Heinrich Finck

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Heinrich Finck (* 1444 or 1445 in Bamberg (?); † June 9, 1527 in Vienna ) was a German composer and conductor of the Renaissance .

Live and act

My hearty G.

The source situation for Heinrich Finck's biography is to a large extent confusing, partly contradicting and therefore uncertain in the chronological allocation. The year of his birth can be seen with some reliability from a commemorative medal that King Ferdinand I of Bohemia and Hungary had struck around 1528, with the inscription: "Henricus Finck musicus excellentissi [mus] Eta [te] Sua 83 obijt 1527" (Heinrich Finck, most outstanding musician, died 1527, his age 83). His place of birth, however, is less certain. Solely in the Leipzig University matrikel the summer of 1482 there is the entry "Henricus Finck de Bamberga Bav., Bonus cantor". On the one hand, the words bonus cantor were added by another scribe; on the other hand, the student Finck would have been 37 or 38 years old at this time; Furthermore, there is no reference to the composer to be found in the archives of the extensive Bamberg patrician family of the same name. In addition, Heinrich Finck's great-nephew Hermann Finck indicates in the foreword to his music-theoretical treatise Practica musica ( Wittenberg 1556) that his great-uncle received his education in Poland at a young age and was already among the socially respected practitioners and around 1480 Theorist belonged. However, there is neither archival evidence of Finck's possible activity as a singer in the service of the Polish King Casimir IV (term of office 1447–1492) nor of a possible study at the University of Krakow , as previously assumed by music history researchers.

The first document that Finck wrote himself is a letter from April 7, 1492 (or 1494) to the humanist Conrad Celtis in Ingolstadt , written in Vienna , in which he reports that he came to Vienna via Poland after he left. All further assumptions that music historians have linked to this letter (reasons for breaking off the first stay in Poland or contacts during the trip) can be considered as unproven assumptions. The significance of a note in the files of the Electoral Saxon court ( Weimar State Archives ) from around 1494/95, where it is said that “the king of polenn singer” received a sum of money “for a gift”, is also open.

The tradition for the period from 1498 to 1505 is somewhat more favorable because of the entries in the royal Polish accounts and expenditure books (“Liber Rationum Regiarum”) for Heinrich Finck's second stay in Poland as a member of the band of Grand Duke Alexander of Lithuania (later King of Poland 1501 to 1506). It is true that only “Cantor Henricus” or “Magister Henricus” is mentioned here, and only the whereabouts of the chapels Vilna , Grodno , Troki , Brest , Krakow and other cities as well as the payment modalities are mentioned and nothing about the tasks and activities of the composer , nothing about the music practice or the repertoire of the band. However, the English humanist Leonard Coxe (~ 1495− ~ 1549) suggested identification with the composer Finck in a passage in his Krakow university speech in 1518.

There is no record of Heinrich Finck for the immediate following years. Only from the year 1510 is there an archival document in which Finck is employed at the Stuttgart court of Ulrich von Württemberg (term of office with interruptions from 1498 to 1550) with an annual salary of 60 guilders , namely as "capellmaister" or "singemeister". The extent of Finck's involvement in Duke Ulrich's wedding with Sabina von Bayern in March 1511 is uncertain and controversial. A cautious assumption is that only the seven-part creed of the “Missa in summis” with the secular wedding song “O Venus bant ”and perhaps also the seven-part antiphon “ Veni sancte spiritus: Reple tuorum ”are related to this wedding.

Heinrich Finck left the Württemberg court before 1515. From the time thereafter there are only two documents, a personal letter from around 1515 to the humanist Joachim Vadian and a greeting from 1517, also to Vadian, which the humanist Caspar Ursinus sent. To draw conclusions about certain stages in Heinrich Finck's life from these documents, as some music historians have done, is purely hypothetical. Only from another letter from Finck to Vadian dated May 10, 1524, which was written in a resigned tone, did he find a job in the court chapel of Cardinal Lang, who was promoted to Archbishop of Salzburg in 1519 . It is not known how long this employment lasted or what type it was.

