Tekste modernismist II - Muusika ja arhitektuur: Pärnu Nüüdismuusika Päevad, toim. Valk-Falk, Maris; Lock, Gerhard. Tallinn: Scripta Musicalia, 2008
Discusses the concept of architecture as frozen music in the writings of Schlegel and Schelling a... more Discusses the concept of architecture as frozen music in the writings of Schlegel and Schelling and in relation to Pythagorean theory and ancient Greek mythology. The relationship between music and architecture in the Renaissance is examined with reference to the architectural treatise De re aedificatoria (1485) of Alberti. The relationship between musical and architectural modernism is considered through the example of Busoni's Fantasia contrappuntistica (1910/1912). Also noted are the writings of E.T.A. Hoffmann, Carl Dahlhaus, Peter Kivy, and Lydia Goehr.
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pedagogue Erika Franz, stored at Estonian Theatre and Music Museum. Three two-sided
parchment sheets with plainsong come from a late-medieval Antiphonale and they all are
almost certainly from the same source, where they have been bound nearby, but not side by
side. The fragments, believed to date back to the 14th or 15th century, bear songs with Latin
liturgical texts for Matins of Maundy Thursday and Good Friday. More precise dating and
establishment of the provenience is difficult due to scarcity of material. Besides, in the
European context, such parchment fragments are not rarities. But the parchment sheet ETMM
M8:2/1-1 with two Gloria-fragments by John Dunstaple is extremely scarce. One of the
compositions partially duplicates the four-part Gloria known from the Aosta manuscript. The
recto page of the same sheet (M8:2/1-1r) is unique – it transmits the canonic part (dux) of a
Gloria, which, as a resolution, gives a four-part texture. One or two accompanying voices of
the canon were written on the lost lower part of the sheet. Previously, only two Dunstaple’s
canonic compositions with rubrics were known. The Gloria of the Tallinn manuscript is the
third one. As a very early case of four-in-one canon the Gloria of the Tallinn manuscript was
regarded as a significant example of the history of the canonic counterpoint by Margaret Bent
(A New Canonic Gloria and the Changing Profile of Dunstaple – Plainsong and Medieval
Music 5/1996, pp 45–67).
Deutsch: Die drei Passionen von Heinrich Schütz (1665/66) sind in der Geschichte der Gattung schwer zu überschätzen: Äußerlich noch elementare Choralpassionen, bereiten sie mit ihren durchkomponierten Soli und dramatisierten Turba-Chören die späteren oratorischen Passionen deutlich vor. Dies gilt auch für die Matthäuspassion von Johann Valentin Meder (Riga 1700/01).
pedagogue Erika Franz, stored at Estonian Theatre and Music Museum. Three two-sided
parchment sheets with plainsong come from a late-medieval Antiphonale and they all are
almost certainly from the same source, where they have been bound nearby, but not side by
side. The fragments, believed to date back to the 14th or 15th century, bear songs with Latin
liturgical texts for Matins of Maundy Thursday and Good Friday. More precise dating and
establishment of the provenience is difficult due to scarcity of material. Besides, in the
European context, such parchment fragments are not rarities. But the parchment sheet ETMM
M8:2/1-1 with two Gloria-fragments by John Dunstaple is extremely scarce. One of the
compositions partially duplicates the four-part Gloria known from the Aosta manuscript. The
recto page of the same sheet (M8:2/1-1r) is unique – it transmits the canonic part (dux) of a
Gloria, which, as a resolution, gives a four-part texture. One or two accompanying voices of
the canon were written on the lost lower part of the sheet. Previously, only two Dunstaple’s
canonic compositions with rubrics were known. The Gloria of the Tallinn manuscript is the
third one. As a very early case of four-in-one canon the Gloria of the Tallinn manuscript was
regarded as a significant example of the history of the canonic counterpoint by Margaret Bent
(A New Canonic Gloria and the Changing Profile of Dunstaple – Plainsong and Medieval
Music 5/1996, pp 45–67).
Deutsch: Die drei Passionen von Heinrich Schütz (1665/66) sind in der Geschichte der Gattung schwer zu überschätzen: Äußerlich noch elementare Choralpassionen, bereiten sie mit ihren durchkomponierten Soli und dramatisierten Turba-Chören die späteren oratorischen Passionen deutlich vor. Dies gilt auch für die Matthäuspassion von Johann Valentin Meder (Riga 1700/01).