Council Music (Lübeck)

from Wikipedia, the free encyclopedia

The council music of the Free and Hanseatic City of Lübeck was a group of initially nine, later seven musicians who were employed by the city council.

In the Middle Ages, Lübeck's musicians were organized in the Marian Brotherhood of Minstrels , which had their spiritual home in the Katharinenkirche . Her double-winged retable from the spellude altar is from this time, which is known as the Schlutup family altar after a later installation . The Brotherhood can be used as covert guild be considered that a recognized place in the musicians stands being offered in the city.

After the Reformation , musicians and minstrels were organized in the Choir and Cost Brotherhood , which existed until 1815. Already in 1404 there was a (not preserved) order of the Speel-Lude or Raths-Musicanten . According to the town whistles in other cities, the musicians provided them for the great game of two prongs , trombone and dulcian or two trombones mentioned in numerous accounts . In addition, on special occasions, the council whistler and the council drummer, who are actually part of military music and both had vacant apartments in the towers of the Holsten Gate . Two field trumpeters were also permanently employed by the city council. Gabriel Voigtländer was one of these from 1625 to 1633 .

In the wedding regulations of 1454 and 1467, a separate group of nine musicians was recorded as council musicians for the first time . Since 1610 they were called council instrumentalists . As a rule, their line-up consisted of two prongs, two trombones, two lutes, a violin and a whistler and drummer. As Spielgreve, one of the musicians supervised the minstrels in the city and was responsible for compliance with the council regulations, which regulated the music allowed at weddings and celebrations. The council musicians wore a silver badge on their clothing.

In the 17th century, an annual amount of 600 marks Lübsch was set for the entire chapel. This was comparatively little; in Hamburg, for example, as director of the council music , Johann Schop received a salary of 800 marks. Nevertheless, the positions were very much in demand, because in addition to the permanent income, albeit a low one, the employment was associated with the promise of employment at numerous weddings and other private celebrations against personal payment. In 1610 the council reduced the number of musicians to eight and in 1641 to seven in order to enable them to make a better living. At the same time, expectances created a group of young musicians with the prospect of permanent employment. According to an old custom, the council musicians also played in the churches and provided the orchestra for the evening music . They received their own remuneration for this.

The heyday of Lübeck council music was in the baroque era . During this time Lübeck made a name for itself as an important center for playing string instruments. The council musicians of this time included several members of the Baltzar family, including Thomas Baltzar , Nicolaus Bleyer , Peter Bruhns, the uncle and teacher of Nicolaus Bruhns and Nathanael Schnittelbach . Each of the council musicians was well versed on different instruments. The lutenist Johann Philipp Roth, council musician since 1669, for example, played the French and German lute viola da gamba , violin, pandor and other instruments. This made possible, for example with Dietrich Buxtehude , different instrumental combinations within one work.

At the turn of the 19th century, cultural ( Enlightenment ) and political upheavals ( French times ) brought the council music to an end. While there were six musicians and two expectants around 1800, their number dropped to four by 1814. The evening music ended in 1810. In 1815 there was a reorganization that abolished the council music and the choir and cost fraternity and formed a guild limited to 18 members under the name of privileged musici of the first class . Above all, the former Hautboists formed the group of privileged second class musicians. They were only allowed to play in inns and pitchers. Music lessons and temporary workers remained unprivileged musicians. This regulation lasted until 1873. The council musicians who were still alive kept their income and privileges; the last council musician, Joachim Christoph Mandischer , also organist at St. Aegidien , did not die until 1860.

As a tradition from council music, the custom was laid down in 1826 that 1st class musicians should accompany the singing in St. Mary's Church with kettledrums, trumpets and trombones on extraordinary festive days . This custom, which is also described in the Buddenbrooks , has been preserved in the year-end service to this day.

literature

  • Johann Hennings: Lübeck's music history I: The secular music. Kassel and Basel: Bärenreiter 1951, pp. 71-107 (with names of all verifiable council musicians up to 1815)
  • Heinrich W. Schwab : The institutions of the Lübeck town music and the introduction of the musicians order of 1815. In: ZVLGA 52 (1972), pp. 62–72
  • Kerala J. Snyder : Dieterich Buxtehude: organist in Lübeck. Schirmer Books, New York 1987, 1993. 551 pp., ISBN 0-02-873080-1 . - 2nd revised and expanded edition: University of Rochester Press, Rochester NY 2007, ISBN 978-1-58046-253-2 . - German (translation of the 2nd edition): Dieterich Buxtehude. Life, work, performance practice. Bärenreiter, Kassel 2007. 581 pp., ISBN 978-3-7618-1836-7 , pp. 73ff

Individual evidence

  1. ↑ Uwe Albrecht , Jörg Rosenfeld, Christiane Saumweber: Corpus of the medieval wood sculpture and panel painting in Schleswig-Holstein , Volume I: Hanseatic City of Lübeck, St. Annen Museum. Ludwig, Kiel 2005, ISBN 3933598753 , No. 82, p. 237ff
  2. ↑ Monika Zmyslony: The spiritual brotherhoods in Lübeck up to the Reformation. Diss. Phil., Kiel 1974, p. 103
  3. ↑ The name is derived from the main fields of work of the musicians: Church service and the costumers (meals, wedding celebrations).
  4. ^ Heinrich W. Schwab: On the representation of cities by their musicians , in: Julia-K. Büthe, Thomas Riis: Studies on the history of the Baltic Sea region II. The cities of the Baltic Sea region as mediators of culture 1240-1720. (= Odense University Studies in History and Social Sciences, Vol. 202), Odense 1997 ISBN 87-7838-240-8 , pp. 99–110, here p. 102
  5. ↑ Available for the Council Church of St. Mary since 1539.
  6. ↑ Snyder (Lit.), p. 73
  7. ↑ Hennings (lit.), p. 101
  8. ↑ See Ton Koopman : Performance practice in the music of Dietrich Buxtehude , in: Dorothea Schröder (Hrsg.): 'Ein fürtrefflicher Organist und Componist zu Lübeck'. Dieterich Buxtehude (1637–1707). [Catalog for the exhibition "An excellent organist and composer from Lübeck - Dieterich Buxtehude." Lübeck, Museum for Art and Cultural History (St. Annen Museum) 2007]. Lübeck: Verlag Dräger 2007, p. 107
  9. ^ Text of the ordinances of 1815 in Hennings, p. 151f

See also

Council music in Bremen