth and education. From 1640 to 1649 Georg Arnold was organist at the parish church of St. Markus von Wolfsberg , the seat of the administrator (Vicedomus) of the Bamberg possessions in Carinthia . Contacts with the court orchestra were established through the alto Adam Arnold. In the cultural centers of Carinthia, music was also kept in line with the trends of the time. In the inventories there are both Italian and German representatives of the new concert style, accompanied by figured bass, which the young composer could use as a guide.

On September 14, 1649, Georg Arnold took up his post as court organist of the Bamberg prince-bishop Melchior Otto Voit of Salzburg . His official duties also included composing and training choir boys. After the death of the Hofkapellmeister Georg Mengel, Georg Arnold took on additional tasks as "Director Chori" at Bamberg Cathedral. He developed a lively compositional oeuvre, which he always endeavored to print and distribute. Numerous inventories, u. a. The music collection of the Stockholm court conductor Gustav Düben (now Uppsala University) also lists his works. The inclusion of works by other authors in Arnold's print collections, including a mass by the Mainz court conductor Tobias Richter († 1682) and a Vesper psalm by the Electoral Munich court conductor Giovanni Giacomo Porro (1590–1656), testifies to supra-regional contacts .

Georg Arnold's compositional work was mainly focused on word-bound music. Nonetheless, his instrumental Opus tertium of 1659 sparked greater interest in the 20th century. The canzons and sonatas for two to four violins and basso continuo, e.g. Some with viola and bassoon, a sublime level. In the Psalmi de Beata Maria Virgine of 1662, Arnold used the violin scordatura, known as the “detuning or accord” . In his masses , Arnold ties in with the large-scale style of South German-Baroque church music of the first half of the 17th century. The spatial sound effect is increasingly being replaced by a solo-tutti alternation that is more dominated by dynamics. In terms of genre history, his masses tend towards the type of cantata mass. Even a partial viewing of the 72 sacred concerts shows that the liturgically free, mystifying texts in particular stimulated his creative imagination the most.

Georg Arnold's eldest son, Georg Adam Arnold (1645–1711), was a musician and painter. From 1685 to 1711 he was court organist in Bamberg. He made u. a. two large oil paintings of the baroque interior of Bamberg Cathedral .

plant

Vocal music

• Liber primus sacrarum cantionum for 2–5 voices and instruments (Nuremberg, 1651)
• Operis secundi liber I missarum, psalmorum et Magnificat for 5 voices and instruments (Innsbruck, 1656)
• Liber II sacrarum cantionum for 4–7 voices and instruments (Innsbruck, 1661)
• Psalmi de Beata Maria Virgine for 3 voices and instruments (Innsbruck, 1662)
• Psalmi vespertini for 2 solo voices, ripen choir and instruments (Bamberg, 1663)
• Opus sextum. Tres missae pro defunctis et alia missa laudativa for 4–7 voices and instruments (Bamberg, 1665)
• Mottetae tredecim selectissimae de nomine Jesu for voice and instruments (Kempten, 1672)
• Great pars. Quatuor missae for 4 voices and instruments (Bamberg, 1672/1673), identical to Missarum quaternio (Bamberg, 1675)

Instrumental music

• Canzoni, ariae et sonatae for 1–4 violins, violas and bc. (Innsbruck, 1659)

Manuscripts

• 22 copies by Gustav Düben from the years 1663, 1664 and 1665 (owned by UB Uppsala), e.g. Partly identical to works from the prints from 1661 and 1663
• To love music begir i am , canon for 2 voices, autogr. Entry in Liber amicorum by JG Fabricius, 1660

literature

• G. Beckmann, The violin playing in Germany before 1700 , Leipzig-Berlin, 1918.
• H. Dennerlein, Art. Georg Arnold , in: The music in past and present, 1st edition, vol. 15.
• H. Meyer, The polyphonic game music of the 17th century in Northern and Central Europe , in: Heidelberger Studien zur Musikwissenschaft 2, Kassel 1934.
• M. Neumann, Early music culture in Spittal and the Wolfsberg residence in Bamberg , in: 6th year book of the Villach City Museum, 1969.
• Newman, William, The Sonata in the Baroque Era, Chapel Hill , 1959.
• G. Weinzierl, Art. Georg Arnold , in: Music in the past and present, 2nd edition, personal section, vol. 1.
• G. Weinzierl, Art. Georg Arnold , in: The New Grove Dictionary of Music and Musicians.
• G. Weinzierl, The Messenschaff of the Prince Bishop of Bamberg Court Organist Georg Arnold (1621–1676) , in: 119th Report of the Historical Association, Bamberg 1983, pp. 153–286; Theoretical part of the Phil. Diss., Erlangen 1983.
• G. Weinzierl, representative of the high baroque in Bamberg, The prince-bishop's court organist Georg Arnold , in: Music in Bavaria, half-yearly publication of the Society for Bavarian Music History, issue 36, 1988.
• G. Weinzierl, Georg Arnold, Missa quarta 1672, Sacrae Cantiones 1661 , in: Monuments of Tonkunst in Bavaria , New Series, Volume 10, Wiesbaden 1994.

Web links

• Works by Georg Arnold in the catalog of the German National Library