Sporckovská "obecná nota" : rozhovor mezi Poustevníkem a Dvořanem na Bonreposkou árii

Variantní název
Sporck's common melodies : The dispute between a hermit and a courtier on the "Bon-Repos air"
Zdrojový dokument: Musicologica Brunensia. 2010, roč. 45, č. 1-2, s. [41]-59
Rozsah
[41]-59
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type: Článek
Jazyk
česky
Licence: Neurčená licence
Abstrakt(y)
The phenomenon of about 26 well-known melodies within the property of the Bohemia born landlord Count F. A. von Sporck (1662–1738) reminds us of the 16th century praxis of multiple textual contrafacta to the shared and remembered melodic repertory. There were hundreds of rimed verses (hymns) within Das Christliche Jahr (1718, 1733/34) hymnbook and Geistreiche Gesänge hymnbook (so called Schweidnitzer Gesangbuch 1725/26) published by Sporck and intended to be sung on the attached "airs", in fact songs. It was Sporck's double biographer Friedrich Roth-Scholz from Nurnberg who woke up Count's interests in books, healing waters and traditional German hymnology. The key and most frequented melody, the Bon-Repos Aria dominated the repertory pointing towards the French hunting provenance and par-force signals. Gottfried Benjamin Hancke, Johann Sebastian Bach, Christian Friedrich Henrici (Picander) and all the local and foreign Kuckus-Baade spa guests were involved in or influenced by those melodies and/or texts featuring the religious, penitent, hunting, political, descriptive, panegyric, public relation as well as anti-Jesuit Hexenlieder, anti-lawyer and Dance of Death themes. The special position was taken by the dialogue or dramatic songs such as Gespräche / Zwischen einem / Einsiedler und Hofe-Manne / Nach der Bon-repos-Arie eingerichtet (1725), not yet published and unknown for Sporck biographers and hymnologists.
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