Ricercar

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The ricercar - also recercar or recercare (and recercate ) - (from Italian ricercare , 'to seek' ; plural: die ricercare) or the ricercare (plural: die ricercari) is an instrumental composition of the Renaissance , especially of the 16th century , mainly for lute or Keyboard instruments (in particular organ ). Ricercari wrote a. a. the composers Francesco Spinacino (1507), Joan Ambrosio Dalza (1508), Girolamo Cavazzoni , Annibale Padovano , Andrea Gabrieli and Claudio Merulo as well as Giuliano Tiburtino and authors who remained anonymous.

Musical form

The lack of text and the use of instrumental figures and decorations allow for more free musical design.

The instrumentally composed Ricercari are influenced by the musical form of the motet . They consist of a loose series of passages, each with a different topic . Over time, the number of topics is reduced until finally the ricercar with one topic leads seamlessly to the fugue.

The ricercar is similar to the fantasy , the tiento and the toccata ; In the free prelude , the key of the following piece is sought. The ricercar is a preform of the joint .

The first imitative ricercare for the lute, published in 1536, was composed by Francesco da Milano (he also wrote other imitation-style fantasies ).

The ricercar in baroque music

Johann Jakob Froberger was formative for the baroque Ricercar in the southern German-speaking area . He took over from his teacher Girolamo Frescobaldi the now exclusive provision for keyboard instruments. While the ricercar gradually went out of use in other European countries from 1650, the tradition was carried on by musicians from the Viennese imperial court until the first half of the 18th century. In addition to new compositions by Alessandro Poglietti and Gottlieb Muffat , works by Italian composers (in addition to Frescobaldi: Giovanni Battista Fasolo and Luigi Battiferri ) were apparently still studied in the circle of Johann Joseph Fux and from here, probably through Jan Dismas Zelenka, some of them were passed on to Johann Sebastian Bach .

Within this Italian-Austrian line, the ricercar retained the status of a “learned” study composition , not least because of the association with the stile antico . This is also indicated by the adherence to the score notation (already used by Frescobaldi and Froberger) and the inclination to compile art book-like Ricercar cycles, which wanted to be understood as systematically arranged sample collections of contrapuntal art. The culmination and climax of this tradition is Muffat's compendium of 32 Ricercari from 1733. Finally, the three- and six-part Ricercar from Bach's Musical Offering from 1747 should not be forgotten .

The ricercar in modern music

In the 20th century, Johann Nepomuk David composed some Ricercari again. Later examples come from Waldemar Bloch , Helmut Eder , György Ligeti and Michael Radulescu .

literature

Web links

Individual evidence

  1. ^ Harold Gleason, Warren Becker: Music in the Middle Ages and Renaissance . Bloomington 1981, p. 142.
  2. ↑ Cf. for example Ruggero Chiesa (ed.): Francesco Spinacino: [three] "Ricercare". In: Antologia di Musica Antica per liuto, vihuela e chitarra. Volume 1. Edizioni Suvini Zerboni, Milan 1969 (= p. 6892 Z. ), pp. 1-5 (from Libro I and Libro II. Petrucci, Venice 1507).
  3. ↑ See for example Hubert Zanoskar (Ed.): Gitarrenspiel old masters. Original music from the 16th and 17th centuries. Volume 1. B. Schott's Sons, Mainz 1955 (= Edition Schott. Volume 4620), p. 10 ( Recercar from the first half of the 16th century) and p. 14 ( Recercare by Francesco Spinacino from 1507).
  4. ^ Gustave Reese : Music in the Renaissance. WW Norton & Co., New York / London 1954. ISBN 978-0-393-09530-2 .
  5. ^ Reginald Smith Brindle: Biographical Notes. In: the same (ed.): Antonio Castelioni, Intabolatura de Leuto de Diversi Autori. Edizioni Suvini Zerboni, Milan 1978 (= Edizioni Suvini Zerboni. Volume 7922), p. XII.