There is only fragmentary information about Finck's last years. A chronicle written sixty years later by Johann Rasch (1586) contains a report on Heinrich Finck's participation in the establishment of a choir at the Schottenkloster in Vienna, but from 1517 onwards. The composer is named here together with Erasmus Lapicida "archimusicus", who in this Monastery was permanently resident. Finally, in the Vienna Court Regulations, King Ferdinand I listed him as Kapellmeister from January 1, 1527, with the task of “being the boy Preceptor and learning”. Five months later Heinrich Finck apparently died in the Schottenkloster Vienna: "Anno 1527, feria secunda post Trinitatem, June 9th, obijt Hainricus Finck, vir magnificus et musicus excellentissimus".

meaning

In the judgment of his contemporaries and the 16th century, Heinrich Finck had a certain reputation with corresponding mentions in music theory treatises. His great-nephew Hermann Finck and the music theorist Andreas Ornitoparchus recognized his position as a composer, but also had critical words for his sometimes strange and rough individual style. Ornithoparchus puts Finck in his Musice active micrologus (Leipzig 1517) as the only German master among the most important Franco-Flemish composers of his time such as Johannes Ockeghem , Johannes Tinctoris , Alexander Agricola , Jacob Obrecht and Josquin Desprez . Martin Luther expressed himself similarly in his table speeches (1537), in which Finck is referred to as "artifex primus" and "highly famous". This finds a correspondence in the voices of music historical researchers of the 19th century. Since that time Finck has been considered the “first German grandmaster”, and in particular August Wilhelm Ambros (1868) calls him the first German composer who, in his “barren ability, in his undemanding size” and despite “occasional hardships and harshness” as "Erz- und Herzdeutscher Meister" have proven.

Only a fraction of Finck's compositional work has survived (112 compositions), of which only a few works from the period before 1510. Most of the compositions only spread in around 60 prints and manuscripts from Central Germany (especially Wittenberg) after his death. His work reflects the typical phenomena of German music practice around 1500 in the weighting of sacred-liturgical and secular genres. The spiritual range of his work and the universal treatment of all spiritual and secular musical forms of his time unreservedly justify his rank as grandmaster. As a contemporary of Josquin Desprez, he composed for about 60 years; thus his compositions were subject to considerable stylistic changes in the course of time, and with admirable readiness he worked creatively on the "more modern" music from Heinrich Isaac and Josquin Desprez at the turn of the 15th to the 16th century . His German song movements, rich in imitation in the voice guidance and meticulous in the text presentation, are among the most solid compositions of their kind in the early 16th century.

