Zur Musik und Musikpraxis für das Karlsfest im Aachener Dom (original) (raw)
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Carved angel musicians in the choir of Aachen cathedral
The paper describes the angel musicians carved at the base of figures of saints in the choir of Aachen cathedral which dates from the late fourteenth century. The musicians are attributed to the fifteenth century, though this is uncertain. The cathedral was extensively restored in the nineteenth century and it may be that some of the carvings were redone in inauthentic ways. Most of the instruments are typical of the period, but the player of a combination triangle and frame-drum is problematic, as is a double-clarinet. There are three representations of what may be shawms and mute cornetts, but which may actually be short end-blown horns without fingerholes. If so, these are extremely unusual in the context of medieval Europe.
This article examines aspects of variation and transmission in the Office of Thomas Becket in the Diocese of Trier, Germany. Palaeographic evidence suggests that by the mid-fifteenth century, liturgical sources in Trier exhibited numerous transmission errors and disruptions in the modal scheme of the Thomas Office. However, a subset of late fifteenth- and early sixteenth-century manuscripts from St Florin and St Castor in Koblenz displays efforts to restore the theoretical modal scheme of the Office by composing new melodies for four items; the uniqueness of these items has been confirmed with the assistance of a large-scale electronic project cataloguing the Office of Thomas Becket across Europe, headed by Andrew Hughes at the University of Toronto. The present study provides a detailed melodic and modal analysis of the four newly composed items: the invitatory, Adsunt Thome martyris; the fourth responsory for Matins, Post sex annos; the ninth responsory for Matins, Iesu bone per Thome; and the fourth antiphon for Lauds, Ad Thome memoriam. Numerous melodic allusions to the Office of St Gorgonius – a martyr also venerated in Koblenz from the turn of the fifteenth century – have been uncovered in the four newly composed items. The re-ordering of the modal schemes of the Thomas Office and the colourful array of musical and theological echoes and allusions between the Becket and Gorgonius Offices suggests a desire to establish, reflect and cultivate a local liturgical identity within the community in Koblenz.
Imperial Entertainment: Music for the Holy Roman Emperors
Program Notes for Newberry Consort (2006/2007 season), with Patricia Firca (Arzaga); performers used transcriptions I made from manuscripts in the Austrian National Library. https://newberryconsort.org/past-seasons/2011-2012-season/2006-2007-season/