By Isabella van Elferen
This booklet identifies the cultural and devotional conventions underlying expressions of mystical love in poetry and song of the German baroque. It sheds new gentle at the doubtless erotic overtones in settings of the track of Songs and dialogues among Christ and the trustworthy soul in overdue seventeenth- and early 18th-century cantatas through SchYtz, Buxtehude, and J.S. Bach.
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Extra resources for Mystical Love in the German Baroque: Theology, Poetry, Music (Contextual Bach Studies)
64. Athanasius Kircher, Musurgia universalis sive Ars magna consoni et dissoni in X libros digesta (Rome: Corbelletti, 1650), facsimile, ed. Ulf Scharlau (Hildesheim: Olms, 1970), A597, cf. A586. 65. ” 66. On French petrarchism see Forster, The Icy Fire, 36ff. 67. On the English madrigal see Edward Doughtie, English Renaissance Song (Boston: Twayne, 1986); Joseph Kerman, The Elizabethan Madrigal: A Comparative Study (New York: American Musicological Society, 1962). 68. Thomas Morley, A Plaine and Easie Introduction to Practicall Musicke (London: Peter Short, 1597), reprint ed.
The number of madrigals by German artists available at the fairs also increased. ”2 Collections of such songs, chiefly by Hans Leo Haßler, Valentin Haußmann, Orlando di Lasso, and Johann Hermann Schein, were sold in large numbers in Leipzig and Frankfurt. A similar development may be observed in the ratio of foreign to German works in the sale of poetry. Around 1600 the main trade was in works by Ovid, Virgil, and Heinsius, whereas in the period 1630–1650 many translations of this poetry and original works by German poets were sold.
40. On these developments see James Haar, Essays on Italian Poetry and Music in the Renaissance, 1350–1600 (Berkeley: University of California Press, 1986), chapters 1 and 4. On the improvvisatori see also Castiglione, The Book of the Courtier, Book 2. Petrarchism 23 41. On the historic connection between frottola and madrigal see Einstein, The Italian Madrigal, chapters 1 and 2; on madrigal and chanson see Haar, Essays on Italian Poetry and Music, chapter 3. 42. See Dean T. Mace, “Pietro Bembo and the Literary Origins of the Italian Madrigal,” The Musical Quarterly 55 (1969): 65–80; Martha Feldman, “The Composer as Exegete: Interpretations of Petrarchan Syntax in the Venetian Madrigal,” Studi Musicali 18 (1989): 203–238; Martha Feldman, City Culture and the Madrigal at Venice (Berkeley: University of California Press, 1995).