Antonius Scandellus, the Third Kantor of the Lutheran Church at the Saxon Electoral Court Chapel in Dresden: His Liturgical Music With an Emphasis on the Motets
Reuning, Daniel Guy
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https://hdl.handle.net/2142/85694
Description
Title
Antonius Scandellus, the Third Kantor of the Lutheran Church at the Saxon Electoral Court Chapel in Dresden: His Liturgical Music With an Emphasis on the Motets
Author(s)
Reuning, Daniel Guy
Issue Date
2001
Doctoral Committee Chair(s)
Alwes, Chester
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D.
Degree Level
Dissertation
Keyword(s)
Theology
Language
eng
Abstract
From 1568 to 1580, Antonius Scandellus (1517--1580) served at the Saxon electoral court chapel in Dresden, Germany, as the third Kantor of the Lutheran Church. There he composed for and performed within a liturgical context---Latin rites with vernacular insertions. His responsibilities included oversight of choraliter (unison) singing at daily Matins and Vespers and at the four weekend services---Vespers, Matins, Mass, and Vespers, and figuraliter (polyphonic) singing on High Feasts and other occasions. For these, Scandellus composed Latin pieces---Masses, Magnificats, and motets, and German---a Passion (the first of its kind in Germany), a Resurrection History (the first known setting of this text), and more motets. The literary structure and liturgical function of these are described, and forty-seven motets are singled out for musical analysis, eight of which are transcribed and receive the most thorough attention. Of twenty-one hymn motets, Vom Himmel hoch is used as an example of nineteen that employ an imitative style in which the chorale permeates each voice. Although the melody may be altered rhythmically and melodically in successive entries, it nonetheless remains recognizable, an imitative technique common also in the other motets. Because of the discovery of the four missing parts of Magnus Dominus , and the observation that obscure sections of Christus dicit ad Thomam are repeated and legible in their recurrence, these pieces (two of thirteen Latin biblical motets), are transcribed and analyzed here for the first time. Most fascinating was the discovery of contrafacta , settings of three sacred texts---Cantate Domino, O coeli, o terrae, o maris, and Servite Domino that share the same notes with three secular canzone. Although these canzone have been transcribed and discussed elsewhere, the transcription, description and comparison of their counterparts is a unique contribution here. Finally, two motets---Sic enim Deus dilexit and Und wie Moses in der Wuste share identical texts. A reconstruction of the missing bass part of the former makes it possible for a comparison with the latter (one of thirteen German biblical motets). These motets demonstrate text-inspired musical symbolism, a characteristic found in most of Scandellus' liturgical works.
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