Works

  • Measurement ordinaries
    • Missa for three voices
    • Missa dominicalis to four voices
    • Missa ferialis to four voices (assignment to Heinrich Finck still uncertain)
    • Missa “Ave praeclara” with five to six voices
    • Missa in summis with six to seven voices
    • Kyrie and Gloria paschalis, fragment, only tenor survived
    • Kyrie paschale (1) to four votes
    • Kyrie paschale (2) to four votes
  • Proprien
    • Introits
      • “Ecce advenit” to four votes
      • “Ecce advenit”, fragment, only treble and tenor survived
      • “In medio ecclesiae” to four voices
      • “Puer est nobis” to four voices
      • “ Resurrexi et adhuc tecum sum ” with four voices
      • “Rorate coeli” to four votes
      • “Stabant iuxta crucem Jesu” to four votes
    • Alleluia sets
      • “Ave Maria, gratia plena”, fragment, only tenor survived
      • “Caro mea vere est” to four voices
      • “Primus ad sion”, fragment, only descant, tenor and bass survived
      • “Prophetae sancti” to four votes
      • “Vidimus stellam” to four voices
    • Sequences
      • “Ave omni naevo carens”, fragment, only tenor survived
      • “Ave praeclara maris stella”, fragment, only treble, tenor and bass survived
      • “Clarum selegit senatum apostolorum”, fragment, only bass survived
      • "Fortem expediat" to four votes
      • “Grates nunc omnes” to four voices
      • “Grates nunc omnes” with six (?) Voices, fragment, only treble, tenor, vagans (additional part) and bass passed down
      • “Lauda sion”, fragment, only tenor survived
      • “Laus tibi, Christe”, fragment, only tenor survived
      • “Quae miris sunt modis ornata” for four voices
      • "Rex omnipotens die hodierna", fragment, passed down only tenor and vagans
      • “Scio enim, quod redemptor”, fragment, only bass survived
      • “Stella, sole clarior”, fragment, only tenor survived
      • “Victimae paschali laudes” to four votes
  • Responsories
    • “Apparuerunt apostolis” to five votes
    • "Beati estis sancti Dei" to five voices (deest)
    • “Christ resurgens ex mortuis” with five votes
    • “Discubuit Jesus et discipuli eius”, fragment, only treble, tenor and bass survived
    • “Felix namque es sacra” to five voices
    • “Illuminare Jerusalem” to five votes
    • “Ite in orbem universum” to five votes
    • “Petre amas me” to five votes
    • “Si bona suscepimus”, fragment, only bass survived
    • “Verbum caro factum est” with five votes
  • Antiphons
    • “Ecce Maria genuit”, fragment, only treble, tenor and bass survived
    • “Et valde mane una Sabbatorum” to five votes
    • “Miserator Dominus” to four votes
    • “Nigra sum, sed Formosa” with four voices
    • “Salva nos Domine” with five votes
    • “Salve regina rex misericordiae” with four voices
    • “Veni, electa mea”, fragment, only bass handed down
    • “Veni sancte spiritus: Reple tuorum” to seven voices
  • Magnificat
    • Magnificat septimi toni to four votes
    • Magnificat octavi toni to four voices
  • Hymns
    • “Beatus auctor saeculi” with four voices
    • “Christe, redemptor omnium” to four votes
    • “Cuius magnifica” to five voices
    • "De Apostolis"
    • "De Confessoribus"
    • "De Sancta Elisabeth"
    • "De Sancta Maria Magdalena"
    • “Domus pudici pectoris” to four voices
    • “Festum nunc celebre” with four voices
    • “Fit porta Christi pervia” with four voices
    • “Genitori genitoque” for four voices
    • “Genus superni luminis” with four votes
    • “Gloria, laus et honor” to four votes
    • “Gloria tibi Domine” to four votes
    • “Hic nempe mundi gaudia” with four voices
    • "In Annuntiatione Beatae Mariae Virgine"
    • "In Ascensione Domini"
    • "In the natali Domini"
    • "In The Pentecostes"
    • "In Festo Corporis Christi"
    • "In Festo Pentecostes"
    • “Iste confessor Domini sacratus” to four voices
    • “Jesu Christe, auctor vitae” to four votes
    • "Jesu, corona virginum" to four votes
    • “Novum sidus emicuit” with four voices
    • “O quam sanctus panis iste” to four voices
    • “Precamur, sancte Domine” to four voices
    • “Quod chorus vatum” with four voices
    • “Quod Eva tristis abstulit” to four votes
    • “Quorum praecepto subditur” with four voices
    • “Sanctorum meritis” to four votes
    • “Tu cum virgineo” to four voices
    • “Veni creator spiritus” with four voices
    • "Veni creator spiritus" to five voices (1)
    • "Veni creator spiritus" to five voices (2)
    • “Veni creator spiritus” with six voices
    • "Veni redemptor gentium" to four votes (1)
    • "Veni redemptor gentium" to four votes (2)
    • “Vita sanctorum” with four votes
  • Other sacred works
    • “Apparuit gratia Dei salutifera”, fragment, only treble, alto and bass survived
    • “Ave Jesu Christe” to four votes
    • “Ecce concipies et paries”, fragment, only bass survived
    • “Deo dicamus regi” with four votes
    • “Dies est laetitiae” to four votes
    • "Egredientem" to four voices
    • "O Domine Jesu Christe" with four to six votes
    • “O sacrum mysterium” for four voices
    • "Canticum" for four voices (without text)
  • German-language songs
    • "Oh dear heart" to four votes
    • "Your Gstalt alone" to four votes
    • “Otherwise no Freud” to four votes
    • “Auff gůt Gelück” to four votes
    • "Christ is risen" to five votes
    • "Your friendly Gsicht" to four votes
    • “Rejoice, you will become Christianity” to four votes
    • "Greiner Zanner" to five votes
    • “I did it” to four votes
    • “Herzeinigs M” to four voices
    • “I stand one morning” to four votes
    • "I was despised" to four votes
    • “In God's name we drive” to four votes
    • “Young is the figure” to four voices
    • “Kurzweil I have” to four votes
    • “Dear Mr. St. Peter” to four votes
    • "Dear host, now bravely pour us a" to four votes (handed down without text)
    • “Dear is the reason” to four votes
    • "May it be" to four votes
    • “My hearty G” to four votes
    • "Melchizedek" for four voices (handed down without text; dance phrase?)
    • "O woman, great lament" to four votes
    • “O beautiful woman” to four voices
    • “I'm not beautiful” to four votes
    • "Unequal splendor" to four votes
    • “From here I part” to four votes
    • "Wake up, wake up" to four votes
    • “If I were a falcon” to four votes
    • “Weipliches Pild” to four votes
    • “Who would have meant” to four votes
    • “Who can now do nothing” to four votes
    • “Wer Muskat und Näglein” to four votes
    • "Where happiness leads" to four votes

Literature (selection)

  • August Wilhelm Ambros: History of Music , Volume 3, Breslau 1868
  • R. Eitner: The German song in polyphonic composition from the first half of the 16th century in print and manuscript. In: MONTHS FOR MUSIC HISTORY No. 37, 1905, pages 1–7
  • G. Bossert: The court chapel under Duke Ulrich. In: Württembergische Vierteljahreshefte für Landesgeschichte, New Series No. 25, 1916, pages 383–440
  • Paul Matzdorf: The "Practica musica" Hermann Fincks , dissertation at the University of Frankfurt am Main 1957
  • Lothar Hoffmann inheritance law: Heinrich Finck in Poland. In: Congress report Kassel 1962, edited by G. Reichert and M. Just, Kassel 1963, pages 119–121
  • E. Fiedler: Heinrich Finck, Gaspar van Werbecke and the goddess Venus: a contribution to the cantus firmus practice in the early 16th century. In: Festschrift for H. Osthoff, edited by L. Finscher, Tutzing 1979, pages 29–55
  • Lothar Hoffmann-inheritance law: Heinrich Finck's five-part Missa super Ave praeclara: an important new discovery. In: same, pp. 73–90
  • The same: Heinrich Finck's Christmas motets. In: Gedenkschrift Hermann Beck, edited by H. Dechant and W. Sieber, Laaber 1982, pages 11-17
  • The same: Henricus Finck - musicus excellentissimus (1445–1527). Guitar and Lute Publishing Company, Cologne 1982, ISBN 3-88583-003-5
  • The same thing: stages in the reception of the Dutch style in German music of the Dürer period. In: Festschrift for H. Federhofer, edited by Chr.-H. Mahling, Tutzing 1988, pages 155-168
  • HM Brown: Hans Ott, Heinrich Finck and Stoltzer: Early Sixteenth-Century German Motets in Formschneider's Anthologies of 1537 and 1538. In: Festschrift for M. Just, edited by F. Heidlberger, W. Osthoff and R. Wiesend, Kassel 1991, Page 73–84
  • Lothar Hoffmann inheritance law: Heinrich Finck in Poland and Lithuania. In: The music of the Germans in the East and their interaction with the neighbors, edited by Kl. W. Niemöller, Bonn 1994, pages 191–196
  • B. Schwemer: Polyphonic responsory settings in German sources from the 15th and 16th centuries , Augsburg 1998

Web links

swell

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 6, Bärenreiter Verlag Kassel and Basel 2001, ISBN 3-7618-1116-0
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 3: Elsbeth - Haitink. Herder, Freiburg im Breisgau a. a. 1980, ISBN 3-451-18053-7
  3. ^ The New Grove Dictionary of Music and Musicians, edited by John Tyrrell, 2nd Edition Volume 8, Grove Verlag New York 2001
personal data
SURNAME Finck, Heinrich
BRIEF DESCRIPTION German Kapellmeister and composer of the Renaissance
DATE OF BIRTH 1444 or 1445
DATE OF DEATH June 9, 1527
Place of death Vienna